Maggie Toussaint's Advice -Balancing Writing and Life

Welcome Maggie Toussaint, romantic suspense author and yoga teacher.

How does a writer balance all the parts of life and keep writing and publishing goals on track?
   When you hear the word balance, specific images come to mind. Maybe it’s a teetering seesaw, or a tightrope walker, or a blue heron standing on one foot. For each of these examples, adjustments are made to achieve a balanced state.

   Our lives and publishing careers often conflict, sending hapless writers into a tangle. Given that confusion, I ordered my priorities, with the most important coming first: family, church, day job, writing, friends, promotion, volunteering, and housework.
   Did you notice where writing came in? Number four. Three other things take priority. I’m lucky to get ten to twenty hours a week for writing and promotion. Once I understood what was reasonable given my “load,” I wasn’t frustrated about the hours I wasn’t writing.
    In addition, I take time for myself, wasted time, if you will. This time, while not directly productive, relaxes my mind and body. The healthful benefits spill over into every segment of my life.

How do you do it?
   I know writers who carve writing time out of sleep time or out of lunch time; neither of those works for me. My optimum writing time is right after breakfast. Armed with that knowledge, I hoard that time for writing my first draft.
   I set reasonable word count goals per week and later, chapter edits per week. I accept that life interferes, and I won’t get all my mornings to write. And I also know that some days I’ll have an extra chunk of time, and I’ll exceed my weekly writing goals. Those are very good weeks.
   Respecting the time when I am most productive keeps my momentum going in my work in progress. I record my progress by day so that at the end of the week, I see how realistic my goals were. If I’m constantly missing the mark high or low, I make adjustments to the next goal. That keeps my expectations in line and gives me a visible endpoint.
   I also have a writing friend that I report my goals and results to on a weekly basis, she does the same for me. There’s no judging of performance, just lots of positive reinforcement for moving forward. And having that accountability keeps me on task.
   Playtime is important. My play activities include yoga, music, time spent outdoors, pampering myself, and reading. Of these, yoga is the most important to me.

Can you offer suggestions to keep the mind clear in order to write and set priorities and stick to them (most of the time)?
Prioritize your responsibilities. Know your writing mindset. Accept the time limitations to your writing schedule. Guard that writing time like a precious jewel. Hold yourself accountable to your goals.
Take time for yourself, time that relaxes and rejuvenates you. Find a way to release tension. Yoga is a huge part of my wellness plan, along with meditation. Discern what gives you that “ahhhh” moment and incorporate that into your weekly life, if not daily life.

For me, writing fiction is like stepping into another world. While one part of my mind loves marketing and promotion, they become addictions and take over. How do you balance promotion and writing to keep the present and future?
    The first step is to recognize you are writing for publication and not solely for yourself. Authors who publish with small presses, as I do, assume a large part of the burden of promotion.
    When a book releases, I restructure my priorities so that promotion comes on par with my day job. I consider it that important.
    There are a few weeks before and after the release when my ten to twenty hours of writing time goes exclusively to promotion. Again, I view this as necessary to generate awareness of the product. But once that initial push goes by, I ramp back to splitting promotion and writing time, with the writing time percentage inching up with each week that passes.
    My study of yoga comes into play here as well. Acceptance of who I am at each stage in this process (I am writer; I am a promoter) helps affirm my choice and keeps me grounded.

Thank you for reminding me that the answer is “more yoga.”
   Listening to my mind and body helps me balance writing and promotion. I gain perspective of the bigger picture, the world in which my family and friends live. I want to exist in both worlds, so I divide my time accordingly.
   Finding that perfect blend, that unique, balanced mix of life and writing is my ongoing goal.

With the holidays coming up many writers are going to be manic and discouraged. What tips can you offer?
   Each holiday season I struggle with balance because there is so much extra to do (gifts, cards, parties, visits) in an already busy schedule.

   Here’s how I cope. I need to have “down” time, to be apart from the festivities. I decorate the house for the holidays, but I don’t get insane about it as I once did. I keep the level of effort reasonable, and I guard my writing time to the best of my abilities.

   Even though there are more activities during the holidays, take time for pampering. Soak in the tub with a good book instead of watching the news one night. Schedule a facial or other body treatment. Sample holiday foods in moderation.

