For Love or Money?

jc cards pixabay

By Debbie Burke

@burke_writer

Has anyone ever said to you: “How nice that you enjoy writing. It’s such a wonderful hobby.”

Did you bristle?

Yeah, me too.

“Writing is not a damn hobby! I just don’t get paid for it!” 

 

Considering the amount of work, study, and time we put into our writing, the term “hobby” sounds insulting. Yet, try to convince the IRS that a new computer and a research trip to Greece are valid expenses to write off if one’s income is a measly three figures.

The tug of war between writing as vocation vs. avocation never ends.

A keynote speaker at a Colorado conference I attended in the 1990s posed a question: If there was no possibility you’d ever be published, would you still write?

Like most of the 400 diehards in the audience, I raised my hand.

An updated version of that question might be: If there was no possibility you’d ever be paid, would you still write?

The answer is still yes.

Way back in the last century, long before Kindle was even a gleam in Bezos’s eye, I decided to become a full-time writer. Aside from a few short stories published in long-ago college literary mags, I had zero experience.

The plight of the unpublished writer is like the job where you need experience in order to be hired, yet how do you get that experience if no one will hire you?

To jumpstart my new career, I gave away articles and short stories. Someday, I hoped, someone would think my writing was good enough to pay me.

The love of writing sustained me for years when I earned exactly zero.

Meanwhile, though, I took classes, joined critique groups, attended conferences, and studied craft books. In other words, I did my homework and paid my dues.

My first sale was a short story to a little literary magazine for the princely sum of $5. At last, I had a published clip!

However…the check bounced.

Oh well.

For years, I kept that check to remind myself never to become too cocky. It also taught me the transitory nature of the writing business. One day, you summit the mountain; the next day, you drown in the gutter of rejection.

During the time when I gave away my work, a full-time travel freelancer named Jacquie spoke to our writing group. She was the consummate pro. She shared how to earn more money by re-purposing the same article for many different markets; how to take photos that sell an article; and how to develop ongoing relationships with editors who called her whenever they needed a story. She made a good enough living from writing that she could afford a lovely riverfront condo and enjoy exotic travel with expenses she deducted on her taxes.

Jacquie also made a point that I had not yet considered at the time. She said when writers give away their work, it undermines the ability of professionals to earn a living.

That made me pause. Now I felt guilty for giving away work because that deprived someone trying to support a family. Yet that’s how most writers must do their apprenticeship.

I finally broke the pay barrier when a journalist friend couldn’t fulfill an assignment and  asked me to cover the story for her. That led to an infrequent but regular paying gig with a prestigious state magazine.

With published clips under my belt, I queried other markets and got to know more editors. Because I always met deadlines and didn’t require major rewrites, soon I was on staff for several periodicals and became a quarterly columnist for a glossy wildlife magazine. Pay ranged from a penny to a dime per word.

Do the math—no riverfront condo.

My all-time best pay came from a little 300-word profile of a jazz pianist named Nina Russell for the AARP Magazine (then called Modern Maturity).

A dollar a word. In 1995. Wow!

Unfortunately, lightning didn’t strike twice. But my going rate rose to 20 cents a word.

That paid for printing costs and postage to submit my novels to agents and editors. Yes, back in the last century, writers mailed paper manuscripts via the post office.

But… the internet and electronic publishing spelled doom for many print magazines. I used to joke that I’d personally put at least 20 of them out of business but I can’t take all the credit.

The early 2000s saw a sea change in the market from print to electronic format. The advent of Kindle Direct Publishing in 2007 revolutionized the book world.

By 2010, some authors who jumped on board early were making a decent living by self-publishing. One friend remodeled her house with KDP earnings. A few became wealthy.

But the law of supply and demand rules the market. With millions of writers publishing millions of books, articles, blog posts, etc., the market quickly became glutted.

On top of that, why pay for what you can get for free?

Thousands of websites, blogs, newsletters, and platforms like WattPad offer  information and entertainment…for free.

Articles and short stories that, back in the 1990s, would have commanded four figures from The Atlantic and The New Yorker are now available for only a mouse click.

More outlets than ever need content but millions more writers are also clamoring to fill those needs, often without pay.

Despite the low market value of writing itself, an entire cottage industry has sprung up to support the self-publishing community with marketing, editing, cover design, book formatting, coaching, etc. Although I don’t have verifiable proof, I firmly believe most authors pay more to these support businesses than readers pay to authors for their books.

Don’t forget Bezos, who’s done just fine servicing authors.

Remember the dollar/word I made in 1995? More than a quarter century later, here’s a link to top-paying markets for freelancers. Fifty cents is about the max you can expect today. Some are down to a penny or dime/word, same rates as when I started.

Yet the gallon of gas that was $1.15 in 1995 now costs $4.

Factor in the disaster of 2020 and writing incomes dropped further. According to the Authors Guild, “…by January [2021], over two thirds [of writers surveyed] had lost a significant portion of their income—almost half of their pre-pandemic incomes on average—due to the loss of freelance journalism work, speaking engagements and teaching jobs, as well as low book sales due to bookstore closures.”

Highly respected writing/marketing guru Jane Friedman never shrinks from shining a light on cold, hard reality. She tackles the uncomfortable subject of current author earnings in this post.

Jacquie the successful travel journalist is no doubt spinning in her grave. The nice living that she once made as a freelancer nowadays translates more accurately to the revenue from your kid’s lemonade stand.

There are more authors with 15-year-old Subarus than chauffeur-driven limos.

I don’t mean to be a Debbie Downer but that’s the reality of the profession we’ve chosen.

Yet…there are other forms of payment.

“Your character totally captured how I felt.”

 “I could see the place like I was right there.”

“I’m a crusty old Marine but your story brought tears to my eyes.”

“I’m disabled and don’t get out much. Your books make me forget my troubles for a little while.”

“Your book kept me up all night. I couldn’t put it down.”

How much are the above reader comments worth?

Well, they won’t buy a new laptop or pay for a research trip to Greece.

But there’s something about making that connection with readers that feeds my soul.

This year, I’ve concentrated more on marketing than in the past and book sales are gradually rising. But I’m not ready to sign a contract for a riverfront condo yet.

Meanwhile, I continue to treat writing as a profession, working as hard for unpaid stories as I do for paid ones.

Will I keep writing even though the pay is lousy?

