Your Loyal Reader Base

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

Scott Cook, co-founder of Intuit, said, “A brand is no longer what we tell the consumer it is – it is what consumers tell each other it is.”

I was reading this statement and thought about authors, their books, and their readers.

Do you wonder what your readers tell others about your books?

We’ve been preached to on how important it is––branding. By now, don’t we know pretty much all there is to know?

No! We don’t. The reason is we package our branding but we have no control over how the reader perceives it because it filters through their minds.

The most important thing about branding is creating name recognition.

Why this is done is simple, we want a loyal reader base who wants to read our books we write and expectantly wait for the next one.

So how does successful branding come about? By understanding your readers––what they want to read. Look at your books, what are they about? What is the core? Then ask yourself what kind of reader wants to read this type of book? What would the needs of readers who want to read this type of book be? The more layers you can peel back the deeper you will see what your book offers, which will help you in your writing, promoting and selling your books.

I read somewhere that branding is an expression of who we are and what we offer.

Our reader has to identify with us then they become a loyal fan and reader.

I think Bernard Kelvin Clive, Ghana’s foremost authority on Personal Branding, says it best, “Author branding is the process of positioning an author as the center of attraction and influence, to be the preferred choice in a given theme, style, category, niche or genre”.

Get Your Writing Groove Back

By Linda Westphal

Writing reminds me of an LP vinyl record. When you’re in the groove, the words flow and the rhythm feels right. These are the moments writers crave, and one of the reasons why so many do not give up on the craft.

But the writing process is not all bliss (otherwise everyone would do it). It’s full of starts-and-stops that range from getting stuck on a scene to getting stuck between books.

Don’t worry. There’s a cure for that. Over the years I’ve tried all the remedies below and they work. Try one or two the next time you get stuck and you’ll be back in the writing groove before you know it.

Fast cure
Often the fastest cure is to step away from your writing desk for a few hours. (I know, it’s hard. You’re there to write.) Take a walk. Go to the grocery store. Cook a meal. Any activity that doesn’t take much thought will do, as long as it allows your mind to let go and clear itself. Creative people often say, “I get my best ideas in the shower.” It’s the same concept. You have to step away long enough for your mind to reboot. Once it does, the solution you’re looking for will flash in your mind’s eye.

Cures that take more time

·         Get in the car and drive to another city for a day trip.

·         Spend your morning or afternoon in a coffee shop that’s new to you, preferably in a neighborhood you rarely visit (only if writing in a coffee shop breaks your routine).

·         Take the morning off and visit a museum, then treat yourself to a nice lunch.

·         Spend a few hours in a used bookstore.

·         Visit a small country town if you live in a large city or a large city if you live in a small town.

·         Sit comfortably in nature with your eyes closed. Visualize the character you’re writing about. Pay attention to the specifics. How is the character interacting with others? What sensations do you take away from this experience?

·         Jot down elements that seem oddly paired, like squirrels and caramel apples, book clubs and charities, seashells and photocopy machines. This exercise will help you think beyond the ordinary.

·         Spend time reading a genre other than the one you write. How is the writing different than your genre? What writing techniques are popular? What’s special about the bestsellers? When you venture outside your everyday walls, you are exposing yourself to new ideas.

_____________________________________________________________________________ 

Linda Westphal writes feel-good stories like The Hermit Bookstore and The Medium,a short story that takes place in Savannah’s Historic District. She has written professionally since 1990 and now spends most of her time writing stories. Linda lives in Northern California with her family and enjoys travel, tea, food, sunny days, friendly people, small towns, and a good story. She also enjoys connecting with authors. Visit her website and social media pages. Her social media links: Website: http://lindawestphal.com/  Amazon Author Page: http://www.amazon.com/Linda-Westphal/e/B00ROB4P3Q Goodreads: https://www.goodreads.com/author/show/5281039.Linda_Westphal  Facebook: https://www.facebook.com/author.westphal  Twitter: https://twitter.com/Author_Westphal  Google+: https://plus.google.com/u/0/+LindaWestphalAuthor/posts

How I used Visual Texts in Creating Historical Fiction

By Susanna Lancaster

As I wrote and revised my first book, The Growing Rock, my desire to make the story accurate to its time period—the 1930s—was challenging. I found that having little narrative distance between my readers and characters helped greatly, as did including cross-generational themes and conflicts. Another tool came along so naturally that I didn’t realize at first how much it helped establish the book’s historical setting and draw millennials into a story that's set in the Depression.

