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WORDS FOR WRITERS – In Conversation with Kisa Whipkey Part I

WORDS FOR WRITERS – In Conversation with Kisa Whipkey Part I

J.M. Frey, author of THE ACCIDENTAL TURN SERIES, in conversation with series editor Kisa Whipkey. Join them as they follow the series from idea, to how it was pitched and sold, through the editing stages and concept challenges, to final product.

Warning – contains spoilers! Watch out for Jazz Hands!

About the books:

This book follows Pip, who is pulled against her will into the epic fantasy novel series she’s loved since she was a teenager. However, the world is darker, and far more dangerous than she could have ever predicted, especially when it turns out the hero is a much bigger misogynistic ass than she knew. Pip knows how to circumnavigate the Hero’s Journey and the pitfalls and loopholes of this particular world – but what will happen to her beloved characters outside of the comfort of the fantasy they were written for? And what happens when it’s not the male-power-fantasy hero, but the hero’s overlooked and bullied little brother who proves to be her biggest champion?

About Kisa Whipkey:

Kisa Whipkey is a dark fantasy author, a martial arts demo team expert, and a complete sucker for Cadbury Mini-eggs. She’s also the Acquisitions & Editorial Director for YA/NA publisher, REUTS Publications. She developed a passion for storytelling at a young age and has pursued that love through animation, writing, video game design, and demo teams until finally finding her home in editing. She believes in good storytelling, regardless of medium, and applauds anything featuring a snarky lead character, a complicated narrative structure, and brilliant/uncommon analogies. Currently, she lives in the soggy Pacific Northwest with her husband and plethora of electronics.

About J.M.Frey:

J.M. is an author, screenwriter, and professional smartypants. With an MA in Communications and Culture, she’s appeared in podcasts, documentaries, and on radio and television to discuss all things geeky through the lens of academia. She also has an addiction to scarves, Doctor Who, and tea, which may or may not all be related. Her life’s ambition is to have stepped foot on every continent (only 3 left!)

Music: “Creative Minds” by Bensound (Royalty Free)

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Got a question about the craft or business of writing? Ask it here.

Read other Words for Writers blog posts here.

JM FreyWORDS FOR WRITERS – In Conversation with Kisa Whipkey Part I
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WORDS FOR WRITERS: How Do I Get An Agent?

WORDS FOR WRITERS: How Do I Get An Agent?

I’ve talked about this in other articles, but I wanted to dedicate a full post specifically to getting an Agent.

There are thousands of agents out there at any given time, but those thousands of agents are getting requests for representation from hundreds of would-be-writers every month. There’s massive, massive competition for the attention of a single agent, and so the querying process has been developed to separate the wheat from the chaff, and help the agents find the authors with the talent, drive, and discipline that they want to represent. Agents can, therefore, afford to be picky.

The very  first thing that you should know is that agents sign clients on proven, tangible talent, not “what ifs” and “maybes” – you could have the best idea for a novel in the entire world, but if it’s not down on paper, polished and complete, there’s nothing there to actually read and evaluate, and then sell.

This is where a lot of writers first stumble – their first impression is awful. They don’t finish and polish the manuscript, or they don’t research the agents they’re approaching enough and submit to the wrong agents, or their cover letters are horrendous. The agent-writer relationship is very important, and it’s vital to find an agent who not only represents the kind of writing that the author is submitting at the moment, but also the sort of career they want to have – and the agent has to be excited about the writer’s manuscript, too, and have the connections to sell it to the right publishing houses or manage the various rights. The agent and the writer have to like each other, and have to be able to maintain a professional relationship based on trust. They don’t have to be friends, but they have to be able to get along.

It’s also useful, but not necessary to have a handful of publications in short story anthologies, genre magazines, academic journals, newspapers, a completed thesis, a blog that you run and update consistently with a significant following, a series of popular fanfictions, etc. prior to beginning the agent-search.

Basically, that completed manuscript and any other publications are proof that not only can you write, but that you can finish what you write. And that there are other people who believe your writing is good and like it – whether that’s paid, or just a big number in terms of stats in a free-to-read medium like Wattpad or Archive of Our Own. You just need to prove that there have already been others who have invested in you and found your work worth publishing. This can include your stories from Wattpad, Raddish, or any other sort of online story-sharing platform, especially if the story is finished and you have a significant number of read stats and engagement.

Should I try to get an agent with my Online Publishing Platform Story?

Well, that’s a tough question.

See, here’s the thing: agents and publishers are in the business of making money. And a story that is already out there available for free to the reading public is, well, not making money.

There are two times when I would say using your Wattpad/Raddish/Online Published Story on submission is a good idea:

First, if you have a highly polished and complete tale, that is relatively unknown on the site and has low reads. This way it can be pulled for polishing and submission.

And yes, I think that if you’re going to submit with the story, you should delist it from the website. Why? Because agents and publishers know how to use Google and if the book comes up and they find it for free elsewhere, then it’s already out there and not something they can commodity.

The second is the exact opposite – if the story is massively, hugely, incredibly popular. I’m talking like, “After”popular. Like, E.L. James “Fifty Shades of Grey”-back-when-it-was-still-a-fanfic popular. These kinds of stories, even though they’ve already been published online, have a massive, rabid, incredibly dedicated fanbase that is willing to purchase a book they’ve already read for the sheer fannish devotion. That’s a book worth shopping around to agents because it’s a guaranteed money-maker.

And what should you do if you fall between those two points?

Well, I think you should write another book.

See, agents aren’t just here for a one-and-done with their clients. They want to represent your entire career, and that means multiple projects spread over many years. You’re going to have to write multiple books over your career, and this is the time to start. Create book that has nothing to do with your already-published-online one, and make sure it’s a strong one.

And that already-published-online story? Mention it in your cover letter to the agent and cite the number of views, comments, and votes you’ve gotten on it. Use it as proof that people already like your work. Later, down the road, when you have an agent and you guys have a good working relationship set up, that is when you mention that already-published-online story again. Ask them if they’d be interested in reading it, maybe seeing if there’s some potential for money-making there.

Your agent may say yes, they may say no. Heck, maybe the announcement of your publishing deal will have skyrocketed your story’s popularity. You can’t be sure what will happen to that story, but it’s always nice to keep it on the digital story-sharing site so people interested in your forthcoming book have a chance to sample your storytelling style.

Of course, this is just what I would do. If you feel that you’d try a different route, that’s up to you.

So how does this all work?