Yup.

~~~

TKZers: Would you keep writing if you never got paid? What’s the best reader comment you’ve ever received?

Writing Ritual and Routine

I always write to music, but a problem arose recently that made me question my writing ritual.

But I love writing with my headphones on, music blocking out the world around me. There’s no better way for me to strike the right mood in the WIP. I create a playlist for each book, with overlapping “series songs.” Songs I listen to only while writing books in that series. Since my series are vastly different so are the songs in each playlist.

As soon as I slide on the headphones, the music transports me back to my story world.

The problem I ran into recently was with writing true crime. I’d created a playlist for Pretty Evil New England. But for this new book I veered away from my usual writing routine and threw on Pandora.

Big mistake.

I struggled. The words wouldn’t come like they normally do. My mind felt cluttered and bogged down. Hence why I wrote my last post about multitasking and the brain. Frazzled, I panicked. Why I couldn’t reach “the zone” with my WIP? The beginning had been so easy, words flowing like Niagara, paragraphs in perfect harmony with one another. Had I finally lost my writing mojo?

The answer seemed clear. Only it wasn’t an answer I could accept. I emotionally degraded myself, exercised, read . . . I tried everything I could think of to breathe life into my muse, dying next to two unfinished WIPs. And yet, every time I slid on the headphones and clicked Pandora . . . total brain block.

After several grueling days (felt more like years), I stumbled across a blog post that advised writers never to listen to music unless it has no lyrics, background instrumental music. In other words, the total opposite of my music. But I’ve written all my books to music. What changed?

The metaphoric lightbulb blazed on.

By switching to Pandora, not knowing what song would play or when, my brain couldn’t interpret the music as white noise.

As soon as I went back to YouTube and clicked the playlist for Pretty Evil New England (since I’m writing true crime), my fingers could barely keep up with the flood of creativity.

I’m back!

Writers have writing rituals/routines for a reason. The ritual or routine encourages focus and has the ability to get us back on track if we drift off course. The familiarity snaps us out of the funk and reminds us that yes, we can finish the WIP, just as we’ve always done. It also allows the words to flow. Rituals help us find comfort and balance and sets the tone for a solid writing session. Routine is especially important. Employing a consistent writing routine can be the difference between hitting our word count or staring at a blinking cursor.

If your writing comes to a screeching halt for no apparent reason, a change within your writing ritual or routine may be to blame.

For me (obviously), it’s sliding on the headphones with a familiar playlist cranked. Emphasis on familiar. An argument could be made that I’m not really listening to music. Rather, the playlist morphs into white noise and acts as the gunshot to start the footrace. Although, strangely, I’ve tried the white noise app and it’s not nearly as effective (for me). All my research is done on my iMac, but I switch to my MacBook to write. This was a subconscious act. I wasn’t even aware of the ritual until I focused on changes within my writing routine.

For others, the writing ritual may include an environmental change, like shutting the door to the office or sitting outside in a special chair. Some writers trek to the local coffee shop or settle in at their designated desk in the university library. *waves to Garry*

Some of our most celebrated authors had/have consistent writing rituals and routines.

JAMES JOYCE

Joyce’s ritual included crayons, a white coat, and a comfy horizontal surface. For word flow, he would lay flat on his stomach in bed. Since he was severely myopic, crayons enabled Joyce to see his own handwriting more clearly, and the white coat served as a reflector of light.

MAYA ANGELOU 

In her own words:

I keep a hotel room in my hometown and pay for it by the month.

I go around 6:30 in the morning. I have a bedroom, with a bed, a table, and a bath. I have Roget’s Thesaurus, a dictionary, and the Bible. Usually a deck of cards and some crossword puzzles. Something to occupy my little mind.

I think my grandmother taught me that. She didn’t mean to, but she used to talk about her “little mind.”

So when I was young, from the time I was about 3 until 13, I decided that there was a Big Mind and a Little Mind. And the Big Mind would allow you to consider deep thoughts, but the Little Mind would occupy you, so you could not be distracted. It would work crossword puzzles or play Solitaire, while the Big Mind would delve deep into the subjects I wanted to write about.

I have all the paintings and any decoration taken out of the room. I ask the management and housekeeping not to enter the room, just in case I’ve thrown a piece of paper on the floor, I don’t want it discarded. About every two months I get a note slipped under the door: “Dear Ms. Angelou, please let us change the linen. We think it may be moldy!

But I’ve never slept there, I’m usually out of there by 2. And then I go home and I read what I’ve written that morning, and I try to edit then. Clean it up.

TRUMAN CAPOTE 

The creative genius behind In Cold Blood was a superstitious man. Capote’s writing ritual often involved avoiding things like hotel rooms with phone numbers that included the number 13, starting or ending a piece of work on a Friday, and tossing more than three cigarette butts in one ashtray.

I am a completely horizontal author. I can’t think unless I’m lying down, either in bed or stretched on a couch and with a cigarette and coffee handy. I’ve got to be puffing and sipping. As the afternoon wears on, I shift from coffee to mint tea to sherry to martinis.

No, I don’t use a typewriter. Not in the beginning. I write my first version in longhand (pencil). Then I do a complete revision, also in longhand. Essentially I think of myself as a stylist, and stylists can become notoriously obsessed with the placing of a comma, the weight of a semicolon. Obsessions of this sort, and the time I take over them, irritate me beyond endurance.

Even so, Capote stuck to his writing routine because it worked.

ERNEST HEMINGWAY 

In stark contrast to James Joyce, Hemingway was a firm believer in standing while writing. While working on The Old Man and The Sea, he followed a strict regimen.

“Done by noon, drunk by three.”

This entailed waking at dawn, writing furiously while standing, and eventually hiking to the local bar to get hammered.

JOAN DIDION 

Didion holds her books close to her heart—literally.  When she’s close to finishing a manuscript, she’ll sleep with her WIP.

“Somehow the book doesn’t leave you when you’re asleep right next to it.”

E.B. WHITE 

In his own words:

I’m able to work fairly well among ordinary distractions. My house has a living room that is at the core of everything that goes on: it is a passageway to the cellar, to the kitchen, to the closet where the phone lives. There’s a lot of traffic. But it’s a bright, cheerful room, and I often use it as a room to write in, despite the carnival that is going on all around me.

KURT VONNEGUT 

Check out Vonnegut’s writing routine:

I awake at 5:30, work until 8:00, eat breakfast at home, work until 10:00, walk a few blocks into town, do errands, go to the nearby municipal swimming pool, which I have all to myself, and swim for half an hour, return home at 11:45, read the mail, eat lunch at noon. In the afternoon I do schoolwork, either teach or prepare.

When I get home from school at about 5:30, I numb my twanging intellect with several belts of Scotch and water ($5.00/fifth at the State Liquor store, the only liquor store in town. There are loads of bars, though.), cook supper, read and listen to jazz (lots of good music on the radio here), slip off to sleep at ten. I do pushups and sit ups all the time, and feel as though I am getting lean and sinewy, but maybe not.

JODIE PICOULT 

Picoult doesn’t believe writer’s block exists:

