Like most writers, I love words. I love the way they fit together to create entire worlds. I love their rhythm and the way they can set a mood. I love words. But there’s one that I hate. I shudder every time it’s so much as whispered.

DEADLINE.

Did you here that? It was the automatic nervous twitch of every writer out there facing the dreaded countdown clock. It’s the reminder that the book you couldn’t wait to start must come to an end. And it has to happen pronto. Someone is expecting that finished, polished, ready-to-go book. And you have to deliver.

Maybe you’ve signed a contract and promised your editor you’ll turn your book in by a specific date. Perhaps you’ve promised to send it to your critique partner. Or it could be a commitment that you’ve made to yourself. The book has to be done.

I know this scenario well. I’m right-smack-dab in the middle of it. It’s three weeks away, and my book is the opposite of finished. I keep staring down the deadline and staring at my progress and thinking, this might not work.

I also know the importance of meeting deadlines. The fastest way to prove you’re a serious writer is by meeting deadlines—even the self-imposed ones. It’s not always easy. Life gets in the way. But the book still has to be written. So here are my five tips for conquering the deadline blues.

1. Make a plan.

Set small, obtainable goals. Maybe your goal is to write for thirty minutes three nights a week. Maybe it’s to write 1000 words every day. Whatever your goal, make it measurable and attainable. Meeting smaller goals will make the bigger one manageable.

2. Set up a reward system.

Decide on a small treat when you reach each of your small goals. Perhaps you’ll watch an episode of your favorite TV show only after you’ve gotten in your 1000 words for the day. Or maybe you’ll save dessert until after the chapter is done. And when you’ve completed your book? That might be the perfect time for a weekend getaway with friends.

3. Ask for help.

You don’t have to do this writing thing alone. Sure, writing can feel like a solitary journey—and it often is. Just you and your computer. But you’re not alone. You have friends and family who want to see you succeed. They want to help you, so don’t be afraid to ask. My best friend is a wonderful chef, and when I’m in the throes of birthing a book, she’s been known to bring me a homemade meal that I’d never have time to make myself. I have another friend who offered to keep me accountable to write my first book. Every day she checked in with me to make sure I wrote the night before, and because of her I finished my first published novel. Help can take many shapes, and only you know what help you need. So ask for it.

4. Let the calendar motivate you.

A few years ago I was talking to a friend, who was working on her tenth book. With six weeks to go, she had written less than half of her book, so I asked how she was feeling. “I work better under pressure,” she said. Many writers fall into that category. Creatives can definitely be procrastinators. If you know you work faster and write better as time dwindles, then keep an eye on that clock and use it force out distractions and propel you to your best writing.

4. Prayer.

Yep. It’s pretty simple but even easier to forget. If you’re feeling the deadline stress, take a deep breath and a moment to talk with the God who gave you desire to write in the first place. Ask for His help. Lay your worries before Him. And watch how God works.

As writers, we don’t have to fear or despise deadlines. In fact we can make them work for us. And when deadline is no longer your least favorite word, you can choose another one, like maybe that word that you can never spell correctly. For me it’s melee. (I had to look it up. Again.)

GIVEAWAY

Liz Johnson has kindly offered to giveaway a copy of her book, Where Two Hearts Meet. Simply answer the question below in the comments and a winner will be chose at random.

"Do deadlines stress you out? How do you deal with them?"

Liz Johnson is a thirteen-time deadline survivor of twelve novels—including The Red Door Inn and Where Two Hearts Meet—and a New York Times bestselling novella. She makes her home in Tucson, AZ, where she works in marketing, explores local theater, and dotes on her nieces and nephews. Follow her adventures in publishing at www.lizjohnsonbooks.com or www.Facebook.com/LizJohnsonBooks.

 

I found myself stranded in Bentonville, Arkansas recently, when the plane I was on from Grand Rapids, Michigan to Dallas, Texas, was diverted mid-air, to a tiny regional airport in Northwest Arkansas. Not only was this a little nerve-wracking, it felt a little bit like a “Hotel California” moment, with delay after delay keeping us grounded inside this tiny airport.

You’re singing the song now, aren’t you? Well stop. That’s not the point of this article.

Anyway, I finally decided to go ahead and spend the night in Bentonville and try reaching Dallas the next day. With time—and the keys to a rental car—in my hands, I struck out to see what I could find. After a bit of driving, I wound up here…at the Bentonville Cemetery. This probably wouldn’t be the destination of choice for most people, but as a writer, for me cemeteries hold an irresistible appeal. There is a great deal of history to be learned by visiting these places, but many other surprising things as well…

I found hope here…

And indescribable sorrow… I found beauty and incredible artistic talent in skill of the marble crafters:

And I found things that made me speculate—was this woman a war bride? Was her husband a soldier?

There was history to be found of course. Go to any cemetery in the south, and you will more than likely find something like the tombstone below. FYI…look closely at the three linked letters between the dates. Many times the letters FLT will be found on a flag holder or on a tombstone with each letter in a link of a chain. This is actually the logo for the Independent Order of Odd Fellows. The letters stand for Friendship, Love, and Truth.

Among my favorite tombstones was this one marking the grave of a soldier who, incredibly, served in both WWII and Korea:

The oldest tombstone I found filled me with both excitement and melancholy. I noted the stark difference between this grave and others surrounding it. There were no flowers here, no mementos left to show that someone…anyone…still remembered who this person was or that they were loved. Perhaps it’s because those people are also here, resting in another part of the cemetery. I could not read the date of this person’s death, only his birth—1821.

It was an interesting visit. I’m sure there is much more to see and learn, walking among the rows of the Bentonville Cemetery. I’d like to leave you with this last image—one that made me smile. Whoever she was, she was most definitely a woman after my own heart.

Elizabeth Ludwig is an award-winning author and speaker. Book three in her popular Edge of Freedom series, Tide and Tempest, was recently named a finalist for the Gayle Wilson Award of Excellence. Elizabeth was also named a finalist in the 2015 Selah Awards for her novella “One Holy Night”, part of the bestselling anthology collection, Christmas Comes to Bethlehem, Maine. Her latest releases include Where Hope Dwells and A Stitch in Time, part of the Sugarcreek Amish Mysteries series from Guideposts. She often attends conferences and seminars where she lectures on editing for fiction writers, crafting effective novel proposals, and conducting successful editor/agent interviews. Along with her husband and children, she makes her home in the great state of Texas. To learn more, visit ElizabethLudwig.com.

There is no one right way to go about proposing marriage—but there are several wrong ways (I’m looking at you, Mr. Collins from Pride and Prejudice, and you St. John Rivers from Jane Eyre). A proposal might be big and flashy with a ton of effort behind it, or it might be simple and heartfelt. But here are a few things it shouldn’t be:

Wordy.

Cringe-worthy.

Boring.

It’s the same thing with book proposals.

Since I’m on the marketing team at Bethany House Publishers, I sit on the publication board (pub board) that evaluates proposals from new and veteran authors that our acquisition editors find most promising. As I go through these examples, I’ll talk about dos and don'ts—but remember that nothing is absolute. What I’ll be telling you are best practices from my experience in the Christian fiction publishing industry.

I also thought it would be more helpful to give tips on the content of your proposal instead of explaining terms and going over the basics of what a proposal includes. If you want a primer before you start, I’d suggest going to industry blogs to learn more.

Rachelle Gardner's article How to Write a Book Proposal and Steve Laube's Hints for a Great Cover Letter are a great place to start.

As I looked over five proposals of debut authors who have recently published with Bethany House, what stood out to me was that no proposal was exactly alike. Their synopses are different lengths. Some simply list comparable titles, others explain how they’re similar and different, and others leave out that section altogether. If an agent or editor tells you exactly what they want in a proposal, follow that, of course. Otherwise, keep in mind that your proposal should give the editor a professional overview of your manuscript and yourself as a writer.

That said, there were some things I noticed the successful proposals had in common.

ALL of the proposals I looked at:

Gave a complete overview in the synopsis.

The length of this synopsis ranged from 1-3 pages, but all of them presented the main characters, the story’s conflict, and how that conflict developed and resolved. (You have to give away the ending!) Writing a good synopsis is hard. Make sure you have others critique it for you, particularly those who haven’t read your novel. Ask them if the flow of the story is clear.

Listed specific marketing strategies.

Some named local media they would contact about book releases, others sketched out a plan for a street team, and others talked about speaking opportunities with libraries, book clubs, and homeschooling conferences they were excited to pursue. Most dedicated a page or two to outline a marketing plan.

Showed they understood the market.

By that, I mean they:

• Listed organizations they had joined, like RWA or ACFW.
• Gave 3-5 comparable titles to their manuscript.
• Could explain the target audience for their novel.
• Stated that the manuscript was complete and gave a word count that fit the range of what we usually publish. (Most agents/editors will only consider a completed manuscript when working with a first-time fiction author.)
• Communicated an awareness of the book’s place in the publishing world. (“Biblical fiction is seeing a resurgence of popularity lately due to…” “…the legal aspect gives this a unique angle on the popular romantic suspense genre…” and so on.)