  • Write a novel. Edit and polish that novel within an inch of it’s life. You can do this with a professional editor, or with critique partners, or beta readers, whatever suits you and your process the best. Just make sure that the novel is 1) complete, and 2) the best version of itself. You only get to make a first impression once; make sure it’s a good one.
  • Write your Pitch Package. This will include the cover letter that you submit along with your manuscript, and should be equally as polished as your book. You can read about what should be in a Pitch Package here.
  • Research which agents you want to submit to.  You can find info in the agency guides that are published each year in your country, as well as on websites like DuoTrope, Absolute Write, and Writer Beware. Read industry publications like your local Writer’s Guild/Union magazine and newsletter, or Publishers Weekly. I also went to the bookstore and wrote down the names of all the authors who were writing books like mine – SF/F, Queer, near-future spec, very thinky – and then went home and researched who their agents were. Social media has also made this so much easier than it was when I was first looking for an agent, because now you can see how those agents communicate, what sorts of things are important to them, and can even have little interactions with them prior to submitting.
  •  Research which agents you want to submit to more. I cannot stress this enough – read their website and blog. Make sure they are even open to new submissions. Make extra sure they represent what you write (i.e.don’t send your western romance to an agent who only does space opera). Figure out if their agency shares submissions between all the agents or if you can query another agent in the practice if one doesn’t offer. Know who their other clients are and the kinds of deals they’ve gotten through thier agents.
  • Submit. Agents prefer that you submit to them one at a time so that they have the chance to read your work without outside pressures. I did it a few at a time, tracking them on an Excel sheet that listed all of the things they wanted in each submission, and more importantly, recorded their feedback. When the same feedback was given more than three times, I took a long hard look at the book, did some revisions to address the issue, and resumed sending the book out.
    This will be a long process and could take anywhere from several months to several years.
  • Start with your favourite, #1, big dream agent. This way you’re not insulting a lesser-desired agent who is offering by asking them to wait while you query someone you’d like better, and it means that if you hit big on the first go, then your hunt is over right away. Woo hoo. (This is also why you need to make sure your book is the best it can be and has been through revisions and edits from outside eyes before you ever start submitting.)
  • When you submit your manuscript, give the agent exactly what they asked for. No more. No less. If they say “Query letter, first five chapters, and a picture of a clown with a purple nose,” give them the letter, the chapters, and the picture and nothing else. Why? They are testing you. Yes. This is a test about whether you can follow directions, and whether you are worth working with as a result. Okay, so no one actually asks for clown pictures, but the point stands. If they ask for the first five chapters, don’t send the whole book. If they ask for the whole book, don’t send them only the first five. They have a specific process for how they evaluate manuscripts and potential clients and you don’t want to mess with their groove. They are just looking for an excuse to reject you so they can move on to the next person in the slushpile. Do not give them one.
  • Only submit to agents in the way they tell you to submit. If they say paper, send it on paper. If they say email, email them. If there is a form to fill out, fill it out. Do not hand-deliver it to the agency offices unless they specifically tell you to do so.
  • Be polite, oh my god, be polite. Be a professional. No one wants to work with a whiny, cranky, self-important snowflake. And trust me when I tell you that agents talk to one another. They will know if you send back a snarky, horrible email when you receive a rejection, or if you bitch about them on your own social media, or neg them in the cover letter. These are human beings that you are hoping to form a relationship with, and you will be asking to manage your career and money. Treat them like the professionals they are.
  • And for the love of little baby ducks, no bribes or weird submission materials. Don’t send cookies, or bookmarks, or a cover you made for your book yourself, or gifts. And if it’s one of the agencies that still prefers paper submissions, don’t send it on scented stationary or in green swirly pen. You don’t know whose migraines that might trigger. Professional, professional, professional.
  • Wait. I know, it’s frustrating and terrible, but you gotta give the agent time to read your submission – and all of the ones that came in before yours. Their website will usually indicate how long you can expect to wait before you hear from them; usually it’s a few months but sometimes it’s upwards of a year. If that time has lapsed and they haven’t responded to your submission at all, you can send them a politely worded follow up to ask about the status of your submission.
  • If you’re like me and query just a few agents at a time, and one comes back with an offer while you’re still waiting to hear from the others, it’s professional to message the others and either politely withdraw your submission from their slushpile, or inform them that you have an offer and that you’d like to hear from that agent too, in case they may also be interested and may like to counter-offer.
  • Agents review your book on several points – does the agent think it’s well written? Is it original, fresh, intriguing, saleable? Is it pandering to a trend that is going to be dead in the time it takes to get the book into print (usually a few years), or could it possibly pioneer a new one? Is the writing good but the plot broken, yet fixable? Would it make a good series?
  • Agents will look you up. Again, agents know how to Google and they will look at your online presence, the way you conduct yourself, and the professional-ness of your blog and website if you have one. They want to know if you’re going to be good for their agency, or a risk to their reputation. (So if you’re going off on Twitter about how stupid a previous agent you submitted to is for not recognizing the special awesomeness of your holy talent, be prepared to have every other agent you query after that say ‘no thanks’ to being a part of your narcissistic dumpster-fire career, too.)