Teaching both high-school and college students has shown me how crucial it is for writing to grab the reader's attention. In a world that's becoming more digital, these age groups are especially prone to social media websites and other distractions, and YA writers have to be extra creative. I've witnessed in my classrooms how many students pay attention to visual texts and are quick to pick up on how a piece of writing physically looks. We spend class time discussing words that are italicized, words in bold, long paragraphs, sentence variety, photos, charts, etc.—clues in the text itself.

I used visual texts in The Growing Rock in several different ways. The first example is in the Prologue when we see Caroline's story of The Growing Rock typed on a 1930's Remington typewriter. Immediately, readers know the story isn’t set during the present. The typos and the language itself indicate that the author lacks spell-check.

The second is in the letters that the characters exchange with one another. Because we live in a world with email and text messaging, many teens have never had to write handwritten letters, and so having my characters communicate in this way was helpful in depicting this past era. It also provides brief outlets where we hear the story from someone else’s viewpoint. 

The third way I incorporated visual text is in the title of the book itself. In looking at the cursive font on the book cover, the reader sees an old-fashioned cursive font. On looking closer, he or she may notice tiny arrows and that there are a couple of minuscule numbers beside the letters. Near the end of the book, Caroline and Peter teach Phoebe how to read and write. 

The Growing Rock story is what's helped both girls during hard times and given them hope. When the book ends, we see how Caroline no longer needs the story—it has served its purpose to her and helped her during this time of coming-of-age. But Phoebe, on the other hand, is still too young to understand things and still needs the story. It remains a favorite she will beg Caroline to retell. Just as Caroline looked up to Blanche, Phoebe very much so looks up to Caroline, and she would be likely to try to impress her older sister by writing her own story about the Rock. The small markings beside the title are similar to those in a calligraphy workbook, hinting that Phoebe wrote it, while creating a visual of something that is becoming a lost art and is no longer taught in many present-day schools.

The use of visual texts throughout the book raises readers’ curiosity, and I’m frequently

asked about the book title. The visual texts provide not only some conversation starters, but they offer a physical glimpse, though brief, of a past generation.

___________________________________________________________________ 

Susanna Lancaster is the author of the historical fiction YA novel, The Growing Rock. Her work has also appeared in Balloons Lit. Journal, Memphis Health + Fitness, Hieroglyph, The Perpetual You, and the Dear English Major website. She teaches English at Southwest Tennessee Community College and lives in Memphis, TN with her husband Kyle and pet yorkie Boston. She is always on the lookout for something good to read.  Website: Susannalancaster.com  Facebook: facebook.com/susannalancasterauthor   Instagram: Susanna_Lancaster_Author

The Book You May Not Realize You Have Written

By Doyne Phillips, Managing Editor for Southern Writers Magazine

Some of the better books I have read were compositions of essays, short stories, sermons or journal entries. Some were combinations of different topics and some were books based on a theme. All were a collection of individual efforts from varying periods of time. They were well thought out. Existing material was quickly brought together making it easy to do. But how was it done?

One of the most notable of these, the books put together by Pastors. Many were sermons brought over a period of time based on a series on a specific topic such as wisdom, marriage or faith. The congregation showed interest and the sermons were placed in book form. These tend to be very successful. The beauty of this is the Pastor was going about his day to day process of working on his sermons. He also was producing the necessary material for the book which would come later. Many times these individual efforts occur without any thought to a book but is suddenly realized and put together.

Many writers have this same opportunity. Some writers lecture and may want to put their lectures together. This could mean various topics that assist other writers in their craft and promoting their books. I have always liked the idea of those that are successful helping others. I have written about this in this blog and noted the Sin of the Desert or sending the elevator back down for others. You may want to check it out. 

Many writers are active bloggers. If you have written enough blogs, say 10,000 words, you may want to consider putting them together in a book. It can be print or eBook. You could group topics together or have varying topics. The possibilities are endless. This could further your craft, visibility and possibly your income.

