Writing, publishing, book marketing, all offered by experienced authors, writers, and marketers
You Can Reach Your Writing Goals
The Magic of Words as Opportunity
Deadlines and Other Powerful Words
Opportunity Writ Large…Again
By Carolyn Howard-Johnson, multi award-winning author of the
HowToDoItFrugally Series of Books for Writers
Deadlines.
I’m not going to give you advice on meeting deadline because I’m in the middle of a booklet for my HowToDoItFrugally Series when I should be nearing the end. I’ve always believed in leaving early for social occasions, and to catch planes. And I’ve never had trouble with deadlines before. Now—suddenly—I’m feeling…inadequate and a little fearful of mentioning the word.
So here I am facing my November deadline for Writers on the Move. I just, well…sorta stole a little segment from the booklet I’m writing to share with subscribers and visitors to Karen Cioffi’s blog as well as her talented slate of regular contributors.
It’s the story of how I came to write a booklet I’m working on. It’s little about deadlines, too, I guess. You’ll have to read between the lines.
Anthropologists tell us we humans have been storytellers since we first gathered around fires for warmth and companionship, long before we entertained the idea of writing. Stories were our entertainment. It’s also how we learned the easy way—from others’ experiences—rather than from our own shortcomings, our own seemingly insurmountable challenges, and our own oopsies. Having said that, when we do learn the hard way, sharing helps us see the value of applying humor to ourselves.
In important moments of working with my first editor, I found myself using the words saying or adage and immediately felt ill-at-ease about my vocabulary skills. I eventually acquired the more acceptable all-purpose word, apothegm when one was suggested in an editing class I was teaching and thereby expected to know about such things. It is somehow both more specific and more adaptable than sayings…and, yes, less humiliating. But it still didn’t let me bore down on the specifics I needed to communicated with editors--nor for my classes and the new book I was writing to use as a text in a class on marketing books. There were available books and texts galore out there but nothing that included public relations for authors, or promotional ideas or getting media attention for books.
In the meantime, apothegms were leading me to all kinds of synonyms with slightly different meanings. They included more precise as well as well as subliminal interpretations for each:
§ mottoes and catchphrases might suggest an unwanted commercialism.
§ proverbs imply a biblical passage; words of wisdom also connote religiosity or a philosophy that might or might not be appropriate for the title in consideration.
§ platitude smacks of cliché, something most of us work mightily to avoid.
§ maxims tend to be about rules of conduct. If an editor suggests you use them to introduce chapters and your book isn’t a “Miss Manners” book, explore the kind of apothegms they had in mind before spending good writing time researching quotations that probably won’t suit the tone of your book.
§ axiom, dictum, adage, and even the word sayings, itself!
Soon I realized that very few authors use these, ahem!…sayings to make a book work as a full book and that maybe if I wrote a short book of vocabulary words related to the needs of authors, the content could help them apply this technique to their books. Different words might work differently for them, but each could be an opportunity for one of my fellows out there.
I had found a way to make the interior design that would make my book more interesting than a theme paper. It wasn’t a new idea, by any means. But it had become an opportunity that kept growing.
I had to self-publish because I was on deadline for my first class that fall. I started introducing each chapter with an apothegm or one of its semi-synonyms, depending on the topic of the chapter. One opportunity kept leading to others. Thinking of apothegms as opportunity, it’s a wonder they haven’t become an essential technique combined with the merest suggestion of interior design in seminars and presentations at writing conferences! (If you are interested in reading Terry’s article, leave a comment at the end of this article and Terry, Karen, or I will send you the permalink a to make it easier for you to access!)
But back to my story. This one “accidental” piece of knowledge worked in favor of my flagship book, my UCLA Writers’ Department students, and is still making itself useful for me nearly three decades later. If you’re familiar with my how-to books for writers, you’ve probably already run across the motto or tagline I came up with early in the pursuit of clarity to replace my old sayings habit:
“Careers that are not fed die as readily
as any living organism given no sustenance."