Think about it — when you were blocked in college and had to write a paper, didn’t it always manage to fix itself the night before the paper was due? Writer’s block is having too much time on your hands. If you have a limited amount of time to write, you just sit down and do it. You might not write well every day, but you can always edit a bad page. You can’t edit a blank page.

Wise words. I agree. Nothing motivates quite like a looming deadline, self-imposed or contracted.

DAN BROWN 

Most writers would do anything and everything to get rid of writer’s block. According to The Da Vinci Code novelist, Dan Brown hangs upside down to cure writer’s block. Sounds crazy, doesn’t it? But we can’t argue with the results. If Brown didn’t hang like a bat, imagine all the amazing thrillers we would have lost?

Bats can’t launch into flight until they’re upside down. Why not Dan Brown? He says he’s more productive and creative afterward. He also does push-ups and stretches every hour. Not only has he found the cure for writer’s block, he’s in tip-top shape.

Writers are complicated beings. 😉

Do you have a writing ritual and/or routine? Tell us about it.

My publisher ran a sale for Pretty Evil New England last week. Not sure how long the sale will last, but for now the ebook is $1.99 on Amazon.

Can Multitasking Harm the Brain?

Writers need to multitask. If you struggle with multitasking, don’t be too hard on yourself. The brain is not wired to complete more than one task at peak level. A recent study in the journal Frontiers in Human Neuroscience showed when we’re concentrating on a task that involves sight, the brain will automatically decrease our hearing.

“The brain can’t cope with too many tasks: only one sense at a time can perform at its peak. This is why it’s not a good idea to talk on the phone while driving.” — Professor Jerker Rönnberg of Linköping University, who conducted the study.

The results of this study show that if we’re subjected to sound alone, the brain activity in the auditory cortex continues without any problems. But when the brain is given a visual task, such as writing, the response of the nerves in the auditory cortex decreases, and hearing becomes impaired.

As the difficulty of the task increases—like penning a novel—the nerves’ response to sound decreases even more. Which explains how some writers wear headphones while writing. The music becomes white noise.

For me, once I slide on the headphones, the world around me fades away. I can’t tell you the number of times my husband has strolled into my office, and I practically jump clean out of my skin. Don’t be surprised if someday he kills me by giving me a heart attack. But it isn’t really his fault, even though I’ll never tell him that. 😉 I’m in the zone, headphones on, music blaring, my complete attention on that screen, and apparently, my brain decreased my ability to hear.

Strangely enough, I don’t listen to music while researching. When I need to read and absorb content, I need silence. This quirk never made sense to me. Until now.

Have you ever turned down the radio while searching for a specific house number or highway exit? Instinctively, you’re helping your brain to concentrate on the visual task.

Research shows that our brains are not nearly as good at handling multiple tasks as we like to think they are. In fact, some researchers suggest multitasking can actually reduce productivity by as much as 40% (for everyone except Rev; he’s a multitasking God). Multitaskers have more trouble tuning out distractions than people who focus on one task at a time. Doing many different things at once can also impair cognitive ability.

Shocking, right?

Multitasking certainly isn’t a new concept, but the constant streams of information from numerous different sources do represent a relatively new problem. While we know that all this “noise” is not good for productivity, is it possible that it could also injure our brains?

Multitasking in the brain is managed by executive functions that control and manage cognitive processes and determine how, when, and in what order certain tasks are performed. According to Meyer, Evans, and Rubinstein, there are two stages to the executive control process.

  1. Goal shifting: Deciding to do one thing instead of another
  2. Role activation: Switching from the rules for the previous task to the rules for the new task (like writing vs. reading)

Moving through these steps may only add a few tenths of a second, but it can start to add up when people repeatedly switch back and forth. This might not be a big deal if you’re folding laundry and watching TV at the same time. However, where productivity is concerned, wasting even small amounts of time could be the difference between writing a novel in months vs. years.

Multitasking Isn’t Always Bad

Some research suggests that people who engage in media multitasking, like listening to music through headphones while using a computer, might be better at integrating visual and auditory information. Study participants between the ages of 19 and 28 were asked to complete questionnaires regarding their media usage.

The participants completed a visual search task both with and without a sound to indicate when the item changed color. Heavy multitaskers performed better when sound was presented, indicating they were more adept at integrating the two sources of sensory information. Conversely, heavy multitaskers performed worse than light/medium multitaskers when the tone was not present.

I can attest to that. If I don’t have my headphones on, chances are I won’t hit my writing goals that day. I’ve conditioned my brain to focus when the music starts. And I store a spare set of headphones in case mine break. Learned that little lesson the hard way.

“Although the present findings do not demonstrate any causal effect, they highlight an interesting possibility of the effect of media multitasking on certain cognitive abilities, multisensory integration in particular. Media multitasking may not always be a bad thing,” the authors noted.

How can writers multitask and still be productive?

  • Limit the numbers of things we juggle to two (*laughter erupts in the audience*)
  • Use the “20-minute rule.” Instead of constantly switching between tasks, devote your full attention to one task for 20 minutes before switching to the next task.

What do you think about these studies? How well do you multitask?

 

 

 

 

 

 

Be the Mouse

A recent exchange with the hubster went something like this.

Him: What’d you do today?

Me: Same as yesterday, and the day before, and the day before that.

Him: You’re a persistent little bugger, aren’tcha?

Me: *shrugs* I’m a writer.

But it’s not as simple as that, is it? Persistence can be grueling at times.

If someone told me ten years ago that in 2021 I would stumble across a true story that’s so meaningful and important it might forever change my writing trajectory, my first reaction would’ve been: Ten years is a lifetime away.

But the truth is if I found this case ten years ago, I wouldn’t know how to do it justice. Today I do. 🙂 This narrative nonfiction/true crime project has so many parallels to my own life, my passion is at an all-time high. Which brings me to persistence. Persistence while researching. Persistence while re-investigating the crime. Persistence while interviewing witnesses. Persistence while submitting the proposal.

The Big Dream

When I wrote my first novel—longhand, by candlelight—the Big Dream was all I could think about. I remember searching for other writers’ interpretation of success and how long it took them to “make it” in this business. Most said a new writer won’t make any money until they’ve written five novels. If they’re lucky, they’ll sell a few hundred copies of their debut. That’s the last thing an aspiring writer wants to hear.

The aspiring writer thinks: If you build it, they will come.

Which isn’t necessarily a bad mindset if it drives the writer to the keyboard. I’m a dreamer. Always have been, always will be. As long as we offset the dream with a dose of reality, I say dream big, dream often, dream without limits.

Now, with a backlist of 17 titles and 5+ trunk novels, I look back on that early advice and it means something completely different.