So have you written a book but have yet to realize it? If so think on putting it together. If you haven’t written enough for one why not think on these lines as you regularly post your blogs or prepare you lectures. Visualize bringing them together in a collection. If you think this way you can decide if you want a series of blogs or lectures on a certain topic or various topics.

The staff of Southern Writers Magazine will soon be presenting an eBook of their blogs. I hope you will take a look at it when we announce it. Better yet I hope you enjoy it and find it of value to your writing career.       

The Writing Life

By Francine Rivers

Potential stories

People often ask me where I get my ideas for a novel. The simple answer is questions. The Masterpiece started in this way: Can two dysfunctional people who suffered traumatic childhood experiences find wholeness together? Where was God when the abuse was going on? Though it is understandable how a victim of abuse might blame and therefore reject God, what if that mind-set never changes? Do damaged souls get a pass into heaven?

Questions center my attention. Often, newspaper articles, conversations with friends and strangers, songs on the radio, even a billboard can give me insight or information. Hence, I carry a notebook and pens in my purse. I’m prepared to take notes anytime, anywhere. I have a flashlight on my bedside table! Some of the best ideas come as I’m falling asleep. I’ve made the mistake of thinking I’d remember a nugget of gold in the morning. Nope. Now, I write down those ideas when I receive them. Even at three in the morning!

Preparation for writing

I start with Bible study. Jesus said, “Ask and you shall receive.” So, I ask Him to teach me and show me what He wants me to know. I am hunting for God’s perspective. No matter how many times I read the Bible, it’s new every time. Scriptures and historical details about people’s lives have different meaning and depth when I go into the Word of God looking for answers to specific questions. I may not understand why a particular Scripture stands out, but I know it is applicable in some way and write it in a spiral notebook.

Research is a big part of writing. Digging for information takes time and effort. Learning new things is fascinating. I gather a mountain of material, but only use what is necessary in bringing the characters and story to life.

Priorities

God first, family second, work third. Sounds simple, but keeping priorities isn’t easy, especially when characters become “real” people and I care about what is happening or going to happen to them. When writing flows, the last thing I want to do is shut off the computer and walk away. But I do. Why? Because I’ve learned when I keep God first, family second, I always have the time I need to finish the work.

Pushing through to the end

I set a goal: four pages a day, five days a week. I start each day by tweaking the previous day’s work. This helps me step back into the story and keep it moving forward. When I finish a draft, I do a “hard edit.” I’ve tossed manuscripts and started over. Writing is frustrating at times, but none of the work is pointless if it helps find the real story God wants me to write.

Every writer has a unique process. This is the imperfect way that works for me. You’ll find one that works perfectly for you.

_________________________________________________________________ 

New York Times bestselling author Francine Rivers has published numerous novels—all bestsellers—and she has continued to win both industry acclaim and reader loyalty around the globe. Her Christian novels have been awarded or nominated for many honors and in 1997, after winning her third RITA Award for inspirational fiction, Francine was inducted into the Romance Writers of America Hall of Fame. In 2015, she received the Lifetime Achievement Award from American Christian Fiction Writers (ACFW). Francine’s novels have been translated into over 30 different languages, and she enjoys bestseller status in many foreign countries. She and her husband, Rick, enjoy spending time with their children and grandchildren. Francine Author Image: Photo Credit: ©Elaina Burdo The Masterpiece Cover Image  Media Center Link-The Masterpiece  Francine’s Website  Francine’s Blog  Francine’s Facebook Page Francine Rivers latest book, The Masterpiece ISBN: 978-1-4964-0790-0 released on February 6, 2018

How Many Characters Does It Take?

by Gary Fearon, Creative Director, Southern Writers Magazine

Everybody knew everybody's name in Cheers.

No doubt you've heard the old joke, "How many (fill-in-the-blanks) does it take to change a lightbulb?" There are many variations, but one of my favorites is:

"How many mystery writers does it take to change a light bulb?"

"Two. One to screw it almost all the way in and the other to give it a twist at the end."

The question I will ponder today is one that writers face, whether consciously or subconsciously: How many characters does my story need?

