Never Do Your Own Cover Art. Unless You Want To.

Author Pic 2016-smallerThe continuing saga of KK’s quest to conquer Kindle Scout.

Last time, I talked about Kindle Scout, a book I wrote, and my decision to see what I could accomplish by trying out the program. In order to submit your book to KS, you need to have 1. A book. 2. A cover. 3. Lots of editing and formatting shizz. This post is going to cover number 2—the cover. And my apologies in advance—it’s a long one.

FIRST: If you'd like to Scout a book, here's one from an online acquaintance of mine. Moonlight's Peril, by Ashlynn Monroe.

One of the first things self-publishing gurus tell aspiring self-publishers is, “Never make your own cover art.” This is probably a good piece of advice. Unless you want to make your own cover art, and are willing to put in the due diligence to make one that doesn’t look like you put it together in MS Paint (unless MS Paint is an important theme of the book, of course [sets aside plot bunny for another day]).

So…confession time. I do my own cover art. Some of it is stanky (and is on my list to be redone). Some of it is, in my own humble goddess-like opinion, not too damn bad. Why do I do my own art? Because I like doing my own art. I like learning about graphics and Photoshop and Canva and GIMP and whatever else. For the most part, I enjoy the challenge and the process.

I learned to use Photoshop making Buffy the Vampire Slayer and Angel fan art. I made wallpapers with half-naked (and sometimes totes naked) David Boreanaz on them because it made me happy. And I learned a lot. When I started self-pubbing, I used those skills to start making covers. The first few I made—not so hot. But I started learning. I have a friend who works for the cover art department at one of my publishers, and she vets my work. My daughter is about to become a photography major, and has a great skill and eye for art. My college-age son has been making computer graphics for ages, and also has a great eye for art. So they give me feedback, too. Which leads to feedback like, “Mom, her face looks like it has a tumor on it,” and “No, those colors look like three-day-old poop.”

That’s the kind of feedback you need for this kind of venture.

So what do you need to make your own covers aside from somebody—preferably multiple somebodies—to tell you when your painstaking work is a piece of crap?

1. An idea of how cover art works. There’s all kinds of advice on the internet about how to improve/create cover art. My current favorite guru is Derek Murphy, from creativindiecovers.com. On his site, you can find templates, author tools, and even an online tool where you can create your own covers (I haven’t tried it, so I don’t know how well it works, but give it a go if you’re so inclined). He also has published a book on the topic, which has some interesting advice in it, much of which seems to fly in the face of the advice of other cover gurus. For example, Murphy says it’s not necessary to make the title big enough to read on a thumbnail, which you’ll find as the Number One Guideline for Proper Ebook Cover Art just about everywhere else. Since I’m super contrary, I figured this was the advice for me.

His templates are very cool, but they’re in Microsoft Word (!) and MS Word hates me, so I was unable to bend them to my will. However, I imported some graphics into one of them, got a general idea of what I wanted my cover to look like, then assembled everything in GIMP.

2. Some graphics software. I used Photoshop for a very long time, then I upgraded the OS on my computer and the old, old copy I had stopped working. This was very stressful. I swore a lot. Then I consulted my Tech Department (above-mentioned son and daughter) for recommendations. After some fiddling with various freeware packages, I ended up with GIMP. It’s free, and it does darn near everything Photoshop does, and with a similar workflow. (I still needed a tutorial from my son, who helped me with my cover for Lord of the Screaming Tower, but I’m getting the hang of it.) I recommend finding something you’re comfortable with, and then playing with it until you feel comfortable. Find online tutorials or a mentor-type to get you on your feet.

3. Some PICTURES!! Pictures are the most important part of cover art. Because cover art, duh. There are lots of places to find photos—istock photo, fotolia, bigstock, dreamstime, etc. Some pictures are pricier than others. My favorite price is free, so I’m going to talk about how to get free pictures you can use for your covers.

