Are There Advantages to Traditional Publishing?

 Contributed by Karen Cioffi, Children's Writer

While almost everyone is hitting the self-publishing road, including most of my clients, some authors yearn to be published through a publishing house.

Before I go on, though, let me clarify what traditional publishing is, as I just had a query from a new author who wasn’t sure about it.

Basically, traditional publishing is when you submit your manuscript to publishing companies that will PAY YOU to publish your book.

If the company thinks your book will be a good investment, they’ll give you a contract. It could take a year to two years for your book to actually get published.

Traditional publishing houses INVEST their money, time, and effort into publishing your book. You don’t pay them for anything!

These companies make their money back, and hopefully a profit, through your book sales.

The term ‘traditional publishing’ is getting confusing because a lot of services are labeling themselves as such while they’re really not.

So, again, if you have to pay a company even a dime, they’re not a traditional publisher.

Okay, back on track.

Four advantages to traditional publishing:

1. Recognition and approval.

When a publishing company thinks your manuscript has what it takes to sell, when they’re willing to back it up with their financial support, that’s validation.

You can jump around yelling, “It’s really good!” You’ve gotten approval from people in the industry.

This is not to say that some self-published books aren’t ‘really good.’ But, if you need personal validation, getting it from a traditional publisher or literary agent is the way to go.

2. You have a team of professionals behind you.

Aside from very small publishers, you’ll benefit from professional editors, book designers, illustrators, and so on, polishing your manuscript till it shines.

Companies that ‘help’ you publish your book (self-publishing services) don’t usually hire a professional staff. I’ve seen terrible editing and illustrations from some of these companies.

Tip: If you’re self-publishing, check out the portfolios of any service or individual you’re hiring to help you publish your book. And review books the service you’re considering using has published before jumping on board. Check the books carefully. If it’s a children’s picture book, check the illustrations carefully, too.

3. You’ll get marketing help.

A publishing house wants to sell your book, that’s how they make money.

While smaller companies don’t do much regarding marketing, you’re listed on their site, which will have its own readership. This listing will broaden your marketing reach.

And, if they attend book fairs and such, you’ll have the opportunity to have your books displayed.
 
Any little bit of ‘extra’ marketing is helpful.

As the companies get bigger, they offer more marketing help. But keep in mind that whether you’re working with a small, middle, or large publishing house, you’ll still need to promote your own books.

4. Opportunity comes with traditional publishing.

If you’re inclined to take advantage of your traditional publishing credit(s), you can use it to:

a. Write more books and seek traditional publishing
b. Submit articles to magazines.
c. Offer your own writing services.
d. Give workshops.
e. Teach a class (online or off).

Getting a contract from a publishing house or signing on with a literary agent does give you some clout. It’s kind of like a stamp of approval.

ABOUT THE AUTHOR

Karen Cioffi is an award-winning children’s author, working ghostwriter, rewriter, and coach. If you need help with your story, visit Writing for Children with Karen Cioffi.

Karen also offers authors:

HOW TO WRITE A CHILDREN'S FICTION BOOK
A DIY book to help you write your own children’s book.

WRITERS ON THE MOVE SELF-PUBLISHING SERVICE
Self-publishing help for children’s authors.

Writing Your Character's Internal Thoughts

 Contributed by Karen Cioffi, Children's Writer

According to Masterclass, internal dialogue “can provide deep insight into a character’s thoughts, fear, self-esteem, and general point of view and opinions.” (1)

This allows the reader to get inside the main character’s head. This, in turn, makes the protagonist’s internal thoughts powerful. It helps create a deeper connection between the reader and the main character.

Internalization is called by a number of names, including internal thoughts, internal dialogue, and internal monologue.

This type of dialogue is revealing and personal.

The main character will not say everything he thinks. It might be too embarrassing, offend someone, or leave the main character vulnerable. Whatever the reason, some things just aren’t spoken out loud. The same as with you and me.

An example of this is from the first paragraph in the first chapter of my chapter book Walking Through Walls:

Wang bound the last bunch of wheat stalks as the sun beat down on the field. Sweat poured from the back of his neck, drenching the cotton shirt he wore. I hate doing this work. He hurled the bundles on a cart. “Father, the bales are stacked. I am going home; it is too hot.”

Granted, today, a twelve-year-old boy might very well tell his parent he hates doing something, but this story is set in 16th-century China. Wang would never tell his father he hated working the fields.

So, the internal thought brings the reader into Wang’s POV.

As internal thoughts are such a powerful writing tool, how do you let the reader know what’s written is the main character’s internal thoughts?

Quotation Marks

I’ve seen drafts from clients who have internal thoughts in quotation marks.

The above excerpt example would read: “I hate doing this work.”