I once attended a play performed by one solitary actress.  It was something about a trip to Europe, as I recall. What I remember most is that, as part of the story, she actually fried up some bacon and eggs on stage. I was glad I had eaten dinner beforehand or it might have turned into a two-person play.

Similarly, Hal Halbrook entertained audiences for five decades with his one-man show Mark Twain Tonight. From the above examples, it might seem as though only one character could be sufficient to tell a full-length story, and that can happen, but keep in mind that their narratives will usually include anecdotes that involve other people.

A sprawling Dickens novel, on the other hand, will weave in a generous cast of characters. David Copperfield and Oliver Twist, for example, include roles for ten major players each, with some sub-characters becoming more famous than the protagonist himself.

There are over fifty characters in the Lord of the Rings saga. Thank goodness we don't have to keep track of every one, but maintaining a working knowledge of the comings and goings of the main ten-plus while traversing the 455,125 words in this trilogy takes some doing. 

That said, from classic dramas like Twelve Angry Men and The Dirty Dozen to campy comedies like It's a Mad, Mad, Mad, Mad World (which crammed as many celebrities of the day as they could afford), audiences have proven that they can handle a handful. The more recent The Hateful Eight and the upcoming Ocean's 8 might seem to suggest a trend toward slightly smaller ensembles, but who's counting.

The answer to our original question could well depend on how long the story is to be, and whether the length allows for some resolution for each of the major players. A short story only allows for one or two problems to solve, which can be accomplished with a very minimal cast.  If there are a dozen heroes, companions and enemies to address, more pages will be necessary to sort it all out and provide closure for each of the primary characters. (Secondary and incidental characters, of course, can slide.)

One important point, and it's amazing how often this is overlooked: No matter how many are in an ensemble cast, care should be taken to choose names that are distinct. A story that includes both a Carol and a Caroline is begging to confuse the reader.

Every character has their own story to tell, and each one you add becomes one more in the bigger picture. So as you may have already concluded, the simplest and best answer to the question of how many characters it takes to tell your story is: As many as it takes.

Writer Branding - What’s the Fuss?

By DiAnn Mills

A writer’s brand is a red carpet of introduction to readers and the publishing industry. It’s an identity that shows genre and demonstrates what others can expect from writing projects, blogs, social media posts, and anything attributed to the writer’s name.

Branding is not a marque in a writer’s front yard with the writer’s smiling face in three dimensions, “Buy Now” in neon lights, and the title of your latest book in life-size letters.

A brand is critical to a reader’s positive emotional experience. It’s why a fan focuses on words composed by a particular writer; he/she knows what’s waiting for them. There’s no need to contemplate the content because the brand says it all.

For some prominent writers, their name alone is an identity. For most of us, we’re not so fortunate. We strive to establish our identity.

Through everything we write, our goal is to send a subtle message:

    I’m relational.

    I care about you.

    You come before me.

    When you close one of my books, my brand will still be there encouraging you to be   

    your best.

    Everything I write will show you I can be trusted.

A writer’s passion and expertise are shown in—nonfiction, blogs, social media posts, short stories, or fiction with a distinct flair. The writer understands the value of reader experience and expectations. Unfortunately, if we disappoint our readers, they will move on to the next writer. To avoid losing our readers, we define and specialize our identity in an unforgettable brand.

To develop a solid image, we begin by knowing who we are in this wild and wonderful world of communicating through the written word. We writers must visualize what a brand looks like to a reader.

The following tips will assist you on the path to an outstanding brand.

1.      Establish the genre you are most passionate about. If selecting a genre is confusing, seek out your favorite type of reading. There lies the answer.

2.      Develop a mission statement. What are your goals and values for a successful writing career?

3.      How would your dreams reflect in a brand?

4.      Invest in a professional headshot photograph. Consider your identity in choosing a pose, clothing, and setting. Be consistent with where your photo has visibility. Readers anticipate the same view wherever they find us. Why confuse them?

5.      Launch a website or blog presence so readers and those within the industry can find and learn about you.

6.      Professionally design a logo. Does it leave no doubt to the reader who you are?

7.      Understand and know your target readers. Spend time completing a character sketch for the perfect reader. How can we write for an audience when we don’t know who they are? It took me a long time to accept this concept, so you’re not alone.