NONE of the proposals I looked at:

Revealed specific numbers and statistics for their social media.

Does that surprise you? If you already have an audience/platform with solid numbers, of course, include them! That will really help to make you stand out. But it’s okay to frame your marketing section as a way to display your plan for promoting your book. Impress them with what you will do in addition to what you’ve already done.

Used gimmicks.

Some had a “hook” starting their cover letter—something catchy to interest the reader. Other first lines were very straightforward: “I am seeking a literary agent for my completed inspirational novel, TITLE, a [short genre/plot description].” If something comes off as cheesy or forced to the people who give you feedback on your proposal, simple is probably better.

Oversold themselves.

While they presented their manuscript strongly, there was no gushing or blatant overstatements. (For example: “My story will appeal to the many Christian fiction readers who love the feel of a close-knit small town community” not “Everyone who’s read my brilliant manuscript says I’m more talented than Debbie Macomber.”) And no one said anything about God directly inspiring the story and giving the publisher a divine mandate to supply a contract for it. (Yes, this has happened.)

One final note:

While the marketing sections of your proposal can do a lot to make it stand out, keep in mind that your sample chapters are the #1 priority in your proposal. Especially in fiction, you can do everything else right, but if your sample chapters are only so-so, it won’t matter. To get better at that, you need to read widely, take in all the teaching about craft that you can, and let others edit and critique your work.

Bottom line? A powerful, well-written story is what sells your proposal. The rest of it is a great opportunity to distinguish yourself in a crowded market and earn the right for that story to be heard.

Giveaway:

This week I (Dani)  will be giving away a popular title from Bethany House, simply leave a comment answering the question below:

Do you have any questions for me, especially regarding the (sometimes mysterious) world of book proposals? 

Amy Green is the fiction publicist at Bethany House. Her typical day might involve planning book tours, handling media requests, interacting with reviewers, answering author questions about marketing, and other tasks designed to introduce readers to great books. Outside of work, you can find her playing board games, baking bread, and bravely weathering Minnesota winters. She blogs every Thursday at bethanyfiction.com—feel free to stop by and comment anytime!

 

Recently I was asked a question: What’s the best book you’ve ever received as a present and why was it so special? When Dani invited me to share here on her blog, I thought I’d tell you the story of My Best Book Gift Ever.

A Christmas Gift

Once upon a Christmas, when I was twelve years old (already an avid reader and able to claim the title of fiction writer too), I received that classic novel by Catherine Marshall, Christy, as a present from my grandmother, who didn’t know me well because we lived on opposite coasts and visits had been rare. I’d never heard of Catherine Marshall or Christy. To my pre-teen eyes the book seemed dauntingly long, set in some obscure rural location in the Appalachians I’d never thought about, in a time period that had never interested me—the early 1900s. My reading interests were rather narrow at that age, confined to dog stories and stories about wilderness survival that included lots of animals, peril, and perhaps Native Americans. Christy didn’t seem to promise any of those things.

I guess it’s no surprise I didn’t read the book. It lived on my bookshelf for a couple of years before one day, perhaps feeling guilty, or curious, or just on a whim (I really don’t remember why) I took it down, opened its pages, and started to read. I was fourteen by then and had developed different tastes in reading. I’d discovered those Sunfire historical romances for young adults, after all (Jessica was my favorite)! So this book felt a little like those only… more. Deeper. And so I read, and page by page through Christy I fell in love—with the characters, the mountain setting, the Scottish history woven throughout the tale like mist winding through the hollows of Cutter Gap (thank you, Catherine Marshall, for Dr. Neil MacNeill!).

Heartstrings

Perhaps more than anything else about that book, what grabbed me by the heartstrings—and has yet to let go—was that sense of the past nudging up against the present, unwilling to be forgotten, shaping the characters and their choices in a myriad of ways. These elements of Christy have influenced me as a writer; with every book I write I am in part attempting to recapture the magic and immersion I felt while reading Christy.

Because it was a few years after receiving the book before I came to appreciate it, and because that appreciation went so deep, I sent a second—and heartfelt—thank you note to my grandmother three thousand miles away, after which a regular correspondence between us began that would last for the rest of her life. She would become one of my greatest encouragers after I embarked on my writing/publishing journey in my early twenties, never losing faith during my twenty-plus year writing journey that I would one day see a book published. The day my debut novel, Burning Sky, won three Christy Awards (named after the book that awakened so many abiding writerly passions) I imagined my grandmother watching from heaven and smiling at the seeds planted years ago.  

Thanks again, Grandma!

The Perfect Gift

With Christmas right around the corner, if you’re having trouble thinking of just the right gift for someone on your list, why not pick a good book? You never know what seeds you might be planting, what course you might be setting, what God might do in the deep places of a soul, in His time, through such a simple act.  

Giveaway

Lori is generously giving away both books in the Pathfinders series (together, to one winner), The Wood’s Edge and A Flight of Arrows. Leave a comment answering the question:

"What’s the best book you’ve ever received as a present and why was it so special?"

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Lori Benton’s novels transport readers to the eighteenth century, where she brings to life the Colonial and early Federal period’s of American history. She is the multiple award-winning author of numerous books including Burning Sky, The Pursuit of Tamsen Littlejohn, and The Wood’s Edge (Book one in the Pathfinders series). Lori makes her home in Oregon where she enjoys wandering the mountains with her camera (and posting the results on Instagram) as often as she can manage to do so.

You’ll always remember the day your dream came true. You’ll remember when that editor said yes, or the day you first heard from a reader (that wasn’t blood-related to you). You were, or will be, flushed with pride, wanting to bask in the glory of the story you presented to the world. Then that editor/agent/reader will ask the magic question:

What’s the next story about?

Next? Isn’t this magnificent creation enough? Not if it’s any good, because the more they like the setting and the characters, the more insistent they will be that they get to see them again.

Whether or not you are planning a series, there are a few ways to prep your stories just in case the opportunity for a series arises.

Make sure your story has more than two single characters that readers care about.

If you’re writing romance, then you must have a hero and heroine for each book of the series. You can make it easier on yourself if you have an attractive younger brother, a widowed cousin, or a feisty co-worker already in place. Watch your descriptions of these people because readers won’t buy it if the braggart soldier suddenly turns into a humble hero. Instead give them a character flaw that we’ll cheer them into overcoming. Or even better, give them a touching backstory that has readers waiting for their redemption.

Sometimes the setting—a wagon train, a deserted island, a federal penitentiary–doesn’t lend itself to a lot of secondary characters. In that case…

Tell us about other single characters, but keep them off the page.

Lieutenant Jack keeps writing to his long, lost love. No, she won’t be in this book, but we won’t be surprised when she shows up in the next book. Or that newscaster that the sister has a crush on, maybe there’s just a hint that he lives close by. You can think of a myriad of ways that your first story can cross paths with interesting people who might be hero material later. And here’s the beauty of it—You don’t have to use them. Just throw the seeds out there and wait to see what sprouts in later stories.

Take notes and keep notes.

Right now, I’m reading book eleven in the Poldark series. Winston Graham wrote the first Poldark book in 1945 and the twelfth book in 2002. I can only imagine the notes he kept on the hundreds of characters and locations. It’s a good idea to do the same. How did you describe each location? Each character? Even the ages of the characters make a difference.

My current series covers nineteen years. I had to say good-bye to some of the wise, elderly characters that couldn’t survive the span. Although I was watching the youngsters grow up into eligible adults, I hadn’t realized how old the rest of the cast was getting. Remember, everything ages. Even the trusty horse.

Especially with historicals, keep an eye on the calendar.

Not just because of the characters’ ages, either. For instance, Downton Abbey’s story started with the sinking of the Titanic in 1912. That event throws the estate and title’s succession into jeopardy, so it was essential to the plot. But while Matthew and Mary are figuring out what the windfall means to them and their relationship, another, bigger event looms—World War I.

You can’t set your book in November of 1941 without thinking ahead to Pearl Harbor. If your historical isn’t going to address certain real events, then it’s best to steer clear of them. Watch for obscure local events that you might not be aware of.

Each book must have a satisfying ending.

Especially if you are writing romance or mystery, the books need to be able to stand alone. For mystery or suspense, that means that at least one crime or mystery is solved per book, although there could be a nemesis that is not conquered until the final book. For romance, one couple needs to make a commitment per story. A historical series or family series could get away with making us wait for the Happily Ever After, but please don’t sell it as a romance.

You might not intend to write a series, but it’s best to lay some groundwork in case the opportunity arises. Your fans and your editor will thank you.

Award-winning author Regina Jennings is a homeschooling mother of four from Oklahoma. She enjoys watching musicals with her kids, traveling with her husband and reading by herself. When not plotting historical fiction she plots how she could move Highclere Castle, stone by stone, into her pasture and how she could afford the staff to manage it.