Firstly, though, you have to be VERY CAREFUL about this. Be absolutely sure you have the right kinds of licenses for your photos before you put them on your book cover. Some places, like morguefile.com and Wikimedia commons, are mostly public domain, but still be sure to read the fine print. Some pics at both these places require you to change the picture, or require you to credit the photographer. Don’t take shortcuts here—respect the photographers.

Anywho… Another way to get free pics, almost all of which will have the right type of licensing for book covers, is to wait for free trial memberships for major stock photo sites. I coincidentally was offered a free trial to graphicstock and bigstock within a couple of weeks of each other, and as a result ended up with close to 150 images for free. Once the trial is over, you just cancel, and then feel guilty every time they offer you another free trial (in all fairness, though, I’ve spent quite a bit of money at these sites, so I should probably chill). All the pictures I used for this cover came from the collection I downloaded during these free trials, and I have a bunch more that I grabbed with an eye toward future projects.

4. Fonts!! Never underestimate the power of a flippin’ awesome font. You’re probably good with two for a book cover—one for the title and one for your author name, possibly with an eye toward future branding. You can spend as little or as much as you like for fonts, from what I’ve seen. Again, I like free. My current site of choice is fonts101.com. They have a gajillion fonts, and they have a Font O’ the Day mailing list, and how cool is that?

You also have to look at licensing with fonts, so keep that in mind. If it says only for personal use, I’d suggest not putting it on a book cover. Look for fonts that are free for any usage or that specifically say free for commercial use. Or, of course, pay for the commercial upgrade if you really like the font.

That’s my basic how-to when it comes to covers. If you’re comfortable doing it, I don’t see any reason why you shouldn’t. If you’re not comfortable doing it, it’s probably better to outsource it.

So here’s my cover, if you’re interested in having a look-see. I’m fiddling with the eye/font color. If you want to weigh in with your favorite, feel free.

Call Me Zhenya-goldCall Me Zhenya-redCall Me Zhenya2

 

Trying New Things–Kindle Scout

Photo from Morguefile by semiphoto.
Pick your book--Before it's published! Photo from Morguefile by semiphoto.

Last month, I talked about trying new approaches in the aftermath of losing a publisher. Starting with this post, I’m going to talk about some of the new things I’m trying.

The book I’m focusing on right now is a full-length paranormal romance novel about spies who’ve been genetically altered to have special powers. The hero is a Russian werewolf; the heroine is an American super-brain. Together, they fight crime!

I wrote this book quite some time ago, then spent a lot of time editing and fine-tuning, but mostly ignoring it while I worked on other things that were already contracted. In the back of my mind, I always thought maybe I’d send it to the Amazon contest, or find some other semi-unconventional place for it.

Then Kindle Scout came along. This is a crowdsourced publishing platform—you put your book up, cover and all, and people vote you up or down for a publishing contract. Amazon’s editors then evaluate the books and pick the ones they want for publication. Publication is not entirely based on how many votes you get—KS is looking for well-written work that doesn’t require massive editing. (Although I've read in some of the links below that some authors have gotten editing as well as cover-art work from Amazon before their book was published.)

So KS ended up in the back of my mind, too. But when I finally decided it was time to do something with the book, I submitted it to a lot of traditional places first. I really felt it was one of the more mainstream-type books I’d written in a long time (HA HA HA HA I used “I” and “mainstream” in the same sentence pardon me), and might just have a chance with agents/publishers.

Apparently not. The responses I got were either, “This doesn’t suit our needs at this time,” or “Wow, I liked this a lot, but it doesn’t fit our line/paranormal isn’t selling right now.”

So, after numerous rejections, I decided to move on, and now I’m preparing the manuscript for Kindle Scout. I have some misgivings, but then I always have misgivings (“Do you really have sufficient justification to eat lunch right now?” “Are you sure you really need to stop what you’re doing and go to the bathroom?”). Aren’t you glad you don’t live in my head?

On to some meaty stuff:

Kindle Scout offers a good many pros and not many cons that I could see. The manuscript has to be unpublished—not even on a blog or Wattpad, for example. You also have to be sure you’ve done all the heavy lifting editing-wise, and you have to supply your own cover. Then, during the voting process, you have to run some marketing to get votes. If you’re chosen, you get an advance of $1500 plus Amazon’s marketing machine working for you. The contract is very straightforward, and outlines exactly what the conditions are for you to ask for your rights back.