What is your latest release?
    My cozy golf mystery titled IN FOR A PENNY. In the book, accountant Cleopatra Jones wishes she’d gone to work instead of golfing when her wild approach shot lands on a dead banker. The police believe her best friend did the deed. Of course she didn’t so Cleo sets out to prove her innocence. There’s sizzling romance from the sexy golf pro along with family gymnastics with two teenage girls, an ex-husband, and Mama. How could anyone forget the woman who thinks up menus like Spickle Fish Lasagna? And let’s not forget the dog co-star, Madonna, who is the spitting image of my short haired St. Bernard granddog.

What are you working on now?
I’m working on a romantic suspense. Realtor Roxie Whitaker and security expert Sloan Harding meet when a tree falls on his house. While Roxie struggles to stabilize her business, Sloan searches for his missing inheritance. Sparks fly, but his wild past and her determination to establish a museum in a building his father is accused of torching, put them at odds. Someone else wants that lost fortune, someone who will stop at nothing. This work is tentatively titled Tempest in a Teapot.

Thanks Maggie for being my guest on Wordshaping and your wise advice for writers and just about everybody else.

A scientist by training, a romanticist at heart, loves to solve puzzles. Whether it’s the puzzle of a relationship or a who-dun-it, she tackles them all with equal aplomb and wonder. Maggie’s cozy mystery from Five Star, IN FOR A PENNY, is about a terrible golfer trying to save her best friend from a murder rap. Her three other published works are romantic suspense books, one of which won Best Romantic Suspense in the 2007 National Readers Choice Awards. Her day jobs include freelancing for a weekly paper and leading a yoga class. Visit her at www.maggietoussaint.com.Maggie Toussaint

Win an ARC of IN FOR A PENNY!

Contest question: Rafe Golden, the golfer in the book was styled in the vein of which international professional golfer? Here’s a huge hint: in golfing circles he’s known as “The Big Easy.”

To enter, send an email to maggie@maggietoussaint.com 

with the word “Contest” in the subject line. 

The winner will be randomly selected on October 31.
Contest Closed
Congratulations Molly!

Bess McBride- The Truth About Writing in an RV

Welcome Bess McBride, romance author and chronic traveler. I've been trying to catch up to you for a long time.

Now that I've got you here, tell me what it was like to write while living in an RV?

I thought it would be much easier than it actually was. When I first began writing, I had a house and an office of my own...with a door.  But when we sold the house, moved into the RV and hit the road, I found that I still felt the need for a "desk" to stay organized, so I used the dining table that is common in most RVs. However, that's not a particularly moveable item of furniture in a small space, so that meant I had to write in the living/dining/kitchen area. And I discovered I was only able to write when I was alone. What I did end up doing was scheduling my writing time for when I was alone and late at night after my significant other had gone to bed.

How long were you on the road?

I thought we were going to be on the road forever...that certainly was my plan. But in the second year of living and traveling on the road, the economy took a dive, and my significant other found it difficult to find work. Since neither of us is of a retirement age, I decided to give up the life, settle down again for a while and return to work full time, which I have. It's actually much, much more relaxing though I have little time for writing and promoting.

Since you worked as well as traveled, how did you balance your work, writing life, and promotion?

As part of the traveling life, I wanted to work for the National Park Service in a summer seasonal capacity and then "hang out" in a warm lovely climate near the beach in the winter. During my summer seasons at Glacier National Park, I took the late shift...that is...from 1 pm to 9 pm, and I was able to write in the mornings and late at night after my significant other went to bed. And I was able to write on my days off which were not the same as his.  It didn't do much for my love life, but I got a lot of writing done!  :-)  In the winters when I didn't need to work, I had all day to write and promote while my significant other worked his 40 hours a week. However, now that I've returned to a 40 hour, Monday through Friday work week myself, I am struggling for time.  :-)

What did you like best about being a traveling writer?

All the new experiences and places I saw that I was able to incorporate into my writing. Traveling keeps me from being stagnant.  I've traveled all my life, and I love traveling, though I'm thinking several trips a year should be enough for me!

What was a lot harder in an RV?

