Plot Devices

 

Contributed by author Margot Conor

 If you’re writing fiction, you have probably used many of these but might not even be aware that you are doing it. Plot devices are tools or techniques used by writers to advance the story, create tension, develop characters, or deliver information. In fact, most writers use plot devices instinctively, and not because they have been taught to.

That was certainly true for me.

For instance, I’ve used a Chekhov’s Gun without knowing the term—just because it “felt right” to set up something early and bring it back later. And I’ve done a time jump because I knew the story’s pace needed to shift forward to avoid dragging.

Plot devices help move the story forward, especially when the writer needs a way to get characters from Point A to Point B, a reason for conflict or urgency, or a mechanism for revealing backstory or secrets. For example, a MacGuffin (like a stolen relic or hidden document) can give your characters a concrete goal, even if the object itself isn’t that important—what matters is what people are willing to do to get it.

Devices like foreshadowing, cliffhangers, or false hope can subtly cue the audience’s feelings, build tension or dread, create mystery, and deliver satisfying twists or emotional payoffs. Misleading reading and giving them an unexpected climax is rewarding. That’s why red herrings or unreliable narrators are so common in thrillers and mysteries.

Sometimes a plot device like a flashback or a framing device isn’t just for structure—it reflects a character’s inner journey or the story’s deeper message. A mentor figure may not only train the hero but symbolize the values they must eventually embrace or transcend.

The key is not to avoid them, but to use them thoughtfully. When overused or if they are too obvious (like a contrived deus ex machina), they can feel lazy. But when woven skillfully into the story, they become invisible threads that hold the whole tapestry together.

Here is a list, in case you are not aware of the terms:

1. MacGuffin: An object or goal that drives the plot forward, but its specific nature is less important than its effect on the characters and events.
For example: Raiders of the Lost Ark: The Ark of the Covenant is pursued by all characters, but it's largely a means to fuel the chase and conflict.

2. Chekhov’s Gun: A seemingly minor detail introduced early in the story that becomes important later. The principle is: “If you show a gun in Act 1, it should go off in Act Three.”

For example: In Breaking Bad, a ricin vial introduced in early episodes becomes key to later plot developments.

3. Deus ex Machina: A sudden, unexpected solution to a seemingly unsolvable problem, often involving divine or external intervention.

For example: In The Lord of the Rings, the eagles rescuing Frodo and Sam from Mount Doom feels sudden and unearned.

4. Red Herring: A misleading clue or event meant to divert attention from the true plot or culprit, often used in mysteries.

For example: In Sherlock Holmes stories, an obvious suspect is often introduced to distract the reader from the real villain.

5. Cliffhanger: A suspenseful ending that leaves a major plot point unresolved to compel the audience to continue to the next installment.

For example: The Empire Strikes Back: The movie ends with Han Solo frozen in carbonite, unresolved.

6. Flashback: A scene set in a time earlier than the main story, used to provide background or context.

For example: In Lost, characters’ backstories are told through flashbacks in nearly every episode.

7. Foreshadowing: Hints or clues about what will happen later in the story.

For example: In Of Mice and Men, Lennie’s killing of small animals foreshadows the tragic climax.

8. Framing Device: A story within a story, where the main narrative is presented within another context. Such as a character telling a story.

For example: The Princess Bride: The fantasy story is told within the frame of a grandfather reading to his grandson.

9. Time Skip / Time Jump: A sudden jump forward in time to show consequences or shift the narrative scope.

For example: Harry Potter and the Deathly Hallows ends with a 19-year time jump showing the characters as adults.

10. The Reveal / Twist Ending: A sudden revelation that changes the audience’s understanding of earlier events.

For example: The Sixth Sense: The twist that Dr. Malcolm was dead all along recontextualizes the entire film.

11. The Mentor: A wise, experienced character who guides the protagonist, often dies or steps aside, pushing the hero to grow.

For example: In Star Wars: Obi-Wan Kenobi trains Luke and sacrifices himself.

12. The Chosen One: A protagonist who is predestined to fulfill a great destiny, often without initially knowing it.

For example: In The Matrix: Neo is "The One" who will liberate humanity.

13. The Love Triangle: A romantic entanglement where a character is torn between two love interests.

For example: The Hunger Games: Katniss is caught between Peeta and Gale.

14. The Race Against Time: A scenario where characters must complete a task before a deadline or face dire consequences.

For example: In Mission: Impossible: Disarming a bomb before it explodes.

15.  The Ticking Clock: Similar to the race against time, but emphasizes suspense by continually reminding the audience of an approaching deadline.

For example: In 24: Each episode unfolds in real time, with a constant countdown.

16.The False Protagonist: A character introduced as the main focus, only to die or be sidelined early on.

For example: In Psycho: Marion Crane is killed midway, shifting focus to Norman Bates.

17. The Unreliable Narrator: A narrator whose credibility is compromised, making readers question what’s true.

For example: In Fight Club: The narrator’s split identity with Tyler Durden is a key twist.

18. The Secret Identity: A character hides their true identity, often for protection or to work undercover.

For example: Batman is Bruce Wayne. He lives a double life as Batman.

19. False Hope: When a plan appears to succeed, only to fail dramatically, escalating the stakes.

For example: In Avengers: Infinity War, the team nearly removes Thanos's gauntlet, but Star-Lord’s rage ruins the moment.

20. Plot Coupon / Fetch Quest: The protagonist must collect a set of items or complete specific tasks to progress the story.

For example: Harry Potter and the Deathly Hallows: Finding and destroying the Horcruxes.

Reading Books from Other Countries or Cultures
If you read in other languages or read translations written by authors from other countries, there are a few different plot devices used. Their storytelling traditions use unique narrative structures and devices that don’t always appear in Western storytelling. Writers from different cultures may use different narrative logic.

For example, Western stories often focus on conflict and resolution. Eastern stories may emphasize contrast, balance, or enlightenment. Oral traditions may prioritize communal values, less linear structures, or ritual-based storytelling.

Knowing this can help you understand the value of their stories and why they matter in the context of their social structures.

ABOUT THE AUTHOR

Margot Conor has been writing for as long as she can remember, but it wasn't until the COVID lock-down that she had enough time to dedicate to the craft and bring something to completion. Having finished her first novel, she went through the grueling two-year process of editing. Now she has jumped into the author's world with both feet. Margot's debut multiverse adventure novel, Inverse, is available on Amazon.

She's spent the last year attending many writing retreats, seminars, and writers' events. She also listened to presentations specifically on the topic of publishing and book marketing. She will be sharing what she learns with the reader. Learn more about Margot at https://margotconor.com/

 

The Power of Psychological Tension

 Contributed by Margot Conor

  Psychological tension is the heartbeat of a compelling story. From the very first line, you want your readers to be hooked. Through mental strain, uncertainty, or distress your characters grapple with their choices, and your reader feels invested in their journey. Due to conflicting emotions, thoughts, or circumstances tension builds and holds your audience in suspense.

This tension is a fundamental driver of storytelling, as it captivates readers by immersing them in a character’s struggles and by raising the stakes. Whether through internal dilemmas, interpersonal conflicts, or external pressures, psychological tension is the force that keeps readers engaged and invested in the outcome of a story.

A story without tension feels flat and directionless. Tension propels the plot forward, urging readers to turn pages as they yearn to see how conflicts unfold and whether characters will overcome their struggles. When a protagonist is placed in a difficult situation, forced to make tough decisions, or floundering with deep-seated fears, their journey becomes compelling. Readers emotionally invest in characters who face genuine challenges, particularly when those challenges feel insurmountable or deeply personal.

Internal conflict arises when a character struggles with their own emotions, desires, or beliefs. Examples include a hero torn between duty and love, or a detective battling their own past while trying to solve a case. The deeper the internal conflict, the more emotionally engaging the story becomes.