If you don’t win—here’s where I was a bit surprised. To prepare for this, I started scouting books (4 out of 9 of my choices have gotten contracts—pauses to buff nails and look smug). If the book is NOT chosen for publication, a couple of things happen that I thought were actually pretty neat and author-friendly. First, if you subsequently publish the book through Kindle, Amazon sends out an email to everybody who voted for your book. So if you get, say, 300 votes but no contract, you can then Kindle-fy the book and all 300 of those people will be notified that your book is available. In addition, if you vote for books, those books stay on your Kindle Scout page. The ones that have been published on Amazon will now have a link to their buy page even if the book was not chosen for publication by Amazon. Now that’s a perk.

If a book you voted for is chosen for publication, you receive a free copy and are encouraged to read and review the book to further assist the author you voted for.

Some additional info can be found here:

Getting Ready to Go Scoutin’

My first step to prepare my book was to sign up for Kindle Scout and start scouting books to find out how the process works and also to check out what kinds of books are being submitted (gotta scope out the competition, natch). The KS page presents the cover, the first chapter or so of each book, a blurb and an interview with the author. I usually check the blurb, then read the first chapter until I nope out of it. If I don’t nope out before the end of the excerpt, I give it a vote. That’s my full process. I am lazy. And I’m still scoring almost 50%. (I actually have no idea how that fact is relevant to anything, but I’m still bragging about it. Because I can.)

The next step is marketing. Not for the specific book, but for everything else I’ve ever published. (Okay, maybe not EVERYTHING.) The goal here is just to get some additional people’s eyes on me. I’m focusing on my mailing list and my Facebook page. I also revamped my website (actually both websites, but the Elizabeth Jewell site isn’t as relevant to this effort). I’ve read several books and articles about marketing as a self-publisher. From those books, I’ve pulled out all the advice that’s common to all or most of them, figuring those are probably the most efficient and effective approaches (they’re also the ones that make the most sense to me). In the mean time, I’m also preparing the manuscript and the cover art.

I see I’ve run on quite a bit, so I’ll stop here. Next time, I’ll talk about the nitty gritty of getting a cover prepared and cleaning up the manuscript. In the mean time, go check out Kindle Scout on your own and vote for some books! It’s fun! I promise!

What Do You Do When It All Falls Apart?

Photo from Morguefile.com
Photo from Morguefile.com

What Do You Do When It All Falls Apart?

Cry.

That’s the whole post.

Okay, not really.

If you stick with this writing gig long enough, sooner or later everything’s going to fall apart around your ears. That’s not pessimism talking—it’s just the way publishing goes. Although, if you’re really, really lucky, maybe it won’t happen. Honestly, I hope it doesn’t. I hope somebody out there gets to have a happy, untroubled writing career.

I do know that person is not me.

I contracted my first novel in 1999, and since then I’ve had more publishers disappear under me than I care to count. Right now, I’m waiting to hear if Samhain Publishing is actually going to disappear or if there’s going to be another solution. I have seven books there. Weirdly, when the initial announcement was made that they were going out of business, I didn’t panic. Instead, I started thinking about options. I had a book out on submissions at the time, and within the next few days, it came back with yet another rejection. Which surprised me, because I really thought this was going to be a book with a wider appeal. Apparently not. But that’s life.

So what do you do when publishers disappear? When nobody wants to buy the manuscript you were sure was going to be your big break into mainstream publishing? When the manuscripts you do sell are selling in single figures on a reliable basis?

Well, you can quit. Or you can not quit.

Thing is, writers are the most stubborn creatures God ever invented. And if writing is your thing above all things, you’re not going to stop. You’re going to keep going. And going, and going, like that stupid bunny with the drum.

But should you keep going on the same path? Maybe, or maybe not. It’s my thought that if you start to feel like you’re slamming your head into a wall, then it might be time to reevaluate.

