Tuesday, January 16, 2018

Generating Book Success

By Susan Reichert, Editor-in-Chief for Southern Writers Magazine 

There are many ways to market and sell a book which makes it easy to get sidetracked. However, authors can’t afford to spread themselves thin; if they do, they lose valuable time that must be spent writing their book. In writing, it isn’t which came first, the chicken or the egg; the writing comes first.

I want to share with you something I’ve found that is helpful to writers. Looking back at the year; as we do, list down the sales and marketing avenues you’ve used. Then, out by the side of each one note whether it was hard, time consuming or both. If you determine it was, then search for an easier and quicker way.  It may take some research but eventually you will find a few things.

Can you determine what was productive? Some people think they are only productive if they sell a lot of books, but in truth, they are productive if a lot of people throughout the year were exposed to their name, the fact they’re an author and the title of their book. You see, people can’t buy the book, if they don’t know the author’s name or the title of the book. They have to know one or the other.

Can you imagine going to Barnes and Noble and telling the clerk, “I want to buy a book, can’t remember the author, but she writes women’s contemporary books, I think her name may start with an M or a S.” You won’t be able to give them the title of the book either, so how are they going to find it?

What I am suggesting is focusing on name recognition. Why? Look at it this way. A company makes many products; each product has a name. But you will notice these companies are branding their names first, their product’s name second.

Examples: Apple, Ford, Nike. These companies are branded. Everyone in the world recognizes their names immediately. They come out with new products. People know what to expect from them. That is what you want. Name recognition.

Visit the website of these companies’ home pages and notice how they branded their name.  https://about.nike.com/; https://www.apple.com/; http://corporate.ford.com/company.html.
By building and branding the author’s name people will recognize and find the author’s books. 

Remember you will write more books; but there is only one you.

Monday, January 15, 2018

Three Things I’ve Learned about Writing from Children’s Classics

By Cathy Gohike

1.  Create Strong Characters
You know the ones—those lovable, memorable characters from childhood books who’ve endured. You might not remember the names of their authors, but you’d recognize a clever boy like Tom Sawyer anywhere . . . or an incorrigible Huckleberry Finn, or even a man sporting a cruel streak, like Injun Joe. Saying “she’s a real Anne—Anne with an e,” is telling about a girl’s lively imagination, her loyalty, her repeated mishaps. “She’s just like Jo” leaves no doubt that we’re talking theatrical, writerly, ink-stained Jo March of Little Women. Christopher Robin, winsome to the core, runs forever on spindly legs, while simple Winnie-the-Pooh remains forever roly-poly—his paws dripping honey and his little red shirt a mite too tight. “Peter Rabbit” conjures up a bunny at once so dear and naughty we love him but shake our heads.
Children look for story friends like themselves: strong, likable people or talking animals whose foibles are their own—or ones they can imagine—and characters so clearly, endearingly drawn they’re unforgettable. 

2.  Write Sharp Dialogue
Natural and unaffected, children say what they mean and mean what they say. They don’t beat about the bush, unless, of course, they’re Tom Sawyer and they’ve got you on a string for fence painting. Crisp dialogue appropriate for their age, experience, and understanding moves the story forward. Dialect is true and rendered unapologetically. It rarely needs tags because each character’s unique speech and behaviors differentiate them.

3.  Weave an Intriguing Plot—but Keep It Simple
Plots in children’s stories are straightforward, moving steadily from beginning to end. Readers discern the good guys and bad guys by their actions, even if motivation is not immediately clear to the protagonist. There are few very complex characters or point-of-view changes in children’s classics, and few red herrings. Plot twists may surprise, but are plausible within the realm of the story.

Plots in children’s stories are known for their morals, their “takeaways,” and for their suitably happy endings—even to the most tragic tales. Books abound that espouse hard work, truth telling, kindness, and remaining true to oneself—even if the journey is convoluted.

