Oh The Expectations I Wish I'd Known

 This Week's Topic: What Do I Wish I'd Known Before I Wrote My First Book?

Let's see, the first book I wrote (and finished) was a shifter PNR. It was fun to write, but it got no love from agents or editors -- and, in hindsight, I'm glad they rejected me. What I'd written didn't meet romance-reader expectations. What I'd written could maybe be called romantic fantasy, but not fantasy romance. Here are four things I'd wish I'd known:

1. The OTP meeting needs to happen in the first chapter 
• I'd waited until ch 5, building on the Jaws-esq dunuh dunuh dunuh approach (closer, closer, closer, Meet Cute)
2. They need to spend 99% of their time on-page together
• I'd structured it in the way I like my personal romances--with time spent apart, not living in each other's back pockets.
3. A short synopsis is not my enemy; it is a tool to ensure my plot is structured and complete. 
4.  That there was such a thing as readers' genre expectations. 
• hahaha, zomg, {face palm} I can't believe I didn't know that

It's been almost two decades since I started writing as a career, so uh, safe to say, I've learned some things along the way. 

VOTE and Ad Classes

Before I jump into the Topic of the Week, I'm getting out my soapbox for my annual plea to our US readers to GO VOTE. If you haven't cast your ballot early, please, please, please go to your assigned polling place and VOTE today. Even though it's not a year for a presidential election, so much still needs your say on the local level. Some of the nastiest legislation gets snuck through in off-presidential years because voter turnout is low and the citizens aren't paying attention. We cannot afford to "sit this one out." Whether it's your school board or gubernatorial race, approving liquor licenses or women's healthcare, issues on the ballot matter. 

 This Week's Topic: Class List: What are we learning and from whom?

I've been taking ad classes from the Zon and FB 'cause it's their platforms, so I consider them the experts. There are lots and lots of self-proclaimed advertising platform experts out there, yet a paltry few offer insight you can't get for free from the companies that own the platforms. Once in a while, the monstrosities run book-specific advertising classes and I hop on those toot-sweet. A lot is stuff I know, but as the companies release new features, I want to stay on top of those so I'm not wasting $$. 

I'm also subscribed to David Gaughran's free best-practices newsletter. He's been in the book biz for decades with a good reputation, and his advice--on the whole--is useful. YMMV. About one out of every ten newsletters has a gem that makes me jot down a note to "try this." What I like most about his newsletter is the inside scoop on when/how distributors are changing things on the tech or policy sides. Obviously, that's not in every newsletter, but when there is something coming, he's one of the first to know and to put it into "this is how it affects authors" terms. 

Happy Halloween!

 This Week's Topic: On My Mind

What's on my mind today? Pfft. Sugar highs, candlelight, and spooky sights!

Buy My Books, They Last Long Than Candy!

Fantasy Covers: Elements Convey Sub-Genre

 This Week's Topic: Judging a Book by Its Cover

Cover Trends and What I Look for as an Author and a Reader

Hell yeah, I judge a book by its cover. If the cover looks like crap, I'm assuming the story was written like crap too. I don't have to use the "Look Inside" feature to know it wasn't professionally edited, either. Life's too short and my TBR pile is too big to waste time on a book with a shitty cover. A good cover is more than well-rendered art, there's the matter of the appropriate font too. I've seen eye-catching art ruined by bad font, and I weep. Anyone trying to resurrect ye ol' WordArt should be shot from a cannon, FWIW. Bad font screams "amateur" and "badly written content inside." 

Buuuuut, what about those covers that look like every.other.cover. in the genre? Are they bad for being too much alike? Ahahahah. Welcome to the wobbly line between delivering on reader expectations and trying to stand out in a listing of millions. Urban Fantasy covers tend to look a lot alike, and that's because readers identify that similarity with the genre so authors/artists deliver for the sake of sales (chicken->egg->chicken, yes). The core elements of a UF cover are: 

• Hot chick (or dude) on the cover
• Magic representation (aura, array, shifter-sidekick, etc.)
• Urban-ish nightscape
• Weapon (8 times out of 10)
• A gun or a sword are the most likely, though there is an occasional dagger or crossbow.  

Does the formulaic cover mean the book is formulaic too? Uh, maybe. Does it mean the story hits the big UF tropes? Probably. That's what the artist and author are trying to convey with the composition of elements on the cover. Wanna read a shifter novel? Look for an animal on the cover. Wanna read a vampire book? Look for the fang with a blood dribble. Witches? Pentagrams or familiars. Angels? Wings. Demons? Serpentine eyes. As long as the humanoid on the cover doesn't look like remedial Poser and the other elements have been properly layered and blended to create a cohesive picture, then we're headed in the right direction.