No, not quit. Reevaluate. There are so many paths to publication nowadays that it’s dizzying. If your quest to crack into traditional publishing is making you want to play in traffic, maybe it’s time to try something else. I’ve been focused on small press publishers, and I’m thinking it might be time to dive really hard off the board into the deep side of the pool of self-publishing. (Was that a good metaphor? It felt a little forced…)

So I’m reevaluating right now. I’m planning something new with the manuscript that was rejected (it’s been rejected several times). And I’ve got a few new projects that I’m thinking about tailoring to a focused self-pub effort. I’m also revamping my websites and trying to build some social media infrastructure to support those efforts when I get the stories finished. I’m also trying really, really hard to rewire my thought processes so I can set my goals according to what publishing is like now instead of what it was ten years ago. It’s a never-ending process.

So what should you do when it all falls apart? Cry if you want—sometimes it helps. Eat chocolate. Take a long, hot bath. And then get back to work.

Rigors of Research … by Katriena Knights

Knights_SummoningSebastianOne of the great things about writing is that you can use it as an excuse to research almost anything. String theory, exoplanets, the Alaskan bush, ancient Sumerian literature, conspiracy theories—you name it, it’s story fodder. In fact, I’ve been known to tweak a story plot specifically to give me a reason to read up on something I’ve found that looks interesting.

Sometimes I might take it a little too far… But heck, that’s part of the fun, right?

In my new book, due out August 5th, I researched something that’s interested me for a long time—the Tunguska event that occurred in Siberia in 1908. I first heard about it on The X-Files (I’ve learned a lot of things from The X-Files); in fact there’s an episode called “Tunguska.” (It’s part one of a two-part mythology arc sequence—“Tunguska” and “Terma,” but I digress.) In that show, the mysterious explosion is blamed on aliens (because of course it is), but in my book I’ve come up with a different explanation.

Interest in Tunguska has come into popular culture again since the 2013 meteor flyby in Chelyabinsk, also in Siberia. That gets into the story, too, although not in terms of mystical origins.

This all sounded pretty cool when I came up with it. Then I started writing the story and realized how much research I had to do. My characters spend time in Chelyabinsk, then go to Vanavara, which the nearest small town to Tunguska. In the process, I ended up researching the layout of Moscow’s main international airport, including reading Russian maps that showed where to find the Burger King as well as menu items from a couple of airport restaurants (including one where you can get a baked potato with crab on it). So the time I’ve spent learning Russian—which came about partially due to another book, which has a Russian protagonist—paid off for that one. Otherwise it might have been tricky to figure out what was on those potatoes, because Google Translate, while an awesome innovation, isn’t always the most accurate.

I spent a lot of time on YouTube, too, watching video tours of Chelyabinsk and Vanavara, and then on Google Street View, taking a tour of a pedestrian mall in downtown Chelyabinsk. All the time, I was thinking not only that it was a hell of a lot of fun, but that it’s amazing the kind of access we have these days to details we previously could only get by spending time in the places we want to write about.

That’s not to say everything in Summoning Sebastian is a hundred percent accurate. I’m sure I made mistakes. But I did the best I could, and I enjoyed writing the book. And, best of all, I was able to travel to Siberia without having to deal with the bugs.

Summoning Sebastian is currently available for pre-order from Samhain Publishing at a reduced pre-order price.