Some children’s classics weave tales as meaningful for adults as they are for children. Allegory and metaphor—transporting for children, and recognized by adults in purely crafted stories—produce exquisite beauty . . . think C. S. Lewis’s The Lion, the Witch and the Wardrobe or E. B. White’s Charlotte’s Web. The barnyard and its adventures, its friendships and pitfalls, is the world of Wilbur and a metaphor for life. 

We might read those books every year of our lives and come away with greater insights, greater joy. It’s why these classic tales, their characters and authors, appear in my own novels from time to time.

What higher praise than to become a book for all ages? What better lessons for writers penning books for any age?
Three-time Christy and two-time Carol and INSPY Award–winning author Cathy Gohlke writes novels steeped with inspirational lessons from history. Her stories reveal how people break the chains that bind them and triumph over adversity through faith. When not traveling to historic sites for research, she, her husband, and their dog, Reilly, divide their time between northern Virginia and the Jersey Shore, enjoying time with their grown children and grandchildren. Visit her website at www.cathygohlke.com and find her on Facebook at CathyGohlkeBooks.    

Friday, January 12, 2018

Writers and Road Trips

By Jennifer Hallmark

Let’s load up the car and hit the highway, full speed. And we’ll leave behind any hint of car trouble, challenging directions, and bad weather. I love a good road trip, especially when it involves meeting a writing friend, working on blog business, shopping, and coffee. Oh, and chocolate.

During the middle of August, I planned such a trip with my friend, Betty. I’d drive up from Alabama and she’d drive down from Kentucky. On the day of the journey, I woke early, breakfasted, loaded the car, and took off for Franklin, Tennessee. The sun beamed down upon my little Ford Focus, and a light breeze ruffled my hair as I stepped outside. Birds sang joyous songs. The world was good.

Does this remind you a little of a writer’s life at the very beginning? We’ve decided to pursue our dream of being the next best-selling author, making sure to retain the rights for that future “Hallmark” movie. We set up our computer or gather just the right type of pen and paper. Ideas are flowing from our mind to our fingertips.

Cue the afore mentioned birds.

Back to my road trip. It started well. But then came obstacles, distractions, wrong turns, and driving through what you thought was a road but found out it was a walkway. Oh, wait. That last part is probably just me. It seems my road trip and my writing journey are running parallel.

In other words, the birds disappeared. Can you relate to…
(1)   The unexpected. Shortly after I began my adventure, I stopped at a dollar store for a few extra supplies. It was closed for repairs. Further down the road, I pulled into a fast food place for coffee only to discover their computers were down. Really?

The writing road has its own share of computer glitches, hard-drive crashes, home repairs, unexpected company, and doctor visits.

The solution: Don’t wait until the last minute like I did for supplies and coffee. Or your almost due blog posts or book edits. Try to complete blogging, article writing, assignments, and edits ahead of time whenever possible.

(2)   Obstacles. On my trip, I ended up behind a truck with an oversized load. I didn’t want to pass it but didn’t want to follow at a reduced speed either.

Writing obstacles? What about a sudden request for an interview, the stomach flu, or a sick parent or child?

The solution: I finally had to gather speed, hold my breath, and decide I could pass the truck in that tiny space left.
Likewise, I can cut off the phone and give myself time for the interview and if I’m sick and don’t feel like sitting at the computer, pencil out my thoughts. I can get up a little earlier or stay up later if it absolutely needs to be done. Getting past road and writing obstacles will give you a moment to relax and wide-open spaces to breathe in.

(3)   Wrong turns. On my trip, the GPS led me down a wrong road. Or maybe it was my interpretation of her instructions. Either way, I had to do a U-turn.

Sometimes in my writing journey, I make decisions I’m not sure about, like when I tried writing for literary journals. I spent time and energy with no reward except more practice writing. Which is, in itself, a reward. At least, I knew it was something I didn’t want to do.