Writing five novels isn’t only about building an audience. It means the writer has honed their craft. They’ve let their passion lead them on a journey of self-discovery (Think: Who are you as a writer?). It means the writer never gave up. Or quit. S/he continued for love, not money. S/he kept her head down, fingers on the keyboard, butt in chair, and created, edited, rewrote passages, scenes, or whole chapters, and finished five manuscripts.

What else happened?

S/he learned the business side of writing—found an agent, publisher, or learned the ins and outs of self-publishing. Lastly, it means s/he learned how to market a product, build a brand and an audience. S/he persisted, even though the odds seemed insurmountable. S/he leaped out of the nest and learned to fly.

Sometimes this biz can be disheartening, other times it’s super exciting. The ups and downs are all part of this amazing journey. The minute we stop trying to achieve future goals, we’ve already lost. Aside from creatives—writers, singers, artists, actors, musicians, etc.—I can think of no other field that requires as much persistence.

What is persistence?

The dictionary defines persistence as:

  • continuing firmly or obstinately in a course of action in spite of difficulty or opposition
  • continuing to exist or endure over a prolonged period

The definition clarifies how difficult it is to persist.

What happens in the brain during the act of persistence?

Serotonin is a neurochemical in the brain important for feelings of happiness. It’s also known for:

  • promoting good sleep by helping to regulate circadian rhythms (a 24-hour inner clock running in the background to carry out essential functions like the sleep-wake cycle)
  • helping to regulate appetite
  • promoting memory and learning
  • helping to promote positive feelings and behavior

If you have low serotonin, you might:

  • feel anxious, low, or depressed
  • feel irritable or aggressive
  • have sleep issues or endless fatigue
  • become impulsive
  • have a decreased appetite
  • experience nausea and digestive issues
  • crave sweets

Scientists have studied serotonin levels and persistent behavior in mice.

During foraging, all wildlife explores an area for food and/or water. But at some point, they must move on to a different area. Thriving animals exhibit patience and persistence before exhausting their search at each location.

In the study, researchers required water-restricted mice to “nose poke” while foraging to obtain water as a reward. The probability of obtaining water in each area lessened with each nose poke. The higher the number of nose pokes equaled more persistence in that individual mouse. Scientists also used video tracking to measure how long it took for the mice to switch to a different foraging area.

Mice exhibited optimal foraging behavior. Meaning, they optimized the trade-off between time spent searching an area for water and leaving to find a water source in a different area.

The mice who received serotonin neuron stimulation performed a greater number of nose pokes compared to mice who didn’t receive stimulation. They also took longer to leave an area, suggesting they were more persistent.

This is the first study to show a correlation between serotonin neuron firing and active persistence. Previously, scientists hypothesized that serotonin was involved in patience. We now know a rush of serotonin is involved in persistence, as well.

If our persistence starts to wane, we need to increase our serotonin level.

Here’s how:

  • Eat healthy
  • Exercise
  • Bright light
  • Massage

The list is almost meaningless without more explanation. So, let’s dive into each tip.

Healthy Snacks

We can’t get serotonin from food, but we can get tryptophan, an amino acid that’s converted to serotonin in the brain. High-protein foods contain tryptophan. For example, turkey and salmon. But it’s not as simple as eating tryptophan-rich foods, thanks to the blood-brain barrier—a protective sheath around the brain that controls what enters and exits. Isn’t the human body amazing?

Like with most life hacks, there’s a shortcut around the blood-brain barrier.

Research suggests eating carbs along with tryptophan-rich foods pushes more tryptophan into the brain, thereby raising the serotonin level.

Some tryptophan-rich snacks include:

  • oatmeal with a handful of nuts
  • plums or pineapple with crackers
  • pretzel sticks with peanut butter and a glass of milk

Exercise

Exercising creates an ideal environment for serotonin by triggering the release of tryptophan in the blood and decreasing the amount of other amino acids. Thus, more tryptophan reaches the brain.

Aerobic exercise of any kind releases the most tryptophan. Don’t fret if you’re unable to do aerobics. The main goal is to raise the heart rate. This can be accomplished by:

  • a brisk walk
  • a light hike
  • swimming
  • bicycling
  • jogging
  • blaring the music and dance

Bright Light

This surprised me, but it makes sense when you consider seasonal affective disorder. Serotonin levels dip in the winter and rise in the summer. What should we do? Spend 10-15 minutes in the sunshine. Or, if you live in rainy climate or can’t get outside, use a light therapy box. Both will increase serotonin levels.

Massage

Massage therapy increases serotonin and dopamine levels. It also reduces cortisol, a hormone produced when stressed. If paying for a professional massage therapist isn’t within your budget, ask a friend/spouse/partner to swap 20-minute massages.

Be the Mouse

Writers cannot achieve goals without some form of persistence. Be persistent, dear writer. Be the mouse.

Writing Community Etiquette

One of the most amazing things about being an author is mingling within the writing community. Writers, as I’m sure you’ll agree, are some of the most generous, supportive, and kind humans on the planet.

That said, there are a few unwritten rules within the community. Let’s discuss to enlighten the newer members of our family.

Other Writers are NOT Competition.

They are our people, our tribe. The longer we’re in this business the more it becomes a kinship. I can’t even imagine working without other writers by my side. We share successes, as Joe so beautifully demonstrated last Saturday. We also share failures (privately, btw, never rant on social media). We lift each other up and try to help where we can.

Without other writers, imagine how lonely this profession would be? As it is, we spend countless hours alone at the keyboard, hanging with our fictional homies or burrowing down one research rabbit hole after another. What if we had no one to share our discoveries with? Or to bounce ideas off of? Or to help us celebrate a new release? Or to knock some sense into us when nothing seems to go right?

We’re better because of, not in spite of, our relationships with other writers.

Lose the Ego

If this business hasn’t taught you humility, you haven’t been part of the publishing industry long enough. You might be soaring now, but you will fall one day. It’s inevitable. Yes, celebrate your successes. Don’t let it go to your head, though. A reality check now and then is an important exercise. Chances are there’s plenty of writers who sell more books than you, who are more loved by readers, who has rocketed to heights you (or I) might never reach.

John’s recent post is the perfect example of success and humility. It’s one of my favorite posts he’s written because of its honesty and realness.

Don’t be a Jerk

Do you really need to point out a typo in a tweet? We’re all fallible. Smile and move on.

Do you really need to say how much you disliked a fellow writer’s work?

What you put out in the universe has a way of boomeranging at the most inconvenient times. It may not be today, but eventually Karma will bite back. Count on it.

When you first join the writing community, it may seem endless. Here’s the thing about skewed impressions. Objects in the mirror are closer than they appear. Cross a fellow writer, and that circle can and will get downright claustrophobic. Why? Because writers protect other writers. It’s what we do; it’s who we are as a community. Just ask Disney.

Give More Than You Receive

Did a fellow writer blurb a book for you? Great! What did you do to help support them? I’m not saying you need to match the gesture by blurbing their next book. Maybe you’re not at that level yet. What should you do? Here are a few suggestions:

  • Review one of their books
  • Offer to beta read