Stop by my blog for news on upcoming books and other ramblings, and follow me on Twitter.

~~~~~~~~~~~~~~~~~~~~~~~~~

Katriena Knights wrote her first poem when she was three years old and had to dictate it to her mother under the bathroom door (her timing has never been very good). Now she’s the author of several paranormal and contemporary romances. She grew up in a miniscule town in Illinios, and now lives in a miniscule town in Colorado with her two children. Visit her at her website or her blog.

Do Yer Own Thing

Xmas TreeBy Katriena Knights

Over the holidays, especially at Thanksgiving and Christmas, it seems like we get inundated with messages about how we “should” celebrate the holidays. What you’re supposed to eat, how you’re supposed to decorate, who you’re supposed to invite where—it gets overwhelming.

A few years ago, I realized Christmas was getting far too stressful for me, mostly because putting up the tree was so time-consuming, and the tree itself took up so much room. So we went out and bought a 3-foot-high, purple, pre-lit tree. My daughter decorates it every year with pictures from whatever fannish thing she’s into that year. This year it’s a Sleepy Hollow tree, and instead of regular Christmas lights, we have jack-o’-lantern lights hung among the stockings. We’ve had a Luigi tree, a Teen Wolf tree, and an Assassins’ Creed tree.

This year for Thanksgiving, I decided to mix things up with that holiday, as well. My kids took a vote on what we wanted to eat and discovered nobody really likes turkey. So we had tacos for lunch, then for dinner we had sweet potatoes, mashed potatoes with corn, and green bean casserole.

What’s the point of this, other than that my family is weird? Well, I often find myself similarly overwhelmed with what I “should” be doing with my writing career (and even more overwhelmed sometimes with what I “shouldn’t” be doing). With all these differing voices, I end up chasing other people’s ideas, following other people’s advice, and never quite focusing on what I want from my writing.

One of my New Year’s resolutions is to apply my holiday strategy to my relationship with the publishing industry. If the “experts” say I should be eating turkey, I’m going to stop and think really hard about whether I really want to eat turkey. If I’ve got a major jones for a drumstick, then fine—I’ll grab me some drumstick. But if it feels like the right thing to do, I’m going to have tacos instead.

This is my last monthly post for the RMFW blog. I want to thank everybody who’s read my posts for the last year or so. It’s been super fun, but I’m going to focus on my own blog for a while and see if I can’t blow some of the dust out of its nooks and crannies, as it’s been pretty neglected lately. I hope everyone has a fantastic holiday season, followed by a new year overflowing with successes and a career direction that feels right for you—even if it means your Christmas tree is full of Abbybod fan art.

The Research Conundrum

By Katriena Knights

For some reason, I keep developing plots for my stories that require a ton of research. I don’t know why I’ve been doing this. I guess the need to just learn stuff overcomes the desire to get a book done quickly and efficiently. For example, my current WIP is a sequel to Necromancing Nim, which took place in Denver and Urbana, Illinois. Both places I’m pretty familiar with. But the sequel, Summoning Sebastian, sends my little vampire/vampire/human ménage off to the wilds of Siberia.

I’ve never been to the wilds of Siberia. I’m not sure I ever want to go to the wilds of Siberia. But the book ended up there. So I have to do research.

The conundrum comes when I try to figure out how to do research. My first instinct is to learn EVERYTHINGALLOFITRIGHTNOW. So I buy a ton of books, print out a bunch of websites, and collect a metric whackton of information.

And then almost never read it. Or at least not all of it.

I go ahead and plow through my story, stopping here and there to look up items, but mostly extrapolating from what I actually have managed to read from this information-collection orgy. So the story gets written. But then when I’m done I feel like I have a ton of research gaps.

So we go back to LEARNEVERYTHINGALLOFITRIGHTNOW. That creates a vicious circle.

I’m working on a piece now where I’ve constructed the plot based on some things I already know will work, but that I’ll need to do a bit of research on to clarify. When I go back to do the rewrite on each section (this is a really fast turnaround job), I do the research on just the bits I need to know about, make whatever additions or changes I think are going to work, then move on.

When I started Summoning Sebastian, I collected a ton of books about Russia. (In all fairness, I’m doing research on I think two, maybe three other WIPs with the same materials.) And yes, a lot of what I learned in the initial reading made it into the story. But when it came down to it, I did a lot more on-the-spot research, writing sections in a fairly vague, generic way, then coming back and filling in details as I got to individual scenes that needed them.