The Rejection

  • More often than not, you’re going to get a politely worded “No, thank you,” with little or no details as to why the manuscript was rejected. Assume that it just didn’t hook the agent, and move on. They’ve got lots of submissions to get through. I always replied with a very nice “Thanks so much for your consideration, and I wish you all the best with your current clients, ta ta” kind of email and left it at that. They’ve made up their mind, and there’s nothing you can do about that.
  • However, you might get a conditional rejection. This will be something like, “I liked this, but I think XYZ isn’t working and I’d like to see you address that and resubmit please.” Now, when you get an email like that, you need to remember that 1) it’s just that agent’s opinion. If you don’t like the agent’s suggestion for changes, you’re not obligated to make those changes and resubmit. You can just politely say ‘no thanks’ and move on to the next agent (although, you know, remember that they do this for a living so they have an idea of what they’re talking about.) 2) It’s not a promise of a yes later down the line. It’s just a promise to re-read and give it a second consideration.
  • You might get an alternate request. The agent might not want or need the book you submitted for various reasons – it’s too close to something one of their other clients is already doing, or the trend is dead, etc. – but they love your writing and want to see more from you. They may ask to look at what else you have. Now, ideally, while you’ve been querying you’ve also been writing. For reasons that I go into further detail about in “How to Plan a Series“, you should be writing something different from what you submitted with, and not the second book of the same series. If it’s not finished, tell the agent that you have a manuscript in progress and if they’d be willing to wait a few weeks for you to polish up the existing chapters to send along, you’d be happy to do so. If you don’t have anything on the go, point them to your story on an online platform (if you have one), or tell them that you don’t have anything else at the moment but look forward to pitching them in the future with another novel when it’s ready. (And if you finish querying to no success with your current manuscript, then absolutely write another novel and send it to that agent. Be sure to remind them that they asked for something else from you when you submit.)
  • Sometimes, there may be something in the letter that you might be able to respond to. For example, when I submitted my debut novel to a small press publisher, the editor said she really, really loved the characters and concept, but that there were several flaws in the manuscript that she couldn’t see a way toward fixing and that’s why she said ‘no’. I replied and politely asked that if I took some time to rewrite the novel to address her concerns, would she be willing to re-read it and reconsider my submission. She said yes, I rewrote, and she ended up accepting the manuscript for the publishing house. However, had she said no, I would have taken her advice, and rewritten the book anyway, and then moved on to other agents and publishers to submit to.
  • Hopefully, all this submitting, and tracking the feedback, and revising your manuscript accordingly, and submitting again, will pay off and you’ll end up signing with an agent. But I’m gonna be really honest with you – it might not. You could get to the end of the list of agents that you wanted to work with, and have no offers.
  • At this point, you need to step back and re-evaluate: does your craft need work, and that’s why you were rejected? Is the story right for the time? Did you tell the story in the right age range and demographic, or is it too mature/juvenile? And, more importantly – do you still want an agent? Is this still the route you want to go, or do you want to give indie publishers, small presses, vanity publishing, or self-publishing a try? (And please, for the love of those same baby ducks, don’t choose to go into selfpub on a knee-jerk defensive reflex because you feel rejected by trade publishing – selfpubbing is a very hard small business to open and run and you need to be even more professional and informed to do it well and make any kind of profit.)
  • If the answer is yes, you still want an agent, then I would recommend putting that book in a drawer and starting a new one. That first manuscript can always be revised and revived later. And you probably learned so much from writing that first book that your next one will be a hundred times better. But for now, stick it somewhere that’s away and move on, and try again. And be heartened by knowing that pretty much every author has a “trunk book” that didn’t get them an agent – a lot of people get agents on their second or third manuscripts. I know an author who got an agent on her eighth.

The Acceptance

  • If an agent likes the sample of your manuscript you sent per their instructions (the “partial”), they will likely ask for a “full” – meaning the whole book. They may also ask for things like market comparisons or series pitches. Don’t worry, if you’ve created your full Pitch Package, you’ll already have that stuff ready to go out. I always recommend taking a day or two before replying to give the manuscript a quick re-read to catch any last-minute typos or glaring errors, and then sending on the manuscript.
  • If the agent likes the full book, they’ll likely ask for a phone call to have a chat with you. This is to see how you communicate together, check if you guys are on the same wavelength, and to give you the opportunity to ask questions. Don’t be nervous – remember, this is as much about you deciding if you can work with this agent as them evaluating you in return. Have a list of questions for them, and note down their answers. Things like whether they’re more of a hand-holder or if they have no interest in being part of your emotional support network, just your business one. Whether they like to offer editorial advice on your new books. Whether they like your ideas for some other novels (again, they’re in this for your whole career, not just this manuscript). Whether they’d be open to meeting in person regularly. What kind of deals they’ve closed in the last year. Then thank them for their offer and let them know that you’re interested and will get back to them with your decision.
  • You don’t have to decide right away. I mean, obviously don’t take too long a time to decide, but give yourself breathing space to review your wants and desires in an agent against what this particular agent is offering. Maybe reach out privately to some of their other clients to see how happy they are and how the agency runs from the inside. Check the agent against Writer Beware and look them up again on DuoTrope and Absolute Write, and Query Tracker. And if something feels off, or if you don’t like something and want further clarification or explanation, address it with the agent. Email them, or ask for another call.
  • You are under no obligation to say yes. Let me repeat that: you are under no obligation to say yes. If you don’t like the offer or something just isn’t jivving, you can say no.
  • Once you have said yes, your agent will send you a contract. Review it carefully, ask for clarification on things you don’t understand, and feel free to discuss amendments with your agent if you feel they’re necessary. Be aware that if it isn’t in the contract, it’s not something your agent is obligated to provide to you – like help doing your taxes as an author, or financial mentorship if you get a large advance. If you want that information, you need to ask for it, and your agent will point you in the right direction.
  • Once you’ve signed, you’ll be an official client, and they’ll likely make an announcement.
  • Celebrate!
  • And then get down to the hard work of getting that manuscript you signed with ready for submission to publishing houses. Communicate, communicate, communicate. As with any relationship, this is the key to a happy future career and a great team effort between you and your agent.

Is there another way to do this, without going through the submission slushpile?

Sure!

I didn’t get my agent through the slushpile. (Though pretty much all of my authorfriends did.) While I was querying agents, I met an editor at a convention and accidentally pitched her my novel Triptych at a room party. At that point I’d had about 20 agent rejections, as well as some publisher rejections as I’d submitted to some small/indie presses that didn’t require submissions to come through an agent.

The editor wanted to read “Triptych”, and eventually rejected it. But she allowed me to try again when I asked her if she’d be willing to let me resubmit after revisions that addressed the reasons why she rejected it. She did, I rewrote, and she signed the book. Many things happened with the book – Publisher’s Weekly starred review, Lambda Literary Award nominations, film adaptation offers, named Best Book of the Year by PW – and I realized quickly that I needed an agent ASAP to help me navigate this new reality.

Through that editor I got some agent recommendations. I also had a few contact me, to ask me if I was looking for representation and asking for the chance to have a chat. I had another book completed at the time (what would eventually become “The Skylark’s Song“), and I used that manuscript to submit with.

I narrowed down my choices to three agents, and got on the phone with each of them. All three more or less offered to represent me. The first, I declined because talked over me the whole call, didn’t listen to what I said, and was frankly kind of a ditz. The second said she’d give me a conditional offer of representation, provided that I revise “Skylark” first with her notes. The third said he’d like to take me immediately and work with me on the “Skylark” revisions. I spoke again to the second agent, and she advised me that if the third agent was keen enough to sign me before he saw the revised manuscript, I should likely sign with him. So I did.