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WIN a copy of For the Record

Thanks so much for joining us on Writerly Wednesday, Regina. Great post! In addition, Regina has graciously offered to giveaway an autographed copy of For the Record to one lucky winner. To enter you just need to answer this question in the comment section below:

Do you prefer stand-alone books or series? If series, what is one of your favorites?

This month I’ve been answering a lot of questions about A Portrait of Emily Price – as it just released on November 2nd – and many of the questions involve story inspiration and writing – two topics that fit perfectly into a Writerly Wednesday.

Where do we get our ideas?

For each writer, it is different. There are as many ways to get to that point of inspiration as there are stories to tell. But if you’re stuck or looking for something new… Here is how I approach each story.

I start with a question.

The idea for my new novel, A Portrait of Emily Price, came to me while reading C.S. Lewis’s Till We Have Faces. There is a powerful scene near the end of the story when the main character, Orual, brings her case to the gods to justify all she has done. Yet, within the very act of articulating her case, she realizes she hasn’t got one. It falls at her feet as she sees everything differently.

And that’s where the questions began… I wondered, in our world and in our time, what might it look like for a young woman to be challenged by another way of thinking, believing, and living? What could be so enticing, and joy-filled, as to make her yearn for something new and perhaps something better? What might compel her to drop her guard, surrender control, and let in love? … And there began A Portrait of Emily Price.

If you’re starting a new story, questions are a good way to begin…

1. What’s on your mind? Your heart? Your prayer list?
2. What has really bugged you lately? What has delighted you?  
3. What questions do you hear people asking? What’s most concerning?
4. What are you reading? Do you like it? Why? Why not? How would answer the questions posed?
5. What’s your favorite color? What’s the emotion that goes with it? And how might one character start a journey right there?

If you’re deep into a story and stuck or simply want to take it deeper, questions are also a good way to continue…

1. What’s my character’s core need?
2. What is she asking? Why is she asking it?
3. Can answers to her questions be found? Who should answer them?
4. What are some alternative ways to allude to her needs? Smells? Weather? Clothing? Scene? Texture?
5. What is she doing at a particular moment? And why? Does she want to be doing it? Why or why not?

The questions for A Portrait of Emily Price led me to create a whirlwind that would knock Emily off her feet and entice her to experience something new before reason or fear scared her away from the adventure. It was those original questions that formed the tone and texture of the story – leading it to Italy. The setting was a very specific choice in answer to those original questions. I wanted a sensory country that would hold for Emily the promise of beauty, unknown, and a rich artistic history that would appeal to her and entice her – and entice all of us too.

So I recommend trying out a few questions. The answers may surprise you.

And, before I go, I’d like to add one more thing here on Writerly Wednesday. I’ve been asked this question repeatedly this month too…

What one piece of advice would you give to writers on the unpublished side of the fence?

I’ve found it’s the same answer every time – and I’d give it to writers on the published side of the fence as well.

Keep writing.

It sounds so simple, but it’s true and worth saying again… Keep writing. Craft, voice, every aspect of writing is honed through the process of writing… and writing… and more writing. So keep at it, each and every day.

And I’d also say to please remember that the world didn’t give your passion/desire to write – so don’t let it take it away with discouragement. There will be discouragement. That is an immutable fact. And it’s a very long journey – either to publication or within a writing career. But that’s the important part, the journey. Enjoy it!

Thank you so much, Dani, for having me here today. I’m so happy to answer to questions and will stop by here to do so, but please also reach out to me on my website. I always reply.

Have a fantastic day – and Happy Thanksgiving to those of you in the United States.

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Enter to win a signed copy of A Portrait of Emily Price

Thanks so much for joining us, Katherine. Loved having you on Writerly Wednesday.

Lucky readers, Katherine has graciously offered to give away a signed copy of A Portrait of Emily Price to one lucky US resident. To enter, just answer the question below.

Are you an aspiring writer? How do you get "un-stuck" when writing? 

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Katherine Reay is the award-winning author of Dear Mr. Knightley, Lizzy & Jane and The Bronte Plot, an ALA Notable Book Award Finalist. Her latest novel, A Portrait of Emily Price, released in November 2016 and received Starred Reviews from Publishers Weekly, Library Journal, and a Romantic Times TOP PICK!Katherine is also a rehabbing runner, former marketer and avid chocolate consumer – who happily resides outside Chicago, IL.

I’m often asked how I am able to write as many books as I do. The quick answer is that I sit behind my computer far too many hours each day and write, write, write. BUT … but, I couldn’t do any of it if I wasn’t organized. Organization and planning come naturally to me. There I’ve said it. I’m one of those ‘there’s a place for everything and everything’s in its place people’. Please don’t throw things at me. If it helps, I’m married to a slightly, ahem, very disorganized guy, but I simply can’t relax unless I’m on top of everything I need to do.

So what does this have to do with your writing you ask? I believe if you implement any of the following tips you will find yourself putting more words on paper. And the number of words on paper  =  the number of books created. So here, goes. My tips to be a more productive writer.

1. See yourself as a professional writer

If you BELIEVE you are a writer, you will behave like a writer. Set up a dedicated writing space. Even if it’s only a chair and laptop. Then write, write, write. Whether you feel like it or not. Whether you’re turning out award-winning prose or garbage. Write. Why? You’ve heard the old saying practice makes perfect. I don’t know about perfect, but writing on a regular basis helps you perfect your craft. So think of yourself as a writer. Park yourself behind your computer and write. A lot. All the time. Daily if possible.

2. Set a Goal and stick to it

Decide the days of the week you are going to write and set word goals for those days. To keep up my publishing pace, I must write at least 3000 words 5 days a week. Do I always want to write 3000 words. “No,” I scream loudly. But by setting a word goal, it allows me to see at a glance when a rough draft will be finished and contract other books accordingly. And I know if I slack off on one day, I will have to make it up another.

3. Don’t let distractions get in the way.

Easier said than done right? Especially when email and social media are tempting little buggers on your computer. So how do you avoid spending too much time on them? I allow myself several time slots per day for these items and use a calendar program with reminders to tell me when to get back to putting those words on paper. You don’t have to spend any money on a calendar program. I use Mozilla Sunbird, which is a FREE program and if you’re on a Mac you have Calendar for free. I put deadlines and other events on the calendar and set appropriate reminders. For example, if I have a blog post or interview due, I decide how much time it will take for me to complete, set the due date, and the calendar tells me when to work on it. Until then, I can put it out of my mind and concentrate on writing.

4. Set a book deadline whether the book you are working on is contracted by a publisher or not

Any published author will tell you that a deadline will make you do super human things to complete a book on time. But a contracted novel isn’t necessary for you to the same thing. Give yourself a deadline. Treat it as if an editor is waiting for your manuscript and stick to the date. This will not only enable you to write more words, but it also shows you how long it takes to complete a novel so you can plan your writing schedule in manageable chunks.

5. Plan out your novels 

– Okay, I know this is going to start a seat-of-the-pants writer versus plotter argument, but read on anyway, as I can see this point from both perspectives -

When I first started writing, I didn’t plan a word. I didn’t even know where the book was going or how it was going to end. No structure at all. I’d see a scene in my head the night before and put it on paper the next day. If I felt like writing, that is. If I wasn’t in the mood, I didn’t write. But then, I was able to contract with a publisher with the first three chapters and a synopsis only. What? They had to be kidding. I couldn’t write a synopsis before I wrote the book. I was a pantser all the way, and I could only write the dreaded synopsis after I finished the book.

As in shock as I was, if I didn’t want to complete entire manuscripts and have an editor say they didn’t like them, I had to learn to plan my books in advance. And that’s what I did. I took the high concept, figured out character conflicts and the main story conflict then expanded it to create a list of scenes that fit the book. Learning how to go from pantser to plotter would take a series of blog posts to explain and you still may not agree with me, but I can tell you doing this prevents writing oodles and oodles of words that end up on the cutting room floor.

Well, there you have it. My five tips to being more productive as a writer. So what do you think? Can any of these tips help you get more words on paper?

SUSAN SLEEMAN is a best-selling and award-winning author of more than 25 inspirational/Christian and clean read romantic suspense books. In addition to writing, Susan also hosts the popular website TheSuspenseZone.com. Susan currently lives in Oregon, but has had the pleasure of living in nine states. Her husband is a retired church music director and they have two beautiful daughters, a very special son-in-law, and an adorable grandson.

I love that the Bible begins in just the right spot: “In the beginning God created.” Chaos succumbs to order. It’s the ultimate conflict! Genesis’s beginning makes so much sense to us; I can’t imagine a better opening.

Unfortunately, the choices aren’t so obvious when it comes to our own writing. I remember hosting a dinner table at a writers conference a couple of years ago and asking each person what he or she was working on.

One woman recounted her novel’s storyline and then asked me if I thought she should cut the first couple of pages, which some of her critique partners had suggested. She was having trouble murdering those darling paragraphs that she had labored over for months.

I do believe a hush fell over the table as I said, “I think you should start the story in the middle of the manuscript. Everything before that point is backstory.”