I wasn't able to write while we were actually on the road from one place to another. Just checking routes, looking for overnight accommodations, gas and food, and settling the pets every night was taxing enough.  I was exhausted at night, plus we like to go out and eat somewhere in the area we were in and drive around in our car for a bit to see the local sights.

On the road, did you do all your research online or did you have a "library?

One of the most important rules of traveling in an RV is to travel light to keep gas prices down and stay within the maximum weight limits of the RV. I stored most of my books, even those on writing, in storage. I did have some books with me, but not as many as I would like.  And in an RV, there really isn't any spare space for a bookshelf. I did most of my research on line, and in fact, I still do. My only writing books are generally "how to write" books.

What's your advice for writers who want to take off in an RV for a life of writing?

The most important thing to know is that unless a writer is already successful (which means different things to different people), but in this case, I'll define it as able to pay their bills and rent and gas and insurance with their advances and royalties, I would suggest that they have another way to make a living. I've only met a few people who traveled and wrote, and those folks were retired and had independent incomes. I have a small income as a retired military member, so that allowed me to pay my bills.

The other thing to know is that internet coverage is spotty on the road. Many RV parks may not even offer wireless connections, and if they do, I found they often were unreliable.  I always had a back-up modem on my phone to tether my computer to, although it is dial up. I've had to use it many, many times during my RV traveling days.
 
I'm settled in an apartment now and enjoying the thrill of flushing a toilet and an office of my own.I might tackle RV living again in the future when I make more in retirement, but until then, a cruise to the Caribbean or a tour of Europe might just be what I need to keep my traveling toes warmed up!

Thank you so much for the interview, Amber!!!

Bess McBride was born in Aruba to American parents and lived in Venezuela until her family returned to the United States when she was 12. She couldn't fight the global travel bug within her and joined the U.S. Air Force at 18 to "see the world." After 21 wonderful and fulfilling years traveling the world and gaining one beautiful daughter, she pursued her dream of finally getting a college education. Armed and over-educated, the gypsy in her took over once again, and she embarked on a full-time journey in a recreational vehicle to look for new adventures and place settings for her writing. She is the author of On a Warm Sea of Love, A Train through Time, A Sigh of Love, Caribbean Dreams of Love, and A Trail of Love. A Penny for Your Thoughts is due out in 2010.

See all of Bess McBride's books

Visit Bess McBride's website
Leave a Comment 
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On a Warm Sea of Love!

Mark David Gerson - Guided Meditations for Writers

 

 This week my guest is Mark David Gerson, author of The Voice of the Muse: Answering the Call to Write and the CD Voice of the Muse Guided Meditations for Writers and The MoonQuest: A True Fantasy.

Welcome Mark David.

As a yoga teacher who specializes in teaching people to relax, I recorded a CD that relaxes the body with the side effect of freeing the mind for creativity. I would love to hear about your guided meditations for writers.

First, how can guided meditation help a writer?
Meditation is a valuable tool for getting us in the "creation zone," for moving us out of the stress and anxiety of our everyday lives and into the natural place where creation can occur with ease. It's not a replacement for the rest of our lives, but a practice for more mindful — and creative — living.

Although each of the ten guided meditations on The Voice of the Muse Companion: Guided Meditations for Writers is keyed to a particular purpose — getting out of judgment, acknowledging the power of our writer-selves, aligning with our vision for a piece of writing, for example — their deeper goal is to get you into a place and space where any and all of your writing can flow more naturally, freely and spontaneously. (The 2-CD set opens with a general track of inspiration and instruction and then moves into my studio recording of each of the meditations scripted in The Voice of the Muse book.)

How can writers enhance their creativity?
1. Recognize that there are no rules in creativity. Your page is blank for a reason. Creativity is not about formulas and repeating what’s been done before. It’s about invention and individuality. Be yourself and free yourself to express that individuality on the page—without
second-guessing, self-criticism, or judgment.

2. Read. Anything good. Often. For fun. Don’t feel you need to analyze what you read. The more you read, the more you will absorb other authors’ techniques, successes, and failures. The more you read, the more you will intuitively know what works and what doesn’t—in their work and in your own.

3. Write. That’s what a writer does. It doesn’t matter what you write as long as you’re writing. And as long as you’re writing, you’ll be stretching your creative muscle and honing your craft.