I found out later that agent #2 was mad at herself for “letting me get away”, but not to worry. Turns out the agent I signed with and I had a terrible relationship (he was the one that contact me, and remember, this was before there was really any presence of agents on social media so I didn’t really know much about him), and I eventually ended up leaving him for agent #2.

You can also meet agents by attending pitching sessions at conventions and conferences (this is why you need to read their website – it will tell you where and when they’ll be). In-person-face-to-face pitches can be nerve-wracking, but with your Pitch Package you’ll have already done all the hard work on figuring out how to talk about the book. All you have to do no is memorize some of the info (the elevator pitch, especially), and practice controlling your nerves. And agents are aware that you’re nervous, and are there to see you succeed. No one will judge the quality of your novel based on the the quality of your ‘performance’ while pitching.

I would very much caution you, though, not to try to casually pitch the agent at the conference bar or networking party, unless you have already had a good conversation with them and they seem open to it. Don’t make them work when they’re trying to relax, it’s annoying.

If you do want to pitch them in these situations, I’d say something along the lines of, “Hey, listen, I’m really enjoying this conversation and I think we might work well together. Do you mind if I send you an email later to pitch you my novel?”

They may give you a card and say yes – remind them in the email where and how you met them, when you send them your cover letter. They may say no thanks, and you have to respect that because no amount of bullying to let you pitch them will endear them to you or your work. They may ask you to pitch on the spot (always memorize your elevator pitch!) The point is to let them decide if they are comfortable hearing about your book now, or if they prefer a different form of communication.

As I said earlier, each agent has their own way of evaluating pitches and you want to respect that.

For the love of those little baby ducks we are all now coddling, do not pitch in inappropriate spaces. I have heard horror stories of people slipping manuscripts under bathroom stall doors while agents are peeing. Are you kidding? That is not how to start a professional relationship!

You may want to look into online contests as well, like #PitMad or #PitchWars on Twitter, or blogs like Miss Snark’s First Victim which holds a few Secret Agent contest every year, or any number of hundreds of other opportunities. Your local and online writing community friends will have resources and suggestions, if you ask.

There’s more than one way to find and sign with a literary agent, and I encourage you to look at all the possible options and read lots about different author’s experiences.

Good luck!

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Still have questions? Read more WORDS FOR WRITERS posts here or ASK ME HERE.

JM FreyWORDS FOR WRITERS: How Do I Get An Agent?
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WORDS FOR WRITERS: How to Plan a Series

WORDS FOR WRITERS: How to Plan a Series

I know I’ve discussed this little a bit in other articles before, but I wanted to talk specifically about the process of plotting a multi-book narrative. And how to make the ending satisfying because, from an emotional standpoint, this is the moment both you and your audience has been waiting for – the time when all the hints, all the adventures, all the hard work and suffering your characters (and you!) have gone through pays off.

First, let’s talk about the logistics of a series from a career point of view.

When do I start planning the series?

This is a complicated question because, depending on where you are in your career and in the book-writing process, the answer will be different.

If you’re an already-published or already-represented author, then you’re likely already quite familiar with the process of pitching a book to your publisher/agent. Pitching a series is not much different, except that you’d need to write a synopsis for all the books you plan to write in the series, and create a pitch document for the series as a whole, as well as for each individual book.

If you are querying agents or publishers for the first time though, it’s a different process. The first thing I would recommend you do is not write the series.

This seems counter-intuitive, if you plan to pitch the book you’re querying as the first in a series. But trust me. There are reasons:

  • What if the agent/editor/publisher comes up with something better? In discussing a novel with you, inevitably – if you are talking about doing a series – someone is going to say “So what’s happening in book two? What if you do XYZ?” and it’s very possible that this new idea might be a stronger choice or provide a more interesting outcome. In that case, you’ve wasted what is probably years on writing something that you may end up scraping.
  • You’re writing into a void, and without guidance. Your writing will improve as you work with your editor/agent on your first novel. Everyone would rather you wrote book two after having done all that work with your editor/agent, because it will inevitably be a stronger, better-written manuscript. It’s much better, and so much easier, to write a strong first draft than have to go back and rewrite a weak one. Or a whole series of already-written books.
  • Things can change in edits – a small change in book one can have a ripple effect in all the rest of the books, which can open you up to the risk of terrible continuity errors in later books, or even whole swathes of plot points or character moments that will need rewriting.
  • What if they don’t want the series, and only want the first book? It happens. (It also happens the other way around, too – the Accidental Turn Series was never meant to be a series, and I had never planned to write more than The Untold Tale.) They may ask you to put a less open ending on the book and just wrap it up, so there’s no further story to tell.  In that case, you’ll have wasted your time on the other books in the series, which can’t be published because your publisher likely has right of first refusal on works set in that IP, and has refused them. 
  • Your publisher may want to wait to see how book one does before investing more time and money in further books with you. And they may only want one or two more – even if you planned, say, five. You may need to restructure your story ideas to fit a smaller, or larger, number of books. It’s much easier to do that if the books don’t exist, because you don’t have the pressure of trying to make what already exists either squash or stretch.

So how do you get across to a publisher/agent that you’re querying that this is meant to be the first book of a series? These are the nine most important words for pitching a series: “This is a stand-alone novel with series potential.”

So what does that mean? It means that 1) you have to write a book that is fully contained, with a satisfying ending in and of itself, 2) that has enough plot seeds sown and open points where future plots could anchor that it could be the first of a series, 3) but not so many that if those seeds never get to grow or those open points remain gaping, it feels like a cheap and unsatisfactory ending. Think of it as a made-for-tv-movie that is also a back-door-pilot. If the MFTVM does very well, the producers may spin it out into a TV series. If it doesn’t, it remains just a movie. So it has to be both satisfying and stand-alone, but also useful as a kicking-off point to a longer and more involved narrative.

What’s different about writing a series?

The first, and most obvious difference between writing the books in a series and any other stand-alone  book, is that you have to draw the story out, and then finish what you start. Everything you set up, hint at, or have happen in previous books has to work toward the final climax scene in the final story, while also still providing satisfying novels individually.

It’s a lot to remember, and a lot to make pay off. (This is why I have a whiteboard wall and a pin-board in my office, so I can keep notes to myself about things I seeded when I started book one). 

And on top of that, you need to avoid Mushy Middle Syndrome – that is, writing books that happen between the first and last novels in the series that are clearly just made up of filler.  Each individual book in the series needs to be a whole story itself as well as part of the structure holding up the bridge of the overall narrative, and just as strong (ideally stronger) than the first book in the series.

 But how can you not only do this, but do it well?