~ CHJ
I still try to find somewhere to slip that one into all my how-to books for writers and promotional material. But it’s limited. It only works when I want to convince authors that they’ll need a “to know more about a lot of things they never suspected they’d need or wanted desperately to avoid.” It’s also an example of how the work you put into apothegms for one book might be recycled to benefit many books—even many promotional projects like handouts.
And here’s the icing on the cake. This (unfinished!) book has lead to another promotion I haven’t tried before. WinningWriters.com will be giving it as a gift to all those who enter their 2025 #NorthStreetBookPrize contest. If I’m lucky the contest entrants will tell others about it. Opportunity meeting opportunity. Speaking of opportunity! I mustn’t forget to add WinningWriters’ clever pre-promotional idea to the next edition of my The Frugal Book Promoter. That would be its fourth edition. It seems a single word has more power than even I who love words could have imagined.
PS: Once finished, this booklet full of writer-related words, each a powerful opportunity, will be available from Modern History Press early in 2026.
MORE ABOUT TODAY’S WRITERS’-ON-THE-MOVE BLOG CONTRIBUTOR
Badge created by Carolyn Wilhelm for the HowToDoItFrugally Series of Books
Howard-Johnson is the recipient of the California Legislature’s Woman of the Year in Arts and Entertainment Award, and her community’s Character and Ethics award for her work promoting tolerance with her writing. She was also named to Pasadena Weekly’s list of “Fourteen San Gabriel Valley women who make life happen” and was given her community’s Diamond Award for Achievement in the Arts. Carolyn writes nonfiction for writers, poetry, and fiction and has studied writing at Cambridge University in the United Kingdom; Herzen University in St. Petersburg, Russia; and Charles University, Prague. J. She is especially thankful to Karen Cioffi for letting her share stories like this with her #WritersontheMove audience.
Focus on the Details
Contributed by Karen Cioffi, Children's Writer
When it comes to storytelling, the big picture often gets all the attention: impressive plots, sweeping character arcs, and monumental stakes.
While these elements are crucial, the little details are what breathe life into your story, turning a decent narrative into a drawing experience. Details anchor your readers in the world you’ve created, making it vivid, immersive, and memorable.
Think of your favorite books or films. Chances are, what lingers in your mind isn’t just the overall plot but the specific, finely crafted moments: the creak of floorboards in a haunted house, the peculiar way a character twists their ring when they’re nervous, or the vibrant smell of oranges in a market stall.
These details don’t just add color; they serve a deeper purpose, enhancing your story’s emotional resonance and authenticity.
WHY DETAILS MATTER
Building Believability: Details make your world feel real. Whether your story is set in a busy city, in the 16th century, or an other-worldly realm, well-chosen specifics help readers dive in and become immersed in the story.
A medieval castle with generic ‘stone walls and tall towers’ feels bland. But mention the moss creeping between the stones, the faint echo of dripping water in a deserted hallway, or soul-wrenching cries, and suddenly it springs to life.
Deepening Character Connection: Small, unique details reveal a lot about your characters. Instead of saying, “John was nervous,” show how he nervously aligns the pens on his desk until they’re perfectly parallel. This information not only conveys his anxiety but also hints at his perfectionist tendencies, giving readers a deeper understanding of who he is.
Enhancing Emotional Impact: Details tap into the senses, evoking powerful emotional responses. A fight or flight scene becomes far more moving when you describe the size and look of the bully or the rustling leaves and crackling twigs of an approaching menace.
STRATEGIES FOR FOCUSING ON DETAILS
1. Use the Five Senses
Readers engage with a story through their senses, so aim to include sensory details whenever possible. Don’t just describe the bakery on Main Street; bring it alive:
The scent of freshly baked sourdough lingered in the air, mingling with the buttery sweetness of croissants. The glass display case showcased rows of golden pastries, their flaky edges crisp and inviting.
By appealing to sight, smell, and touch, you’ve created a bakery that feels tangible.