Everyone at the table, including me, wondered how the writer would respond to such a radical concept. She chewed on the idea, and as she did, her expression lightened, and she exclaimed, “That’s perfect! Why didn’t I see it before?” Then she rattled off how that would open up new vistas in the novel.

Now, I wish I could proclaim myself some sort of genius for having made the suggestion, but the truth of the matter is that I’ve read enough manuscripts to know that starting in the wrong place is a common malady.

Author Brain Dump

Often the writer is so immersed in the story, has done so much research, and knows the characters so well, that she is tempted to do a brain dump in the book’s opening. So much detail is clogging the writer’s mind that she wants to bring the reader up to speed right off.

What the novelist forgets is that the reader isn’t ready to discover the complex underlying motivations for the protagonist’s first actions. Rather than introducing the character to us, the author in essence pulls out the character’s entire psychological profile. I’m so not ready for that! Why, I’m not even on a first-name basis with the character yet. Ease me into the relationship with a gentle introduction.

I also don’t need the complete physical description. Don’t provide me with any until it naturally fits in the story.

Backstory Overload

In addition to wanting to provide too many details about the character (or characters), writers are tempted to start with the backstory. I just finished reading a manuscript in which the story began with a woman calling a restaurant to make a reservation. The next thing I knew, I was being told the restaurant owner’s life history. Totally backstory stuff. I didn’t care yet. I hadn’t even met that character; I’d only been introduced to the woman phoning the restaurant, which made the backstory material all the more confusing for me. I wasn’t sure who the novel’s key character was.

The more complex the story, the more tempting to provide too much information too soon. The conflict, the setting, and the main characters all demand to be front and center on the first pages, which quickly turns into a traffic jam, with the poor reader overwhelmed by all the detail.

Anchor Your Beginning

As a reader, what I look for are “anchors” that settle me into the story and keep me from being carried off by strong winds. Here’s what I want

• To care about the protagonist; give me reason to do so.
• The elemental details about the story’s setting.
• What conflict the character is facing right now.

Drop the anchors in the middle of a pensive moment. Fill in details later.

How do you know where to start your novel? Often it’s in the middle of the story as you’ve outlined it. Go ahead, be daring, give it a try.

Janet Kobobel Grant had two goals as a grade-schooler: to read all the books in the library and to write a novel each summer. Her dream was to win the Pulitzer Prize. Well, she never did get all those books read, she seldom completed her summer writing project, and she certainly never won a Pulitzer Prize. But those unusual aspirations were indicative of her love of books.

She’s written the following books: But Can She Type? with InterVarsity; Where Is God When I Need Him Most? with NavPress; Growing in Prayer; Experiencing God’s Presence; Every Child Needs a Praying Mom (with Fern Nichols and a Silver Medallion winner);The Breast Cancer Care Book (with Sally M. Knox, M.D. and a Retailers Choice finalist); and collaborated on several Women of Faith books (all with Zondervan).

She understands the inside scoop on publishing as well, having worked with Zondervan and Focus on the Family. She has a strong publishing network, experience in negotiating contracts, and comprehension of each production stage a book must move through, from acquisition to printed matter. Her desire to help authors create the most marketable, carefully crafted manuscripts and to see those authors succeed in their careers was probably born in the library she frequented as a child.

Janet is a member of the Association of Author Representatives (AAR). She acquires Adult Fiction & Nonfiction books.

As the fiction publicist at Bethany House, I have an outside view of authors’ struggles with marketing—I’m close enough to hear and understand where they’re coming from, and far enough away that I can say, “This doesn’t have to be so painful. Really. I promise.” So, what are some things I’ve learned? Here are a few marketing misconceptions I think many authors have, along with some actual go-do- this takeaways.

Social media is a great platform for selling books.

No, social media is a great way to build relationships with readers. It’s also a great way to find friends-of- friends and connect them with your book, make announcements, and have fun. However, if your goal is promotion all the time, you’re doing it wrong and will be disappointed with the results.

APPLICATION: Practice virtual hospitality. What would make others want to interact with a post on Facebook? What are ways you can create community on your social media? Make your newsletters something people want to read, your social media spaces places where readers enjoy engaging, and so on.

If I’m using social media well, I don’t need to do anything else.

It’s best to use “borrowed” media to move people to “owned” media when possible. Facebook in particular is focusing more and more on grabbing your money. Make sure you’re not putting all your marketing into a rented space that could be taken away from you—or drastically reduced—at any time. Getting people to follow your blog, visit your website, or sign up for your newsletter lists are all examples of moving people to “owned” media.

APPLICATION: What is one “owned” media you really want to invest in? What are some ways you can start moving people there?

I hate marketing.

Here, the misconception is twofold. First, that there is no way to enjoy marketing, and second that you should only do things you enjoy.

To the first point, almost anyone can find some simple marketing tasks that they enjoy or can at least tolerate. Writing a letter to librarians explaining the setting of the book in your home state? Offering to Skype with book clubs or writing groups? Hosting an online party with a few other authors? The ideas are endless.

And to the second point…as a writer, you probably do things you don’t enjoy every day, and certainly at some point in every manuscript. That’s part of discipline. What makes it easier, I think, is having specific and realistic goals so you can see what you’re accomplishing.

APPLICATION : The best marketing brainstorming is done in community, and it helps to have others promoting your efforts as well. Who do you know who could be a part of a brainstorming party? They don’t have to be writers (although if they are, you can all help each other). Be sure to get ideas by looking at what other authors are up to!

Marketing is a waste of writing time.

Okay, so this isn’t always a misconception. There are some authors who say yes to every opportunity, including ones that are a large time investment with little return, and suddenly the amount of time they have to write shrinks. This is a bad situation. Writing good books is by far the most important “marketing” activity you can do.

However, focusing on two, maybe three, platforms won’t take much time if you plan your strategies well. This could mean scheduling posts ahead of time so you can get a lot done in batches, setting a timer to limit the minutes you spend on your Facebook author page, or trying to achieve one small marketing goal per month.

APPLICATION: For one week, take note of how much time you spend on social media promoting your writing and how much time you spend writing. Decide if it’s unbalanced, or if you could use your time better by cutting out some activities or changing what you do to be more efficient.

Do you have any questions for me, writers? I may not have all the answers, but I’ll do what I can!

Amy has kindly offered to giveaway a few Bethany House titles. We'll randomly pick a winner from the comments below so keep those questions and comments coming!

Amy Green is the fiction publicist at Bethany House. Her typical day might involve planning book tours, handling media requests, interacting with reviewers, answering author questions about marketing, and other tasks designed to introduce readers to great books. Outside of work, you can find her playing board games, baking bread, and bravely weathering Minnesota winters. She blogs every Thursday at bethanyfiction.com—feel free to stop by and comment anytime!

 

Sometimes coming up with great characters, or settings, and maybe even plots can be challenging. Especially when we want to dive deep into the creative genes that our minds are composed of and come up with that story. You know the one? The one that editor will simply have to take.

As a writer, I’ve often found myself struggling to compose a scene, or transcribe a character’s attributes onto paper and it’s worse than pulling teeth, because at least the teeth eventually come out. Some call it “writer’s block” but what I’m talking about doesn’t quite fit into that terminology. I’m not targeting the concept of trying to figure out what to write, but rather, trying to figure how to write about what you’ve decided to write about. (Did that sentence just twist your brain, or what?) Here’s my take on when you’re in over your head: write from real life. More often than not, the best stories, the best writing come from your personal experience. And while we think that’s nothing to write about, consider this: no one has experienced your life, with the exception of you.

Write From Real Life

1. People.

Look around you when you’re out and about. Sit in a coffee shop and watch, eavesdrop (with tact and subtly), and take notes. One of my favorite characters that will be in my upcoming release with Bethany House Publishers in 2017, is a die-hard football fan who female and in her mid-60’s. This is a common everyday experience, if you live in Wisconsin. Older women walking around with cheesehead earrings, football jerseys, and a rather overwhelming since of football-pride. So what to me seemed oh so normal became a colorful character who makes the story unique.

2. Places.

What makes the places you frequent special? My coffee shop? It certainly isn’t a novel idea (lol) to put a coffee shop into a book. But what makes mine interesting are all the tin, gaudily painted lizards hanging on the wall. In a coffee shop? Who does that? Mine does. Not to mention the Christmas lit tree branches and African art. It’s an eclectic shop. It’s not Pinteresty at all, but it’s my hangout. It makes a story unique.

3. Things.

Let’s go detailed. What is the rug like in your kitchen? You know, the one in front of your sink? Do you have one, or is wood flooring? Mine is laminate wood with a brown wool rectangular rug that squishes between my toes and makes me happy with its splash of red, teal, and yellow circles. It’s what makes the room unique, and it adds a unique zing to a setting description.