As a Pantser at heart it pains me to say it, but the best way to make sure your foundation is solidly laid (and that you won’t have to go back and rewrite huge swaths of earlier books), you’ll need to Plan. At least a little.

As a trained playwright and screenwriter, I personally choose to write my books according to the three-act structure. 

Writing a book with the three-act structure generally looks like this:

When writing a series, each book will be structured to have three Acts.

BUT, when you are writing a series, (let’s say a trilogy for simplicity’s sake), each book itself becomes an Act in the narrative of the whole story.


So when you’re planning each book, not only do you have to write a whole, complete, compelling novel in and of itself (with no saggy middle book!), you also have to ensure that the tale you’re telling in each individual novel serves the overall narrative as well. Which means the final book in the series will be especially fussy to plan, because it must function both as a stand-alone novel, but also behave like the third act of the series and wrap everything up satisfactorily, and in a way that is not rushed.

To complicate things, you need to figure out what kind of story you’re telling, and what the structure tropes are for that particular narrative style. Going with my above example, The Accidental Turn Series is about a quintessential Tolkien-esque fantasy hero who never knew he was the main character all along, so had been acting like a sidekick. As such, each book follows the Hero’s Journey narrative map, while the characters deliberately attempt to escape from the Hero’s Journey cycle:

So each individual book looks like this:

But when you blow it out into the full series, the Hero’s Journey for each book looks more or less like this:

As you can see, some of the narrative beats overlap, because if there was a clear division between books, it would mean the first book has no real ending, the second book is filled with adventures that don’t culminate in any kind of climax, and the third book would be mostly denouement and return. So you do need to balance where the Revelations happen, how often, and how they drive the plot of not only that particular novel forward, but that of the whole series.

Now, this isn’t a hard and fast rule, or the only way you can divide up a series.  For The Skylark’s Saga, as a two-book series, I organized it like this:

Which meant a lot of conversations with my editor, a lot of scribbling on that white board, and what turned out to be a whole heck of a lot of rewrites, as the original ending wasn’t strong enough to finish off a duology and we had to reformat the final act of book two a few times.

No matter how you plan to plot your series, knowing which story structure you plan to use is vital, so you can mirror that structure into the layout of the series as a whole. Beyond the Three Act structure, This article offers a few more options for how to layout the narrative foundations of your novel.

For my next novel, The Maddening Science, (which is going to be a stand alone), I’m venturing away from both the Hero’s Journey and the Three Act Structure. I’m not sure exactly which model I’ll be using, but Steve Seager lists some other fascinating possible story structures that I want to explore in more depth before I swing into this novel for NaNoWriMo

I’m also really into the way Alan Moore structured the overall graphic novel Watchmen. I’m enamored with the idea of seemingly disparate stories coming together to create a solid understanding of the world and a shocking realization as the climax is playing out. All the different tales come together in the end to form one picture – like different coloured threads knotting together to form a friendship bracelet – and that is what I’d like to explore in terms of storytelling next.

Shall we call this the Woven Structure? Maybe let’s see if I can make it work before we name it.

The point is, no matter which structure you use, having a solid understanding of how it works, and which beats you’re going to put in which books, is an extremely important part of planning a book series. Mapping the structure of the novel onto the series as a whole is a simple (if brain-knotting) way to ensure that the series conclusion is not only satisfying, but gripping.

Okay – so we’ve talked the plotting.

But what about the emotional payoff?

So here’s the meat of series. You have to satisfy all the promises you made in the prose of the previous novels.

I’m not saying this means you must create Happily Ever Afters for all the heroes and Come Uppances for all the baddies. Nothing so trite. I am saying that you have set up expectations in the prose that things that are brought up, actions that occur and events that happen, will be resolved.

For example, Lucas couldn’t just tell the viewers that Darth Vader is Luke’s father and then not address it in the later movies, and not resolve Luke and Vader’s relationship in the final climactic battle. It’s a revelation that promised satisfaction to that emotional arc, even if viewers had to wait for the next movie for that satisfaction.

There’s also this article on how to use the Chekhov’s Gun approach to plant promises in your text, and explains the concept in further detail. But it boils down to this – make sure you’re closing all the doors, tying up all the loose threads, and addressing all the questions. 

Again, this doesn’t mean you need a seven-chapter denouement or an explanation of what happened to each character as the adventure ends. It just means that the ending you choose to give the novel has to end the series well, and leave readers content with the information that you chose to impart, and a feeling of being happy with knowing all they know.

As a big fan of fanfiction, I’m also okay with writers not closing every plot off. It is nice to have space to think about what might happen next, especially with side characters whose endings might not have been explained in greater detail or happened off screen.

To make sure I don’t miss anything like this, every time I make a Big Promise in my novels, I write it down on my whiteboard. Example: “Kin and Bevel have to talk about Bev’s desire to be a father / possibly agree to have a kid?” This was brought up in book two of The Accidental Turn series, as well as in the novellas Arrivals and Ghosts, in the short story Health, and the final novel. This promise was satisfied in the novella Magic, and finally tied up in the short story Pride (all of which can be found in The Accidental Collection).

These don’t have to be detailed notes – just a scrawl on the wall is usually enough to remind me when the time comes. And who doesn’t like checking things off a list when you’ve accomplished it?

There are lots of ways to make sure your final book packs an emotional punch. I asked fellow writers on Twitter to chime in, and these are the tips they offered:

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Still have questions? Read more WORDS FOR WRITERS here or ASK ME HERE

JM FreyWORDS FOR WRITERS: How to Plan a Series
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WORDS FOR WRITERS – How To Write a Synopsis

WORDS FOR WRITERS – How To Write a Synopsis

Having to write a synopsis is the single worst part of being a writer. THE WORST.

I see you “tagged in a negative review on Twitter” and I raise you “having to condense 80k words worth of my beloved precious lyrical story baby into a summary.” Bad reviews happen, but they happen to you, they are not of your doing. But a synopsis? This is a torture you must visit upon yourself.

(Can you tell I love writing these things? Ha!)

Okay, seriously, a synopsis is hard. But you know what?

A synopsis is the most valuable tool in your pitch package.

I promise. Really.

Beyond being a really great intellectual exercise for you as a writer to use between drafts (“Does the book I actually wrote match the book I think I wrote?”), a synopsis is an invaluable tool by everyone else on your publishing and marketing teams too.

How?