I really have no idea which is the better approach. I know I tend to over-research. In the midst of researching for several stories set in Russia or with Russian protagonists, I ended up actually learning a bit of Russian. Which is overkill in the extreme. On the other hand, while I was cleaning up bits of Summoning Sebastian, it was really handy to be able to read menus of airport restaurants in Chelyabinsk without having to run everything through Google Translate. Your mileage may vary.

What are other ways to approach research? Is binging an acceptable method, or should I reconsider my life choices? Has anybody else been crazy enough to learn an entire language just to write a foreign character? Talk to me below. I promise not to judge.

Photo credit: "Old Books" by zdelia, from freeimages.com

The Perils of First Person

by Katriena Knights

Many beginning authors start their writing adventures with first person. To many beginners, it feels more natural, more immediate, and even easier. But writing in first person carries a number of stumbling blocks and dangers that aren’t as obvious in third person.

So what’s the big deal? Write in first person, and your reader will feel like they’re right in the middle of the action, right? In fact, this leads to the first peril of first person writing—keeping your protagonist in the middle of the action. Which isn’t always as easy as it might seem.

If you decide to write your story in first person, you can’t recount any events that happen while your protagonist is absent. This can cause all kinds of problems, especially with a more complex story. You should take this into account when you’re plotting your story, and be sure your main character participates fully in any major plot twists. In Twilight, Stephenie Meyer commits a major faux pas in this regard by having Bella fall unconscious during a critical moment of the story’s climax. It’s a really good way to lose your reader. Apparently this didn’t bother her jillions of readers, but it bugged the heck out of me.

Another question to ask is particularly important if you plan to write a series. Can you sustain a first-person narrative over the course of your series? This approach is common in the YA and Urban Fantasy genre, but keep it in mind as you’re constructing your initial plans and proposals.

In the Outlander series, Diana Gabaldon manages to make it through nearly two massive tomes without deviating from the POV of her main character, Claire Beauchamp-Randall-Fraser. But it’s not long before her story outgrows this POV, and Gabaldon starts dealing with the shortcomings of first person by using third person in various scenes. At first, she frames this as Jamie relating stories to Claire. But then she also needs to tell Bree and Roger’s story, and that’s when the first-person train goes completely off the rails. The bulk of Gabaldon’s epic series is told in alternating first and third person, with the only first-person sections being those told from Claire’s POV. I’m not saying it doesn’t work—it works very well in these books. But it’s a tricky thing to balance, and I wouldn’t necessarily recommend that approach.

Another fairly common approach to first-person narrative is to alternate the POV characters, telling each section from a first-person perspective. This can be an effective way to explore more than one character, but there are some pitfalls here, as well. Don’t try to use too many characters—your reader is likely to get confused about whose POV she’s in. Also, it’s very important to vary the narrative voice. I’ve read some alternating first-person POV stories where the voices of the characters were virtually identical, even though one was female and one was male. This made it very difficult for me to orient myself, since there were few proper names to let me know whose head I was in.

I’m not one of those readers who’ll flat-out refuse to read a book if it’s in first person—although they do exist—but like any reader I can be pulled out of a story if the technique falls short. So when you’re considering the structure and plot for your first-person story, think about addressing some of these possible problems so you can head them off at the pass.

(By the way, this post is brought to you by my laboring over my recent WIP, the sequel to Necromancing Nim, which is written in—you guessed it—first person.)

Implementing Your Conference

By Katriena Knights

Author’s Note: Several people are posting their reviews of the recent Colorado Gold conference. I decided to do something different rather than just post, “Colorado Gold was Awesome!!!1!1!!!1.” So instead I’m going to talk about ways to use all the great ideas you get at conferences without overwhelming yourself with change.

Writer’s conferences are a great way to network with other writers, learn more about your craft, and find out what’s working for whom in the world of promotion and sales. A serious writer should probably attend at least one or two a year to keep on top of the latest trends in the industry and to bump elbows with other writers who are undoubtedly experiencing the same struggles and frustrations. You can learn a ton at a good conference--sometimes enough to kick your career or the quality of your writing up to that next level.