On the other hand, Fantasy books--be they High, Epic, Grimdark, Hopepunk, RPG, etc.,-- have a wider pool of "typical" from which to draw. Some don't have people on the cover at all, it's mostly symbols and swirls. Some have the caped man in various landscapes. Some have brilliantly illustrated--straight from a graphic novel--look to them. Regardless of the composition, it's the quality of the art and the appropriateness of the font that matters. Fantasy readers are picky as fuck about quality. It's not a genre where DIY covers are a good idea (unless you're a professional designer/artist in your other life). 

When it comes to using AI art on covers, keep in mind that most of the art produced by AI is stolen from artists and then remixed by algorithms; therefore, it doesn't have the appropriate commercial image licensing that's legally necessary for book covers. Yes, yes, yes. I know authors are publishing books with AI covers, but just because it's possible doesn't mean it's legal or ethical. 

I'm Not The Poster Child for Ergonomics

 This Week's Topic: Tools of the Trade Ergonomic Edition

Split keyboard or straight, laptop or desktop, phone, voice-to-text, etc.

This is another post where you'll likely not want to emulate me. Despite being a middle-aged broad, I don't give much thought to ergonomics and my writing setup. 

I don't write at a desk or a table, which is where a lot of ergonomic preventative measures are applied. Instead, I am Goldilocks, sitting in whatever comfy recliner, armchair, or couch fits my mood. Sometimes I use a cushioned lap desk to elevate my screen; though most often I just eat more holiday cookies to fluff up my thighs. {cough} {looks askance}

I write on my laptop (backlit keyboard + number pad). I don't own a desktop, and the few times I've used my phone for working on the WiP were total disastrophies. I've had the big ol' 18-inch screen and the small tablet 11-inch, but find a 14-inch or 15-inch is the sweet spot for text-heavy work. The only thing I hate about composing on my laptop is that the trackpad is centered under the QWERTY keyboard instead of the whole keyboard. I'm forever right-clicking when I want to left-click because of that. (Yes, I'm a PC user. Yes, I must have the number pad or I'll really go 'nanners.)

I don't use voice-to-text for drafting; though, that may be a "yet" statement. Mostly because speaking the punctuation breaks my train of thought faster than seeing the world's longest run-on sentence on my screen. For me, there's something almost subconsciously affirming about the clickety-clack of typing that keeps me in the creative thrall. That said, I do use text-to-voice for editing. I like having the computer read my mss back to me so I can catch missing and redundant words, along with nonsensical statements. 

So far, I'm fortunate to not suffer carpal tunnel, so I don't need a wrist brace. I am diligent about getting up and taking a short walk every two hours to avoid blood clots (my dog is trained to pester me at the appointed hours).  

Looking up/away frequently from my screen to allow my eyes to shift focus happens whenever I think, so I've got that guidance well covered. My computer screen is permanently set to "night mode" to minimize blue light. Recently, the news that viewing the world through rose-colored glasses helps relieve light sensitivity for migraine sufferers crossed my feeds. The power of FL-41 tint could be pure marketing hype or it could be scientifically proven, either way, I just received my pink glasses. 

So, uhm, yeah, thar' be the ways this couch potato avoids the ouchies of sitting on her ass all day. 😇

Working It: Small Retreats & Big Conferences

 This Week's Topic: Writing Retreats -- Do They Work for Me?

I should start by clarifying that a writers' retreat--to me--is a small gathering, versus a conference, which has more attendees and a set program. Writing retreats are wonderful for the sake of camaraderie, catching up on industry scuttlebutt, analyzing emerging technologies, and refilling the creative well. The social aspects and the change of scenery are undoubtedly refreshing. The casual, low-stress, mutually-supportive atmosphere can be lovely, even for a hermit an introvert like me, whether I'm meeting new people or renewing acquaintances. Because it's an intimate gathering, there's less pressure to be "on," and the interactions seem more genuine. The retreats I prefer have one or two events/sessions planned per day while the rest of the time (outside of meals) is up to the attendees. We have the flexibility to work through plots or big-sky concepts in pairs or groups, or to be alone and write. 

Writing conferences require more energy from me, more public-persona performance, and more all-around investment. The educational opportunities are greater at a con than at a retreat--from collegiate-style coursework to peer-led workshops to official industry presentations. Conferences are also good for buckshot networking (the kind where you exchange business cards with a lot of people and then build select relationships later). Conferences do offer the chance to meet more peers in your niche, yet breaking through the cliques can be a challenge.