  • If you are unagented, potential agents use them to assess the quality and content of your story, and of your ability to use writing as a medium to communicate. It helps them decide if this is a novel they want to try reading, or something they’d like to pass on.
  • If you have an agent, then the synopsis helps them have a blueprint of the story you’re trying to tell, so they can help guide you through revisions. It also becomes a valuable part of their own pitch packages for publishers.
  • Publishers review the quality of your writing and your stories to see if they’d like to read your book and / or sign it. Editors use it as when their pitching to their higher-ups in favor of signing you, and also to extrapolate potential series value. And like an agent, they use it as an outline for guiding revisions.
  • The marketing team at your publishing house uses it in their packages to entice reviewers, as the basis for blurbs and press releases, and to help craft back cover copy and ad copy.
  • Reviewers sometimes read the synopsis for the first book in a series if they’re asked to review the second, so they know what happened in advance. They may also refer to a synopsis after reading a book to help write their review.
  • The synopsis is sometimes given to moderators, speakers, and interviewers who won’t have the time to read the whole book before engaging with you for press.
  • Adaptations agents / entertainment agents / producers and screenwriters, and anyone else working on any sort of adaptation of your work may use it in their own pitch packages, or as a guide for what you the author consider the spine of the story, and all the same reasons literary agents do.

So, it’s really important.

It’s also important to know what we’re talking about when we say “synopsis” here. Sometimes the term ‘synopsis’ is mistakenly used interchangeably with Back Cover Copy or Pitch Copy or Hook Copy to mean the small paragraphs on the back of a book or in marketing materials.

A synopsis is actually a 1 to 5 page summary of all the major characters and events that happen in the book, including the ending (surprise your readers, not your agent.) This isn’t the ad copy you use to hook a reader, this is the full narrative laid out in easy to read language.

Sounds a lot simpler than it is, because it’s often difficult to figure out which parts of the narrative should be mentioned in the synopsis, and which shouldn’t.

Here are my biggest synopsis-writing pieces of advice:

  • Echo the voice of the book.
    • A synopsis is commonly written in third person present omniscient (“Bilbo Baggins is a hobbit of the Shire”), but can sometimes work in another tense and POV. 
    • Most importantly, use the same words, the same style of sentence structure, and the same idioms as your narrator or main POV character. The book should sound like the synopsis. 
      • Example – Book text: “In a hole in the ground there lived a hobbit. Not a nasty, dirty, wet hole, filled with the ends of worms and an oozy smell, nor yet a dry, bare, sandy hole with nothing in it to sit down on or to eat: it was a hobbit-hole, and that means comfort.”
      • Example – Synopsis text: “Bilbo Baggins is a gentlehobit of good breeding, and he, like the rest of his kind, is very much not interested in Adventures, thank you very much. They are nasty things that make one late for dinner. So when the wizard Gandalf the Grey arrives at his doorstep with thirteen dwarves looking for help reclaiming their lost homeland, Bilbo is more than a little miffed.”
  • Create three different versions in three different sizes, and write the longest version first.
    • Write the 5 pager first. It’s much easier to trim down than pad a synopsis, so get it all in the big one first. Then trim to 3 pages, so you have that version on file. Then trim to 1 page. By then you’ll know what’s the really important stuff.
    • Start by writing a character/story introduction paragraph.
      • Basically, “this is who the character is, and where they are in the world and in their life, and why the following events will be welcomed/hated/a burden/etc.”
    • Then, ignoring the length of the synopsis for now, write one summary paragraph per chapter in the book.
      • Sometimes all the events in a chapter need three or four sentences, sometimes it needs just one.
      • Be clear about motivations. Not just “Bilbo doesn’t want to be seen with the dwarves,” but “Bilbo is embarrassed to be seen with raucous, rowdy dwarves while within the boarders of the Shire, where his reputation as a staid and reliable gentlehobbit is at risk.”
    • Then write a final conclusion paragraph that explains how the world and people in it have changed as a result of what they’ve experienced. 
    • If you go over 5 pages, go back and start tightening it up.
      • Decide if every event needs to be reported, and cut those that don’t.
      • A good rule of thumb for this is to only include events that directly effect the outcome of the climax, or directly effect the main character’s emotional arc.
  • Focus on Cause and Effect.
    • Lay it out as: THIS happens and as a result, THAT happens, and as a result THIS OTHER THING happens. Show the reader how the plot interlocks, one action after another, and how they all build to their inevitable climax.
  • Also focus on Character Growth.
    • Zero in on the lead, and maybe one or two side characters.
    • How have these events changed these people, their beliefs, and their perspectives. Tell us where the characters end up.

And remember, however difficult it may be to distill your baby down into so few pages, it will totally be worth it in the end. Polish, refine, get beta readers, and work your synopsis just as diligently as  you do your book, and I promise you won’t regret it.

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Still have questions? Read more WORDS FOR WRITERS here or ASK ME HERE.

JM FreyWORDS FOR WRITERS – How To Write a Synopsis
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WORDS FOR WRITERS: How do social media and writing/publishing work together?

WORDS FOR WRITERS: How do social media and writing/publishing work together?

Today’s topic suggestion comes from author Tina Chan. Thanks, Tina!


Okay, okay, so we’ve all heard it before – you need to get your social media in order if you’re going to be a writer in the 21st century. Here is something to keep in mind when you finish your book and start the process of querying (either to publishers or agents), or alternately begin the process of self-publishing your book: You Will Be Googled.

There’s lots of great articles out there about How To Win At Social Media (and how to make sure that when you are Googled, what potential publishing connections find leaves them with the best impression of you as a writer), so I’m not going to repeat that advice. Instead I’m going to dig down a bit and answer the WHY.

WHY must you Win At Social Media as a writer? Why must you use it at all?

What’s the point?

Why can’t we all just live in our little cabins in the woods and worry only about the writing part of writing, and let the publisher’s marketing team take care of everything else? Why must we be as accessible and as for sale as our books?

Well, partially because that’s how it’s always been. For as long as books have existed, the author has been held up as a selling point as much as the tale itself. This is part of being a published author, like it or not.

Jonathan Swift’s Gulliver’s Travels sold well not only because it was an enchanting (and moralistic) tale suited for the children of the upper classes, but also because of his connection with his intensely private patroness, Henrietta Howard, and the gossip people loved to spread about them – and he didn’t quite deny. Beatrix Potter was unaware of her own early monetary success but was a consummate storyteller who entertained at parties, and who had family and friends clamoring to know what the next book was about and telling their friends. Charles Dickens did speaking tours, and was as known for his critiques and the weekly journal he edited for decades and his time in facinating prison as much as his novels. The Claudine books may never have done as well if they had originally been touted as being written by Colette instead of the scandalous, society-going, gossip-magnet Willy.