The solution: Make the best decisions you can. If you find it was a wrong turn, chalk it up to experience and keep moving forward. On the road and on the computer…
And, uh, about running over the walkway? In my defense, it looked like a roadway between two stores. It was early and no one was out yet. I don’t think anyone saw me.
Despite all the craziness, I made it to my destination. My friend, Betty and I worked on our blog, writing, and administrative decisions. We also did a little shopping, drank coffee, and had some decadent cheesecake. Though the trip itself proved a little stressful and wild, the end was good.
Until it was time to go home, that is. But that’s another story…
Jennifer Hallmark is a writer of Southern fiction and fantasy; a combination that keeps the creative juices flowing. She’s published over 200 articles and interviews on the internet, short stories in several magazines, and been part of three book compilations. She’s recently signed a book contract with Firefly Southern Fiction, an imprint of Lighthouse Publishing of the Carolinas. When she's not working in the garden or keeping the grandkids, you can find her at:http://www.jenniferhallmark.com   http://www.inspiredprompt.com https://www.facebook.com/jenniferhallmark  https://www.facebook.com/authorjenniferhallmark https://twitter.com/JenHwrites  https://www.pinterest.com/jenlhallmark989/

Thursday, January 11, 2018

Based on a True Story

By Doyne Phillips, Managing Editor for Southern Writers Magazine

Over the Holidays I watched a movie with Tom Cruise, American Made. It was described by a critic as more of a comedy than a documentary of the War on Drugs in Central and South America. I am not a fan of Tom Cruise but after a few friends and relatives told me of the concept and the familiarity of the events by those of us living in close proximity to it  I was intrigued enough to watch.

As I watched I was taken aback by how such a little of the true story it was based on. Not much was included in the movie. I know it is easy to be a Monday morning quarterback but I’m afraid having the knowledge I do of the accounts of the story left me flat. I will usually watch a movie twice before moving on but this one I could not get through the second time. This is not a Critic’s Corner but simply an observation and I hope one that is helpful to writers.

This movie was from events that took place based on the infamous Mena, Arkansas drug operation in the 1980s. Having worked in government in Arkansas at that time and familiar with several of the players, I found it more sensationalized and inaccurate than anything. But again it was based on a true story, not a true story or a documentary. But the more I thought about my disappointment the more I realized what a great opportunity for writers. Writing something “based on a true story” could mean all you need is a snippet of the truth from the true story along with the disclaimer “based on a true story” and you can run with it. So how much of the “truth” will you need?

I believe that is entirely up to you. Most stories, plays, songs and movies today are remakes of the original event or the telling of it. After all it was once said that our memories and the truth are close relatives but not identical twins. Who is to say your memory of the event isn’t more entertaining than someone else’s. If so why not tell your version, based on a true story of course. So how do we do this?

I believe we should look to what really grabs our interest, what we are familiar with and what we may know a little more about than the average person. An example of this: One of the players thought to be involved with in the Mena, Arkansas story was seated in the back booth of a Burger King. He was wrapped up in a heavy coat and scarf, hat pulled down over his eyes and eating his burger. I had known this gentleman for years. I spoke to him on a daily basis and was well aware of his current situation. I knew he was to begin his prison sentence the following Monday. He and many others were not mentioned in this movie. Doing so would not mean much or add to the sensationalized version. Those of us familiar with the situation might ask why this person was left out of the story. I used this knowledge to be critical but the average individual would not know this.

So take a bit of the true story and run with it. In the movie the recognition of Governor Bill Clinton in a phone call to the Attorney General to pardon the kingpin of the operation was the kind of connection for half the world to grasp. Not to imply this happened because if you remember this is only “based on a true story”. After all historical fiction is a genre.


Wednesday, January 10, 2018

Five Words Changed the way I Look at Writing

By Chris Fabry

I received an unexpected birthday gift from an acquaintance. I had lost signed copies of treasured books and my friend knew I loved Pat Conroy. She went to his house and knocked on his door. Perhaps it was because she was going through chemo and had a scarf around her head that he scribbled a signature and wrote a personal message:

“To Chris, Happy 50th Birthday. My best to you in your writing life. Go deeper. Always go deeper.”