8.      Focus on how your reader will respond to your writing? Are you effectively writing to heartfelt needs? Your brand lies within the depths of voice and delivery.

9.      Create a tagline to use as a signature on e-mail, social media, website, and book signings. Investigate what other writers use and ensure yours is unique while leaving no doubt to who you are as a writer. Your tagline must breathe personality. This may take a while to develop, so don't rush the process.

10.  Ensure contact information is on every social media platform. Consider using return mail labels with your website reflected. Writers want to be found everywhere.   

11.  Explore the various social media platforms for the ones that fit your brand and reader audience. For some writers, this may require tutoring from a social media specialist.

12.  Research favorite authors’ platforms. What do you like? Dislike? In what ways can you make yours unique?

13.  Initiate a minimum of social media platforms: website, Facebook, Twitter, and a blog. The latter doesn’t have to be a personal blog but can be another prominent site where you regularly post.

14.  Consider the psychology of color and learn the palette for your brand personality and reflect it everywhere.

The truth is our brands are developing each time we meet a reader’s eye. We writers want to direct them to a positive identity, one that launches a favorable outcome for them and our career. Seize control of publication goals and market with confidence.

Writers, we want loyalty to our books. A highly visible brand allows our reputation to expand, generating more readers and establishing our message in the world of publication.

What are you waiting for?

_________________________________________________________________ 

DiAnn Mills is a bestselling author who believes her readers should expect an adventure. She combines unforgettable characters with unpredictable plots to create action-packed, suspense-filled novels. Her titles have appeared on the CBA and ECPA bestseller lists; won two Christy Awards; and been finalists for the RITA, Daphne Du Maurier, Inspirational Readers’ Choice, and Carol award contests. Firewall, the first book in her Houston: FBI series, was listed by Library Journal as one of the best Christian Fiction books of 2014. DiAnn is a founding board member of the American Christian Fiction Writers, a member of Advanced Writers and Speakers Association, Sisters in Crime, and International Thriller Writers. She is co-director of The Blue Ridge Mountain Christian Writers Conference and The Mountainside Marketing Conference with social media specialist Edie Melson where she continues her passion of helping other writers be successful. She speaks to various groups and teaches writing workshops around the country. DiAnn has been termed a coffee snob and roasts her own coffee beans. She’s an avid reader, loves to cook, and believes her grandchildren are the smartest kids in the universe. She and her husband live in sunny Houston, Texas. DiAnn is very active online and would love to connect with readers on Facebook: www.facebook.com/diannmills, Twitter: https://twitter.com/diannmills or any of the social media platforms listed at www.diannmills.com.

Just Jump

By Connie Kuykendall

My friend John returned from skydiving with a smile as wide as an open parachute and a fresh supply of life wisdom, which got me thinking that jumping from a plane and writing and publishing aren’t that different.

As his plane neared the drop zone, John just knew he was going to die. Too many things could go wrong. What if the plane crashed, the instructor passed out, the parachutes didn’t open, or John forgot how he was supposed to move his body during the jump and freefall? He was never very good at athletics after all. He needed more instruction and practice time on the ground, more time watching flight videos. He should have checked his equipment five times, not three.

As John slid to the opening, clutched the doorframe, and felt wind against his face, his instructor shouted, “Trust your training!”

When I jumped into writing, I had skydiver’s stomach—that sick feeling in the pit of my belly and windstorm of doubts in my head. As I tried to write, thoughts plagued me about all the things I believed I was doing wrong: “the black moment in my story doesn’t occur at the spot where the structure expert said to put it” or “this media expert said I should be sprucing up my website and posting daily to all social media sites, or “popular author Debbie Macomber wakes up at 5:30 am to write, so I should too.” I could hear the words of agents who said my style was too edgy, too funny for the Christian market. 

When I went Indie, the demands of being CEO of my own book mounted. I carefully measured every decision about editing, book covers, formatting, trim size, launch parties, and advertising against the diverse advice of the experts. I tried to do what the bestselling authors were doing, but, of course, I couldn’t match their success. I couldn’t breathe either. The pressure gave me headaches and panic attacks. I spent so much time worrying and comparing and questioning that I wasn’t doing the two things that really mattered: praying and writing.