Interpersonal conflict is all about the relationships between characters which often drives tension, whether through misunderstandings, betrayal, or unspoken desires.

Romantic tension, rivalry, or power struggles add layers to the narrative, making interactions feel charged and unpredictable.

Situational conflict is created by external circumstances, such as being trapped in a high-stakes environment, racing against time, or facing overwhelming odds. The pressure from external forces can push characters to their limits, forcing growth and transformation.

While tension should build throughout a story, its resolution is equally crucial. Readers want that payoff. Some stories resolve tension with a satisfying conclusion, providing closure for both characters and readers. Others escalate it, leading to unexpected twists or unresolved endings that leave lasting impressions. The key is ensuring that whatever resolution occurs, it feels earned and meaningful within the story’s context.

To effectively incorporate psychological tension, you need to understand how to construct scenarios that amplify uncertainty and emotional stakes. Here are some techniques you might try:

Unresolved Questions: Leaving crucial details ambiguous creates suspense and compels readers to keep reading in search of answers.

Moral Dilemmas: Presenting characters with choices that have no easy solutions enhances tension and deepens engagement.

Foreshadowing and Dramatic Irony: Giving readers insight into potential dangers before characters become aware heightens tension.

Slow Reveals: Withholding key information and revealing it gradually sustains suspense.

Contrasting Emotions: Moments of joy juxtaposed with looming dread create an emotional rollercoaster for readers.

ABOUT THE AUTHOR

Margot Conor has been writing for as long as she can remember, but it wasn't until the COVID lock-down that she had enough time to dedicate to the craft and bring something to completion. Having finished her first novel, she went through the grueling two-year process of editing. Now she has jumped into the author's world with both feet. Margot's debut multiverse adventure novel, Inverse, is available on Amazon.

She's spent the last year attending many writing retreats, seminars, and writers' events. She also listened to presentations specifically on the topic of publishing and book marketing. She will be sharing what she learns with the reader. Learn more about Margot at https://margotconor.com/

How To Support Your Writer

 

 Contributed by Margot Conor

Yes, I am talking to authors too. We all need to support each other.

It doesn’t matter if you read or write the same genre. Managing to get a book published is a huge accomplishment and it deserves to be celebrated. What I see too often is a lack of willingness to give others the credit and attention they need.

Many authors feel isolated, it is a solitary profession. It is also difficult for them to ask for support, so when they are brave enough to request it, why not do everything they ask?
Let’s go over the why-nots… You think there isn’t enough time. You don’t feel confident or don’t know how and are afraid to ask. You are not tech-savvy. You are afraid of the competition and think that promoting another author will take away from your success.

These are all excuses I have encountered. And while most of them are the result of inexperience the last one is endemic in the creative industries. I tend to follow and support others who have the same attitude that I do, there is enough to go around and we need each other to succeed.
Why and why not?

1. Join their Arc team. You get a free copy of their novel in advance with the promise of writing a review. Please don’t take the free copy and not bother to write a review. Yes, that happens a lot and is rather disheartening.

2. Join their Launch team. This is a group of people who help to advertise the book release by sharing cover art, a blurb, and /or the pre-order form on their social media or newsletters. In some cases, it involves local people who organize physical launch parties or events where the author can talk about their book and get preorders.

3. Get your book club to buy copies of their books, and then invite the author to talk at your meeting.

4. Promote them on your social media. It only takes a moment to like and share a post. If you can leave a comment of congratulations that means more to the author than you can imagine.

5. Author Tube is another place where writers may have a presence. If you are on YouTube, seek them out, watch their videos, “like and subscribe.”

6. Patron sites. I believe Patreon was the first to explore this format. I joined it a year ago, at the same time I signed up on Medium, and SubStack. (I get a lot more engagement on the last two, virtually none on Patreon). Why? Because I don’t have a huge following that I could take with me there. Some authors put all their stories behind a paywall. These are called tiers and they range in price. Joining a tear as a patron gives the author a small monthly donation, and gives the patron access to what they post. But some writers let you join for free, and post articles and stories for anyone to read. My pages on these sites have been free to join. I might put some stories behind a paywall in the future. You may find your favorite authors have a presence on these sites.

7. Subscribe to their newsletter. I suggest this only if you are reading the genre they write or if you know them personally. Authors tend to write a lot about their personal lives in newsletters. Funny things that happen, epiphanies they have, or frustrations and processes that involve their writing journey. They share helpful articles, and short stories, or give you the option to get free books and stories through promotions they take part in.

8. Book reviews are very important for Authors. It gets their books noticed by the algorithms and that means more people see the listing, and that leads to sales. Reviews can be placed on Amazon, Goodreads, and Bookbub. A review doesn’t have to be long. But leaving a few kind words of support means everything.

9. I am, however, of the opinion that if you don’t have something good to say, don’t bother to leave a review. You are likely not an expert paid by a publisher to give a critical review. Neither are you bound by your sense of honor to save others from suffering. So, if the book didn’t resonate with you, refrain from leaving 1-star reviews that will most definitely hurt them.

10. Never review-bomb another author! It will come back to bite you. If you think you need to make others fail so you can succeed, that will not lead to your success. Eventually, others will find out what you are up to, and well, that will get around. Be nice. Pay it forward. Give more than you take.

Join, Follow, Like, Subscribe… Your support is always appreciated. Even authors who seem to have “made it” suffer from doubt and insecurities and are happy to get a kind word of encouragement. They love to hear what you liked or what you connected with when you read their novel.

Please don’t threaten your favorite authors if they kill off a character you liked or didn’t write what you wanted them to. I never knew this was a thing. But evidently, some authors are hounded with threats and mean letters because they didn’t meet the expectations of their fans.

It’s a story, we are dedicated to entertaining you, but it is our story. We will write what we are inspired to write.

We hope that it will plant some seeds of hope, give you moments of joy, or keep you on the edge of your seat. We want your interest and engagement. We hope to write something you can’t put down until it’s finished. We want to share what we love with you, and we hope you will support us in return.

I am going to be completely honest with you. Until I became focused on publishing, I never thought about any of these things. It certainly never occurred to me to write a review or seek out the author on social media, Goodreads, or AuthorTube. I didn’t know that would be helpful or how needed it was. I assumed the publishers did a lot more for authors than they do. But the truth is, writers are dependent on your support. If you love what they write, let them know.

ABOUT THE AUTHOR

Margot Conor has been writing for as long as she can remember, but it wasn't until the COVID lock-down that she had enough time to dedicate to the craft and bring something to completion. Having finished her first novel, she went through the grueling two-year process of editing. Now she has jumped into the author's world with both feet. Margot's debut multiverse adventure novel, Inverse, is now  available on Amazon.

She's spent the last year attending many writing retreats, seminars, and writers' events. She also listened to presentations specifically on the topic of publishing and book marketing. She will be sharing what she learns with the reader. Learn more about Margot at https://margotconor.com/

8 Elements of Creating Tension in Your Writing

 

Contributed by Margot Conor

Recently I have been studying conflict. It is something I avoid in real life. I have always been a peacekeeper. A believer that good communication can solve anything. Even though I try to avoid fighting, I’ve observed more than my share of negative interactions over the years. Bickering, vindictive jealousy, intolerant name calling, mistrustful clinging control issues, and physical abuse… I have a fountainhead of momentous experiences to draw from. I just need to pull out the details from those memories and get them on paper.

However, extracting those emotional dramas of my past from the dusty archives tends to provoke some degree of sadness. The damage is etched on my soul, those memories mark you in some definable way, as experienced. Not the sort of experience you might wish for anyone. The repercussions are not as bad as they might be. You could say they are lessons learned, about what to avoid. Thus, a practice of avoidance.