I’ve thought a lot about what he meant, particularly after his death. I filed the advice along with other tips I’ve read from writers. One of the basic questions we ask is “How do I do this?” It’s easy to focus on mechanics. Write in the morning. Have a dedicated place where all you do is write. Write every day. Turn off the TV. Show, don’t tell. You’ve read these tips and they’re helpful.

I endeavored to follow them. I looked for the perfect desk, the perfect chair, even the perfect ergonomic keyboard. I got up every morning and hammered at stories. I thought if I followed the advice and worked hard, I would succeed.

The hard truth is that there is no magic equation to writing. There is no special font that will guarantee sales. (I did find a good ergonomic keyboard.) There’s no computer program that will pull the content from your soul. The real power of writing that matters is found in going deeper.

But what does that mean? How do I “go deeper”? How do I mine the nuggets of gold in my own soul without wallowing or becoming maudlin or exploiting my own pain and becoming self-focused?
The answer to that gets closer to the bone than mechanics will take me. Being willing to risk is the first step. In a sense, what Pat was saying in those few words was a call for me to get out of the way. To tell my stories with confidence as only I can tell them. To trust the process that brings me to the page. Allow the pain and questions and struggle to propel me. To write hard and clear about what hurts, as Hemingway said.

The hardest part of this is gauging success. If I write a bestseller, have I arrived? If no one reads my stories, have I failed? What if I’m criticized? Applauded? Pat’s words both haunt and encourage. They are a constant call to avoid such equations. Instead, I ask a harder question. Has the process led me to a subterranean region of my heart? Have my words helped me discover what I really believe about myself and the world? And in the journey, have I been able to bring the reader to a different place in their own heart?

Go deeper. Always go deeper.
Chris Fabry is an award-winning author and radio personality who hosts the daily program Chris Fabry Live on Moody Radio. He is also heard on Love Worth Finding, Building Relationships with Dr. Gary Chapman, and other radio programs. A 1982 graduate of the W. Page Pitt School of Journalism at Marshall University and a native of West Virginia, Chris and his wife, Andrea, now live in Arizona and are the parents of nine children. Chris’s novels, which include Dogwood, June Bug, Almost Heaven, and The Promise of Jesse Woods, have won three Christy Awards, an ECPA Christian Book Award, and a 2017 Award of Merit from Christianity Today. His eightieth published book, Under a Cloudless Sky, is a novel set in the coalfields of his home state of West Virginia. His books include movie novelizations, like the recent bestseller War Room; nonfiction; and novels for children and young adults. He coauthored the Left Behind: The Kids series with Jerry B. Jenkins and Tim LaHaye, as well as the Red Rock Mysteries and the Wormling series with Jerry B. Jenkins. Visit his website at www.chrisfabry.com. Chris Fabry Live on Moody Radio Tyndale Media Center-where you can download press materials like: Media Alert, interview questions, Author Q & A, author image, book cover image, etc.

Tuesday, January 9, 2018

Timing is Everything

by Gary Fearon, Creative Director, Southern Writers Magazine

A funny friend of mine used to love to say this joke:

"The most important thing when you're doing comedy is ... uh ... er ... timing!"

Well, it was funny when he said it.  

The inherent wisdom behind his witticism was that getting the time wrong throws things off-kilter. This isn't only true for punchlines, but for any kind of communication.  Perhaps even moreso when it's the written word.  Consider this passage:
Dan didn't know why he was waking up in a hospital bed.  One of the last things he remembered was talking to Eleanor and Bobby at the party.  He looked at his watch.  Almost 8.  He was in the mood for one more drink before he said goodnight.  A nurse then appeared at the doorway.  
If you were confused reading that, I was just as confused writing it.  Was Dan checking his watch at the party or at the hospital?  Did a nurse suddenly show up at the party?  It all becomes clear in context, but the reader isn't supposed to have to work that hard to sort it out.