Now, I will admit there were (are?) a few thematic "academies" with a fixed program that seemed fun and useful, where I could learn a specific thing for say, a week or long weekend. The number of participants was kept small so they're akin to a retreat, but there's focused coursework. The Police Academy for Writers was one such thing (I don't know if it's still around ). Writing with Historical Accuracy for the XXXX Period, where you were hands-on with the clothes of the period, you ate the meals of the time, you learned the proper address for the social structure, you experienced the commoner side and the aristocratic side, etc. Getting Medieval: Armor to Sword Fights, where you got schooled in what's real and what's make-believe. I think a lot of the niche programs folded with the advent of COVID (alas), but for a time, there were some really neat ones out there that I kick myself for not attending.

Of Note: Be they retreats or conferences, I don't attend them with the intention of hitting wordcount goals, much less exceeding them. I can do that on my own time. I go because there's something specific I want from the event, and I'm clear with myself about what that is before I plop down money. 

As long as you're clear on what you want from the retreat or the conference, give it a go.  

But, maybe mask up to avoid Con Crud. 😷

Accountability Buddies and Feral Cats

 This Week's Topic: Writing Partners (not collaborators) and Accountability Buddies 

I'm having flashbacks to my Girl Scout days and the Buddy System. Good times. Lots of mischief. Usually got my buddy in trouble. That's probably when my deeply ingrained rebellion against having someone else be accountable for my actions (or lack thereof) formed. Whether it was quitting smoking, exercising, making word count, or any other personal motivation initiative, I haven't found the co-accountability approach to be helpful. It's a me thing. Totally. I get all itchy and hissy at the notion of someone behaving like my parent. I love my parents. I love my friends. I don't want to ruin relationships because of my angry feral-cat-like resistance to authority. 

That's not to say I can't do teamwork. That's an entirely different beast. However, asking a peer or loved one to co-own the responsibility for me hitting my goals? Nah. I don't respond well to that motivational method. 

Now, the money gods paying me to hit my milestones...that'd do it. 💰🤑💰

#StarvingArtist
#GreedIsGoodMotivation

Huge Disclaimer: I understand why and how other people find the co-accountability method helpful. If you're someone for whom the agreement works, good on you. Glad you have something that pushes you in a way you find comfortable. Please don't allow my orneriness to make you feel a single tremor of disquiet. You do you. Seriously. 

Top 3 Mistakes in Crafting a Compelling Opening

 This Week's Topic: Beginnings--What are my principles for crafting them?

Regular readers of this blog know that the beginning of the book is the hardest part for me for many reasons that can be summarized best as "still getting acquainted with my characters and my world."  I've been making the same mistakes long enough that I know when I'm doing them, and I know that I have to go back and fix them once I get through the first arc. Committing the transgressions is just part of my process now. I confess these sins in hopes that you, dear reader, don't develop similar bad habits.

Top 3 Mistakes in Crafting a Compelling Opening:

1. TMI -- Info dumps are deadly to opening chapters. Be they about the history of the world or the backstory of a character, big chunks of Telling prevent the reader from smoothly transitioning into the world and the story. 
• Alas, as a writer I need to write the TMI so I know what shapes the Goals, Motivations, Conflicts, and Weaknesses (GMCW) of the characters. Yes, that includes the characters of Setting and Magic System. No, this doesn't mean that TMI survives through first-round edits.
• What is the minimum the reader must know to understand the scene? -- This is the question I ask myself once I complete the first arc and am ready to exorcise the info dumps from the beginning. 
• There's a lot that gets cut in the first edit and is either never mentioned again or is distilled down to one or two sentences. That which gets cut gets pasted into my "extras" file to be used as reference points throughout drafting. On the rare occasion that I cut too much and my CP or editor tells me they need more info {manic cackle}, I've got the answers ready to go.
2. Vague Notion of What The Protagonist Wants -- Sure, I know the gist of the book before I start writing the beginning (I'm a skeletal plotter), but that doesn't mean I can concisely state what my protagonist (initially) wants, how they (initially) plan to achieve it, what the obstacle to success is, and what the consequence of failure is. To ensure reader buy-in to the adventure, I must clearly and simply convey the stakes, and I must do it within the first chapter. 
• I save myself from endless agonies when I craft a simple statement of Goals, Actions, and Obstacles. I revise this statement often throughout the book as a touchstone of progress and a plot reminder to the reader. 
• For any writer who tends to indulge in tangents, adding this progress-revised statement at the end of each notable sequence will keep you focused on your plot. 
• The simple, concise statement of stakes can and should be used in crafting a query/short synopsis as well as marketing promos. It is, for all intents and purposes, the Hook.
3. Being Too Coy -- Once upon a time, DongWon Song, a very talented agent of fantasy novels (and more) posted the most helpful and yet obvious piece of advice (which I will paraphrase because I can't find the link to their original post): Writers often confuse withholding information as creating mystery in their story; when, in fact, they're annoying the reader. We all want to compose a story with a bit of thrill, a bit of intrigue, and a lot of anticipation for what will happen next. We want to craft a page-turner (not a wallbanger). When we fail, it's often due to not understanding our own plot development and pacing. The first book I published proves this point to a (painful) T. 
1. Part of improving as a writer is honing when and how to reveal key information and misdirects. Much of that is knowing when and how to pose the questions, which is a facet of story structure and plot development. 
2. Beginnings and sagging middles are usually where we fall victim to our wannabe-tricksy-ness. Because I know I have this weakness, I developed the habit of building a bare-bones outline before I begin writing. When penning the beginning, if I find myself getting too close to revealing a Big Suprise that shouldn't happen until much later, I compare my outline to my WiP to find where I asked the wrong question or laid a faulty foundation. Getting ahead of myself happens, that's why an outline is helpful.
3. Another aspect of Being Too Coy is when we make a reveal but it's unnecessarily complex. There's a huge chasm between being compelling and confounding. If in doubt, KISS or JUST SAY IT, DAMN IT.

There you have 'em, dear readers, my Top 3 Mistakes in Crafting a Compelling Opening. May you avoid 'em.

Book Boyfriend of the Moment: The Crimson Rain Sought Flower

 This Week's Topic: Who is my favorite fictional hero (that's not one I wrote) and why?

Oh no. This is akin to being asked which book is my favorite. Yarghhh! Fortunately, this isn't Highlander and The Kurgan isn't decapitating all the dudes who aren't mentioned. 

{taps bottom lip} 

This is tough because all my faves exist as an amalgam in my memory as Sir Supportive 'n' Studly whose best attributes get mashed together, reshaped, and then plucked apart like monkey bread to become BFFs or Romantic Interests in my books. 

{looks to the left, ponders more}

Since I have to pick one, I'll go with my favorite character from the series I'm currently reading: Hua Cheng from Heaven Offical's Blessing by Mo Xiang Tong Xiu (aka MXTX). Over the course of the series, he becomes the protagonist's significant other, yet to simplify his character like that does him a great disservice. He is fully competent and capable independent of the protagonist. To everyone but the protagonist, he is The Great Villain, a supreme ghost king, one of the four great calamities, the bane of the heavens...and so much more. Yet as the series develops and backstory is revealed, the Villain's Journey is more heartbreaking and more satisfying than the Hero's Journey (which is a feat, because the hero's story is cute on the surface but gutwrenching underneath). 

There are so many attributes that make Hua Cheng a great character: from the myriad ways he serves humble pie, to his obvious and hidden motivations, to his tearjerking sacrifices. His weaknesses are relatable which makes him more adorable: whether it's his atrocious handwriting or his grossly skewed self-perception due to childhood tormentors (he had heterochromia, so he dug out one eye to stop the bullying, but now he believes himself hideous and unworthy of the protag). What makes him my favorite fictional hero is how he demonstrates his devotion to his love interest without being an alphahole. Though he and the protagonist have a long, complicated, and mysterious history, the protag doesn't remember it, but Hua Cheng does. Thus, in the first book, Hua Cheng casually reenters the protag's life, content to be a useful stranger the protag met on the road. Over and over, he touches the protag's life like a butterfly, providing outcome-altering support, and then departing (causing the protag to do rounds of introspection and confront feeeeeeelings). Of course, whenever Hua Cheng reenters the story, I cackle with glee because circumstances are going to get SUPER fun. Whether someone's about to get their ass handed to them or the charming banter in the primary ship, if Hua Cheng is on the page, I'm not putting down the book.  The more I read about him, the more I love the character MXTX created. So, yep, there ya go, my current book boyfriend, Hua Cheng, The Crimson Rain Sought Flower. 

The Unpublishable Cringe

 This Week's Topic: The Most Unpublishable Niche Story I Ever Wrote Was...

First, I ought to be very clear that the story was unpublishable not because of the niche but because my writing at the time was, uhm, underdeveloped? Raw? Cringy? Okay, okay, okay. Horrible. I admit, it was horrible.  It was a grimdark romance short story written to the guidelines of a general fiction contest sponsored by a leading writing magazine. 