4. Emotions.

This one can be difficult to muster. Sometimes, as writers, we have to go places inside of ourselves that is difficult. Revisiting the day one of my best friends, my Gramma, passed away immediately conjures an aching gap inside of my chest that catches my breath. But again, it’s my experience and one that translates onto the page of the novella I’m writing where my heroine has lost someone dear to her. Or perhaps it’s a pleasant emotion, that first kiss, the glance across the room when everything else became a blur with the exception of your future spouse, or the birth of your child, the adoption of a pet . . . it’s what makes emotions unique. Life has presented itself to you in a way that is, if you haven’t gotten tired of the word already, unique.

God has gifted you with a precious treasure, your life. Use it. Seek it out. Draw on it. Grasp it. Frame it. Put it into words. It is beautiful and in the end, it is your story.

About Jaime Jo Wright

Professional coffee drinker & ECPA/Publisher's Weekly best-selling author, Jaime Jo Wright resides in the hills of Wisconsin writing spirited romantic suspense stained with the shadows of history. Coffee fuels her snarky personality. She lives in Neverland with her Cap’n Hook who stole her heart and will not give it back, their little fairy TinkerBell, and a very mischievous Peter Pan. The foursome embark on scores of adventure that only make her fall more wildly in love with romance and intrigue.

Jaime lives in dreamland, exists in reality, and invites you to join her adventures atjaimejowright.com.

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"The Cowgirl's Lasso", The Cowboy Bride's Novella Collection - Barbour Publishing

"Gold Haven Heiress", California Gold Rush Romance Collection - Barbour Publishing

True north.

It means to move in the right direction. To proceed at a compass heading that is static. One that won’t change course. No matter the beginning or middle of a journey, the end will be the same.

It’s why I love writing. Or, one of the reasons why I love it. Because my journey won’t be the same as the writer to my right or left, and it won’t be the same for you. We just know that there’s a calling to paint story worlds with words. Writing for the true north becomes a compass point that allows us to explore who God is calling us to be – writing without boundaries – because we always know where we’ll end up with Him.

Looking for your true north? Here are (4) ways to focus your writing compass:

• GENRE: Long before my debut novel was published, I’d been writing manuscripts in contemporary women’s fiction. Yet, every story I wrote seemed to incorporate vintage themes within a modern storyline. It wasn’t until I shifted my focus to historical fiction that I finally felt at home with writing. Resist the urge to write for what’s trending, or what you think might sell. A publisher has to appraise potential projects years in advance, so what’s trending today isn’t necessarily a given it will be a year or more down the line. Instead, focus on the true north of the genre that feels most at home for you. Publishers are always looking for great stories with memorable characters. If a genre feels natural to you, chances are it will to your readers too.       

• STORY: At a conference years ago, I had a meeting with an editor who’d been accepting pitches from aspiring authors. Two writers stuck out to her most that day. One had story ideas bridging several genres. Essentially, they came to the meeting as a “jack of all trades”; they could write whatever the editor wanted. The other writer came to the pitch session with a clear idea in mind, deeply-rooted research, and excitement about her story that was infectious. The editor remembered both, but she was inspired by the latter writer because of her genuine passion for the story. The true north is to write a story that grabs you at a deeper level. One that you have great interest in or strong convictions about. That passion will translate to the story every time, and that’s what inspires both publishers – and readers.

• AUDIENCE: When I started out in the industry, I felt a calling to encourage and uplift believers with stronger faith threads in the stories I wrote. But on a business flight home one day, I met a fellow passenger who was firmly rooted in his non-faith beliefs. What he didn’t know was, the book he’d tucked in the seatback pocket in front of him was from a faith-based publishing house. The story had an undercurrent of faith that he thoroughly enjoyed, but he hadn’t known or put down for being a “Christian” book. That moment was quite a witness to me! We should always write to the true north of the mission fields to which we’re called. I’ve changed my view after that experience and write for the true north of each story instead of for an audience. When a reader picks up our books, we can trust that God will use the faith thread – no matter how deeply it goes – to encourage and inspire, right where they are.

• HEART: They say that every writer is a reader first. I believe it. Chances are, we write because we love words. And books. And stories that inspire. Often, we find that inspiration by reading ourselves. It’s why writing from the heart is so important. It’s the true north that matters most. More than what we write or for whom, is the why. The heart motivates how we’re able to handle rejection, lackluster reviews, and the long, late nights of editing. Writing is hard work. It’s beautiful and soul-feeding work, but it’s still hard. Focusing on the true north of why you write (and revisiting that motivation often) will take your writing to deeper places, and encourage you along the story road.

Whatever you write today, don’t be afraid to explore. Get out there and journey a little, knowing that wherever your adventures take you (and eventually, take your readers), writing to your true north will always bring you in the right direction.

It will bring you home.

Kristy Cambron has a background in art and design, but she fancies life as a vintage-inspired storyteller. She is the author of The Ringmaster’s Wife, named to Publishers Weekly Spring 2016 Religion & Spirituality TOP 10. Her novels have been named to Library Journal Reviews’ Best Books and RT Reviewers’ Choice Awards Best lists, and received a 2015 INSPY Awards nomination for best debut novel. The Illusionist’s Apprentice (HarperCollins, 2017) is her fourth novel.

Kristy holds a degree in Art History from Indiana University and has 15 years of experience in instructional design, corporate training, and communications for a Fortune-100 Corporation. Kristy lives in Indiana with her husband and three sons, where she can probably be bribed with a coconut mocha latte and a good read.

You can connect with Kristy at:

Facebook: Kristy Cambron | Twitter: @KCambronAuthor

Instagram: kristycambron | Pinterest: KCambronAuthor

Web:  KristyCambron.com

I recently guest posted over on Seekerville.com. The post was helpful to so many that I wanted to share it with all of you. Hop on over to Seekerville and read about Grabbing an Agent and Editor’s Attention. Let me know if you have any questions. Happy to answer!

Have a blessed day,

 

I’m not sure how it happened but, somehow, growing up in a family of athletes I still managed to forge my own creative way. I knew I wasn’t like my baseball playing brother or my basketball playing sister the second I stepped on stage in eighth grade. I decided right there and then that I wanted to be an actor forever and ever. Amen.

From a very early age I adopted the title “creative”, and I looked for as many ways as possible to become just that. Whether through art, writing, or on the stage, my creativity seems to be connected to my happiness, so I accept it as a natural part of who I am. It’s something I need, I suppose. Without it, I’m simply living someone else’s life.

But for many, many people, creativity feels like something frivolous, something elusive that only people showing in art galleries in New York City are allowed to have. In a way, creativity is like an always-elusive, everyone-has-it-but-me gift. Mystical and misunderstood.

So, let’s dispel a few key creativity myths. (Here’s a hint: They’re probably hindering your writing.)

Myth #1: I’m not creative.

Well, I beg to differ, and I’ll tell you why. You were created in the image of the Great Creator, yes? (Yes. We all were.) And because God created you in his image and because HE is creative, that means you’re creative too. To argue that point would be to call God a liar. Or at least to say you know better.  

Could it be that you’re simply creative in a way you don’t recognize? Maybe your creativity looks different than you want it to, so you have trouble seeing the beauty of your own unique creative gifts. Maybe you’re an excellent storyteller with a huge imagination but you’re a crummy writer who made poor grades in English class. Or maybe you understand the structure of a story, but you struggle to think outside the box. It’s not that you’re not creative, it’s just that you want the whole of the story to come easily, and sadly, it never really does.

Creativity shows up in many forms, but step one is to own it. I am creative. Write it down. Post it on your bathroom mirror. Say it out loud when you feel like you aren’t. Because anyone who tells you differently hasn’t had a conversation with God on your behalf.

Myth #2: Creativity comes easily.

Anyone who has ever immersed themselves in a creative project knows this isn’t true. Creativity, in any of its forms, takes WORK. You aren’t going to tap into an ounce of your creativity unless you’re willing to work for it.

Often for gifted people, it’s easy to sort of float by on your natural talent. But if you really want to be a writer, and you really want to write an excellent book (all the way to the end), you’re going to have to roll up your sleeves and get to work.

How do you work at writing?

1. Read. A lot. In and out of your genre. Fiction and nonfiction. Craft books and novels. Study storytelling and constantly question what works and why.

2. Sit your butt in the chair and write. Then rewrite. Then rewrite again. Push yourself past what comes naturally, plug in to your creativity and come up with something better.

3. Never stop learning. Go to conferences. Talk to writers. Pay attention to what’s working and what’s not. None of us have ever really “figured it out.” There is always more to learn…and that’s the fun of this stuff!

4. Stop looking for it to get easier. You can ask authors who’ve written over twenty novels and they’ll tell you the same thing as me (who has only written six): it really doesn’t get easy. Ever. You still have to work out the story details. It can be difficult and tedious, but I’ve gotta say…it’s also a ton of fun.  

Myth #3: Real creatives have conquered their fears.

I don’t know a single creative who isn’t absolutely terrified to launch something new. Whether it’s a book or an art project or a new role on stage, creativity takes courage. Big courage. It’s hard to put so much of yourself into a project and then put it on display for the world to see/critique/criticize. Courage is a must.