How did The Voice of the Muse come about?
The Voice of the Muse was also not consciously planned. I wrote many of its inspirational vignettes originally for
myself, longhand in my car, at a time when I was feeling stuck in my own writing. It was only a few years later,
when The MoonQuest was with an agent, that it suddenly occurred to me that I might have enough material from those jottings to put into a book. I did, and an early version of The Voice of the Muse: Answering the Call to Write
resulted.

Do you have any additional advice for writers?
Trust the story, even if you don’t yet know what it is.
Trust your innate creativity. Take it word by word and allow your pen or the keyboard to spell out the story for you. Allow yourself to be the passenger on your creative journey, not the driver. … If you can begin to believe that your story always knows best, you’ll never go wrong.


Mark David Gerson is author of the five-time award-winning novel The MoonQuest and an award-winning book book on writing for writers in all genres and all experience levels, The Voice of the Muse: Answering the Call to Write. He has also recorded The Voice of the Muse Companion, a 2-CD set of guided meditations for writers. Mark David's essays on creativity, personal growth and spirituality reach readers in more than two dozen countries. He is currently working on a screenplay adaption of The MoonQuest and a sequel to the novel.
To learn more about Mark David Gerson and his work, visit his website and Voice of Your Muse Blog.

Read/hear a Free Excerpt of  

Voice of the Muse

Clover Autrey Writing a Little Bit of Everything!

Welcome Clover Autrey, ParaNormal Romance reviewer, Fort Worth Examiner columnist, article ghostwriter, and adventurous fantasy (with lots of romance) author.  

I guessing other writers want to know how you got the gig with the Fort Worth Examiner.  

How did you approach the Examiner?

I was interviewed by another writer working for the Examiner for my own books, so I knew a little bit about it, and then when one of my RWA chapter mates mentioned they were looking for writers in our area I thought I’d like to do it. I had to write sample articles and that was that. I’m the Romance Novel Examiner over Fort Worth so I get to interview and get to know other romance writers. It’s great fun. I approach writing the column with what readers, instead of what other writers, would want to know. Basically, I let readers get to know an author and her books. The exposure hasn’t been bad either. My own website views increased dramatically.

Sounds great. Maybe I’ll see if my local paper needs an online column. Now, what about ghost writing for cash? That sounds even better.

I was very fortunate to get this job. I happened to know a friend who knew the company owner and knew I could write. I’m under contract to not disclose what articles I wrote, but I can say they are similar to what you’d see on Wikipedia—just short 250 word articles. I make $10 to $20 per, pumping out around 40 articles a month. Nothing to eat bon-bons over, but for a second job I can do around my kid’s schedule while in my PJs, it’s a win-win.

Aside from the heavy duty research for each article on the most random of things, I learn a great deal about making every sentence count and how to write in an active, not passive voice, which has carried over into my fiction writing. 

What the differences between writing fiction/fantasy and writing for a newspaper?

Tone and perspective. When I write a column or article, I write as myself and use both a conversational and confident tone. I’ll let you in on a little secret. In person, I’m quite shy and will generally hold back, but when I’m seeking someone to interview and during the interviews, the shyness has to float away.

With fiction all traces of Clover Autrey is shrugged off and everything is written from a character’s point of view. But that’s not a hard transition at all, since all writers do that whether they write in other formats or not.

Tell me about PNR (ParaNormal Romance Reviews). How is writing reviews different?

The best part about reviewing is free books and reading new authors. I try to be very honest and remember that even though I have a writer’s baby in my hands, I’m not writing reviews as a favor to them, but with the reader in mind, so I am very careful to first, not give away the ending or any surprises in the book and second, not praise a book that clearly doesn’t deserves it. That said, I also won’t trash a book. Criticism can be written in a kind, honest manner without tromping all over a writer, while at the same time letting readers know it isn’t exactly a top pick. There really is an art to writing reviews. Anyone can definitely tell by tone alone which books I absolutely gush over and which, reviews, though still good, aren’t gush-worthy.

Thanks, Clover, for visiting and sharing your secrets.

Upon Eagle’s Light is the first in Clover’s Eaglekin Series. Eaglekins are able to share a mind link with an eagle and are being hunted for their special abilities to be used as assassins.