We will ignore the red flags around the contest because this was 20ish years ago. While the magazine is still around, the publisher at the time has long since folded and the magazine was subsumed by one of the Big 5 publishing houses. Hopefully, if they still run contests under the magazine's brand, they've cleaned up their act. Nope, I'm not gonna look and see. This topic isn't for Achtung Contests, Baby. Just do a web search for "red flags and writing contests." That'll get you plenty of results.

Back to the topic at hand: It is simultaneously hilarious and humbling to review my earliest works. To catch the glaring mistakes at first glance is, in fact, a good thing. It shows that I've grown as an author (and groaned too; there's lots of both). That I tried to shove a 90k story into 2500 words is, perhaps, the first warning siren. That I didn't know the reader's expectations of either genre so there was no attempt to deliver on the promise makes the story a certified wallbanger (if you happened to endure the craptastic writing to make it to the end). Character dev? Pfffft. A plot? A through line? Ahahaha. Staaaaaap. About all it had going for it was setting and dialogue. 

Oh, you want to see a sample of it? Oh, so, so, sorry.  That file "magically disappeared" along with Windows XP. Yep. That's my story and I'm sticking to it. 😇

Creative Blockage: Go Sit in a Corner

 This Week's Topic: How to Find Inspiration When the Story Won't Come to Me

I'm the sort for whom the broad strokes of the story come easily. It's the details that can cause me to sit in a corner and drool. Sometimes, I'll bring an aluminum pot to bang on mindlessly while I'm there.

Wait.
Does--does that actually help?

Ya know, yeah. Yeah, it does. Figuratively and, on occasion, literally. Letting my mind go utterly blank permits my subconscious to noodle over the problem. When my conscious mind is too chaotic, the monotonous thumping of the pot provides a singular focal point that eventually quiets the pandemonium and lulls the conscious mind so the whispers of my subconscious can be heard. 

Naturally, my subconscious doesn't acknowledge the concepts of deadlines, schedules, urgency, or even time itself. Like so many of us, my creative epiphany strikes at the most inconvenient moments. Say, whilst folding laundry, walking the dog, or at 0200hrs. Can I always remember the moment of brilliance until I get to a voice recorder or notebook? I so wish the answer to that was Yes. The gist lingers, however, and that's good enough to weave the bridges of minor events that connect the Big Moments. 

In a world of overscheduling and overstimulation, the key to conquering any kind of creative block is to give yourself time to simply...think. 

Aluminum pots are optional. 

Summer Reads: Meet the Gatekeeper on a Mission from Hel

THE BURNED SPY: Book 1
Gods. Always ready to screw you.

When Bix the Gatekeeper is summoned from exile by the goddess of the Norse Under World, the former Dark Ops agent knows there’s a catch. On the surface, the terms of the deal are simple. Someone attacked the pantheon’s ambassador to the Mid Worlds and left the ambassador in a coma. In exchange for early parole, Bix must identify the perpetrator and drag their soul to Hel.

It’d be a sweet contract, if not for the details. The ambassador is Bix’s ex-girlfriend, the lead suspect is the key witness from Bix’s trial, and the organization leading the official investigation is the same intelligence guild that disavowed Bix when a covert op went pear-shaped. Undeterred, Bix returns to her old stomping grounds where clues in the smoldering woods of Centralia, Pennsylvania, lead to the waterfront of Washington, DC, and Worlds beyond.

Once valued for her skills in creating passageways as small as a capillary or as large as a continent, Bix’s success now depends on the relationships she was forced to abandon. As she squares off against friends who betrayed her and enemies keen to destroy her, Bix follows a trail of secrets, torture, and treason that leads to the very superpowers who banished her. With her freedom on the line and revenge within reach, this highly-trained operative will take on Fates, dragons, angels, and gods to get exactly what she wants.

Hel hath no fury like a burned spy.

BUY IT NOW: Amazon | BN | Apple | Kobo | Google Play

Read the Completed Series: THE IMMORTAL SPY

Career Do Overs: In The Beginning...

 This Week's Topic: Do I have a point in my writing career that I wish I could do over?