Now, I must be willing to subject my characters to those experiences. From the nuance of manipulation to the full force of a physical confrontation. Let it be bloody, let it be catastrophic, let it ruin them… just enough.

I’m aware that creating tension in a story is essential for keeping readers engaged, and it requires a combination of narrative techniques that work together to build suspense, anticipation, and emotional investment. There is nothing like putting a character that readers have grown to love in danger. If done right they will hang on every word to find out what happens.

I fully understand the importance of making characters suffer so they can grow, just as I have. However, I’m still honing the skill of writing conflict. I’m learning how to weave in arguments and negative drama, though I have to push myself to really get my characters into tough situations. So here is what I have learned about creating tension in my stories…

The idea is to interject enough of these vital elements as you build your narrative to keep your readers interested. The techniques suggested in this article can help you construct a compelling story. Seductive in its ability to hold your audience, captivating their curiosity, so they just need to know what happens next.  

Each technique works in concert with the others, to create a story full of tension. The key is to apply them thoughtfully and with variation, ensuring that the reader is constantly engaged, feeling both the thrill of the immediate conflict and the weight of impending consequences. By layering these through your story, you can craft a dynamic, edge-of-their-seat narrative that keeps readers emotionally invested and eagerly turning the pages.

1. Foreshadowing:

Foreshadowing is a subtle way to hint at future events, creating tension as readers anticipate how things might unfold. By dropping clues—whether through imagery, dialogue, or small actions—the writer builds an undercurrent of suspense. For instance, an offhand comment about a character’s dangerous habit can signal impending disaster, keeping readers alert as they wait for the consequences. Foreshadowing plants seeds of tension early on, making future conflicts feel inevitable.

2. Conflict and Opposing Goals:

At the heart of tension is conflict. When characters have opposing goals, it sets up a natural tension between them. These goals can be both external (two characters vying for the same job) and internal (a character torn between loyalty and ambition). As each character’s desire becomes clearer, the stakes of the story rise, and readers become invested in seeing how these conflicting aims will clash. The stronger the opposition, the more intense the tension becomes.

3. Raising the Stakes:

A key to maintaining tension is continuously raising the stakes. As the story progresses, the consequences of failure should become more significant. What starts as a simple goal should evolve into something much larger—whether it’s a personal risk, the safety of a loved one, or the fate of an entire community. Raising the stakes ensures that the characters, and therefore the readers, have more to lose with each decision, intensifying the emotional and narrative tension.

4. Pacing:

Pacing plays a critical role in how tension is perceived. Too fast, and the reader feels overwhelmed; too slow, and the tension dissipates. Effective tension builds through a balance of fast-paced action sequences and slower moments of introspection or dialogue that deepen the emotional weight of the story. By controlling the rhythm of the plot, a writer can make the peaks of action more impactful and the moments of calm more unsettling as readers wait for the next twist.

5. Curiosity and Unanswered Questions:

Curiosity drives tension by keeping readers wanting more. By introducing unanswered questions—such as a mysterious backstory, an unsolved crime, or a hidden motivation—the writer keeps readers engaged. The desire to uncover the truth pushes the narrative forward, creating a sense of urgency and intrigue. Delaying these answers, while feeding readers just enough clues, builds suspense, and adds to the tension of the unfolding plot.

6. Balance of Internal and External Conflict:

Tension is most effective when it exists on multiple levels. External conflict might come from the outside world—a villain, a looming disaster, or a ticking bomb—while internal conflict stems from a character’s personal struggles, such as moral dilemmas, fears, or emotional wounds. Balancing these two forms of conflict makes the story richer. The external challenges force the character into action, while the internal conflict adds depth, making their decisions more complex and heightening the tension as the reader waits to see how the character will navigate both.

7. Subplots:

Subplots can add layers of tension by introducing secondary conflicts that mirror or contrast with the main storyline. These subplots might involve side characters with their own agendas, romantic tensions, or smaller personal challenges. When integrated well, subplots create a more complex and dynamic narrative, allowing for brief moments of resolution that temporarily relieve tension before plunging back into the central conflict.

8. The Ticking Bomb or Ticking Clock:

One of the most effective ways to increase tension is through the use of a "ticking clock" or "ticking bomb" scenario. This device imposes a time limit on the characters, creating urgency. The stakes become more intense when characters are racing against time—whether it’s a literal bomb about to explode, a rapidly approaching deadline, or an illness that progresses with every passing day. The ticking clock adds a palpable layer of pressure, forcing characters to make difficult decisions under duress, which drives tension to its peak.

If you, like me, struggle with creating tension between your characters, I hope these suggestions will prove helpful in shaping more dynamic interactions. Tension doesn’t always have to come from grand, external events; it can arise from subtle conflicts in desires, opposing goals, or emotional undercurrents. By focusing on how characters' motivations clash, layering in personal stakes, and using pacing to build momentum, you can create a palpable sense of unease or anticipation. The key is to ensure that your characters’ conflicts feel authentic and meaningful, which will naturally enhance the tension in your narrative.

ABOUT THE AUTHOR

Margot Conor has been writing for as long as she can remember, but it wasn't until the COVID lock-down that she had enough time to dedicate to the craft and bring something to completion. Having finished her first novel, she went through the grueling two-year process of editing. Now she has jumped into the author's world with both feet. Margot's debut multiverse adventure novel, Inverse, is now  available on Amazon. 

 She's spent the last year attending many writing retreats, seminars, and writers' events. She also listened to presentations specifically on the topic of publishing and book marketing. She will be sharing what she learns with the reader. Learn more about Margot at https://margotconor.com/

Writing: Context, Content, Conclusion

 

Contributed by Margot Conor

Popular stories normally have what is called a three C’s structure. Context, content, and conclusion. They are the crucial components that can be applied at various levels of your writing to ensure clarity coherence and impact. Context, which is the why of it. Followed by the content, which can be the details of a paragraph, or an entire story, and finally the conclusion.

This is a simple way to break down your process and can be applied in a tight construction for example in every paragraph. Or can be used more loosely for each chapter or section.  

If you are writing a short story, you may only use the three C’s once. Creative writers tend to apply these without really thinking about it. It’s the pattern of story-telling we grew up with, it’s what we know from fairy tales.

As an exercise, you might try consciously using the three C’s in each paragraph of a story. I believe if you are a Plotter you will find this technique easy. As a Panster, thinking of doing that makes my head wobble. It is far too constricting. However, once per chapter is doable.

WITHIN EACH PARAGRAPH

1.    Context: Start each paragraph by providing context. This sets the stage for the reader and ensures they understand the background or the main point that will be discussed. This could be a sentence or two that introduces the topic or provides a transition from the previous paragraph.

2.    Content: Follow with the main content of the paragraph. This is where you present your key ideas, arguments, evidence, or details. Ensure that the content is well-organized and focused on the paragraph's main idea.

3.    Conclusion: Conclude the paragraph by summarizing the main point or providing a transition to the next paragraph. This helps reinforce the key message and prepares the reader for what's coming next.

WITHIN EACH SECTION OF A STORY OR CHAPTER

1.    Context: Begin each section or chapter with context. This could involve setting the scene, introducing characters, or providing necessary background information. Context at this level helps orient the reader within the broader narrative.

2.    Content: Develop the main ideas or plot points within the section. This is where the bulk of the story unfolds, characters develop, and key events take place. Ensure the content is engaging and drives the narrative forward.

3.    Conclusion: End each section with a conclusion that wraps up the events or ideas discussed. This could be a cliffhanger, a resolution of a conflict, or a summary of key points. A strong conclusion at this level keeps the reader engaged and eager to continue.