Chase the Wind, the second book in the Eaglekins series, will be released May, 2010. It introduces the Wind Riders, an elite cavalry, whose young leader has to follow an Eaglekin he distrusts to save his brother.

She is also the author of The Sweetheart Tree, a Civil War time travel romance. 

Take a look at Clover's Fort Worth Examiner column.

 The PNR review blog and some of Clover’s reviews

Clover's Wild Rose Press releases 

Clover’s Website 
 CLOVER'S CONTEST!

Win a one-of-a-kind Eagelkin inspired necklace.

Visit Clover's blog to learn how to enter for a 

chance on this beautiful hand-crafted necklace.

"Be prepared to be completely swept away"

How to Host a Booksigning in an Airplane Hangar

Instructions:

   1. Send invitations to neighbors and friends
   2. Order great bookmarks
   3. Order fabulous cake with book cover on top
   4. Move airplane out of hangar
   5. Clean Hangar
   6. Borrow Tables and chairs
   7. Suggest that neighbors "might" be characters in the fictional book
   8. Find friend to handle the money
   9. Make a lot of coffee or delegate this job to a character in your book
  10. Welcome guests, circulate, drink coffee, and from time to time sign books
  11. Have people who have read the book walk around telling everyone how great it was
  12. Have a great time!
  13. Clean up and put the airplane back

Other supplies: plates, forks, and napkins. Juice, apples,
almonds for the healthier folk. Hot water and selection of
teas. Sugar and cream. Price list showing sales tax and
final book price. Cake server. Change.

Best  Tip 1: As people paid for each book, assistant placed a
heart-shaped sticky (Office Max) on each book with the name
of purchaser or the name of person the dedication should be
for. (This is a huge benefit and prevents confusion of what book
belongs to whom and how to sign the book.)

Best Tip 2: Keep prices simple. For Example:

Flying Free $11.95 + $1.02 + $12.97 (which we will call $13.00)

Romancing Rebecca $12.99 = $1.08 = $14.07 (which we will call $14.00)

When you invite the Mayor and Town Council of your town
whose only income comes from the sales tax, don't fudge.

Amber's Contest

Leave a comment to win a .pdf copy of Flying Free.

Contest ends Midnight 
Saturday, Oct. 3rd

Looking for a Professional Critique or Freelance Editor?

This week my guest is Selena Robins, Freelance Critique Specialist, Editor, Writing Coach, and Teacher. Selena also writes paranormal romantic comedy and romantic suspense.Welcome Selena.

Thank you for the invitation and for the opportunity to introduce my services to your readers.

There are so many kinds of editors; can you briefly describe the difference between an editor that works for a publisher and the services you offer?
My services provide constructive feedback of how I think an editor in a publishing house or agent will react to your manuscript. My feedback includes detailed strengths and weaknesses of your book with suggestions for tightening the strengths and improving the weaknesses, so that the author's work is presented in the best possible light and polished within an inch of its life.

As a freelance critique specialist, I work closely with the author to ensure the plot, conflicts, characters, structure and theme are all well developed.

Editors in a publishing house review manuscripts and select which ones will be published; the majority of the time, editors in a publishing house will simply send a rejection. They also send you an offer and a contract if your book is accepted.

It’s important to note, the difference between a critique and a copy line edit. A copy line editor takes a manuscript which has already been critiqued and polished and corrects the spelling, grammar, and punctuation.

How does a writer know when an editor is needed?

If a writer has been sending out their project to agents and/or editors and receiving rejections, (especially if the rejections have a similar pattern) it would be a good idea to get a professional critique. Often times, I can spot the problem within the first ten pages. Another reason would be an author who has finished a manuscript but doesn’t feel confident about sending it out without having a professional look at it first.

In today’s tough and competitive market, most writers do seek out a professional critique and copy line edit before submitting work. It shows the publisher and/or agent the writer is serious about writing.

It’s important to note: a writer has to be willing to revise their work after receiving the feedback, or they are wasting their money.

How does a writer select the best editor for her/his needs?

Most critique services offer a free critique for the first few pages of a project. If they don’t, then don’t be shy, ask them to read the first few pages. This is helpful for both the critique specialist and the author. The author can get a feel on how this person critiques, and the critique specialist can gauge how much work is going to be needed to shape the manuscript into a publishable state.