Hahahaha! So many. {facepalm}  If I had to choose, I'd go with the beginning of my career. To give a sense of era: I started writing when queries were still done via snail mail and mss were printed and shipped between author and editor. In hindsight, I would've paid less attention to the gatekeepers of tradition and rolled more with the innovators and risk-takers breaking ground in the indie market. When I think of all the money spent, time invested, and expectations contorted just to get three minutes with an editor from a big publishing house or an agent with a golden key to the Big 6....{wince}. Don't get me wrong, the folks were nice enough, but it was akin to being an Idol wannabe showing up for an open casting call at the convention center. The odds were not in my favor. Alas, the end of the printed communications era led to the era of "no response means no" from the gatekeepers, which exacerbated the wretched situation of not knowing if your query or requested mss was received when sent into the maw of slushpiles. Hence, why in-person meetings with gatekeepers increased in value, though the odds of getting The Call didn't. In the beginning, I invested too much in playing the meet-and-greet game and not enough in putting my work in front of a hungry audience. Had I been braver (and less arrogant, tbh) I would've embraced indie publishing long before I actually did.

Sure, I definitely needed to be rejected and fall flat multiple times to hone my craft and find my voice. I wouldn't do away with those early experiences. Nor do I wish to unmake the friendships and acquaintances from that time--we were all hungry, desperate, and disillusioned together. Wait, we still are! Only now we bemoan capricious ad platforms, series that miss when we could've sworn they'd be hits, and emerging technologies that harm more than help. 

I certainly feel I have more control over my career now than I did in the beginning, and a lot of that comes from lessons learned from the good, the bad, and the oof-that's-leaving-a-mark. 

It's said if you wish you could go back and make different choices, it means you've not only recognized your mistakes but also have learned from them. Thanks, School of Hard Knocks!

Social Media Engagement: There's Always a Cost

This Week's Topic: Social Media Engagement

{steeples fingers}

{stares into camera}

Your time is a commodity. A very valuable one. 
Your emotional investment is an undervalued yet critical commodity.
Not every commodity is measured in money.

There's a lot of advice on where, when, and how authors should engage with their audiences. There's even pressure from publishers of all sizes for authors to grow their audiences to the magical level of "influencer" (thus, making the author the owner of the marketing burden, aka the marketing costs). Taking on the social media challenge is all well and good for authors who enjoy virtual engagement, but there's a significant portion of authors who don't, and that's okay too.* 

Social butterfly or not, the minimum requirement in the virtual space for an author is a website that lists your books, preferably by series then by reading order. That's it. No engagement necessary. Your website exists for readers who've stumbled on your work(s) and want to read more. All the other stuff that authors of small, medium, or large readerships have on their sites is there because the author either: a) has the time and desire to offer and maintain it, or b) pays someone else to do it for them. Either way, there is an out-of-pocket cost in cash and time. 

If you want to be more aggressive, get your name out there, and develop an auto-buy readership, a robust social media presence is certainly one way to do it. However, understand that the pressure on authors to be active on social media comes from the misbegotten notion of "free advertising." Just because you're not paying money to exist in a virtual "public" space doesn't mean that you're not paying in opportunity costs, in your time, or in your emotional capacity. Lots of writers prefer to spend those resources on writing their next book. Is engaging in social media a direct 1:1 cost exchange for a writer? Of course not. Your personal resource values are unique to you, and only you can truly know the costs. 

For some authors, it's cheaper to pay big platforms like Facebook, Amazon, or Bookbub to run ads than it is to build brand awareness and loyalty through social media. It's certainly easier to measure ROI on an ad campaign than on a Discord server.

Don't allow external pressures to force you to do more than you can afford, be it in finances, time, or health. 

By contrast, be aware that the less effort you put forth, the fewer sales you get.

When it comes to social media,
you should do what enjoy
and discard all that gives you angst.

*Note: If you're under contract with a publisher, be sure to read and, if necessary, modify any clauses that stipulate your web presence and/or participation. You don't want to be in breach of contract just because Instagram is an anathema to you.

On My Mind: Marketing Ouches & Ought To's

 This Week's Topic: On My Mind

What's on my mind this week? Marketing plans. Coming up with an improved version that will hopefully net more sales with a positive ROI. I've subscribed to assorted marketing guru sites and newsletters, enough to make my mailbox weep from the digital space hoggery. Some guides are useful for general sales, others for books, and still others for fiction. Of that, maybe 2% is relevant to selling fantasy novels. That's the kicker with most marketing resources, very few are applicable to novels. Fashion? Beauty? Tech? Resources abound, but selling books is a different beast. Moreover, selling fiction is different from selling non-fiction, just as selling Inspirationals is different from selling Grimdark. The key to successful marketing is to get your product in front of your target audience without getting too niche. There's a cost to micro-refining your audience, both in higher monetary cost as well as loss of potential audiences. 