Conferences can also be overwhelming, though. You come home filled to bursting with great ideas, but when you start trying to implement them, it’s just too much. Adding that great promotional idea takes away too much time from the manuscript you’re trying to finish, or the kick in the pants you just got about the book you’ve had on the back burner diverts your attention so you can’t focus on the manuscript you’ve got under deadline.

So how do you reconcile these conflicting needs? The best way is to break down what you’ve learned and figure out how to ease into the new routines. This way you can take advantage of what you’ve learned without derailing everything you’ve already built. Here are some ways to accomplish this:

  1. Organize your notes. Look through the notes and materials you brought home from the conference. Sort out the things that got you really fired up—the ones you want to start doing immediately. Set other ideas to the side for future reference.
  2. Figure out what’s relevant. Which of these ideas address an immediate concern? Is there a promotional tool you think will prod your sales up if you use it consistently? Is there a brainstorming idea that looks like it could get you out of the writer’s block you’ve been battling on your WIP? Put those on the top of the pile.
  3. Prioritize. Figure out what makes the most sense to try right away, and what would probably fit into your routine if you leave it for a bit later. For example, if you’ve already committed to a project that has to start immediately after the conference, don’t try to start a new writing or promotional routine that will eat all the time you have for that commitment. You might even put everything aside for a few days to get other work out of the way or to let your ideas marinate.
  4. Implement one thing at a time. Don’t try to change your entire routine in a day. Ease into the new approaches. If the promotional guru you heard at the conference presented a complex posting schedule for your social media, try bumping up your posts gradually on one platform at a time rather than tackling the full schedule from day one. That way you’ll have a new routine in place right away and can build toward the final goal.
  5. Keep building. Once you feel comfortable with the new routine, add to it. Whether your goal is writing more words or posting more promo, keep moving forward incrementally. Go from a post a day to two posts a day. Go from 250 words a day to 500. If you keep moving forward, you’ll end up where you want to be, even if it takes a little longer than you’d like.
  6. Weed things out. Just because a particular method works for one writer doesn’t mean it’ll work for you. If something isn’t comfortable or doesn’t produce the results you’re after, ditch it. It doesn’t mean you’re doing it wrong or that you’ve given up. It just means that particular approach didn’t work for you. Never be afraid to do this. Trying to struggle through a routine that you find tedious is rarely going to get you the results you want.

Working through what you’ve learned at a writers’ conference and getting those tidbits to work for you is a challenge, but in the long run it can be the best way to give your career a kick in the pants. Don’t be afraid to try new things, but don’t be afraid to take it slowly, either.

Tips for Conference Goers, Especially First Timers — Part II

As promised, we're back with more great advice for conference-goers from a few of your regular RMFW Blog contributors

Liesa Malik

1) Remember that all people at the conference are approachable, but it's best to have a few questions to ask. Things like "what do you like best about writing?" or "where do you see your publishing career a year/five years from now?" are a start. Just be sure you're interested in finding out the answers.

2) Go to the sessions. Yes you get a lot out of the networking, but many of the sessions are absolute gold for information and training in your writing life.

3) Buy CDs and books. The CDs are helpful reminders (and the keynotes are almost ALWAYS motivational) and the books are generally by people attending the conference. How better to support the people who are sharing their gifts with you?

Pamela Nowak

1. Workshop sessions are valuable to every attendee--we can all learn something--but select carefully. Read the descriptions and choose those aimed for your craft level and step-in-the process. If you're a new writer, stick with the basics and concentrate on where you are in the process so you are not overwhelmed. Advanced writers should focus on advanced craft or marketing or writing life sessions to complement their social recharging.

2. Take advantage of the FULL conference experience. Boost your knowledge by attending sessions. Energize by socializing with other writers. Charge up your commitment to writing by setting new goals.

Katriena Knights

1. Don't beat yourself up for not doing it "right." There are many ways to take in a con experience. You can go to the same con five, six, ten years in a row and never follow the same pattern.

2. Don't be afraid to take a break. In the past, I've spent so much time trying to do everything I thought was important that I wore myself down. If you end up flat on your back from exhaustion, con crud, or whatever, even what you're able to take home from the con isn't going to do you as much good as is could have if you listened to your brain and your body.