Each of these writers used their social influence to sell their work.

Writers always have; writers always will.

But we have an advantage that Jonathan, and Beatrix, and Charles, and Colette & Willy didn’t – we have social media to help us. And it’s free. (After factoring in the cost of devices, internet access, and software licences, of course).

Paid ads and print placements still exist, but while social media marketing can be fast-paced, exhausting, and sometimes frustrating, unless you elect to pay for digital ads, the only cost is in sweat equity.

And it comes with some distinct advantages that old school marketing doesn’t:

  • Social media is in people’s faces all the time. Our phones are always in our hands. More people scroll through social media on their commute to work than read the newspaper. Your marketing efforts – be they paid placed ads in a feed, or a conversation in comments, or an article you posted, or a call to action tweet – are literally right at their fingertips.
  • Again, it’s free. Unless you’re electing to purchase ads or specific software (and in the world of apps and startups, you can usually find something that does the equivalent of what you need – or at least close enough – without the high price tag. e.g. Canva vs Photoshop.)
  • It can be automated – thanks to Hootsuite, MailChimp, and other similar platforms.
    • You can spend a day setting everything up and let the automation handle posting at the right times, on the right dates.
    • There are now hundreds of low-cost promotion services as well, which will handle promoting your book to their feeds and newsletter subscribers, operating your sales and giveaways, arranging blog tours, etc. If you’re in the financial position for it, consider farming out the flogging. (Just check that they can actually do what they’re claiming, beware of extravagant promises, and review WriterBeware before you give any of them your money.)
  • Contrary to what common Social Media best practices teach us, the internet is a great place to provide long form advertisements and advertorials, as well as a place to provide whole or excerpts of short stories and books.
    • Lots of people are more inclined to buy a book if they have the chance to read some of it first, or at least get a sense of a writer by reading longform posts.
    • Most people only watch the first 5 mins of a video or read a 500 word blog post. But because there is actually no time limit on the internet, you can make your blog posts and videos as long as you personally want.
    • This also means you can post whole bundles of text as well – full chapters, long scenes, whole novellas and short stories. Obviously you can’t do it directly on social media, but you can link to places where the stories are hosted – Wattpad, Inkitt, Tapas, TappyToon, Archive of Our Own, Webnovel, RoyalRoad, Gravity Tales, etc. or even your own blog. It will be less discoverable on your own blog, but the links to the buying pages are right there on your own website.
  • Social media is a great place to build a rolling campaign or build groundswell – it’s much easier on social media than in traditional print/TV/radio marketing to start dropping hints every day of an upcoming project to build interest and speculation (for example, Taylor Swift’s lead up on Instagram to the drop of her music video “Me!” – though this may be a case where leaving room for too much speculation bit her in the nose. Some fans were very disappointed when they realized it was just a music video drop and not a clothing line, or that Swift was planning to come out as bi.)
  • It’s a great way to establish and reinforce your brand.
    • For me, that’s trope-challenging writing, academic-style engagement with fandom topics, and literary-style prose in a SF/F world. I carry that over into my social media and marketing by talking about those very things, yes, but also by engaging with other media that tackle those topics the same way – movie reviews, book reviews, current events, etc.
    • It gives you a place to do more than just shout about your books desperately (nobody wants to be around desperation), and instead provides you a subtler way to market your work by interacting with people. As my agent is fond of saying, Twitter is a Cocktail Party – keep it light. Talk to others. Engage, engage, engage. Build your audience organically.
    • It also provides you the ability to invite people to view (a curated) slice of your life. You can give people a peek into your wiring processes and behind the scenes.. You don’t have to TMI or share everything, but look, I follow Neil Gaiman as much for info about his books and series as I do for behind the scenes shots of David Tennant being a devilish goof, and Neil’s bees and dogs.
    • BRANDING. I keep the color palette of my social media sites, posts, headshots and website consistent so it’s obvious all of this combines to make the person who wrote those books.

Outside of the advantages that Social Media provides you in Marketing your work, it also straight up makes it easier for you to be a productive writer (if, you know, you can ignore the siren call – ironically – of social media). You can:

  • Find new writing software that works for you. I wrote Triptych, the first draft of The Skylark’s Song, and my first screenplay in Microsoft Word because that’s what came free on my computer when I bought my first laptop. And there was So. Much. Scrolling. UGH. I have since discovered Scrivener for novels (oh my god, I never write chronologically so the binder feature is so damn useful), and I have adopted CeltX and FinalDraft for comic and film scripts (intuitive formatting! Auto-fill production binders!) I know other authors who dislike Scrivener, and use something else, and screenwriters who hate FinalDraft. The point is, finding a software that works with the style of writing you do means that you’ll spend more time creating and less time futzing.
  • Collect media
    • Create an inspirational Pintrest board
    • Create writing playlists or inspirations playlists on Spotify, 8Track, etc.
    • Track articles and images on Tumblr
  • Find and contact festivals, events, and conventions. There’s something happening every weekend, all over the world, and you can find information about the events all over social media by following hashtags, groups, or simply asking.
  • Easily join social media contests (like #Pitchmad) that help you get your work in front of agents and editors.
  • Research and submit to festivals and writing contests.
  • Join writing motivation communities like NaNoWriMo or join in on impromptu or organized word sprints voa tracking hashtags or joining fan groups, writing groups, or lists.
  • Easily access research materials
    • GoogleMaps
    • Special Collections
    • Academic Articles
    • Book Excerpts
    • Blog posts and social media of subject experts like pediatricians, law enforcement officers, and historical textiles scholars (and the email addresses or DMs of said experts if you approach them politely).
  • Find or build your own writer’s community
    • Websites offering curated groups or circles
    • The ability to find and interact with beta readers and sensitivity readers
    • The ability to talk to other writers and ask questions, like at AbsoluteWrite, Duotrope, or WriterBeware but also by following hashtags like #writerscommunity or #amwriting
    • The ability to build organic groups of beta readers and critique partners through chatting with one another via social media.
  • Accountability – if you tell people about the book publically then you have to finish it, right?
  • Gives you the chance to build groundswell readership – publishing sites like the ones previously mentioned allow you to revise and rewrite a whole novel in real time based on reader feedback. (Pros and cons to that – I find it frustrating and stressful and disingenuous. Other writers find it stimulating, and exciting, and that it helps them produce their best work.)