Don't get me wrong, this isn't bitch post. It's a statement of the opportunity landscape. Speaking of opportunities, the places to advertise--both digital and print--for small businesses with small budgets are very limited. Conversely, the publishers (indie, small, and trad) number in the millions and are all vying for that limited space. Apply the basic economics of supply and demand, and it's no wonder advertising costs are rising while sell-through (actual sales) are stagnant (or declining. Yoiks!) 

Wah wah wah. {Tiiny violin.} What's to be done? For me, I gotta get over my strong distrust of certain digital institutions that offer small business advertising platforms (lookin' at you, Meta) and reevaluate venues that generated negative ROI 5+ years ago to see what's changed, what's improved, and what's best left untouched. Additionally, I need to catch up on the tech advances of certain sales/advertising resources and update what promotions I have running. Oh, right, I also need to create an advertising calendar that empowers me to develop, engage, and track promotions, instead of pantsing and forgetting (doh!). 

Yeah, I reckon I oughtta get to getting on my list Ought To's instead of weeping over the derth of sales. After all, I can't whine if I'm leaving opportunities on the table. 

{Well, I can whine, but. that'd just make me a big 👶}

Read Broadly and Deeply

 This Week's Topic: Do I Read in the Genre I Write?

Absolutely. I like to keep abreast of evolving reader expectations, emerging storytelling styles, and exploratory concepts while evolving my skills. Of course, there's the blossoming of ideas and methods that come from studying what my peers are doing and what the "old masters" did that can be applied today. Naturally, some of what the old masters did needs to stay in the past as cautionary tales of the public mindset of their era. 

Do I also read genres other than what I write? Ayup, yup, yup. A story well-written is a story from which I can learn something. I can toss the takeaways into my bag of exponential holding and "fantasy it up" for my WiP. 

By and large, there are very few genres I avoid under the fiction umbrella. I won't read certain genres (or themes, or tropes) because of my innate biases. (Just thinking about them makes me angry.) Besides, there are too many books I really, really, really want to read so why would I force myself to suffer through something I don't want to read? College made me do enough of that.

To me, a great author reads broadly across many genres and deeply into the sub-genres.

Failure & Reasonable Expectations

This Week's Topic: You're not a failure
Wise words to your past self and those who are struggling

The Key to Success is Great Reasonable Expectations

We're told from the cradle to aim high and dream big. Nothing is unattainable if we put our heart into it. That's charming advice for inspiration and aspiration. It's not so great for implementation. Our big dreams tend to ignore the necessary micro steps. Thus, before we even begin, we've set ourselves up for frustration, disappointment, and...failure. When things don't unfold as we imagined, we deem ourselves incompetent and spiral into surrendering our lofty aspirations. We limp away, defeated, relegating ourselves to the status of a dreamless cog. 

How heartbreaking.

The major flaw in our Grand Plan wasn't that we were stupid. We simply made a mistake. We kept the view at 5,000ft when we had to take the footpath. We didn't plant for the weather, enemy, and terrain. We disregarded our physical and emotional limitations. We didn't acquire the necessary foundational knowledge in advance, so we didn't know what we didn't know. When we don't know better, we don't do better. We sabotaged ourselves from the get-go by setting unrealistic expectations. 

Failing to achieve a goal does not equal being a failure.

We are allowed to make mistakes. Mistakes are a measure of progress, even when we have to take a few steps back to modify our path. Our mistake taught us to take a different fork in the road. Sure, we suffered a loss or two, but time spent learning isn't time wasted. As long as we are willing to reflect on where and how we went wrong, we can revise our plan to correct what we can control. This is how we learn to create reasonable expectations for ourselves and others.

This is when we revise and resume.

We succeed when we do our best. It's fine to compare ourselves to others, but it's not okay to punish ourselves for not achieving their success. It's human nature to gauge our place in family, community, and career through comparisons. We use the experiences of others to identify the milestones on our chosen path, and we strive to achieve similar goals in order to keep ourselves motivated; in order to reward ourselves for the small accomplishments along with the big ones. However, learning, truly learning, means we take in information, analyze it, process it against all our other knowledge and experience, and then customize it before applying it to our circumstances and our individual quirks.

Author, Know Thy Self

In a creative field like ours, it is critical to understand ourselves. Only through recognizing our strengths and foibles, our motivations and distractions, our procrastination triggers and our manic gateways can we set reasonable expectations for ourselves. We are not Nora Roberts nor are we James Patterson. Their methods and their paths are not ours. We are our own delightful oddities and our paths to success are as unique as we are. We are accountable to ourselves. We define what success is for us. The success we define is attainable when we have reasonable expectations of ourselves.