If you live in the same area as the critique specialist, ask to meet them. If a meet and greet is not possible, an author can schedule a telephone interview. The author wants to establish a good working relationship with this person, and ask questions. I encourage this type of arrangement, either meet with the author or have a telephone conversation. I also keep in touch via email as much as possible; to let them know what stage I’m at with their work. If I come across a major plot hole, I get in touch with the author and we brainstorm together for a resolution to either a plot hole or perhaps a character that hasn’t been well developed. The lines of communication have to be open and accessible. If the critique specialist is not willing to answer questions, or keep those lines open, then it may not be a good arrangement for the writer.

What about authors who fear an editor will spoil their “voice”?

A good critique specialist will not take the author’s original voice, plot or characters and drastically change them. They shouldn’t twist it to their writing style or voice, or make any major changes without the author’s approval. This is why I emphasize open communication at all times.

In my critiques, I use the tracking tool on Word. I also make comments on the side, so the author can see why I’ve made certain suggestions. If I see grammar and spelling errors during a critique, I correct those and with the tracking tool the writer can see what I’ve done. Also, if I spot repetitive words or phrases, again, I will make some changes, however, the author can choose to reject or accept the changes. I explain why I’ve made the changes, so the author can note this for future writing projects.

A good, professional critique will enhance your voice and make your book stronger, tighter, polished and ready for submission to either an editor or agent.

Any tips on how to work with an editor?

Ask the critique specialist (or editor) for a free evaluation of your first few pages and either a face-to-face interview or telephone interview as I stated above. Once you have decided to work with me (or another service) let her/him know up front what you are willing to do and not willing to do for your novel. Establish turnaround time and price.

Tell me about your critique services.

My services include (one chapter, three chapters or the full manuscript) I provide annotations, suggestions, specific recommendations, and examples throughout the manuscript for:

Pacing
Dialogue
Plot
Characterization
Check for overuse of similar words
Correct redundant phrases and plot points
Correct passive voice, point out if the story has too much telling and not enough showing
Make suggestions for your dialogue to snap and ensure it’s not stilted
Point out opportunities for your characters to jump off the page and become real so your readers will care about them
Ensure there is no head hopping and that proper point of view is used

Although a critique isn’t a copy line edit, I’ll mark grammatical and spelling errors.

My philosophy is, “Never give an editor a reason to reject you.”  For this reason, a solid, polished and well edited submission is necessary. The writer needs to submit a manuscript to not only capture an editor's attention, but to not give that editor a reason for any type of rejection, or if there is a rejection (and at times those rejections can be positive) the writer takes the comments and works with them for a resubmission of their work.

How should a writer handle a difficult situation with their publisher's editor? Any warning signs?

One of the things I address when I'm teaching writing is to remember that publishing is a business, and we all must act accordingly. We’re all human, we all have up and down days, and some times a writer may have caught an editor on an off day. This does not excuse bad behavior, but the main objective for all parties is to produce and publish a good, solid read for the reading public.

However, if it’s an ongoing situation or the rejection letter or other correspondence has an ongoing theme of rudeness, snarkiness or sarcasm, then the writer is better off not working with this publishing house or agent, as it is an example of how they would be treated if they were to work with this agent or editor.

Publishing is a professional business, writers, editors and agents need to act in a professional manner at all times, even during a rejection.

If a writer is already contracted and having difficulty with their editor in a publishing house, if they have an agent, he/she would intervene on the writer’s behalf. If the writer doesn’t have an agent, then professional open lines of communication, either by phone or email is the best way to handle it.

Thanks. Selena, so much for visiting Wordshaping and sharing your advice. 

Selena Robins is a Freelance Critique Specialist, Editor, Writing Coach, and Teacher. Selena is the published author of short stories, non-fiction articles, children’s book, and a paranormal comedy (Sabrina’s Destiny), which has won reviewers choice awards and a best book (publisher) award. She is a member of International Thriller Writers Association and Capital Crime Writers.

Selena is currently working on a romantic suspense novel. As an active member of Arts East Association, a dynamic not-for-profit organization, Selena contributes editorials, promotional and marketing ideas to help develop partnerships, audiences, and visibility for fiction writers.