Perhaps the pressure to be the perfect writer, publisher, and promoter is building inside you and you’re “failing” at every turn. You’re exhausted from carrying around in your mind the expert advice on story structure, writing bestsellers, character, and marketing.

Enough! Enough critiquing. Enough comparing. Enough criticizing. Cut it out. Call a foul on your perfectionism. You are enough. It’s time to trust your training and yourself.

You’ve listened to the experts, you’ve done the research, you’ve been to conferences, you’ve done your best to build an online presence. Now trust your instincts. Life is short. Go write. Put your head down and, for the next few hours, don’t look at anyone or anything else. You’ve been given a voice, style, and talent uniquely your own. Relax into it during the freefall.

No parachute needed. Your wings already exist, all you have to do is fly.

_________________________________________________________________

Connie Kuykendall  writes to empower and uplift women struggling with their body image and faith. Her dream is that one person who reads my work will look in the mirror and, instead of repeating her daily “I’m so ugly, I’m so fat” mantra, says, “I am so loved.” God has shown me that, through writing, He can turn broken pieces and broken people—like a mosaic made of shattered glass and stone—into something beautiful. Her social media links at all things Curled Crusader 😊www.CurledCrusader.com @CurledCrusader www.facebook.com/CurledCrusader Insta: CurledCrusader

.

Learn Writing Tips From a Spy

By Annette Cole Mastron, Communications Director for Southern Writers Magazine

Do you know David John Moore Cornwell? He lives 6 hours, give or take from London in a beautiful, Cornish ocean-front cottage. Oh, I’m sure you do know him.  His first book, The Spy Who Came in From the Cold, was published in 1963. He denied it initially, but he was a spy for MI6 at the time that he was first published. Against his publisher's suggestion, David chose, an “interesting” pen name we all know, John Le Carre’.

I recently watched a CBS, Sixty Minutes interview with John Le Carre'. That interview made me want to dig further into this writer’s various interviews over the years to glean the following nuggets of  wisdom from the ultimate spy-writer. 

Write What You Know, When You Have Time To Kill (Figuratively, speaking)

In other words use dead time to craft a book. Le Carre’ wrote his first 3 books while working as a spy. The material was there. There’s not much difference between the author and his famous protagonist, George Smiley. “I live off my wits, I collect bits of people, I assemble them, I pitch a story and I sell it. He is a con man. Much the same..I do it in the page and he does it with human material. I’m a liar, born to it, trained to it by an industry that does it for a living.” He wrote during his long work commute while still in “secret harness” as a spy. He even worked for MI6 when the wall went up in Germany. In a 1963 interview on the Merv Griffin show he says, “I wanted to use the bureaucratic experience I had and translate that to the spy world…I wanted to write the literature of involvement. I wanted people to feel, “I’m locked in. I can’t get out. This could be me.”

Have Beta Readers For Your Manuscript

Le Carre’ was required to submit his manuscripts to his handlers at MI6 for approval before he could submit to his publisher. Talk about critique groups. Yikes! He was also required to write under a pen name. The name he chose sounded mysterious and spy like. 

Make the verb do the work

"In the end, it's ironing the stuff, getting out anything that's extraneous. I don't use adjectives if I can possibly get away with it," Cornwell says. "I try to make the verb do the work."

Keep a travel notebook

Le Carré keeps notebooks when he travels. Jotting down the sights, sounds, and smells of his travels. "This is the stuff then that I bring back here to this room, masses and masses of it, the memories, the observations, things like color, smell." He keeps all his travel notebooks. In Kenya and Sudan, it was an invaluable tool for his novel, The Constant Gardener. "Get them (your impressions of each local) down on paper and bring them back here, and then they're at your elbow."

Start your story as late as possible

To grab his reader's attention from the opening lines he “jumps into the action straightaway, then uses flashbacks to explain how his characters got there. He also takes a cue from Alfred Hitchcock: Put the bomb under the bed.”

Avoid "fuzzy endings"

“Once he's figured out a novel's theme, the next most important element of a John le Carré book is its ending. How do we get out of this? What will the reader feel? What will a person in the cinema feel as they walk out, as the reader puts down the book? It doesn't have to be a happy end, but it has to be a logically convincing end. And that is the satisfaction which I believe I owe the reader."