WITHIN THE ENTIRE STORY

1.    Context: Provide context at the beginning of your short story. This includes the setting, initial character introductions, and the premise. The context should be compelling enough to hook the reader from the start.

2.    Content: Develop the story or chapter with rich content. This includes plot development, character arcs, and thematic exploration. Ensure that each chapter contributes to the overall narrative and keeps the reader engaged.

3.    Conclusion: Conclude the story or chapter with a satisfying ending. This could involve resolving the main conflict, providing a twist, or setting up for the next part of the story. A strong conclusion leaves a lasting impression and provides a sense of closure or anticipation.

Examples

If you examine the stories or books you’ve read, or even the movies you watch, you will be able to point to where this structure is applied. Here are a few examples of Context from Fairytales that introduce key elements of the story that follows:

1.    Cinderella
o    Context: "Once upon a time, in a faraway kingdom, there lived a beautiful young girl named Cinderella. She was kind and gentle, but her life was made miserable by her wicked stepmother and stepsisters."
o    Explanation: This opening line provides the reader with essential background information: the setting (a faraway kingdom), the main character (Cinderella), her positive qualities (kind and gentle), and the source of her conflict (wicked stepmother and stepsisters).

2.    Little Red Riding Hood
o    Context: "Once upon a time, there was a little girl who lived in a village near the forest. She always wore a red riding cloak, so everyone called her Little Red Riding Hood."
o    Explanation: This context introduces the main character (Little Red Riding Hood), her distinctive feature (red riding cloak), and her environment (a village near the forest). It sets up the reader to understand the character's identity and where the story takes place.

3.    Snow White
o    Context: "Once upon a time, in the middle of winter, when snowflakes were falling like feathers from the sky, a queen sat sewing at her window, which had a frame of black ebony wood."
o    Explanation: This opening provides a vivid description of the setting (winter, snowflakes, queen sewing), establishing the scene’s mood and hinting at the magical elements that will be important in the story of Snow White.

4.    Hansel and Gretel
o    Context: "Once upon a time, a poor woodcutter lived at the edge of a large forest with his wife and two children, Hansel and Gretel."
o    Explanation: The reader is introduced to the main characters (woodcutter, his wife, Hansel, and Gretel) and their living situation (poor, edge of a large forest). This context sets the stage for the challenges and adventures the characters will face.

CONTEXT IN DIFFERENT PARAGRAPHS AND SECTIONS

Applying the concept of context within different parts of a fairytale can ensure each section or paragraph is clear and sets up the subsequent content effectively.

1.    Within a Paragraph:
o    Context: "As she walked through the forest, Little Red Riding Hood felt the cool breeze and heard the rustling leaves."
o    Content: "She admired the tall trees and picked some wildflowers along the path."
o    Conclusion: "But soon, she realized she had wandered far from the familiar path."
2.    Within a Section:
o    Context: "The king's castle stood high on a hill, overlooking the entire kingdom."
o    Content: "Inside the grand hall, the king sat on his throne, worried about the future of his realm. Advisors and knights were gathered, discussing the imminent threat."
o    Conclusion: "As the discussions continued, a messenger burst through the doors with urgent news."

By using The three C’s effectively at different levels, writers can ensure their readers are always oriented and engaged, understanding the background and the significance of the events as they unfold.

ABOUT THE AUTHOR

Margot Conor has been writing for as long as she can remember, but it wasn't until the COVID lock-down that she had enough time to dedicate to the craft and bring something to completion. Having finished her first novel, she went through the grueling two-year process of editing. Now she has jumped into the author's world with both feet. She's preparing to debut her first novel, which means learning how to promote it. The last year has been spent attending many writing retreats, seminars, and writers' events. She also listened to presentations specifically on the topic of publishing and book marketing. She will be sharing what she learns with the reader.
Learn more about Margot at https://margotconor.com/

Build Your Brand

 

Contributed by Margot Conor

While you are writing your novel, or even when it is just an idea in your head, start to build your brand. Research your genre niche. Put in a little time each day to seek out other authors who write in your genre and in the style you admire. Study what they communicate to their readers. Look at the websites those authors have created. Imagine who your ideal readers are and create a brand for them.

This is the key to everything, it is not for you, it’s for your readers, your fans. Everything you create is for them.

What is a brand?

This is your identity as a writer. It involves more than what you write. It is also about the visual presentation you create. Your online presence needs to be carefully crafted to present who you are. The images, backgrounds, typeface, the colors you choose the logo or banner you create.

It is all about creating a mood and evoking an emotion. Your style should be genre-specific and carefully crafted to appeal to your audience. People are visually stimulated; it’s why good covers sell more books.

You need to entice your readers with visual information which draws them into the world you’ve created. Do this magic in all the places where your author’s presence is available.

Potential readers or agents need to be able to find you when they do a Google search with your author’s name. The wider your presence the more professional you look. The more established your platform is, and the more engaged followers you have, the better. That is your goal.

How do you find engagement?

It may surprise you, but it’s not only by talking about your projects, or the book you just released. And it’s not only talking about your writing and marketing process.

Your fans will want to know who is behind the creation, and what you care about.

So, what you can offer in way of encouragement or advice from your personal experience about issues that others are curious or concerned about?

 Show your excitement or concern for topics that matter to you and them.

Make posts about things that you want to learn or have learned. Ask your audience questions and let them know their opinion matters to you.

Look for insights from more knowledgeable authors or experts. In this way, you will organically grow your audience and find a like-minded cohort of authors and readers.

ABOUT THE AUTHOR

Margot Conor has been writing for as long as she can remember, but it wasn't until the COVID lock-down that she had enough time to dedicate to the craft and bring something to completion. Having finished her first novel, she went through the grueling two-year process of editing. Now she has jumped into the author's world with both feet. She's preparing to debut her first novel, which means learning how to promote it. The last year has been spent attending many writing retreats, seminars, and writers' events. She also listened to presentations specifically on the topic of publishing and book marketing. She will be sharing what she learns with the reader.
Learn more about Margot at https://margotconor.com/

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Include Diversity in Your Characters

Using Your Author Platform for Change
Contributed by Margot Conor

Authors have a powerful platform to challenge established role models and inequities in society through their writing. By using their platform to provoke thought, inspire change, and amplify marginalized voices, authors can contribute to a more equitable and inclusive literary landscape. Here are several ways they can do so:

1.    Representation and Diversity: By representing a diverse range of characters in their writing. By portraying characters from marginalized communities in prominent and empowered roles, authors can challenge stereotypes and promote inclusivity.

2.    Subverting Tropes: By subverting traditional tropes and expectations in their writing. For example, they can create complex and multidimensional characters who defy gender norms, challenge societal expectations, and break free from stereotypes.

3.    Exploring Power Dynamics: Challenge inequities by exploring power dynamics and privilege in their writing. Through nuanced portrayals of characters from different backgrounds and social classes, authors can highlight the ways in which systemic inequalities shape individual experiences and opportunities.

4.    Addressing Social Issues: Challenging established role models by addressing social issues such as racism, sexism, homophobia, and economic inequality in their writing. By shining a light on these issues and examining their impact on characters and communities, authors can provoke thought and inspire change.

5.    Empowering Marginalized Voices: Authors can challenge inequities by amplifying the voices of marginalized communities in their writing. By centering stories around characters from underrepresented backgrounds and giving them agency and autonomy, authors can empower readers to see the world from different perspectives and challenge their own biases.

6.    Promoting Empathy and Understanding: Authors can promote sympathy and understanding in their writing by portraying characters with empathy and compassion, authors can encourage readers to see the humanity in others and recognize the ways in which their own actions and attitudes contribute to inequality.