Selena teaches writing courses – Crafting a Novel and The Business of Writing. As a former public relations officer, Selena has a marketing and sales background, and has worked in the media as a radio talk show host.

Visit Selena Robins author website at: www.selenarobins.com

For testimonials or for more information, visit Selena’s website or email her directly with any questions.

Special Offer

Mention Amber Polo's Wordshaping blog and receive 

a free evaluation of the 1st 5 pages of your novel.

Contract Selena to critique a partial or full ms 

and she will read and offer suggestions for the synopsis 

at no additional charge.

“Write with a smile and heart--

edit with your head and a good critique.”

~~Selena Robins

Fugal Promotion Tips

My guest this week is Carolyn Howard-Johnson, award winning novelist and author of the The HowToDoItFrugally Series for authors. Today I'm asking her questions about her book The Frugal Book Promoter.


Welcome Carolyn, first I have to tell you how much I love your subtitle HOW TO DO WHAT YOUR PUBLISHER WON’T and using the word “Frugal” for your series was brilliant. (I also love your unforgettable last name.)

Ahhh, subtitles. That alone is a subject I love. Many have noticed that they are getting longer. That's because readers find books these days by using keywords. So savvy authors will try to work more keywords into their titles and subtitles so that they are found more often on, say, Amazon's search engine. Also, a good subtitle that shows benefits and maybe even tells people (scares them a little bit?) what they will miss if they don't read the book.

Thus, if I were writing The Frugal Book Promoter today, I might lengthen that subtitle a tad--and spice it up a bit. The next in that series is The Frugal Editor: Put Your Best Book Forward to Avoid Humiliation and Ensure Success.  When I'm speaking, writers tend to laugh at the "humiliation" part.  But they laugh because they know its true.

Maybe that is a place to start. How does the author know what a publisher will do for them?

Well, first they read the publisher's Web site. If they have an agent, they ask them. That's the agent's job. An agent should negotiate for more. And they ask the publisher questions before they sign the contract.  But after all that, an author shouldn't expect much until their name has an Ann LaMott or John Grisham ring to it.

Is it in the contract?

Sometimes and sometimes not. Things can change quickly at publishing companies and contracts can be misleading. It's best to have an attorney specializing in publishing look the contract over. But better insurance is to learn how to do publicity yourself. Because it's an almost 100% chance that you will have to do it--at least in part. You can be a better partner for a house publicist should you be so lucky to be assigned one.

How does an author avoid duplications and misunderstandings?

After years of consulting with authors, I think this is almost an impossible expectation. New authors tend to have stars in their eyes and therefore miss or misinterpret the details. That's why I tell authors to learn as much as they can by reading and taking classes and getting outside help when possible. And, by the way, choose those sources carefully, too. There’s lots of misinformation going around the Web.

The best antidote for avoiding trouble going into a new venture is trying to see the publisher's side of any situation. Money is tight. The publishing industry changes daily. If you have a traditional publisher, they are the ones taking all the monetary risks and deserve to make a profit. Yes, they do. (-: 

One more question. You tell fiction authors to think like a non-fiction author to find ways to promote. Can you give me an example?

Look at the different themes in your book.  There are angles there you can exploit when you’re talking to editors. My first book, THIS IS THE PLACE is sort of romantic (a romance Web site will like it) but it is also set in Salt Lake City, the site where the winter games were played in 2002 and, though that’s a reach, I found sports desks and feature editors open to it as Olympics © fervor grew and even as it waned because they were desperate for material as the zeal for the games wound down.


And One more question. I’ve seen lists telling new authors what to do. You know, get a website, join loops, blog, twitter, print bookmarks, etc. etc. How does a fiction author with a small online publisher know what is working?

I use Google's Analytics feature and StatCounter.com. But here's the danger. Marketing campaigns are about a whole lot more than statistics. Success can't even be measured in sales because you are building a writing career, not selling books. And because marketing is an entity, not one small part. And with the Web working so interactively, it's important not to give up on something because you don't think you see any results. Everything is not cut and dried. Perserverance and motivation (meaning choosing the promotion you enjoy) are key. Repetition, too.


That's a great way to look at promotion. Thanks for sharing so much with my readers. 

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