Give yourself a pep talk or two if you feel lacking in this area. Your creativity needs this every once in awhile. If you can find just a few minutes of insane courage—enough to hit send on that proposal you’ve been agonizing over—enough to query that agent—enough to self-publish the book of your heart, you’ll get through the scary parts and settle in to a comfortable place of contentment.

At least until it’s time to do it all over again. ;)

Myth #4: Creativity requires constant attention.

For years, I thought that true productivity was the result of continuous and never-ending work. Hours upon hours of tireless working. But after too many years at that pace, my body finally said “Knock it off” in the clearest way possible. I got incredibly sick and stayed that way for one full year. In a lot of ways, I lost that whole year. Because I was so consumed with not wasting a single minute.

I’ve learned now that creativity takes REST. Purposeful and intentional REST. This idea has made it in to a couple of my novels, and seems to be the song of my heart these days. We need to rest in order to refuel. And I’m not talking about a full eight hours of sleep. I’m talking about a full on Sabbath—a day of rest. A day where you rest as if all your work is done.

What happens is the next time you open your laptop to work on a scene, you just feel refreshed. You’ve got new ideas. You’ve spent some time living rather than just writing about living—and your work (and your creativity) can flourish under these conditions. If you’re wound too tightly and you never rest, you’ll make it nearly impossible for creativity to visit you.

So, whether you’ve been writing for years or you’ve just sort of started thinking about trying your hand at it, give yourself permission to live a creative life. Make time for it. Be courageous and willing to work, and you just might find, like so many of us, that the title of “creative” looks a whole lot better on you than you thought it would.

Courtney Walsh is a novelist, artist, theater director, and playwright. Change of Heart is her fifth novel and is set in the same town as Paper Hearts. Her debut novel, A Sweethaven Summer, hit the New York Times and USA Today e-book bestseller lists and was a Carol Award finalist in the debut author category. She has written two additional books in the Sweethaven series, as well as two craft books and several full-length musicals. Courtney lives in Illinois where she and her husband own a performing and visual arts studio. They have three children.

Giveaway!

Courtney has generously offered to giveaway a copy of her book, Change of Heart.  Simply leave a comment below and we will select a random winner, come back Monday to see who the lucky reader is!

From Plan A, B, C to E, F, G

By Jill Kemerer

You’ve written the story, gotten feedback, revised, polished and submitted your manuscript. As you press Send, your stomach tightens with anxiety, but the rush of exhilaration overrides the fear. You did it! And the book is good. You feel it down to your toes. You believe in the characters and plot twists, and the ending still gives you a happy glow.

Sometime later, you get an email from the editor. In between the greetings and farewells sits the following message:

The book in its current form doesn’t work.

You’re crushed, embarrassed, angry, introspective—yes, you can wheel through every emotion in moments. Chocolate becomes your life preserver for the next several hours. A bag of Doritos jumps on board. You call your best friend and email your critique partner. Although they’re saying the right things, you feel rejected and wonder how you’d gotten it so wrong when it felt so right.

I have been there, my friends, on many occasions. And I have learned the glorious experience of being flexible with your story.

Most authors are asked to change elements in their books.

Sometimes you’re asked to change the entire book! And if you’re trying to get your first book deal or are in between contracts, you have no guarantee that making the changes will even sell the book.

So now you’re faced with a decision. You go back and read the letter again, noting details the editor mentioned. Maybe you bristle and think the changes would destroy your vision. I’ve talked to many writers over the years. I hear things like, “This is the story of my heart, and I just won’t believe in the book if I make those changes.”

I empathize. I do. No one is forcing you to change anything. You can try to get it published with another publisher. You can self-publish it. Or you can set it aside and work on something else.

Or maybe you open your mind to see the possibilities…

I hope you’ll consider being flexible. If the suggested changes resonate with you, try not to be so caught up in your vision of the story that you refuse to be open to the suggestions the editor recommends. Most editors offer a contract on a book based on its potential to be profitable. Simply put, publishers need to be reasonably assured the book will sell. This is why editors request changes.

Detailed revisions are not a punishment. They’re requested to make the book the best it can be so readers will buy it. And, as an author either under contract or trying to be contracted with this publisher, you are expected to make these changes.

From Plan A, B, C to E, F, G

You gave them plan A, but they request plan B. You do your best to capture the essence of what they recommend. Then you wait to hear back. Sometimes they’ll ask you for more revisions, leading to plan C.

Three alternate plots should do the trick, right? Maybe. Maybe not. You might get to plan C and realize the book would be even stronger if you tweaked it to plan D, and the editor gets excited and adds something more. Voilá! Plan E. By the end of the process, the book has evolved to an entirely better creature—it’s plan F. The final phase.

These back and forth revisions can be stressful for writers. But, with the right attitude, you can skip the chocolate binge and Doritos. Sure, your ego takes a hit when you get the initial email—that’s normal. But if you trust the professionals you work with and believe they WANT your book to sell well, you’ll learn to get excited at taking your story in a new direction.

If you’re feeling the sting of a revise/resubmit request, let the pain go. Be joyful! Someone loved your work enough to invest the time to help you make it the best it can be. That’s a blessing!

Have you ever been asked to change story elements? If you made the changes, did it improve the story? Was it a challenge to see the story in a new way?

Available Now: Her Small-Town Romance

Finding Her Way Home 

Cozy Lake Endwell, Michigan, seems the perfect place for Jade Emerson's new T-shirt shop—and perhaps a fresh start. After a lifetime of letdowns, she is finally ready to face the future on her own. So when local wilderness guide Bryan Sheffield offers to help Jade overcome a past trauma, she warns him they will remain strictly business. But soon, with the help of Bryan's big, complicated family and a boisterous St. Bernard named Teeny, Jade's frozen heart begins to thaw. Now Jade wonders if she can return the favor, bringing a little happiness to a man who has long kept his own sorrow under wraps…

Purchase Her Small-Town Romance HERE!

Jill Kemerer writes Christian romance novels with love, humor and faith for Harlequin Love Inspired. Jill loves coffee, M&Ms, fluffy animals, magazines and her hilarious family.

Visit her website, jillkemerer.com, and connect with Jill on Facebook, Twitter and sign up for her Newsletter. Jill’s upcoming book, Yuletide Redemption, is available for preorder and will be in stores November 22, 2016!

Happy Wednesday, friends! I got an email from a reader asking about how I stay inspired, especially how I overcome writer's block. While I don't know that I've ever dealt with actual writer's block, I have dealt with procrastination and I believe the cure for both is basically the same, and that is inspiration. Finding ways to stay inspired and to fill the creative well when you are going through a drought - whether self-inflicted (like my procrastination) or straight out writer's block - is essential to keep writing consistently. Here are the top seven ways I find inspiration. I hope you find them helpful.

1. Prayer: I believe God has gifted me with the desire to write and called me to it. Whenever He calls, He equips. I trust in His promises. I take time to pray every time I sit down to write. I have a dear friend who listens to worship music prior to writing. Relying on God and praying for His presence, and help, is vital.
2. Inspirational quotes: I'm a quote girl. I find quotes via Pinterest that inspire. They might be literature quotes, author quotes, Scripture verses, anything that resonates with me that particular time and day. I then print out the quote and hang it where I can see it while I write. Whenever I feel like quitting, I take time to look at the quote and push on.
3. Read a lot: Reading well-written books inspires me to strive to write well-written books. Read a wide variety. I read everything from non-fiction to classics, to poetry, to suspense novels. When in doubt I go back to my favorites such as Pride and Prejudice, A Room with a View, A is for Alibi, and The Screwtape Letters.
4. Journal: When you don't feel like writing professionally, write for pleasure. Get out a journal and just start writing whatever comes to mind. You'd be amazed how often you end up working on your manuscript.
5. Silence your mind: Go for a walk, take a shower or hot bath, take a nap. Find a way to clear your mind and just relax. Nine out of ten times my mind drifts to my story and I begin to see the next scene in my head, then I go write it.
6. Take a day off: Sometimes you just need a day off. Take a day and spend it doing what you enjoy doing most. When you sit back down to write the next day, you'll feel refreshed and ready to go.
7. Talk with a writing buddy: I can't recommend this enough. Have a writing buddy who you can call and chat with. Talking through the story, praying for each other, venting, and getting feedback are just some of the amazing benefits of walking this journey with another.

I hope you find these tips helpful as you go forward and write!

What are your favorite ways to overcome writer's block or to be inspired? I'd love to hear your feedback. The more we share, the more we learn.

Blessings,

How to Create Your Setting From Scratch

A few years ago when I set out to write about royal romances, I knew I would have to develop my own kingdoms, much like Meg Cabot's Genovia, and develop my own royal families and customs.

If you think making up people is hard, try creating a country! To create a history the reader must be convinced that they learned in school!  I know the spec writers are used to this but it was an exercise in diligence for this romance author.