  • Share their good news, new release, book cover(s), blog posts, interview, etc. on social media
  • Better yet, pay it forward to a writer farther down the rungs of the ladder—most writers will love knowing by helping Writer X, they also helped Writer Y.

The worst thing you can do is to ask for another helping hand when you’ve showed no appreciation for the last favor. And for the love of God, NEVER ask a fellow writer to fund your writing career because, in your eyes, they’re successful and you’re entitled enough to think you shouldn’t have to work a day job while you hone your craft. Yeah, those people exist. And they all seem to have my email address. Lucky me. 🙂

Common Courtesy

Treat fellow writers as you would like to be treated.

  1. Respond to blog comments. If someone has taken the time to comment on your article, don’t treat them like they’re invisible. Reciprocate with a response. Common courtesy is not rocket science. How would you feel if one day everyone stopped commenting on your blog posts? If you continue to ignore your audience, that can and will happen. If chatting with your audience isn’t important to you, then close the comment section. By leaving it open you’re obligated to respond.
  2. Share a fellow writer’s posts. Let’s take Twitter, for example. If someone retweets everything you share, or even if they only share one post, return the favor. They didn’t have to take the time to share your tweet with their audience, but they did. Do the same for them.

But Sue, what if their books have sex acts on the covers? If you don’t feel comfortable sharing their pinned post with your audience, then scroll through their timeline until you find a more appropriate post that you can share.

  1. Never hijack another writer’s social media timeline. We’ve all met the writer who thinks it’s acceptable to tag 90 authors in their book promos. It isn’t. If anything, said writer looks unprofessional and desperate. I have a few followers on Twitter who do it constantly, and it drives me crazy. The only ones I haven’t blocked (yet) are the writers who also RT my tweets. Does that make tagging okay? No. Unless you’re having a conversation with someone or sharing their work, pretend tagging doesn’t exist.

Lose the Automated Message

I admit, when I first joined Twitter, an automated message to greet my new followers seemed like a good idea. Let me set the record straight—they are never a good idea.

Nothing screams amateur more than an automated message. I once followed this writer whose automated message read: “I want to be your favorite author!” I wrote back: “I want to be your favorite author, too!”

Surprise, surprise, she unfollowed me. Good riddance.

I can think of only two possible exceptions for sending a private message.

  1. If you’re extending an offer that will benefit them, not you. And it’s free. You wouldn’t ask someone you just met at a party for money, right?
  2. If you’re having trouble finding their books and are asking for a link.

In both these non-automated scenarios, most writers won’t mind. But first try to find their email address. Email is less intrusive than private messaging.

Auto-Add Email to Newsletter

If a fellow writer accepts your friend request on Facebook or follows you on Twitter/Instagram or subscribes to your YouTube channel, that does NOT mean they’ve signed up to receive your newsletter. I’ve had friends add me to their list, but they’re actual friends who I chat with all the time. For everyone else, there’s a big difference between showing support for your fellow writers and signing up to receive their newsletters.

Think of it this way. I have over 12K followers on Twitter alone. Imagine if they all added me to their email list? My inbox would explode! The less-informed writer may be thinking: But Sue, you can unsubscribe at any time.

Oy. I hear that excuse all the time. Newsflash. Unsubscribing from a newsletter you never signed up for in the first place annoys most writers. Plus, it takes time away from writing, researching, marketing, or the gazillion other things we do daily.

Read the room, dear guppy (new writers a la MWA). A follow-back or an acceptance of a friend request is just that. Nothing more.

Final Thought

As I said at the beginning of this post, writers are some of the best people on the planet. Most of us would agree that without other writers, this profession would be a lonely one. But we’re never truly alone. There’s always another writer who’ll be there when we need them, just as we were there for them. We’re blessed, and that gift should never be taken for granted.

Over to you, TKZ family.

Did I miss anything? Add your tip! If you can’t think of anything to add, then share a story of a writer helping you or vice versa.

How and Why Reading Improves Writing

To master the art of writing we need to read. Whenever the words won’t flow, I grab my Kindle. Reading someone else’s story kickstarts my creativity, and like magic, I know exactly what I need to do in my WIP.

“Read” is the easiest writing tip, yet one of the most powerful. And here’s why.

 

READING BENEFITS OUR WRITING 

  • Reading strengthens our skills and storytelling abilities.
  • Reading helps us become more persuasive, which is an essential skill when pitching a book to an agent, editor, producer, etc.
  • Fiction reading helps us hone the skills to draw the reader into the story and engage the reader.
  • Nonfiction reading helps us learn how to condense research into an authoritative proposal. And ultimately, into a storyline.
  • Reading expands our vocabulary, improves grammar, and shows how to use words in context.
  • Reading helps us find the right word!

READING IMPROVES BRAIN HEALTH 

Narratives activate many parts of our brains. In a 2006 study published in the journal NeuroImage, researchers in Spain asked participants to read words with strong odor associations, along with neutral words, while their brains were being scanned by a functional magnetic resonance imaging (fMRI) machine.

Brain scans are revealing what happens in our heads when we read a detailed description, an evocative metaphor or an emotional exchange between characters. Stories, this research is showing, stimulate the brain and even change how we act in life. — New York Times

Whenever participants read words like “perfume” and “coffee,” their primary olfactory cortex (the part of the brain that processes smell) lit up the fMRI machine. Words like “velvet” activated the sensory cortex, the emotional center of the brain. Researchers concluded that in certain cases, the brain can make no distinction between reading about an experience and encountering it in real life. Pretty cool, right?

4 TIPS TO READ WITH A WRITER’S EYE

1. Look for the author’s persuasion tactics.

How does s/he draw you in?

How does s/he keep you focused and flipping pages?

What’s the author’s style, fast-pace or slow but intriguing?

Does the author have beautiful imagery or sparse, powerful description that rockets an image into your mind?

2. Take note of metaphors and analogies.

How did the metaphor enhance the image in your mind?

How often did the author use an analogy?

Where in the scene did the author use a metaphor/analogy?

Why did the author use a metaphor/analogy? Reread the scene without it. Did it strengthen or weaken the scene?

In a 2012 study, researchers from Emory University discovered how metaphors can access different regions of the brain.

New brain imaging research reveals that a region of the brain important for sensing texture through touch, the parietal operculum, is also activated when someone listens to a sentence with a textural metaphor. The same region is not activated when a similar sentence expressing the meaning of the metaphor is heard.

A metaphor like “he had leathery hands” activated the participants’ sensory cortex, while “he had strong hands” did nothing at all.

“We see that metaphors are engaging the areas of the cerebral cortex involved in sensory responses even though the metaphors are quite familiar,” says senior author Krish Sathian, MD, PhD, professor of neurology, rehabilitation medicine, and psychology at Emory University. “This result illustrates how we draw upon sensory experiences to achieve understanding of metaphorical language.”

 

3. Read with purpose.