2. Be Specific, Not Generic
General descriptions can feel lifeless. Swap out vague phrases for precise ones that paint a clear picture. Instead of writing, “She dressed business-like and looked good,” try:
She took to the high school auditorium stage in dark grey pants, a white, neatly tucked-in blouse, and a matching dark grey jacket. Her usual bulky gold chain necklace and bangled bracelets were missing. She was taking this student body presidency campaign seriously.
Specificity transforms a forgettable image into something vivid and memorable.
3. Make Details Do Double Duty
Every detail you include should serve a purpose. If you mention a character’s ragged-edged fingernails, it might hint at their anxiety or lack of self-care. If the protagonist notices the ticking of a clock during a tense confrontation, it could underscore the urgency of the moment.
In J.K. Rowling’s Harry Potter series, the descriptions of Harry’s cupboard under the stairs—complete with spiders and cramped conditions—don’t just set the scene; they establish his neglected, unloved status.
4. Observe the World Around You
Real life is brimming with details. Note how the sunlight filters through a stained-glass window and creates a rainbow across the floor, the rhythm of footsteps on cobblestones, or the way steam curls from a cup of tea. When you ground your writing in observations from real life, your scenes will resonate more deeply with readers.
5. Avoid Overloading
While details are essential, it’s easy to overdo it. Resist the urge to cram every sentence with sensory descriptions or intricate specifics. Instead, choose the most impactful details that align with the tone and pacing of your story.
For example, a fast-paced chase scene doesn’t need a detailed account of the scenery. Focus on the thudding footsteps, the rasp of labored breaths, and the flash of a shadow turning a corner.
EXAMPLES OF DETAILS AT WORK
Example 1: Setting
Without details: The mountain was huge, and the forest dark and scary.
With details: His gaze slowly traveled up and up and up. The mountain loomed above him like a never-ending wall. Its thick, giant trees and overgrown brush left little space between them for a trail. The faint rustle of unseen creatures whispered through the undergrowth, and the air smelled of damp earth and decay.
The second version immerses the reader, making the forest’s atmosphere relatable.
Example 2: Characterization
Without details: Wang rushed through the wheat fields after a year away.
With details: After a long absence, he rushed through the wheat fields to find his father. The stalks brushed against him, causing a familiar sensation to flow through his body. He had forgotten the sound the stalks made as he passed by, the fragrance they emitted, and even the taste that occasionally made its way into his mouth when binding the cut sheaves or on a windy day.
Here, Wang’s experience is conveyed vividly through imagery.
PRACTICING THE ART OF DETAIL
Adding effective details takes practice. Start by revisiting a scene you’ve written; highlight where generic descriptions can be replaced with more specific ones. Pay attention to places where sensory details could heighten the mood or deepen a reader’s connection to the moment.
You can also try observational exercises. Pick an everyday object and describe it in as much sensory detail as possible. What’s the texture and weight of the object? How does light interact with it? What emotions does it evoke?
SUMMING IT UP
The little details are what transform good stories into unforgettable ones. They root readers in your world, breathe life into your characters, and evoke emotions that linger long after the final page.
By focusing on the nuances—the scent of freshly baked bread, the moss between the stones, the looming mountain—you’ll create a story that doesn’t just entertain but engages.
ABOUT THE AUTHOR
Karen Cioffi is an award-winning children’s author, working ghostwriter, rewriter, and coach (picture and chapter books). If you need help with your story, visit Writing for Children with Karen Cioffi.
You can check out Karen’s books HERE.
You can connect with Karen at:
LinkedIn: https://www.linkedin.com/in/karencioffiventrice
Facebook: https://www.facebook.com/kcioffiventrice/
Instagram: https://www.instagram.com/karencioffikidlitghostwriter/
Twitter: https://twitter.com/KarenCV
Opportunity Is Everywhere
On the surface, the path to publishing might not show you the diversity and range of possibilities for your writing. From speaking to hundreds of writers, I find many of them are focused on a particular area of writing such as writing a novel or a children’s book. They haven’t understood the value of learning good storytelling and communication skills that are relevant and useful for many different areas of writing.