Choosing A Name

First, I had to come up with a name. Seemingly simple on the surface but as I mulled over different titles, and googled them, I discovered it wasn't so easy. Some names I liked were in the Urban dictionary with derogatory meanings. Others were technical terms. Or actual gaming worlds. (Great minds think alike. Bwhaha!) Go figure the gaming world would have the best kingdom names.

I decided to choose a name that sounded like the kind of kingdom I wanted. Could I use it to describe the people, the geography, the royal family?

I chose the name Brighton for my first kingdom. I used a headline for the brothers-prince:

The Future Looks Bright For The Princes Of Brighton.

Ah, clever right? Yea... ;p

However I didn't thoroughly research Brighton. I knew it was a city in England but didn't really take it into account. And I should have. The name does work and it felt right to me, but a few of my English friends made comments that it was a coastal British city.

My second country was the Grand Duchy of Hessenberg. I wanted a duchy because it added a different texture and flavor to the stories. I also wanted a more Germanic sounding name.

In my research of European duchies, I discovered many were once mighty nations like Normandy, Tuscany, and Saxony, but over the centuries were absorbed into larger nations like France, Italy and Germany.

What if my duchy faced a similar peril? The story thread for my second novel was born.

Culture

Once I came up with names, I had to figure out the culture. For the sake of simplicity, I gave them both a British culture. The language was English and the money in pounds.

Research revealed various traditions and customs and laws among European royals, so I was able to develop my own royal protocol that felt authentic.

After World War I, many of the European royal houses collapsed including Russia, France, Italy, and Germany - so I used that to cause problems for Hessenberg.

I decided both were rich in art and film, ancient feeling nations with a long history. A long history does impact the culture. The people come from something. They've endured trials and dark times, as well as light and success.

Even if you’re NOT making up a country but perhaps a city, or even using a real location, gather history and research as a backdrop for characterization and plot.

Location

Next I had to decide where to put my little kingdoms. Since I initially wanted a German influence in Hessenberg, I decided to put both nations in the North Sea.

There's not much there but oil rigs and shipping lanes, but what a great opportunity to create natural resources for my country.

Economy

I decided both nations had a wealth of natural resources like minerals and gems. Oil and gas. Shipping also played a part in their economy, as well as tourism. Ask yourself what the Gross National Product might be. ;p

Geography

Since my kingdoms are island nations, I gave them rich coast lines and gorgeous beaches and lots of tourism to go along with it.

I also made them mountainous so the characters could have a bird's eye view of the ocean. I just loved the idea of the heroine standing on top of a mountain and looking down over an enclosed bay.

To anchor the characters, I created a capital city in each country and of course, a royal palace. Or two. I did a lot of research on European architecture, trying to blend British, German and Russia styles. I came up with business, street names, all the things one would do if making up a city in a familiar American setting.

Be specific. Great streets, local hangouts, shopping, apartments, offices.

You’ll start wide but zero in, smaller and smaller, until you see the pattern on the wallpaper.

History

The history path was a bit humorous. Because I didn't know all of the history myself, the characters spoke to each other as if it was a brand new to them too:

"Hey, listen to this new information. You know my country Brighton, in the North Sea, by England?"

Ha! Pretty sloppy. So, while rewriting, I changed the dialog to sound as if my American heroine studied Brighton Kingdom history in school. Now, when the prince referenced an historical point, she'd respond, "The Entail of 1914? I remember from history. What about it?"

I also had to weave my royal family in with the rest of the royal families of Europe. King George IV, Czar Nicholas II and Kaiser Wilhelm II were first cousins. Grandsons of Queen Victoria. I made my House of Stratton on of her descendants as well.

I made Brighton a serf kingdom for England until the 1550s when the first king, King Stephen, freed the people from Henry VIII. With that in view, I had to decided what kind of people lived on the island then and what kind of descendants they created. That's when the story started to feel more real to me.

And when the story feels real to me, it will feel real to the reader.

The same will happen with you. Make sure you know your world. It won't happen on the first draft but as you write, things will begin to pop. Holes will be revealed.

There you have it. A few tips for creating your own world.

Go write something brilliant.

New York Times and USA Today Bestselling author Rachel Hauck lives in sunny central Florida with her husband and ornery cat.

A graduate of Ohio State University with a degree in Journalism, she worked in the corporate software world before planting her backside in uncomfortable chair to write full time 12 years ago. Rachel is a huge Buckeyes football fan. Her latest release, The Wedding Shop, earned a Booklist Starred review. “Spellbinding.”  You can visit Rachel in the places below:

Rachel's Website

Twitter

Facebook

Thanks so much for joining us on Writerly Wednesday! Rachel has graciously offered to give away an autographed copy of The Wedding Shop. Just leave a comment or question, and you'll be entered. Last week's winner of Becky Wade's To Have and To Hold is Edwina! Congrats, Edwina. Email me your mailing address to dani@danipettrey.com and we'll get your book in the mail. Have a great week, everyone.

Blessings,

My Favorite Social Media Tool

by Becky Wade

Thanks for inviting me to participate in your Writerly Wednesday posts, Dani!  I thought I'd take this opportunity to teach/rave about my favorite social media tool, an app called Buffer.

I tip-toed onto my first social media platform, Facebook, in 2011.  Very gradually, at a pace of about one platform per year, I added Twitter, Pinterest, and Instagram.  Plus, I blog.  The accumulating time involved in keeping up with it all can easily diminish my main work priority -- writing.  Thus, I've come to love Buffer because it keeps me organized and saves me time.

Below, I'm going to walk you through a sample tweet generated by Buffer so that I can give you a sense of how the app functions.

Step #1: I went to Buffer.com and signed up for free

Step #2: I downloaded Buffer's browser button

Step #3: Boom!  I can now tweet content I find anywhere on the web in seconds.

Here's a screen shot of a blog I recently visited about Regency Era mourning.  (I don't write Regencies, but I'm a fan of all things Austen.)  The red arrow is pointing to Buffer's browser's button, the tiny icon that looks like a stack of paper.  I enjoyed the blog post and wanted to share it on Twitter, so I clicked the browser button.

Step #4:

Buffer immediately produced a dialog box.  It automatically populated the tweet with the blog post's title and a shortened link to the post.  The red arrow is pointing to a slider that contains all the images embedded in the post.

Step #5:

I clicked inside the text of the tweet, then edited it so that it read the way I wanted it to.  I then clicked on a picture I liked in the slider.  The red arrow is showing you that Buffer moved the chosen picture to the bottom left of the dialog box to let me know that it had been attached to my tweet.

Step #6:

At this point, I can hit the 'Add to Queue' button and that's that.  Buffer will add the tweet to a queue and send it (and my other tweets) out at staggered intervals.  Or, at this point, I can schedule the tweet myself by hitting the arrow adjacent to 'Add to Queue'.  When I clicked the arrow, these are the choices that appeared.

Step #7:

I selected 'Schedule Post' so Buffer is now offering me a calendar.  I set a day of the week, a time, and hit 'Schedule'.  That's it!  The tweet will go out on the day I specified.

Step #8:

Now and then, I like to see what's in my tweet queue at Buffer.  When I visit the site, here's how the upcoming Regency era tweet appears in line.  If I ever want to edit a tweet or change the scheduling on a tweet once it's in my queue, it's quick and easy to do.

The red arrow shows you the social media sites that Buffer can post to through the app.  Numerous choices!

Social media should be social!  Savvy authors interact with people online about writing, reading, AND the other things they're interested in.  For example: travel, kids, food, chocolate, dogs, hiking, Bible verses, etc.  Buffer allows you to easily share the web surfing you're already doing on your own.

See a cute sweater on sale at Nordstrom?  Tweet it.  Discover a meme that makes you laugh?  Facebook it.  Read a great line in a devotional?  Highlight it, click the Buffer browser button, and Buffer will place the highlighted text straight into a tweet.

Buffer's fast and simple and fabulous!

Do you use an app that trims the time you spend on social media?  I'd love to hear about it.

Becky has graciously offered to give away an autographed copy of her latest release To Have and to Hold to one lucky winner. Just comment below to be entered. Winner will be announced next Wednesday.

Becky’s a California native who attended Baylor University, met and married a Texan, and settled in Dallas. She published historical romances for the general market before putting her career on hold for several years to care for her three children. When God called her back to writing, Becky knew He meant for her to turn her attention to Christian fiction. She loves writing funny, modern, and inspirational contemporary romance! She’s the Carol Award, INSPY Award, and Inspirational Reader’s Choice Award winning author of My Stubborn Heart and the four book Porter Family series.

Thanks so much, Becky, for sharing with us today. Awesome post!

Blessings,

 

Deep POV… Part 2

Deepen POV by creating fresh comparisons

One of my favorite ways to deepen POV is to create fresh comparisons that are unique to my POV character's personality and background. Similes, metaphors, analogies—all can be given a fresh spin that enhance your character's voice.

This is another aspect of craft that keeps you from getting lazy. Clichés are nearly always the first comparisons to come to mind when we write. Don't accept that easy road. Work to make your analogies unique to your POV character. In doing so, you will deepen the POV and create memorable moments for your reader.