7.    Offering Alternatives: Authors can offer alternative visions of society and culture in their writing. By imagining worlds where traditional hierarchies are dismantled, and individuals are free to be their authentic selves, authors can inspire readers to envision a more equitable and inclusive future.

Avoiding Cultural Appropriation

Navigating the line between ethnically inclusive writing and cultural appropriation can be complex, especially for authors who are white. However, there are several ways they can strive to be inclusive without appropriating cultures:

1.    Research and Sensitivity Reading: Authors should conduct thorough research into the cultures they wish to represent in their writing. This includes reading books written by authors from those cultures, consulting cultural experts, and seeking feedback from sensitivity readers who can provide insights and ensure accurate representation.

2.    Avoid Stereotypes and Misrepresentations: Authors should be mindful of avoiding stereotypes and misrepresentations when depicting characters and cultures. Instead, they should strive to create nuanced and multidimensional characters who reflect the diversity and complexity of real people.

3.    Show Respect and Humility: Authors should approach the task of writing about cultures outside their own with respect, humility, and a willingness to listen and learn. They should be open to feedback and willing to make changes to their writing based on the insights of cultural experts and sensitivity readers.

4.    Focus on Universal Themes: While it's important to acknowledge and celebrate cultural differences, authors should also focus on universal themes and experiences that resonate with readers from all backgrounds. By highlighting the common humanity that binds us all, authors can create stories that are inclusive and accessible to a wide audience.

5.    Collaborate with Diverse Voices: Authors can collaborate with authors and creators from diverse backgrounds to ensure authentic representation and avoid cultural appropriation. This can include co-writing projects, consulting with cultural advisors, and seeking input from members of the communities being represented.

6.    Acknowledge Privilege and Power Dynamics: Authors who are white should be mindful of their privilege and the power dynamics at play when writing about cultures outside their own. They should approach the task with humility and a willingness to interrogate their own biases and assumptions.

7.    Promote Own Voices Literature: Authors can support and promote literature written by authors from the cultures they wish to represent. By amplifying diverse voices and ensuring that marginalized authors have opportunities to tell their own stories, authors can contribute to a more inclusive literary landscape.

ABOUT THE AUTHOR

Margot Conor has been writing for as long as she can remember, but it wasn't until the COVID lock-down that she had enough time to dedicate to the craft and bring something to completion. Having finished her first novel, she went through the grueling two-year process of editing. Now she has jumped into the author's world with both feet. She's preparing to debut her first novel, which means learning how to promote it. The last year has been spent attending many writing retreats, seminars, and writers' events. She also listened to presentations specifically on the topic of publishing and book marketing. She will be sharing what she learns with the reader.
Learn more about Margot at https://margotconor.com/

 

 

Using Personality Typologies to Build Your Characters

 

Contributed by Margot Conor

People often have asked me how I build such varied and interesting character profiles. I’m fond of going into deep POV and to do that, I need to know who they are, what they care about, what they seek, and what they avoid. At the heart of those questions is… why?

I build each character with a back history, which may or may not be exposed in the body of the story. They just need to live in my mind, fully formed. I need to feel their pain and touch the private tender things they want to keep secret. I want to know what drives them to do foolish things, what makes them brave or reckless.

I give them complex personalities. To find their hang-ups, and fears, and decide what sort of baggage they’ve brought with them. I need to know what they went through before they entered my story. I have to find the trauma that tarnished them and the promises that gave them hope.

So, you might have a clue by reading the title of this article. I use personality typologies. I don’t use the same system all the time. They are all useful and they vary in complexity. It depends if I am building a profile for a main character or someone who has a brief appearance in the story. No matter how insignificant the role they play I still don’t want them to be a simple archetypical villain or hero.

I also don’t want the villains to be all bad, if there are aspects of their personalities you can sympathize with it makes them more interesting. And of course, if the protagonist doesn’t have flaws, it’s hard to relate to them. They need a journey of discovery. A way to grow with the challenges they face.

Below is a quick look at the systems I draw from:

The oldest typology I know of is Hippocrates’ Four Temperaments. (460–370 BC). A system based on the four humors. A fifth was later added when published in 1958.

FIVE TEMPERAMENTS:
Your temperament is considered innate, influenced by genetics. They are often like a parent or grandparent. External factors such as negative and positive childhood experiences also factor in. Temperament is a little different or more basic than personality. It deals with how you move through your life and engage with people and challenges.

Sanguine: quick, impulsive, and relatively short-lived reactions.
Phlegmatic: a longer response-delay, but short-lived response.
Choleric: short response time-delay, but response sustained for a relatively long time.
Melancholic: (Also called “Melancholy”) long response time-delay, a response sustained at length, if not, seemingly, permanently.
Supine: (added later) Describes a person who is a servant and feels that he or she has little or no value.

MYERS BRIGGS:
16 personality types. To use these properly you need to read the full profile for each one, but here is a brief overview: the following descriptions are copied from: https://www.16personalities.com/personality-types

The Analysts:
Architect: Imaginative and strategic thinkers, with a plan for everything.
Logician: Innovative inventors with an unquenchable thirst for knowledge.
Commander: Bold and imaginative, strong-willed leaders.
Debater: Smart and curious thinkers who can’t resist an intellectual challenge.

The Diplomats:
Advocate: Quiet and mystical, inspiring, and tireless idealists.
Mediator: Poetic, kind, and altruistic, always eager to help a good cause.
Protagonist: Charismatic and inspiring leaders, able to mesmerize their listeners.
Campaigner: Enthusiastic, creative, and sociable free spirits.

The Sentinels:
Logistician: Practical and fact-minded, their reliability cannot be doubted.
Defender: Very dedicated and warm protectors, always ready to defend their loved ones.
Executive: Excellent administrators, unsurpassed at managing things or people.
Consul: Extraordinarily caring, social, and popular. Always eager to help.

Explorers:
Virtuoso: Bold and practical experimenters, masters of tools.
Adventurer: Flexible and charming artists, always ready to explore something new.
Entrepreneur: Smart, energetic, and very perceptive. They enjoy living on the edge.
Entertainer: Spontaneous, energetic, and enthusiastic. Life is never boring around them.

ENNEAGRAM:
To fully take advantage of this system you need to read the full bio for each type. But here is an overview (the following is copied from this site: https://www.enneagraminstitute.com/type-descriptions/)

1 THE REFORMER
The Rational, Idealistic Type: Principled, Purposeful, Self-Controlled, and Perfectionistic
2 THE HELPER
The Caring, Interpersonal Type: Demonstrative, Generous, People-Pleasing, and Possessive
3 THE ACHIEVER
The Success-Oriented, Pragmatic Type: Adaptive, Excelling, Driven, and Image-Conscious
4 THE INDIVIDUALIST
The Sensitive, Withdrawn Type: Expressive, Dramatic, Self-Absorbed, and Temperamental
5 THE INVESTIGATOR
The Intense, Cerebral Type: Perceptive, Innovative, Secretive, and Isolated
6 THE LOYALIST
The Committed, Security-Oriented Type: Engaging, Responsible, Anxious, and Suspicious
7 THE ENTHUSIAST
The Busy, Fun-Loving Type: Spontaneous, Versatile, Distractible, and Scattered
8 THE CHALLENGER
The Powerful, Dominating Type: Self-Confident, Decisive, Willful, and Confrontational
9 THE PEACEMAKER
The Easygoing, Self-Effacing Type: Receptive, Reassuring, Agreeable, and Complacent

FOUR PERSONALITY TYPES:
Robert S. Hartman, an American philosopher and psychologist, developed the four-type personality system. This system categorizes people into four different types based on their natural tendencies.