As you read, study the different ways some writers tackle subjects, how they craft their sentences and employ story structure, and how they handle dialogue.

4. Recognize the author’s strengths (and weaknesses, but focus on strengths).

Other writers are unintentional mentors. When we read their work, they’re showing us a different way to tell a story—their way.

Ask, why am I drawn to this author? What’s the magic sauce that compels me to buy everything they write?

Is it how they string sentences together?

Story rhythm?

Snappy dialogue?

How they world-build?

Or all of the above?

I don’t know about you but I’m dying to jump back into the book I’m devouring. 🙂 What’s your favorite tip?

Wishing you a safe and happy Memorial Day! In between cookouts and family get-togethers, squeeze in time to read!

Looking for a new series to love?

FOR TODAY ONLY, all four Grafton County thrillers are on sale!

MARRED 99c
CLEAVED 99c
SCATHED $1.99
RACKED $1.99

 

Titles and Comp Titles — How To Find the Best Ones For Your Book

I asked my dear friend Ruth Harris to dazzle us with her experience of choosing titles and comps, and she delivered. Big time.

Ruth is a New York Times, award-winning bestselling author whose novels have sold millions of copies in hardcover and paperback editions. Translated into 19 languages and sold in hardcover and paperback editions in more than 30 countries, her books were Literary Guild, Book-of-the-Month Club and book club selections around the world. Ruth is also a former Editor, Editor-in-Chief and Publisher at Big Six and independent NY publishers who knows the publishing business from both sides of the desk.

And so, she’s an author who knows what works and what doesn’t. Enjoy!

A Prince by any other name would still be a Prince. (I hope.)

Meghan by any other name would still be a princess.

Ditto Diana.

Lord or Lady. Peasant or serf.

Professor or student.

Beginner or expert.

Titles orient us to where we are and what we should expect next.

Doesn’t just apply to people, either. Also applies to books, because time-pressed readers/editors/agents take only a few seconds to make their buy decision, and authors have the same few seconds to make their sale.

If you’re aiming for a traditional publishing deal including relevant comp titles in your query letter is a must, because comp titles define the expectations and positioning of your book. Well-chosen comp titles provide a target in a crowded marketplace, and will affect your cover, blurb and sales pitch.

Agents and publishers ask for comp titles because they need a quick shorthand way to establish the basis for sales expectations and marketing. The agent/editor/potential reader needs a reference point, and, if your book will appeal to readers who enjoy legal thrillers, steamy romance or epic fantasy, you’re providing a valuable selling tool by providing appropriate comp titles that give a solid clue about which market you’re aiming at.

Meaning before details.

According to John Medina of the University of Washington, the human brain requires meaning before details. When listeners doesn’t understand the basic concept right at the beginning, they have a hard time processing the rest of the information.

Bottom line for writers: The title and the cover—image plus title—have to work as a unit to explain the hook or basic concept first. Wrong image and/or misfit title confuse the would-be buyer and you lose the sale. On-target image plus genre-relevant title and the reader/agent/editor will look closer.

Your cover indicates visually by color, design and image what the reader can expect inside—a puzzling mystery, a swoony romance, futuristic scifi, or scary horror—but the first words the prospective reader/agent/editor sees are the ones in the title.

Your title tells readers what to expect.

You’re unpublished but your title is awfully close to Nora Roberts’ newest or…ahem…a clone of James Patterson’s most recent? Come on. Get real. Please. For your own sake.

Your book is about a modest governess in 19th Century London who falls in love with the maddeningly handsome Prince who lives in the castle next door, but your title promises hotter-than-hot, through-the-roof sales like, oh, maybe, 50 Shades Of Grey? Really? 51 Shades of Grey is the best you can come up with? Seriously?

If you’re in a quandary about choosing a title for your book here are Anne’s 10 Tips for Choosing the Right Title for Your Book.

You can also research successful titles in your genre for inspiration. Whether your genre is romance or suspense, you will find that certain words recur. Just be aware that most publishing contracts give the publisher the right to change the title. Sometimes the author is pleased.

Other times? Not so much. (Don’t ask me how I know, but horror stories abound.)

If the title you’ve chosen for your book is your idea of the one and only, check your contract to make sure you have the last word on title. The reality, though, is that few author have this right and, if you’re just starting out, you won’t. Sorry about that, but it’s the reality.

If you’re self-pubbing, you control the decision about titles. And, if you think of a better title in the future, you can easily change a title later.

All about comp titles.

The writer’s version of GPS, your comps tell readers/agents/editors where they are and what they can expect if they go further. That’s why a poorly chosen title or the wrong comp titles are an invitation to nowheresville for you and your book.

A sweet romance compared to a horror epic called Tarantula Invasion? I don’t think so.

Scifi comped to something titled A Duke For The Duchess? Nope.

Serial killer police procedural titled Miss Emily’s Quaint Cupcake Cafe? You’re joking, right?

Comp titles are books that are similar to yours. Comps help agents/editors/readers figure out who your book will appeal to and how big the potential audience might be. Comps give the Art Department or your cover artist a starting point and help them understand what is required.

Comps are indispensable to the sales department at a publisher and serve the same purpose in your blurb. Sales reps have only a few second to interest a buyer or bookstore owner. Being able to tell them that New Book X is like Old Book Y is useful shorthand telling the prospective buyers something about the likely audience and sales potential.

  • “If you like X, you’ll love Y”
  • “If you like action-adventure with strong female leads, you’ll like Y”
  • “If you like Regency romance, you’ll like Y”
  • “Readers who like Dean Koontz will love Y”

Another approach is X is like Y—with a twist.

  • “Cozy mystery with dragons”
  • “Historical mystery with space ships”
  • “Romantic suspense in a gay retirement home”

A third example is X meets Y—with a twist.

  • “Jack Reacher meets Jane Austen”
  • “Fan fiction meets literary memoir”
  • “Leo Tolstoi meets K-pop.”

Do’s and don’ts of choosing comp titles.

  • Do stay within your own genre (or genres if you write mash ups).
  • Do keep it realistic. Choose comps with the same likely sales pattern: out of the gate with a burst or a long, slow and steady sales arc, front list star vs backlist stalwart.
  • Do keep it recent: choose titles published within the last two or three years so that they are still fresh in the minds of reader/agents/editors/sales staff/store buyers. Pointless to choose a comp from a decade ago that no one remembers.
  • Don’t abandon common sense and compare your book to a #1 NYT bestseller or the latest gee-whiz phenom.
  • Don’t mix formats. If your book will be offered in a digital edition, don’t compare it to a hardcover title and vice versa.
  • Don’t jump genres. Compare apples to apples, oranges to oranges. That is, compare scifi to scifi, thriller to thriller, epic fantasy to epic fantasy, literary fiction to literary fiction.
  • Don’t ignore demographics. If your book will appeal to women, be sure to choose comps that will appeal to that same reader. Don’t choose a comp that will appeal to young adult readers or males looking for hairy-chested adventure in the remote jungles of Borneo.

Where to find good comp titles.

Amazon, Barnes & Noble, Kobo and the gang.

Because readers of romance tend to buy more romance and readers of action-adventure tend to buy more action-adventure, type the title of a book similar to yours into the search window of any book seller to find recommendations under headers like:

  • “Customers who bought this also bought”
  • “What customers bought after viewing this”
  • “Trending now”
  • “Pageturners”
  • “Monthly picks”
  • “Frequently bought together”
  • “Favorite authors”

Goodreads

Tell Goodreads what genre you’re interested in and they will provide a list of titles.

Or you can enter comp titles you’re already considering to ask for more suggestions.

You can also describe the kind of book you’re looking for—“thriller set in Iceland,” “mystery in Uruguay,” “cozy mystery in Nantucket,” or “scifi in a crippled space capsule”—for suggestions.

Goodreads Choice Awards lists their annual picks by category if you’re looking for even more inspiration.

Bestseller lists.

The middle or lower down titles in the NYTimes and the USA Today lists are good starting points, but don’t overlook your town or city. Your local bookstore will know what books are selling well in your area.

If your book is of regional interest—New England, Florida, the Far West—local bestseller info will be valuable and all you have to do is ask.

Librarians can help you ID relevant books that float just below the top bestsellers. We not talking mega authors and books, but titles just below the top ten or twenty that have reliable sales records and are known by buyers/agents/editors/retailers.

BookBub.

Sign up—it’s free—and ask for recs in genres similar to yours or by authors who appeal to the same readers you are looking for.

BookBub also has extensive genre lists that can be helpful as well as real-time updates from authors who write books similar to yours.

More help.

You’ll find more ideas for finding comp titles in this marketing-oriented post by Penny Sansevieri about Finding and Using Competing Book Titles in Your Book Marketing

Dave Chesson’s Publisher’s Rocket uses up-to-date market research data to quickly identify relevant comp titles, categories and keywords.

NerdyBookGirl offers a helpful FREE Book Category Hunter.

★★★★★“WOW! WHAT A STORY!”★★★★★

“A master storyteller coaxed me through a maze of fascinating, brilliant, tragic, and heartwarming twists and turns, and left me feeling uplifted and satisfied. ZURI slides to the top of my favorite books of 2020!”

—Sue Coletta, award-winning, bestselling author

 

99c Sale. Ends soon.

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Writing Wisdom from Gary Provost

Jim’s Reader Friday question got me thinking. What is the special sauce that ignites a writer’s brain? Would a new writer know when to run with an idea and when to let it go? Maybe. Maybe not.

With that in mind, I’ll share the following tips from critically acclaimed author and beloved writing instructor, Gary Provost. Incidentally, these tips can be used for fiction and nonfiction, if your nonfiction falls into the “story” category (i.e. true crime, historical, narrative nonfiction, etc).

Gary Provost created a simple paragraph to encapsulate the dramatic arc in a story.

Once upon a time… something happened to someone, and he decided that he would pursue a goal. So he devised a plan of action, and even though there were forces trying to stop him, he moved forward because there was a lot at stake. And just as things seemed as bad as they could get, he learned an important lesson, and when offered the prize he had sought so strenuously he had to decide whether or not to take it, and in making that decision he satisfied a need that had been created by something in his past.

This works because of its classic dramatic structure, which is the most satisfying type of story for the reader. It’s brilliant, if you take the time to dissect it. For now, I’d like to concentrate on a quick and dirty shortcut to test a story idea.

Gary Provost thought of stories in terms of a series of “buts.”

Joyce is a poor secretary, but she meets a millionaire and marries him.

She’s married to a millionaire, but the marriage goes sour.

She wants to end the marriage, but she (allegedly) thinks she’ll be left penniless.

She perhaps has a motive for murdering her husband, but so do other people.

After the murder, police suspect her, but she passes two polygraph exams at two different times and places. One, a highly regarded expert.

She passes the polygraphs, but the court rules they will not be allowed. But a federal court rules in a different case that the polygraphs can be allowed.

She goes back to court to get the polygraph tests allowed, but Judge Smith still will not allow them.

Someone claims to have heard shots at 3:30 A.M., but the medical examiner says that Stanley died around 5:30 A.M., consistent with Joyce’s story. She seems to be telling the truth, but it was five minutes from the time of the Colorado phone call to the call to 911.

Joyce allegedly says to Officer Catherine Parker, “I shouldn’t have done it,”but Parker never reports this.

Three days after the murder a cop tells the medical examiner that he saw signs of lividity, indicating that the body had been dead for a few hours.

But Wetli, the medical examiner, reviews his material, still comes to the same conclusion. Stays with that conclusion for three years.

No charges against Joyce, but the Miami Herald starts an anti-Joyce campaign, demanding that she be brought to justice.

Newscaster Gerri Helfman is about to get married, but her father is murdered.

No charges are brought against Joyce, but Stanley’s family pressures the state’s attorney’s office to come up with something.

And on and on it goes.

The above series of “buts” Provost used in a book proposal for a true crime book entitled Rich Blood. The proposal started a bidding war between publishers.

In the end, he decided to write Deadly Secrets instead. Turned out to be the right move because Deadly Secrets became the mega-hit Perfect Husband: True Story of the Trusting Bride Who Discovered Her Husband was a Coldblooded Killer.

Use a series of “buts” to test your story idea. Obviously, a “but” won’t fit every sentence. When it doesn’t, try “and then.” But a “but” should follow “and then” soon. Why? Because “buts” are complications. Complications = conflict. And conflict drives the story.

Example:

Husband kills wife, and then stuffs her body into a 3ml bag, and then drives to a secluded area to bury her, but his foldable spade isn’t in the backseat. Did the neighbor borrow it again?

When you write don’t keep all the “buts” and “and thens.” Think in those terms, but you don’t want all of them in the final draft. Over time your story sensibilities will automatically search for (nonfiction) and/or apply (fiction) this rhythm.

The point is, whether we write fiction or nonfiction, we need to find the story beneath the headline or first spark of an idea. Without a narrative driven by conflict, the story will fall flat.

Five pieces of wisdom from Gary Provost’s 100 Ways to Improve Your Writing.

  1. A writer’s most important vocabulary is the one he or she already has. 

Learning new words is much less important than learning to use the words you already know. Think about your ideal reader. If he or she wouldn’t understand your word choice, you might as well be writing in a foreign language. Over time finding the right word becomes easier, almost a subconscious act. Until then, be intentional with every word.

  1. A lead should have energy, excitement, an implicit promise that something is going to happen or that some interesting information will be revealed.

Whether a lead is the first sentence, the first paragraph, or even the first several paragraphs of your story, it should pique a reader’s interest by raising story questions and give readers someone (or something) to care about before delving into the backstory.

Act first, explain later.
—James Scott Bell

A strong lead delivers on the promise it makes.

  1. When writing a beginning, remove every sentence until you come to one you cannot do without. 

Meaning, make your point by answering “who, what, when, where” in the first paragraph. Make the reader wait for “why.” Unless, of course, the why is the character’s goal.

A topic sentence contains the thought that is developed throughout the rest of the paragraph. The topic sentence is commonly the first sentence in a paragraph. For each paragraph ask, “What do I want to say here? What point do I want to make? What question do I want to present?” Answer with a single general sentence.