Because these writers are focused on a small niche area of publishing, it’s almost like they are wearing blinders and can’t see any other possibilities. In this section, I want to challenge you to remove your blinders and see the wealth of possible application for your writing within the publishing community. While each area of publishing has its own specific requirements, good writing and storytelling skills can be used in multiple areas to strengthen your overall career.
For example, you may want to write a book and have done a little exploration but the only companies who have responded to your questions are the publishers who want you to pay them to get your book into print. These companies are called self-publishers. Instead, you are looking for a traditional publisher who will pay you an advance, then print and distribute your book. Yet because you have no background in book publishing, you don’t understand that 90 percent of nonfiction books are contracted from a book proposal and a few sample chapters, rather than a complete book manuscript. Without this critical detail, you have focused on writing a full-length book manuscript. Then you discover it may take you 12 months to find a literary agent who has to locate the right publisher. Then you learn it will take a longer-than-expected span of time for this publisher to release your book—normally 12 to 24 months after you turn in your manuscript. To a beginner, this realistic and practical publishing timeframe isn’t evident on the surface.
Also, writers don’t understand they can gain valuable training, experience, and exposure through writing magazine articles. From idea to assignment to publication with a printed magazine can be a much shorter timeframe for four to six months than books. Every editor is actively looking for writers who can communicate—whether they are a newsletter editor, an online editor, a magazine editor, a book editor or anyone else who has the title “editor.” As a young magazine editor, I quickly learned I had to do less editorial work and could have greater confidence in assigning an article to a published author than an unpublished author. I read the ideas and considered giving the assignment to the unpublished author but their chances dramatically improved with any type of publishing experience.
Magazine and newspaper writers learn valuable skills that help their success with a longer project such as a book. These writers learn to write for a specific audience or publication and to write within a specific word length. Also through the writing process, they learn the value of a focused headline or title and relevant subheads scattered throughout the article, as well as hooking the reader with a tightly written opening. Then they continue to feed information to the reader as they structure their writing, and conclude the article with a focused point called a “takeaway.” These writers also learn the importance of meeting a specific deadline (or a better way to stand out with the editor is to complete their assignment before the deadline).
In addition, writers can learn the skill of rewriting and following an editor’s direction. Sometimes your article will be “almost there” but not quite. Can you follow the editor’s directions and complete the assignment to their satisfaction? It’s much easier to learn about this process on a 1200-word magazine article than a 50,000-word book project.
Finally, these writers built trusted relationships with their editors—newspaper and magazine. Many of the editors I’ve worked with have moved up to higher paying publications or have become book editors or editorial directors. The seeds of my relationship with them were planted through my magazine writing. As a new writer you need to understand the necessity of building these lasting relationships.
Your journey to publication will be completely different from my experience. It will at times startle and surprise you. The writing business is a strange mixture of creative combined with practical “how-to” skills. These pages are signposts, and every step may not be critical for you. For example, you may not care about writing children’s books or short stories, yet I would encourage you to read and explore this type of writing. If you try it and it fits your writing style, it may be the key to expanding your writing world and I’d hate you to miss it.
Writing: Setting the Mood
Contributed by Margot Conor
Crafting Emotion and Atmosphere in Writing.
Why Mood Matters
Every story carries a current beneath its plot, a subtle emotional tone that guides how the reader experiences events. This is mood: the atmosphere that lingers around a scene, created not by what happens, but by how it is told. A love story may take place in a garden, but whether that garden feels tranquil, eerie, or oppressive depends entirely on mood.
Writers who understand mood can shift a reader’s emotions without ever naming them directly. They conjure sorrow without saying “sad,” and build dread without mentioning fear. Mood is the difference between description that merely informs and description that transports.
The Building Blocks of Mood
1. Descriptive Language and Word Choice
Every word carries emotional weight. Consider the difference between describing a room as dim versus shadow-choked. Both mean there is little light, but the second leans toward menace. Similarly, a breeze suggests gentleness, while a gust can feel intrusive or restless. Precision in word choice is one of the most powerful tools for setting mood.