Start strong with a Memorable Character

In an Interview with Le Carre’by George Plimpton ISSUE 143, SUMMER 1997 ParisReview, 

Le Carre’ states, “I’ve never been able to write a book without one very strong character in my rucksack. The moment I had Smiley as a figure, with that past, that memory, that uncomfortable private life and that excellence in his profession, I knew I had something I could live with and work with. The process is empathy, fear and dramatization. I have to put him into conflict with something, and that conflict usually comes from within. They’re usually people who are torn in some way between personal and institutional loyalty. Then there’s external conflict. “The cat sat on the mat” is not the beginning of a story, but “the cat sat on the dog’s mat” is.”

Write A Jam Roll

In another interview with Cornwell/John le Carré in the New York Times, “The environment in which I want to set them, and a sense of how the ending will be. From there the story takes over by itself. But with the layer cake method... you open the pastry out, spread the jam and then roll it up. I like to lead the story forward . . . on a whole variety of levels, and try to make all these levels then converge and pay off at the end. A central character, a conflict over who’s sitting on whose mat, and a jelly roll/layer cake of a story . . . it’s a recipe for great fiction.”

What is your writing tip?

When One Door Closes, Don’t Jump Through The First Window

By John J. Zelenski  

As many in the publishing world may be aware, Tate Publishing & Enterprises ceased operations several months ago and left many authors, including myself, angry, hurt, and confused.  Many questions immediately surfaced such as rights to ownership, back payment of royalties, and of course the huge decision on how and where to republish our works.  Slowly and painfully, questions were answered and the last one that remained was ultimately the most important to me. 

How do I get my books back into the marketplace?

As authors in today’s world, we have more choices than ever on how to publish (or republish) our works and perhaps that creates a problem in and of itself– choices.  Createspace and a number of indie publishing platforms are readily available for those who have the time, patience, and tech savvy to tackle self-publishing.  You remain in complete control of your works and all money is yours to keep from sales.  Then there is traditional publishing -the high and lofty Holy Grail for most authors.  The credibility and respect that comes from being accepted by a traditional press is certainly something to be proud of, and can potentially open many doors to possibilities that self-publishing cannot.

Speaking for myself, I chose to search out a traditional publisher that could bring my books back to market, that would allow me to remain in control of rights, and give me the personal attention that I felt my books deserved.  I believe I have found such a company with my new publisher Peasantry Press.  Their team is a great group of very talented people and very receptive to my thoughts and insights concerning the uniqueness of my novels. 

But what about you?  Should you find yourself in a similar situation, my best advice to give would be to step back and allow some time.  Time first of all to heal – the anger, bitterness, and other negative feelings that can block a sound decision.  Immediately jumping into another bad situation can bring you back to exactly the same ugly spot down the road, or worse yet, cause you to lose your rights to your works. Whether you chose the self-publishing model or choose to seek out a traditional publisher, there should never be a need to sign anything on a whim, especially without some prayerful thought and consideration to how these choices may affect you five or ten years down the road.  

In the world of publishing, as many can attest to, time can be our biggest nemesis….or sometimes it can be our greatest ally.  Take your time, find the publisher that works best for your needs, and remember to close that drafty window of impulsion. 

_____________________________________________________________ 

John J. Zelenski is an award-winning author who has appeared on television, radio, and has been featured in numerous print articles as well as receiving high-profile reviews from the popular community. Having been inspired, in part, to write his first novel Walker's Vale, by his own paranormal experiences as a child, John has developed a keen understanding of the supernatural. His second novel and prequel to Walker's Vale - The Journal of Ezekiel Walker - continues with the saga of Walker's Vale, with a future third installment presently in the works. Walker's Vale, the film will be released through Allegentsia Productions. John, along with his wife and two children, love to watch the seasons change in beautiful Northeast Pennsylvania.  Social inks are: www.johnjzelenski.com   https://twitter.com/johnzelenski  https://www.facebook.com/WalkersVale?fref=ts   http://www.amazon.com/John-J.-Zelenski/e/B00S05HZXW/ref=ntt_dp_epwbk_0