And most importantly:

Social Media makes barriers of access permeable.

 

What do I mean by that?

I mean that Social Media has opened the lines of communication and access between authors and the people who buy their books. And authors and publishers. And writers and agents. And authors and reviewers. And authors and research materials. And authors and resources. And authors and their writing community. And, and and…

You can now talk and sell or pitch directly to readers, or book stores, or agents, or publishers. You can talk to other writers directly, or subject experts, or researchers.

It also means that people who traditionally blocked from this access (or had higher hurdles to overcome to gain access) due to their geographical location, disability, ethnicity or cultural background, income, etc. have more equitable opportunities and access to these same people and resources.

Social Media gives writers:

  • Direct access to publishers, editors and agents via
    • Organic conversations online, including the ability to ask clarifying questions regarding submissions or comment on articles or posts
    • Online Pitch competitions
    • Advice blogs and columns
  • The ability to share ARCS and review copies to a larger number of people, and  gives the actual audience and readership a platform to discuss a book, or trends in publishing, or tropes.
    • While there is immense value in trained critics and reviewers, there is also immense value in the audience speaking for itself. (Just look at how much Venom was panned by critics but embraced by the general audience. There can sometimes be a disconnect between what the critics hail as worth investing in, and what the audience does.)
    • This also has made the field more equitable in terms of which books get reviewed and what kind of buzz they garner. Selfpubbed or indie/small press publishers can’t always afford to (or even qualify to) submit to all of the big industry trades that require print copies to be mailed in, or require a fee. However, the rise in indie hobbiest book bloggers online means that a book can still be reviewed, making book review culture more of a meritocracy. Books with big financial marketing backing are now not the only ones that are being buzzed.
  • A megaphone and a platform for #OwnVoices
    • With direct communication with readers, agents, and publishers, those writers who have previously not had as much access to publishing opportunity or who were gatekept out of the community can speak up, and communicate directly with those who want their books.
  • Authors working with a disability – both physical or mental – can use social media platforms to have greater accesses to physical spaces (such as a library with lots of stairs but no elevators), or utilize software (like text-to-speech or screenreaders) to write, research, and pitch their novels. We can also use social media and new software technology to say, give a presentation to a school that our disability or mental health may keep us out of, or to read our book outloud to children on our behalf, or to take meetings without having to navigate travelling to the agent or publisher’s home base.
  • It also makes accessing research materials, locations, maps, images of places, and speaking face-to-face with agents/publishers/fellow writers without having to travel easier for authors at a financial disadvantage or from a low-income background.
  • Utilizing story sharing sites like Wattpad allows writers to tap into not only a community of fellow writers and their shared experience, but also have the advantage (dubious or not, as I mentioned above) of getting real-time feedback and critiques from the readers themselves. They provide the ability to workshop and live-edit a story as it’s being written.
  • As the resurgence of episodic storytelling like Game of Thrones has proven, humans love cliffhangers and ongoing stories and the joy of guessing what comes next. Social media allows writers to return to the early print publishing tradition of serializing a story – dolling out parts week to week, or month to month, without the increased costs of physically printing all those little chunks.
  • Allows authors to give things away to readers more easily – to find and reward those readers who like swag, prizes, letters, personalized emails, copies of their books, etc.
  • And it allows readers to give authors things (fanart, presents, feedback, thanks, letters, etc.) more easily as well.
  • Allows readers and fans easy access to author’s appearance schedule, and one that can be kept up to date more often and more swiftly as well.
  • Gives writers the ability to run a Fangroup or website for other people to discuss topics around your work with one another, like the fan groups and trade magazines / fan zines of old but more interactive, with a microphone for everyone.
  • And lastly, it connects writers directly with people who are willing to be sensitivity readers, and a much easier way to find them.

So while the lure of Tumblr is great when you’re in the middle of writing stall, and you may lose enough productive house to Instagram that you curse social media for ever being invented, remember that there are a lot more benefits to having it as a writer than not.

But don’t just take my word for it.

I asked my authorfriends way they used of social media, and they replied:

Alex White: Social media is how I got off the ground, making my contacts and creating an author brand. I use social media as a way to interact with fans, create community, and so on. And I’m pretty sure that’s despite my being terrible at it!

Alexandra Perchanidou: Asking opinions during research/drafting, research EVERYTHING that has to do with plot, depending on the world building. [Social media also provides you access to] Mentors: following the life/career of any author you aspire to emulate and learning from them without having a formal mentor/mentee relationship.

Wendy Lynn Clark: Co-workers: if you are full time writing, social media is listening around the water cooler to news, trends, etc. They will also celebrate your successes and empathize with your failures.

‘Nathan Smith: Social media allows networking from within marginalized identities on a much, much easier level than before—I can find other queer writers, readers, publishers, editors, cover artists, you-name-it, and bypass (some of) the frustrations of being queer in a non-queer environment. It also allows those voices an opportunity to have virtual meetings/discussions/dialogs that are so plentifully found in places like cons/festivals/events, but rarely inclusively.

Mike Perschon: Social media made my career, insofar as publishing and presentation opportunities. I’ve only once had to submit an article for publication. Every other publication I’ve made, and many events I’ve attended as a guest-of-honour or keynote came to me via Twitter or my blog.

Derwin Mak: Social media was helpful for me in that there are Facebook groups about anthology calls for submissions, and that’s how I found out about some markets. I’ve also seen writers develop a certain type of online personality to appeal to an audience, that is, selling the author as a personality/celebrity versus selling the book itself. However, I’m not convinced that going on social media to develop a reputation as a certain type of personality actually helps to sells books. Some writers aggressively pursue a left-wing persona, and some writers aggressively pursue a right-wing persona, and they get plenty of likes and followers (and dislikes and trolls), but how many of those followers actually buy their books?

A.J. Phoenix: Wow. Loaded question. There’s so many ways in which I know social media helped me. In fact, given that I go by a few nom de plume, I’m not sure I’d be an author if not for the internet. I was able to test out my original, unedited work with audiences over social media. I built my own community/brand, email list, and ARC team through social media. I met and learned from other authors in my genre because of social media. I learned how to advertise through the internet and social media. The list goes on. I’ve only touched upon the tip of the iceberg of what social media can do for an author.

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Still have questions? Read more WORDS FOR WRITERS here or ASK ME HERE.

JM FreyWORDS FOR WRITERS: How do social media and writing/publishing work together?
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