2. Imagery and Sensory Detail
Mood flourishes when writing appeals to the senses. Sight may be the most obvious, but sounds, textures, and even smells can deepen atmosphere. A creaking floorboard, the sticky grip of humid air, the metallic tang of blood in the mouth… these details can evoke an entire emotional world.
3. Rhythm and Sentence Structure
The cadence of prose influences how readers feel. Long, flowing sentences can lull or soothe, while short, clipped phrases quicken the pace and heighten tension. Consider how a passage in Virginia Woolf can feel meditative, while Hemingway’s terse sentences convey urgency. Rhythm is the invisible pulse of mood.
Techniques for Enhancing Atmosphere
1. Show Through the Environment
Setting often reflects or amplifies the emotional tone. Gothic writers knew this well: crumbling castles, storm clouds, and hollow winds echo inner turmoil. But even in modern realism, surroundings shape mood. Like a sunlit café warms a scene of reunion, while a sterile hospital corridor chills it.
2. Weather as Emotional Mirror
Though sometimes cliché, weather can be used with subtlety to underline atmosphere. A sudden downpour can feel cleansing or ominous, depending on context. Fog blurs not only the landscape but also certainty, mystery, or fear.
3. Symbolism and Motif
Recurring images create consistency of mood. Repetition of water imagery might bring calm or unease depending on how it is framed. Colors are another powerful tool, red can suggest passion or danger, blue serenity or sorrow. Symbolic language layers meaning onto mood.
4. Contrast and Juxtaposition
Mood sharpens when placed against its opposite. A joyous wedding scene may feel even brighter when set after a moment of grief. Laughter can echo uncomfortably in a tense setting, turning joy into something uncanny.
Some examples from literature you might have read:
Edgar Allan Poe mastered gothic atmosphere, weaving dread into every creaking door and flickering shadow. His word choices drip with menace, leaving no doubt of the intended mood.
Toni Morrison layered lyrical, sensory-rich language to create moods of both beauty and brutality, allowing readers to inhabit the emotional truths of her characters.
Kazuo Ishiguro sustains quiet melancholy in novels like “The Remains of the Day,” where understatement and restraint foster a mood of longing and regret.
Ray Bradbury in “Something Wicked This Way Comes” builds mood with sensory lushness. The smell of autumn leaves, the distant calliope… where nostalgia and dread intermingle.
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/
Why Self-Publishing Books Aren't in Bookstores
Writing: Mixing It Up with Tropes
Contributed by Margot Conor
I have lately been experimenting. I mostly write Science Fiction and Fantasy. But I do tend to mix tropes most of the time. Recently I have been trying a few new subgenres.
An author in a critique group told me she liked my Magical Realism style. And I had to admit I didn’t know what that was. When I searched for authors that are known for it and discovered they are some of my favorites. Jorge Luis Borges, Gabriel Garcia Marquez, Isabel Allende. I suppose we are inspired by the authors we love.
After reading about what characterizes Magical Realism, I wrote a few short stories with that trope in mind. Consciously leaning into that style, I was pleased with the results.
Magical Realism combines realistic settings with fantastical or magical elements, treating the supernatural as commonplace within the narrative. Key characteristics include a realistic setting, the matter-of-fact inclusion of magical elements, a blurring of the lines between reality and fantasy, and often, a focus on everyday characters in dream-like, or unbelievable situations which are treated as normal.
While researching tropes I saw a few others I decided to experiment with.
One is something called slipstream. Which I also had never heard of. This has the distinctive quality of defying traditional genre boundaries, by mixing sci-Fi, and Fantasy with psychological or philosophical fiction. It explores deeper themes of societal or technological change, and the breakdown of paradigms. It employs strange and uncanny situations. Encourages the bending of reality with surreal settings or circumstances. It is otherwise described as “the familiar strange, or the strange familiar.