A: ANALYTIC: ambitious, workaholic, organized, goal-oriented, perfectionist, impatient, competitive
B: BEHAVIORAL: Easy going, non-competitive, less prone to stress, stable, adaptable non-confrontational, work steadily toward their goals, adapt to changes in plans, flexible.
C: COMMUNICATIVE: Collaborative, calm, rational and logical, thoughtful, and caring, introverted
D: DEDUCTIVE: Sensitive, shy, prone to anxiety and depression, avoidant.

EIGHT PSYCHOANALYTIC PERSONALITIES by Nancy Williams:
I do a deep dive into these for troubled characters and villains.
Used in modern psychoanalytic diagnosis you can read about it here for an overview: https://en.wikipedia.org/wiki/Nancy_McWilliams

Psychopathic: (Antisocial), Narcissistic, Schizoid, Paranoid, Depressive, Manic, Masochistic: (self-defeating), Obsessive, Compulsive, Hysterical (histrionic), Dissociative.

JUNG – FOUR FUNCTIONS OF CONSCIOUSNESS:
https://www.thesap.org.uk/articles-on-jungian-psychology-2/carl-gustav-jung/jungs-model-psyche/

Sensation: perception using immediate apprehension of the visible relationship between subject and object.
Intuition: perception of processes in the background, unconscious drives, or motivations of other people
Thinking: function of intellectual cognition, the forming of logical conclusions.
Feeling: Function of subjective estimation, value-oriented thinking
Attitudes:
Extraverts: seek greater stimulation, energized around people, think out loud, large social networks, thrive in teams, and crowds, enjoys being the center of attention, values broad experience.
Introverts: Seek less stimulation, recharges with quiet reflection, think before speaking, values one-on-one friendships, favors independence, avoids being the center of attention, values deep experience.

I hope this list helps you find characteristics to build multidimensional characters.

ABOUT THE AUTHOR

Margot Conor has been writing for as long as she can remember, but it wasn't until the COVID lock-down that she had enough time to dedicate to the craft and bring something to completion. Having finished her first novel, she went through the grueling two-year process of editing. Now she has jumped into the author's world with both feet. She's preparing to debut her first novel, which means learning how to promote it. The last year has been spent attending many writing retreats, seminars, and writers' events. She also listened to presentations specifically on the topic of publishing and book marketing. She will be sharing what she learns with the reader.
Learn more about Margot at https://margotconor.com/

Confessions of a Dyslexic Writer

 

Contributed by Margot Conor

I’ve always had an active imagination. As a child the adults in my life were unstable, dealing with their own problems and it left me adrift. No one noticed I was having trouble at school. I escaped by creating worlds where life didn’t hurt.

From a young age, I loved creating stories and I even tried to write them, but they were a mess of misspellings and reversed letters. Because of this difficulty with writing letters and numbers, my teachers accused me of being inattentive and lazy. Rather than recognizing I had a learning disorder and offering to give me additional attention, they would showcase my problems in front of the other students to shame me. My issues went undiagnosed and the damage to my self-esteem stuck.

I always wanted to be an author. I continued to write stories and attempted longer projects at various times over the years. I have many unfinished manuscripts and unpublished short stories. However, I didn't attempt to be a professional writer until technology provided a path forward for people like me.

As a child, I was not aware that there were other people who suffered from the same issues. It wasn’t until high school that I was tested. By that point, I had gotten very good at hiding it. But a teacher at a new school finally noticed and helped. These tests informed me that I had dyslexia, dysgraphia, and dyscalculia.

Dysgraphia: issues with spelling, grammar, numbers. Writing letters in reverse, struggling to form written sentences with correct grammar and punctuation. Using verbs and pronouns incorrectly.

Dyscalculia: is a learning disorder that affects a person's ability to understand number-based information and math. People who have dyscalculia struggle with numbers and math because their brains don't process math-related concepts like others do.

As a generalization, these all get put under the umbrella of dyslexia. It is important to understand that no person’s brain exhibits the same form of dyslexia, we are all unique. I have also experienced changes; it is not a fixed problem. For example, when very young I saw everything in a mirror image, and I wrote everything backward.

I can still easily write and read in this way, but somehow, I made it turn around. Words now change places or morph into words they shouldn’t be. Letters and numbers get mixed up. With words I can cope, but with numbers, there is no place they should be. No order or rule for placement.

While we can’t change how our brains work, we can learn how to better work with the brain we’ve got. I began by enrolling myself in a reading course for dyslexic people. It taught me to glance at groups of words at a time, rather than trying to puzzle out each word individually. I had trouble with both Anagrams and Anadromes.

Anagram is a word or phrase formed by rearranging the letters to form another word. The original letters are used only once. (Fried - fired, bare - bear, reed - deer, calm - clam, listen - silent, secure - rescue).
Anadrome is a word or phrase with the same letters which form a different word when spelled backward. (Parts - strap, evil - live, stressed - desserts, deliver - reviled, drawer - reward, nametag - gateman).

People with dyslexia experience the wrong order of letters or words while reading. Glancing at a group of words I could determine what each word in a sentence was by context. It took practice but eventually, it sped my reading and comprehension significantly. I now read at a normal rate, and I read a lot!

Dyslexics have advantages over other many neurotypicals. We read patterns, body language, and facial expressions. Our verbal communication skills are strong. Because we have experience as outsiders we develop empathy for others. We have sensitive auditory processing, creative problem-solving, and increased 3-D spatial perception. We love to think outside the box and solve puzzles. We develop critical thinking and analysis skills, and the ability to problem-solve with creative concepts.

So, what happens when a person with this mix of limitations and gifts decides to take writing seriously and become an author? As a writer, I am what they call a Panster. This term came from the idiom “Fly by the seat of your pants.”

Many writers prefer to do outlines and have various ways to organize their story arcs by planning out each stage of their novel ensuring they hit every plot point. I have tried to do this; I would like to be a plotter! But it just doesn’t work for me. Nor can I write in a linear fashion, from the opening chapter to the end.

I begin with a rather cinematic view of a story; it comes to me visually. The characters form personalities and even live in my dreams. I write whatever they are doing, and whatever they tell me. The characters come alive in my imagination, I get involved in their dramas and troubles. I feel their needs and their desires. I start to see the possibilities and then I move with them on a journey that ultimately becomes a novel.

Finished for me begins with a folder full of chapters that are out of order. I only know in my mind that they will fit together to form a whole. Then I start to organize the chapters. It is like fitting together a puzzle. Sometimes I have to add a chapter here or there to tie the pieces together. Other times I must exclude chapters or whole subplots that don’t move the main story forward. I save those unused parts and they become novellas or short stories set in the same world as my novel.

It is only because of the modern age of access and the wonderful tools created for authors that I am now able to share my writing with the world. Previously I would have had to have someone retype my manuscripts to correct my misspellings, punctuation, and grammar. This sort of assistance was costly, and I didn’t have the income to support it. All my stories languished in boxes and later in computer files, waiting for me to get back to them.

Now, I first create a Word document. I like the Find-Replace feature. This allows me to type a word in the search box and every place it appears in the document will be highlighted. For example, if a misspelling is found in a character name or a made-up place, spellcheck might not catch it. I can type the various alternate spellings in the search box and find where I have reversed letters.

I use Grammarly and Autocrit to polish and edit my stories and manuscripts. Writing is a complex task, and several areas of our brains are involved in the process. There is no reason why someone with a brain like mine can’t be a successful author. There have been others before me. For example: F. Scott Fitzgerald, Agatha Christie, Richard Ford, George Bernard Shaw, Octavia Butler, WB Yeats, Gustave Flaubert, and Jules Verne to name a few.

I will follow in their esteemed footsteps and do the best I can with the way my mind sees the world. I hope you will enjoy my stories.