Match your analogies to the personality and experience of your POV character

If your hero is a western cowboy, the comparisons that mean something to him will be far different from those of a British nobleman.

Just as men and women view the world through different lenses, so do your hero and heroine. Even if they have many things in common, they still have unique personalities and perspectives. Their experiences are different. Reflect that difference in the comparisons you use in their narrative POV.

Example:

Here are two analogies from my latest book, No Other Will Do. The first is from the heroine's POV. The second from the hero's. Both involve food, but they are each unique to the character's experience.

Emma's POV 

Ever since she'd made up her mind to ask him to come, anticipation had been swelling inside her like yeasty bread dough rising on a warm windowsill. She was in desperate need of someone to punch her down and knead her back into shape.

This comparison shows her giddiness over Malachi's arrival as well as her desire to get her feelings under control. It captures her personality and experience in a much more unique way than the clichéd butterflies in the stomach.

Malachi's POV

And when she didn't need his help anymore? Malachi tried to ignore the insidious thought as he basked in the light of Emma's grateful smile, but the prospect lingered in the air between them, tainting the sweetness of the moment like rotted beef in a savory stew.

Notice how this comparison is much more raw. More male. Also, it speaks to Malachi's past. He grew up on the streets, never knowing where his next meal would come from. He often ate food that had been thrown out and therefore would have experience with the taste of rotted beef. It also shows his insecurity in believing he's not good enough for Emma, mixing the rotten with the savory.

Take the time to create something fresh

 Coming up with fresh analogies can be hard work, but the payoff is huge in drawing your reader into the story and deepening their relationships with your characters. In one of my older novels, Stealing the Preacher, I have three POV characters: the hero, the heroine, and the heroine's father. In one scene, the heroine is racing on horseback to reach her father who is out with the cattle. We are in the father's POV, and as he notes her racing in, he makes a comparison.

Now, as I wrote this scene, the first comparison that came to mind was that she rode as if a pack of wild dogs were on her tail. This, of course, is a cliché. I searched and searched for a better simile. I came up blank. Finally, I dug deeper into who my POV character was. He is an ex-outlaw who's eluded the law for two decades. He's gone straight, but that outlaw blood still runs through his veins. As I pondered this character trait, the perfect comparison finally came to mind.

He twisted his neck to the side to work out a kink, and caught sight of his daughter riding down upon them as if a hangin' posse were in pursuit.

Not only does this analogy capture the POV character's personality, but it deepens the POV because that isn't something I as the author would say in narration. But it is exactly what an ex-outlaw would use as a descriptor were he relating the story.

Your Turn

Take a clichéd comparison and rework it with your own character in mind. Here are some to choose from:

Light as a feather

Strong as an ox

Melted like butter

Stubborn as a mule

Leave a comment with a short description of your character and your reworked cliché.

I can't wait to see what you come up with!

Christy Award finalist and winner of the ACFW Carol Award, HOLT Medallion, and Inspirational Reader's Choice Award, CBA bestselling author Karen Witemeyer writes Christian historical romance for Bethany House, believing the world needs more happily-ever-afters. She is an avid cross-stitcher and makes her home in Abilene, TX with her husband and three children.

Karen is kindly giving away an autographed copy of Stealing the Preacher (one of my favorites) . Be sure to leave a comment below!

Blessings,

 

Happy Wednesday, friends!

Sorry this is posting a bit later in the day. We had an interesting evening that including my husband falling off a truck, then having a 400 pound motorcycle fall on top of him, which he lifted off himself (my hero). Of course, at my insistence a trip to the E.R. Why my insistence? Because like all men, he was 'fine.'  He is, thankfully, minus some abrasions and a concussion. Needless to say, my day got shifted from the planned to the unplanned, but it's a perfect segue into our topic today....Editor and Agent appointments at conferences, in which anything can happen.

You've made it. You're at your editor/agent appointment and you have fifteen minutes tops to impress them. Often, in addition to the pitch, which we covered last week, editors and agents will often ask for a One Sheet. If you aren't familiar with this term, a One Sheet is simply your pitch and a mini-bio on a printed out sheet of paper. Why do editors and agents often ask for these? Because they see tons of writers at these conferences and it's an easy way for them to remember each author and story idea. So, it's really important that your One Sheet is filled with great content that is concise, and, of course, visually pleasing.

To give you an example, I'm going to share my selling One Sheet for my debut novel, Submerged. Keep in mind this is six years old. Today I'd make it more visually pleasing, but the content wouldn't change. I hope you find it helpful.

What to Include in Your One Sheet

A Photo -

As you can see it has my picture (yes I was younger, but moving on...:) It's important for the editors and agents to be able to put a face with your story. Always include a picture.

Contact Information - 

You also need to include a way for an editor or agent to contact you. I included my email and my phone number (which has been marked out for privacy reasons), along with my website. Yes, I had a website before I was published. It's not necessary, but if you have a quality website, then share it. It's yet another way for an editor or agent to learn more about you and to see you are serious about pursuing a career in writing.

Images 

Next, I included an image of divers because it was very relevant to my story, and then on to my short summary.

A Short Summary of Your Book and a Brief Biography

You don't want to overload your editor, just give them enough information to get them asking questions and here's where the 'anything goes' part comes in. Be prepared to answer questions. You should be ready to answer any question posed about your story, your writing history (how long you've been writing, if you have a mentor or work with a critique partner, how you learned and studied the craft), and you (some editors like to get to know a bit about the person they are chatting with).

It's a lot to be prepared for, but it's MUCH better to be prepared than to try and wing it.

I pray you have a wonderful conference. If you'll be at ACFW and have a One Sheet you'd like me to look over and practice your pitch, I'm going to make myself available for a short time period on Friday morning from 8-9. If you're interested email me at dani@danipettrey.com and let me know. Once I have five people, for time sake, I'll have it cut it off so I can give you a decent amount of feedback. I'll also let you know where we'll be meeting. Look forward to hearing from a few of you.

Blessings,

Happy Wednesday, friends! Thanks so much for joining me, and for giving my previous guests such a warm welcome. It's getting to be that time of year when a number of writing conferences take place, including my favorite--#ACFW. The American Christian Fiction Writers conference takes place once a year and this year it's in Nashville. I can't wait! I love Nashville, but since I'm not overly familiar with it, I would love if you could share any restaurant or sight-seeing recommendations.

Conferences mean spending time with other writers who understand the in's and out's of writing and the crazy journey a writer traverses. I LOVE spending time with other writers and I'm looking forward to seeing dear friends. Conferences also include opportunities for learning and, because I believe that you never get to a point where you should stop learning--ever, I'll be attending several workshops myself.

I will also be co-teaching a workshop with the awesome Becky Wade on Extreme Skills for Writers. This workshop focuses on combating the biggest joy-stealers that many writers face. I'll share those here with you after the conference. I'm also solo teaching (yikes!) a workshop on voice. So many writers hear 'you need to have a strong voice,' and yet the concept of voice remains elusive. I'll be sharing more on that topic after I return as well so, if you're interested, be sure to check back.

Today, I'm going to share with those of you who may be planning on attending a conference, or those interested in what writers go through, how to survive a pitch session.

What's a pitch session?

A pitch session is simply a short period of time (typically fifteen minute slots) where an aspiring or published author can sit down face-to-face with an editor or agent and pitch their story.

What's a story pitch?

A story pitch is, essentially, encapsulating your entire three-hundred page manuscript into a matter of carefully crafted minutes.

Sounds crazy, right?

Trust me, when you are sitting there with your palms sweating and heart racing, it feels a lot like you're on a tilt-a-whirl. Then, even if you make it through your actual pitch, you have to be ready to answer questions and sound somewhat coherent and knowledgeable. Some people ace this entire thing while others, like me, feel more like you're on a carnival ride. Either way, here are some practical steps that you will hopefully find helpful:

• Remember that the editor or agent is a person just like you -- even if their nickname is 'Dream Crusher'. (Yes, he truly exists and guess what, he's my editor and a truly wonderful person.)
• Have your pitch prepared well in advance. Put it on index cards and practice on whoever will listen to you until you can read it concisely and with confidence.
• Bring your index cards to your pitch session. Yes, you are allowed. Try not to refer to them but, if you get stuck, you can glance down at your lap, remember where you are, and get on with it.
• Make sure your pitch includes the premise* of your story, introduces your characters, and shows how the characters will be forced to change and grow.
• Dress professionally. If you want to show them you are taking your writing and future career seriously, then please don't show up in worn out jeans and a ratty t-shirt (I've seen it).
• Bring a business card, so they have a way to reach you.
• Bring your one sheet. What's a one sheet? Well, I'll be covering that next week on Writerly Wednesday along with sharing my one sheet for Submerged.

*Premise: If you aren't sure what a premise is or how to create one, see this previous post.

I hope you all have a fabulous week! Please feel free to ask any questions you have regarding pitches and any conference questions in general. I am always happy to answer.