We are not failures.
We are Works in Progress. 

The Hero's Three Cs

 This Week's Topic: Writing Better Heroes -- 3 Traits of a Non-Alpha-Hole Hero

Oh, how I loves me a capable, confident, and compassionate hero. 

Wow, that's the shortest post I've written. 

Maybe I should elaborate.

The Capable Hero: This guy (and it's just a guy for the purpose of this post, the hero's gender could be female as easily as it could be fluid) has his own thing. His own specialty. He's earned his bones; he's gone through the wringer, screwed up, and learned from it all to excel. Others consider him an expert in his field (whether he considers himself one is a flexible point). Though, if he's not an expert, then he's got the passion and humility to learn that makes up for his lack of knowledge and experience. Now, this hero isn't an ace in every field because that would make him boring, but what he knows, he knows. 

The Confident Hero: Confident not Arrogant. He shows his ability rather than boasting of it. He knows he's capable but doesn't need the adulation of others. He demonstrates respect for himself and others (albeit only others who haven't given him a reason to lose his respect for them, those guys he quashes beautifully). He's not competing with his partner for one-upsies nor is he attempting to fill in as a father figure. He may exude a dominant aura but he's not domineering. He's as equally content to lend a supporting hand as he is to lead the whole affair. He's good with letting others have the spotlight, but if it shines on him, he handles it gracefully and remembers to share it with those who helped him. 

The Compassionate Hero: More often than not, this guy knows when to step back and when to step up. He's a classic protector stereotype without the narrow mind. He handily checks his ego to let others have their moment just as readily as he cares for the wounded comrade, the lost dog, and the elderly. Most importantly, this hero offers support, both emotional and physical, to his partner when it's obvious they need it and when it doesn't seem like it. He understands the value of respect and how allowing dignity can be priceless.

As you can see, the Three Cs of a great hero borrow attributes from each trait and build on each other.  No Alpha-holes here. 

Useful Writing Tools!

As I worked through my writing session this morning I kept wondering what is the most useful resource I have for writing? 

Jeffe’s post yesterday named ourselves as the most important piece. And I absolutely love that. It’s so true because if you don’t take care of yourself your well will run dry and you won’t be able to create. 

But I can’t be redundant, right? Even when it’s a really good point. 

So let’s say you’re taking care of yourself. You’re feeling good. The writing vibe is strong. You’re typing along and then—[fill in word here]. You need a synonym, or you need the word to describe a specific piece of something, you need—the Thesaurus. 

I have the Thesaurus bookmarked and yes, I went to it nigh two dozen times this morning alone. I’m a stickler for not using the same description on the same page. But how do I know what paragraph will end up on which page? Great point! So I aim for no repeats within 350 words. 

All that means is I love the thesaurus. Do I go overboard and find archaic words nobody will understand? Maybe. Did I attempt to avoid repeating Jeffe's pick for most useful writing resource only to nearly mimic KAK's? Definitely. But what's a thesaurus without a good dictionary?!

How about you? What’s your most used writing tool?

Most Useful Writing Resource Isn't a Surprise

 This Week's Topic: What's the most useful resource I have for writing?

Is it too glib to say it's Merriam-Webster Online? Believe it or not, I'm not being cheeky when I say a dictionary is my best writing buddy EVAR erm, EVER! A significant portion of my vocabulary is built upon words I've read, whose meanings I've derived from contextual clues, which means there's a chance, a wee bit more than a tiny bit of a chance, that what I thought that word meant ... is not what it means. D'oh! I've given my line editors and copyeditors fits of giggles with my, let's call 'em "curious," word choices. Fortunately, my editors are professionals who use an MW link to suggest a better word for what I clearly meant. (I wouldn't be surprised if I've gone down infamy in their private circles. I'd totally deserve it for some of my slipups.)

Then, there's the great conundrum of "is that one word or two?" 

Hyphenated when it's the adjective but not the noun? 

Homophones will be the death of me.

Contronyms: fun for the writer, annoying for the reader.

That's the British spelling, not the American.

Starts with E, no, I, no E? Whadda ya mean either is an option??

Spellcheck, grammar check, and even AI can't save me from screwing up words. A bail isn't a bale. A slip up is a slip-up unless it's a slipup. There are so many shades of gray and grey that culling them takes time. It's all rather grizzly, or is that grisly? Yep, as an author, a robust, queryable dictionary is my most useful resource. Though, my copyeditor comes a close second. 😇