References:
NeuroHealth: https://neurohealthah.com/blog/types-of-dyslexia/
Thinking in 3-D
Visual-Spatial Abilities in Dyslexia: National Library of Medicine

ABOUT THE AUTHOR

Margot Conor has been writing for as long as she can remember, but it wasn't until the COVID lock-down that she had enough time to dedicate to the craft and bring something to completion. Having finished her first novel, she went through the grueling two-year process of editing. Now she has jumped into the author's world with both feet. She's preparing to debut her first novel, which means learning how to promote it. The last year has been spent attending many writing retreats, seminars, and writers' events. She also listened to presentations specifically on the topic of publishing and book marketing. She will be sharing what she learns with the reader.
Learn more about Margot at https://margotconor.com/

Audio Books – Make Your Own or Hire It Out

 

  Contributed by Margot Conor

The fast-growing industry of books on audio has become a compelling reason to go that extra distance as an author and take advantage of this burgeoning market. In 2022 1.82 billion was generated through audio book sales in the United States. This was almost a 4% increase from the previous year. Over five years, sales increased by 50%. In 2023 there were around sixty-five million sales in the United States alone.

It is encouraging to see that people who may not have time to sit down and read a book are still interested in the stories we write and happy to engage on a different platform.

So, if you have published a book and want to make an audio version, how do you get started?

First, you need to decide if you want to make it yourself or not. Let's explore the options…

Audiobook Production Company:

All technical aspects and quality control remains in the hands of industry professionals.  Check out platforms like Fiver and Upwork to find an audiobook producer. There you will find audio engineers, editors, and producers who can record, mix, and master your audiobook.

For a production company to do this for you, plan on spending $2,500 and $3,750 for a five-hour book. That breaks down to about $500 to $750 per finished hour of audiobook content.

If you are asking yourself now if you can recoup those costs? The answer is most likely you can do so with an audiobook better than with any other format.

How To Course: By Derek Doepker $497

I happened to watch a presentation by Derek Doepker during the Get Published Summit and it WOW’d me. In his Audiobooks Made Easy course, he gives detailed advice which convinced me he knew how to save us all a lot of money. His course is designed for people who are total technophobes.

For less than it would cost to hire a narrator, you can learn how to make all your own audiobooks. Derek will remove any worries or concerns you might have with this simple step-by-step guide, so you proceed with confidence.

If you’d like to learn more, his sales page is https://audiobooksmadeeasy.com (this is not an affiliate link)

Self-Made:

Making the product and narrating the story are two different things. Choosing to save money by setting up a space and getting equipment is only part of the process. You may choose to read it in your voice, or you might want to get someone to read it for you.

The person who reads should be enthusiastic and express the proper mood for your story. They should be able to read out loud in an engaging voice, switch between tones, use different accents, and represent unique character voices. They need to pause in the right places to give breadth to the story or to add dramatic effect.

Some authors hire several voices to represent different characters. But, if you can do all of that yourself, then you will save a lot of money.

A pro will cost you around $200 an hour. Some narrators are willing to split royalties with you in payment.

SOURCE MATERIAL YOU’LL NEED

This is an auditory experience. Do not include descriptions of visual illustrations. Remove any call-to-action sentences like Click Here in your front or back matter.

Recording and Editing Software: Audio recording software is a user interface that records sounds, manipulates what you record, and mixes the audio input. It will also generate audio files. It acts as a digital workstation.

Cost considerations: Equipment, hiring a narrator (if you choose to), and promotion.

Time: Recording an hour of your story will take up to three hours to record. Especially when you’re first getting comfortable with the process. Plan to record in stages, so you can start fresh and fully attentive during each session.

If you hire a professional, they will most often record it on their own, and send it to you.

Computer: You will need a computer that has enough RAM. At least 16 GB. The operating system needs to support your recording software and the plugins for editing and mastering your audio recordings.

Make sure it runs silent, no fan noise!

Microphone: You will need either a USB or XLR type.

USB is your plug-in and play option. It is better than a built-in Mic on your computer, but the sound quality is not as good as the XLR.

XLR mics are the professional recording standard. You will get a clearer sound and you can also use them for a podcast if you choose to do that at some point.

Headphones: You will need to use headphones when you edit and master your audiobook, it will cost you at least $100 for a good set. Get studio quality closed-back headphones.

PROGRAMS FOR RECORDING YOUR AUDIOBOOK

Audacity: https://www.audacityteam.org/  
This is a free, open-source program.

(Please copy and paste the rest of the links in this article.)

ProTools: https://www.avid.com/pro-tools/ 
This is subscription based.

Reaper: https://www.reaper.fm/  
This is licensed based and suitable for most Authors’ needs.

StudioOne: https://www.presonus.com/en-US/studio-one.html  
A basic version costs $99.95, the pro version is $399.95.

Twisted Wave: https://twistedwave.com/  
Licensed based.

AI VOICE GENERATION

Speachelo: https://speechelo.com/
The normal price is $97, but they often run sales as low as $37.

You buy the software at a one-time cost that you can use for all your projects. It will transform any text into a human-sounding voiceover.

These voices have gotten very sophisticated, but they still don’t always get the inflections right. They have multiple English-speaking voices both male and female and also many other languages.

Revoicer: https://revoicer.com/
One time cost of $135, sometimes reduced to $67.

It’s downloadable software and advertises to be the first AI generation voiceover to add emotion and it gives you eleven different options for the mood that you want the voices to display.

They also can clone your voice, so you can use it to narrate your books. That is pretty impressive.

To be honest I was shocked at the quality of this option when I listened to the sample voices on their website. With a 15-second sample of your voice, they can produce a clone in one minute and it is considered your intellectual property.

OTHER ELEMENTS TO CONSIDER

Cover Art:
The cover art for audiobooks needs to meet specific formatting requirements. These include a JPG file no larger than 5 MB, with a pixel resolution of 2400 x 2400.

It is very important to have your book covers professionally done. If you are on a tight budget, try using a company like 100 Covers. Or look on Fiver for a designer.

Copyright:
There is a misconception that is popular among authors that as soon as you write something you own undisputable rights to your intellectual property. That was once the case, but no longer. We live in a litigious country, and recent court cases made that claim invalid.

It doesn’t take that long, and it isn’t too costly to protect yourself by filing for a legal copyright.

Distribution:
Choosing the company that works best for you is a matter of deciding which platform will serve your interests best. See some of the options listed below.
You can also choose to sell your audiobook on your website and bypass a distribution company.

Monetization:
If you choose a large audiobook distributor, they will automatically monetize your work. In most cases, they will take their cut for that service and pay you a percentage of the royalties.
 
Some suggestions include: Offer memberships, sell adverts, or solicit sponsorships, sell merchandise, make a paid online course, use third-party platforms in addition to your website, and offer affiliate links. All of these options work best if you have a fan base established.

Promotion:
The same is true about self-promotion. It is a big topic with a lot of options. If you plan to self-publish your books, you need to spend at least 50% of your time marketing them. There are some great marketing summits available for authors. Take the time to educate yourself on the options, it will make a big difference in your success.

DISTRIBUTION COMPANIES

Always read the Terms of Service

Findaway: https://www.findawayvoices.com/
Findaway Voices by Spotify is one of the world's largest audiobook distributors. Open an account, upload your audiobook, and distribute it, all for free. You keep 100% of your royalties on Spotify and 80% everywhere else.

Authors Republic: https://www.authorsrepublic.com/
This is a global network for new and well-known authors that is not owned by a retailer, so you are not limited to select channels.

This independence, and their established global distribution network gives you the ability to earn more than would be possible under an exclusive agreement. There are no administration fees or sneaky percentage cuts.