Another example of off-timing is when mixing past and present tense:
Only after the plane took off did James realize his briefcase is back home on the dining room table.  In it were the wood samples that his entire presentation depends on.  It will require some clever ad-libbing to describe the different finishes he told Mr Shaw he'll have ready.
That's a pretty blatant example of terrible time-shifting.  In actual practice, opposing tenses tend to creep in much more subtly and stealthily, especially during dialogue segments.  Be on guard for "he said" and "he says" that try to share the same time frame.

Another time element that confuses many is the use of "was" versus "were" in statements such as:
"I wish I was homeward bound." (Simon & Garfunkel, 1966)
"I wish I were an Oscar Meyer Weiner." (TV commercial, 1965)
Only one of these is correct.  Which one is it?

In matters of non-reality, such as a wish or other imagining, the verb "were" helps to clarify, removing it from the realm of possibility.  No one would say, "I were homeward bound," but a sentence that includes "I was" could be taken incompletely to suggest "I was an Oscar Meyer weiner."  So songs like "If I Were a Carpenter" were correctly titled, while "If I Was Your Woman" wasn't.

These common mistakes in time and tense are easy to make, but just as easy to fix.  Developing good timing will help ensure that your writing is clear and linear and that both you and your reader have a good time.

Monday, January 8, 2018

Instruction Included, or Not (Part II)

By Idabel Allen

With twenty plus years writing under my belt – both professionally and personally, I’d learned a great deal about the business of writing and was confident in my ability to master the tasks associated with publishing and marketing my work.

Turns out what I knew about publishing and marketing was next to nothing. The publication of my novel, Rooted, that began my crash-course into the unknown: building a website, growing an email list, setting up a reader magnet, developing campaigns in MailChimp, creating ads, giveaways, and promotions.

To say it is overwhelming is an understatement. I am not a technical guru or marketing mastermind; I am a writer. And yet, instead of creating characters and dialogue and plot, much of my time is now devoted to developing systems and sales ads that are, admittedly, not as effective as they should be, but this too I am learning.

How I refrain from hurling my computer out the window, I’ll never know. But the problem isn’t the computer; it is me. Or rather, the necessity of mastering, or at least, becoming familiar with the never-ending tools and processes and procedures required of today’s writer. Because today’s writer is no longer just a writer, no matter how much we long to be.

As detailed in part one of this blog, I am not big on reading instructions or following an established path, no matter how much I intend to on the front-end. This lack of common sense on my part has cost me time and caused undue stress as I wrestle with all that is required of writers in today’s literary market.

To say I have learned my lesson is misleading. I will always jump feet first into projects without proper preparation; apparently, this is how I learn. Despite many heated battles with Wordpress, I now have a beautiful website that I designed, built, maintain on my own, which was my goal, to begin with. 

But I have learned there is help out there and to seek it sooner than later when needed. Fiverr and Reedsy, freelance marketplaces specializing in technical, editorial, marketing, and design services, have become much relied upon resources. I outsource what is beyond my ability or desire to do myself. Knowing I have experts to turn to if needed has provided a much-needed level of security and relief.

The truth is, we do not have to muddle through this brave new literary world alone. An endless supply of help and support is available to all: how-to articles, writers’ groups, conferences, forums, seminars, mentors – you name it, it’s out there.  In the end, it comes down to finding what works for you. That may take some experimentation and cause us to beat our heads against the wall.

But that’s okay; we are used to it. We’re writers after all.

So just go for it, any way you can. You’ll figure it out, instructions included, or not.
IDABEL ALLEN is the author of HeadshotsRootedand Cursed! My Devastatingly Brilliant Campaign to Save the Chigg and Rooted (February, 2018 release). When not burrowing in the written word, Idabel is generally up to no good with her family, dogs, and herd of antagonistic cows. Learn more about Idabel at www.idabelallen.net. or follow on Facebook: https://www.facebook.com/idabelallenauthor/ Twitter: https://twitter.com/IdaFiction