When you edit, ask how each sentence works for the paragraph. Ask why it’s there. Does it have a purpose? Great! Then keep it. If you can’t pinpoint why you included that sentence, hit DELETE.

  1. Style is form, not content.

In writing, the word style means how an idea is expressed, not the idea itself.

A reader usually picks up a story because of content but too often puts it down because of style.

 

  1. To write is to create music.

The words you write make sounds, and when those sounds are in harmony, the writing will work.

 

Gary Provost was highly regarded as an author, sought-after speaker, consultant, and celebrity biographer.

“The writers’ writer” authored thousands of articles, columns, and dozens of books covering most every genre. His highly acclaimed Writers Retreat Workshop, and video and audio courses remain available through writersretreatworkshop.com.

What’s your favorite piece of advice here? Care to add a tip?

When Opposites Attract

Foils and antagonists are two types of characters that serve different functions. An antagonist or villain works in direct opposition to the protagonist or hero. The antagonist presents obstacles to thwart the hero from achieving his or her goal. The foil, on the other hand, isn’t necessarily working against the hero. A foil’s qualities simply differ from the hero’s.

The hero and foil often work together, such as Sherlock Holmes and Dr. Watson. The key difference between the foil and antagonist is that the antagonist’s actions oppose the hero while the foil’s character traits create conflict. Also, a foil shines the spotlight on another character’s personality traits and/or flaws, without necessarily thwarting their plans. When done right, however, there will be conflict!

The term “foil” came into its current usage as a literary device from the concept of putting tin foil behind a gemstone to make it look more brilliant. The foil character works in the same way—to add credibility to the hero or to spotlight his or her faults.

Opposing personalities add a great deal to a story. Pairing these two characters can transform a ho-hum scene into one with explosive conflict. But we need to—dare I sayplan these character traits in advance. 😉

Conflicting personalities rub against one another, which allows the writer to maximize slower moments within the plot. After all, if everyone in the scene “plays nice,” we risk boring the reader. With a bit of character planningoh, my, there’s that word again—clashing personalities lead to conflict-driven scenes.

If the hero dances on the edge of the law, the foil might be hyper-vigilant about following rules of any kind. If the hero never follows directions, the foil might be a map enthusiast. If the hero’s loud and extroverted, the foil might be shy, quiet, and reclusive.

Positioning the foil and main character in close proximity will draw readers’ attention to the hero’s attributes. A story could have more than one foil. In my Mayhem Series, I created a foil for my hero and another for my villain.

By crafting opposites, these characters’ scenes crackle with tension. Foils show the hero’s and/or villain’s strengths and weaknesses through friction. Remember to include the element that ties the two characters together, a believable bond that’s stronger than their differences.

Since Garry mentioned my video excerpt in the comments on Thursday, I’ll include it as an example of the foil/hero relationship. Don’t worry. There’s no need to watch the entire video (unless you want to). You should recognize the opposing personalities pretty quick.

Have you used a foil in your story? Please explain. Or: What’s your favorite fictional foil/hero relationship?

As bloody, severed body parts show up on her doorstep, Shawnee Daniels must stop the serial killer who wants her dead before she becomes the next victim.

But can she solve his cryptic clues before it’s too late? Or will she be the next to die a slow, agonizing death?

Preorder for 99c on Amazon.

Releases April 20, 2021.

Rinse and Repeat

Remember JSB’s post about public speaking? Well, before an exciting opportunity two weeks ago, I reread his tips a gazillion times. What he failed to mention was a bizarre side effect of stress—dry mouth. I noticed it when I did my first Zoom book signing. Which is odd, right? I’ve never had a problem with in-person book signings, but on Zoom? I dried up like the Sahara. Halfway through the event it went away, so I didn’t give it another thought. I Zoomed a few more times without incident.

And then, an Emmy award-winning true crime series asked me to appear on their show. (Can’t tell you which one yet, sorry!) I was fine on the drive over. Nervous as all heck, but other than a thundering heartbeat, I could hide my anxiety. After all, that’s what a professional does. They don’t let nerves get the better of them. Plus, I knew this case inside out. How hard could it be? So what if a camera crew would be focused on me.

My confidence waned on the walk inside, but I was still holding my own. Head held high, shoulders back.

Then I sat in the interview chair.

With that one simple act, all the saliva in my mouth turned to dust. And I mean all of it. My tongue stuck to the roof of my mouth, my lips puckered, and words refused to roll off my tongue with ease. Me on the day of my debut TV appearance…

They offered me bottled water—gallons of it through two and half hours of taping. After the second or third bottle, I think they might’ve figured out I wasn’t an old pro at this TV stuff. 😉 Thankfully, I’d spoken to the producer on the phone several times prior, so he had faith in me. “Get her more water please!” And I drank, and drank, and drank.

Mr. Producer told me several times I did an excellent job. I’ll be the judge of that, thank you…in six months when the episode airs. We did have a lot of laughs. But when you’re discussing a shooting and can’t spit out the word “caliber” because your tongue feels like it’s three sizes too big for your mouth…

Well, let’s just say it isn’t a good look. The more I stressed, the drier my mouth became. Throughout the interview I fluctuated between Lord, give me strength and Someone—anyone—please shoot me! But most of all, I needed more water STAT.

On the plus side, the nice part of working on a true crime show is it’s not taped in front a live audience. All I had to do was string together one good sentence at a time and the editor would grab what s/he needs.

Mission accomplished. That’s a rap!

Shamefaced, I crawled into the passenger seat of our truck—and all at once my mouth regained its moisture. Ain’t that a b*tch? I can hardly wait to see what happens next time. Maybe I’ll grow some weird lump on my forehead. Or better yet, my saliva glands will over-stimulate, and I’ll show up looking like this…

I think it’s fair to say no one will ever ask me to do a TedTalk. Probably best.

To understand my body’s reaction to stress, I researched the subject the next morning to find out why this occurred and what to do about it in the future. Turns out, dry mouth isn’t an uncommon reaction.

Researchers have studied this phenomenon.

The term stress refers to a series of events that lead to a reaction in the brain (perceived stress), activating the physiological fight-or-flight response in the body. Anxiety is also a generalized unpleasant and vague sensation of fear and concern with an unknown origin.

Makes sense.

Psychological conditions might affect both salivary flow rate and xerostomia. Furthermore, it was observed that salivary cortisol levels increased during stress, followed by changes in the composition of saliva.

In simpler terms, stress plays a significant role in reducing the salivary flow rate.

So, what’s my advice in case you experience something similar? Hope you’ve got a nice strong bladder. You’ll need it to hold all the water. No, seriously, pack lozenges. If all else fails, smile! Works every time.

I’m a big believer in laughter. If we can’t poke fun at ourselves, we’ll dwell on the negative. I appeared on an Emmy award-winning true crime show (!), and have spoken to the producer several times since. For me, it’s a dream come true. 🙂

Let’s discuss embarrassing moments! Your turn. Extra points if it relates to writing, reading, acting, etc.