You earn 70% of royalties earned by your audiobook across over 50 channels, including major distributors—such as Amazon, Audible, Apple, Audiobooks.com, Spotify, and Google—plus library channels, streaming services, and niche startups.

Corsix: https://corsix.com/
This is a site to start your own channel. They have a Drag and Drop editor, (coding knowledge is unnecessary). You can publish all content types, audiobooks, videos, blogs, and podcasts. You can also customize your brand domain by adding your logo, changing the colors and fonts.

You can create courses too. It has free and per month packages.

PublishDrive: https://publishdrive.com/
This is one of Apple Books' preferred providers. If you publish your ebooks with them, you can easily convert them into audiobooks using Apple Digital Narration.

They have the widest worldwide distribution network. One-Click distribution to all stores. Built-in analytics and sales reports. Royalty management. Marketing and promotional tools. Bulk import.

Audible: https://www.audible.com/
This Amazon owned audiobooks platform distributes audiobooks to North America, Europe, Asia & Pacific Countries.

The subscription model and à la carte purchases on Audible offer revenue streams that can complement traditional book sales.

ACX: https://www.acx.com/
ACX, is the acronym for Amazon’s Audiobooks Creation Exchange. This is the hub for the creation of audio books that will appear on Audible, the Amazon owned audiobooks platform. Audiobooks uploaded to ACX will be sold on Audible, Amazon and Apple iTunes.

SUMMING IT UP

If you’re thinking about turning your book into an audiobook, the information in this article should help on your journey.

ABOUT THE AUTHOR

Margot Conor has been writing for as long as she can remember, but it wasn't until the COVID lock-down that she had enough time to dedicate to the craft and bring something to completion. Having finished her first novel, she went through the grueling two-year process of editing. Now she has jumped into the author's world with both feet. She's preparing to debut her first novel, which means learning how to promote it. The last year has been spent attending many writing retreats, seminars, and writers' events. She also listened to presentations specifically on the topic of publishing and book marketing. She will be sharing what she learns with the reader.
Learn more about Margot at https://margotconor.com/

Diversity in Your Writing Starts With Listening

 

 Contributed by Margot Conor

Everything you do in life is informed by the things you did before. That is why in some author's circles they tell you to write what you know. That has some truth in it. Even my sci-fi and fantasy stories weave in things that I learned or believe. I just put a twist on them so they happen in another setting.

Everything you do is also colored by the perspective you gained through those experiences, or from your family, community, or society at large.

There are attitudes planted in our little brains just as if we are a garden for our tribe, they nurture those seeds and cultivate a particular way of seeing the world. Now that view might be rosy or it might be dark. We only have a choice to test the limits of that perspective once we are grown, and then it is our privilege to do so.

Sadly, many do not. They are comfortable with how they’ve been molded, and these ingrained perspectives color your writing.
 
The paradigm we currently operate in is flawed, it is largely based on separation, exclusion, and intolerance. An “us” and “them” mentality. If we want to survive these times, we need to change.

Change requires that we investigate other points of view with an open mind and talk with people who are not like us, or more importantly, that we listen to them.

Listening helps add fresh perspectives to your writing.

I don’t know about you but it makes me feel bad when I am having a conversation with someone and I can tell they are not paying attention to what I say because they are either distracted with something else, or they are just waiting for me to finish, so they can share their opinion on the subject. Or they just interrupt because they feel what I’m saying isn’t valid or important.

When I have come across someone who is actually listening, patiently, looking me in the eye, and really hearing what I have to say, maybe even asking questions. Wow, it’s a powerful experience. Just to be heard. It makes me realize that it is a rare occurrence. To be given the courtesy of someone’s full attention, to be shown that kind of respect.

That is basically what this comes down to, if we show respect even to people we don’t agree with, they can feel that you care enough to try understanding their point of view.

I equate this with visiting a foreign country and trying to speak their language instead of expecting them to speak mine. They might laugh at me, (well they have, I wish I was better at languages) but they also like that I try. It shows them I’m making an effort to communicate.
You might try listening to those who have different cultures and ideas. Consider if there is anything there to inspire you. If their ideas seem radical, then investigate.

And yes, you should absolutely test those waters, use all the tools available to you in this modern age of access, and see if what they tell you is accurate. Then see how that stands up next to what you’ve been taught.  

Often that is how I get ideas for my characters. I talk to people who are raised to think differently than I was. It is important to go wide, take in new things, find the strange.

Enjoy the oddities you come across. Unravel the things that are mysterious to you. Gain a new understanding of something. You might surprise yourself and take a new perspective. Then put all of that into what you write. Or if you are not a writer, let all of that make your life richer.

Be brave, do something new or different.

ABOUT THE AUTHOR

 

Margot Conor has been writing for as long as she can remember, but it wasn't until the COVID lock-down that she had enough time to dedicate to the craft and bring something to completion. Having finished her first novel, she went through the grueling two-year process of editing.

Now she has jumped into the author's world with both feet. She's preparing to debut her first novel, which means learning how to promote it. The last year has been spent attending many writing retreats, seminars, and writers' events. She also listened to presentations specifically on the topic of publishing and book marketing. She will be sharing what she learns with the reader.

You can learn more about Margot and her writing at her Facebook page: https://www.facebook.com/margotconor/ 

(@MargotConor (Facebook) 

 

Got Hacked

 

 Contributed by Margot Conor

I am not sure if this is true for every author, but when I created a pen name, she grew into a whole different personality.

She is far more confident and bold than me. She isn’t afraid to tell people she wrote something they would like and they should read it. She isn’t afraid to write about things I would hesitate to say. As I watch her spread out into the world on this writer's journey, I have grown to like her very much.

If it were me, I would have disclaimers and contingencies. I would make myself smaller, I would be apprehensive and wary of great things as if they couldn’t happen for me. I would hold myself back. But Margot believes in herself, she isn’t shy about making her mark. She’s willing to take risks, just for the hell of it, because why not?

In a way, I suppose it is like being an actress and stepping into a role. You’re able to suspend your hangups and leave your insecurities behind. You set your concerns aside too, especially those that whisper that you're not good enough… and let this other persona live larger than you ever dreamed of doing.

I created Margot to be the writer I wish I had the courage to be years ago. She is younger, more worldly, and more business savvy. She will market her books and have more success than I would have. Because I am an introvert. I am the woman who never lived up to her potential. The one who let time slip away and collected a stockpile of unfinished manuscripts and unpublished stories.

With a little luck, Margot will finish them. I created her so that I can stay hidden. I wear my anonymity like a comfortable coat. 

I like letting her take the lead. 

That is why when she got hacked and some stranger was trying to take over her social media, I felt extremely protective. I made myself sick over it, thinking that some malicious unknown force was trying to take away all that Margot had started to create.

It was a stressful few days, but with the help of someone near and dear, we got it sorted for her. Margot’s sites were recovered and we made her passwords much stronger. We also did that multi-factor authentication. Which seemed like such a hassle before, but it is far less difficult than getting hacked! Margot would like to encourage you all to do the same if you haven’t already.

Protect what you create and believe it is worthy because you have poured your heart into it, and it deserves all your hope and love.
 
~Anonymous
For Margot Conor

ABOUT THE AUTHOR

Margot Conor has been writing for as long as she can remember, but it wasn't until the COVID lock-down that she had enough time to dedicate to the craft and bring something to completion. Having finished her first novel, she went through the grueling two-year process of editing. Now she has jumped into the author's world with both feet. She's preparing to debut her first novel, which means learning how to promote it. The last year has been spent attending many writing retreats, seminars, and writers' events. She also listened to presentations specifically on the topic of publishing and book marketing. She will be sharing what she learns with the reader.

You can learn more about Margot and her writing at her Facebook page: https://www.facebook.com/margotconor/
@MargotConor (Facebook)