3. But...don't be afraid to try anything and everything. Don't limit yourself because you think an individual workshop might be "too hard" or "too basic," or not in your genre or whatever. If it looks interesting, or if something's just tweaking your brain about that event, go. There's so much to choose from that I've been known to close my eyes and point at the program to decide where to go. OTOH, I've been to conferences where I picked through the program and created a throughline for myself, following a specific topic from presenter to presenter.

I guess my basic advice is honor yourself even if you feel like you're wimping out, because you're probably not, and don't think because you didn't do what you think you should that you didn't get what you could have gotten out of the con. I have no idea if that makes sense, but I know I started enjoying this kind of thing a lot more when I started honoring my need to just get the hell away from everything and everybody from time to time.

Jeanne Stein

1. I think the most important piece of advice I can offer is don't be afraid to approach an author you've read and liked and tell them how much you enjoy their books. That's a great ice breaker. After an intro like that, every author I know would be more than willing to answer a few questions and perhaps share a tip or two about succeeding in this crazy business. And where to find the authors? If not on a panel, the bar is always a good place to start!!

Again, feel free to add your own conference tips in the comment section. And if you're attending Colorado Gold for the first time, have a wonderful time.

Sharing What You Know and Making Some Dough

By Katriena Knights

As writers, we often find ourselves focusing on our writing as our sole source of income. While this is understandable, it can also prevent us from seeing other opportunities to add income streams, have some fun, and help other aspiring writers—or even other folks—while we’re at it.

If you’ve been writing long enough to have experienced some success, then you undoubtedly know some things you could pass on to other people who are trying to break into the business or who just want to improve their skills. You probably have other skills, too, that you could share with others. So why not teach a class?

There are many venues where you can teach, whether you want to strut your knowledge in front of a live audience or prefer to hide behind your computer screen. Some are specifically aimed at writers, while others offer classes of all kinds. Some pay after your teaching session, while others allow you to put a class online and earn a cut of the cost each time a student purchases it. Some don’t pay at all, but might serve as a good practice field before you jump into paying venues.

Places you may—or may not—have thought about for presenting classes include:

  • Your local library
  • Your local rec center
  • Chamber of Commerce meetings
  • Local writers’ groups
  • Community colleges
  • Conferences

Some online locations include:

  • Savvy Authors
  • Udemy
  • Our own RMFW
  • Online writers’ groups
  • Online conferences

And one of our RMFW members has even posted a series on how to get a job teaching classes on cruise ships. Of course, nobody is interested in getting a free cruise to the Bahamas or whatever, so your mileage may vary.

Many of these places have websites where you can find a place to apply to teach a class. Some online places, like Udemy, allow you to upload your own classes and determine your own pricing. Most will have to approve your class before it goes live, though.

To propose a class, you’ll usually have to provide a general synopsis, a more detailed outline, a biography, and a list of your credentials, including other classes you’ve taught before. If you’re interested in pursuing this type of work, taking some extra time with your proposals will help give you the best possible chance to have your workshop chosen.

And don’t limit yourself to writing workshops. If you’re looking into your local library, take an inventory of your skills and see what you might be able to contribute. Branch out! Most writers have a wide variety of skills, so don’t forget about them. Our local Chamber of Commerce offers a monthly program discussing business skills like how to make effective presentations—many writers could provide a workshop on writing white pages or ad copy that would probably be well received in this venue. Use your imagination—get out a piece of paper and start brainstorming on what you might be able to offer for an individual venue. And after you’ve given a workshop a few times, you might consider converting your materials into an ebook, thus providing another source of income after you’ve taught people “live.”

Now that I’ve given you some ideas about how to spread your wings into teaching, I’d like to indulge in a moment of Blatant Self-Promotion. I’ll be teaching How to Write Memorable and Meaningful Sex Scenes at Savvy Authors starting tomorrow. They’re still taking registrations, so if you’re interested, drop by savvyauthors.com.

In the immortal words of Bartles & Jaymes (does anybody remember those commercials?) “Thank yew for yer support.”