I had never written in the Steam Punk subgenre until recently either, I wrote a short story titled Magic Wants to Be Used. I love the characters and the world I created enough to possibly serialize it. This story’s main character is a teenager named Xandra who has a forbidden form of mechanical magic.
I also recently compiled a small set of nine fantasy stories featuring dragons. I’ve been writing fantasy for a while but oddly never touched the dragon lore sub-genre. I am not sure it is still as popular as it once was, but it was fun to write.
There are a few writers in one of my writers’ groups who write romantic fantasy. I know that any sort of romance genre is extremely popular now, and an easy genre to build a loyal following with. But other than inserting a few flirtations into the speculative genres I write, romance seems to be near impossible for me to write.
I seem to have found my favorites, and I’ll stick with them. I encourage writers to explore as I have been doing, just to see what might inspire you. Every now and then it is good to step outside what we usually do and explore a slightly different direction.
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/
Are You a Writing Imposter?
I watched an amazing webinar with Writers on the Move contributor Carolyn Howard-Johnson and her publisher Victor Volkman.
Carolyn is an award-winning author and an expert book marketer, so I listen when she has something to share.
A small part of her talk was about the imposter syndrome. Making it easier to understand, it's more like the 'I'm not good enough' syndrome.
This is something most writers deal with once in a while, me included, so I decided to look into it.
According to Wikipedia, the "imposter syndrome is a psychological pattern in which an individual doubts their skills, talents or accomplishments and has a persistent internalized fear of being exposed as a fraud."
So, what does this have to do with writers?
Well, once we feel we're not ‘really’ a good writer, we begin to underestimate our ability and our value.
Unfortunately, this syndrome seeps its way into new and even seasoned writers, and it can cause consequences.
The I'm not a good enough writer syndrome, or I'm a fraud, and sooner or later, everyone will know.
Have you ever felt like this?
Once a writer has these feelings, they can fester and grow, stopping her from moving forward.
Maybe she's been thinking of seeking an agent's representation.
He may have thought of submitting to traditional publishers.
Maybe he's wanted to get articles published in magazines like Writer's Digest, The Writer, or another magazine.
BUT …
She doesn't think she's good enough, so she doesn't even try.
There's an expression I love: Nothing ventured, nothing gained.
You don't have to be the best writer on Earth.
It's not the best writer who succeeds; it's the writer who perseveres. And part of perseverance is to submit your work.
It's about writing the book you want to write and self-publishing if that's the route you want to go.
It's about submitting your manuscript to agents and publishers.
That said, it is important to make sure you, at the very least, know how to write.
- Read a lot.
- Read books the agent has represented if that's what you want to do.
- Read books that the publisher has published if that’s your dream.
- Read 'quality' books in the genre you want to write.
- Take the time to learn how to write if you haven't yet. There are excellent online classes that can help you with this.
Another problem is if a writer with this syndrome offers services like editing or ghostwriting.
If you're offering writing services and don't believe you're qualified enough to provide these services, you're in trouble.
- The first thing that will happen is you won't charge what you're worth. This thought process can cause a domino effect.
- Your lower prices will cause some potential clients to believe you're not as good as other services charging more.
- You may let clients tell you how to write. Or, you may not be confident to explain to your client that what he has done or wants to do won't work.
- You'll second-guess almost everything you do.
If you have these feelings, it might be helpful to create a vision board.
Put a few quotes or sayings that will help you believe in yourself. Be sure to keep it where you'll see it every day!
And another good idea is to keep learning your craft.
Learning to write also goes for wannabe authors. Learn about writing by reading books in the genre you want to write in, and then go for it.
Click the link to watch Carolyn's talk - it has lots of book marketing tips:
https://youtu.be/ykE7ITz6HUk
ABOUT THE AUTHOR
Karen Cioffi is an award-winning children’s author, working ghostwriter, rewriter, and coach (picture and chapter books). If you need help with your story, visit Writing for Children with Karen Cioffi.
You can check out Karen’s books HERE.
https://karencioffiwritingforchildren.com/karens-books/
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