I'm not crazy about this way of writing internal thoughts, especially for children. It’s not clear. The reader could think Wang is talking out loud to himself, or in this context, to his father.

When writing for children, it’s essential to write with clarity. Everything should be easily understood, so it’s best to use quotation marks only for spoken dialogue. This strategy will help keep things clear for the reader.

Italics With Tags

If I used a tag, it would have read: I hate doing this work, he thought.

When it’s easy to understand who’s having the thoughts, a tag isn’t needed.

If there is any question about who is talking, tags should be used.

Italics Without Tags

Aware the reader knows who is talking, I wouldn't use the tag: I hate doing this work.

Not Italicized Without Tags

This style of writing thoughts is not my cup of tea either. It breaks the flow and can be confusing, especially for children. If using third-person POV, it goes from the narrator to the main character’s internal thoughts with no clear indication.

The example above would read:

Sweat poured from the back of his neck, drenching the cotton shirt he wore. I hate doing this work. He hurled the bundles on a cart. “Father, the bales are stacked.”

It jumps from the narrator to the main character’s internal thoughts and then jumps back to narration.

Not Italicized With Tags

This is another style I don’t like. Taking the excerpt from above but using this writing style, it might be clear it’s the character’s internal thoughts because of the tag, but if the main character continues his thoughts after the tag, it could become confusing and make the reader pause.

Sweat poured from the back of his neck drenching the cotton shirt he wore. I hate doing this work, he thought. He hurled the bundles on a cart. I’d better tell my father I’m done. He yelled across the rows of wheat. “Father, the bales are stacked.

I prefer internal thoughts italicized with or without tags, depending on the context. Simplicity rules when it comes to writing for children.

Sources:
(1) https://www.masterclass.com/articles/how-to-write-internal-dialogue
 

ABOUT THE AUTHOR

 

Karen Cioffi is an award-winning children’s author, ghostwriter, rewriter, and coach. If you need help with your story, visit Writing for Children with Karen Cioffi.

KAREN ALSO OFFERS:

HOW TO WRITE A CHILDREN'S FICTION BOOK
A DIY book to help you write your own children’s book.

WRITERS ON THE MOVE SELF-PUBLISHING HELP
Self-publishing help for children’s authors.

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/

What is Your Story's Theme

 

 Contributed by Karen Cioffi, Children's Ghostwriter and Coach

Theme can be a frightening topic. Do you have a theme in mind before striking the first key? Do you write your first draft and then decide what the theme is? Do you have a problem deciding what the theme is, even after you’re in revisions?

In an article, “What We Talk About When We Talk About Theme,” in the Writer’s Chronicle, May 2010, Eileen Pollack discusses theme:

The concrete elements of any story constitute its plot—Character A, in Village B, is torn by a specific conflict that gives rise to a series of concrete actions through which she relieves that stress. The more general question raised in the reader’s mind by this specific character acting out this specific plot constitutes the story’s aboutness—or, dare I say, it’s theme.

This description of the elements of a story holds true for any fiction work, including children’s stories. The elements, woven together with theme as the foundation, are what make the reader continue turning the pages… it’s what makes the reader care. 

According to Pollack, “Theme is the writer’s answer to the reader’s rude, So what?” And if the theme is poignant and captures what some or many people actually do, it will allow the reader to recognize the situation and actions. This connection will keep the reader engaged. Hopefully, the reader will be able to take the theme away with them, however subtle it is.

For those worried about the theme affecting the story’s natural flow, Pollack advises deciding on your theme after your first draft. Once you have your theme in hand, go over your story again and again. You can now let the theme subtly permeate your story. Pollack goes on to say, “The most powerful use of theme is the way it allows you to fill in your character’s inner lives.”

Literary agent Mary Kole, in her blog at Kidlit.com, also sheds light on the worrisome theme:

When you revise, think about what your work is saying. You’ve got to have a reason for writing it. There should be distinct themes and ideas that you could point to as the center of your book. [. . .] Once you know what these are — and you usually won’t until you’ve started revising — you can use them as a lens. [. . .] A theme for your work should color everything in it, subtly, especially the descriptions.

So, there you have it; after you’ve written your story and are working on revisions, your theme should become evident if you haven’t already gotten it. Using it as a “lens” and filtering each paragraph through it, you should be able to convey the theme to the reader. 

ABOUT THE AUTHOR

 

 

 

Karen Cioffi is an award-winning children’s author, ghostwriter, rewriter, and coach. If you need help with your story, visit Writing for Children with Karen Cioffi.

Karen also offers authors:

HOW TO WRITE A CHILDREN'S FICTION BOOK
A DIY book to help you write your own children’s book.

WRITERS ON THE MOVE SELF-PUBLISHING HELP
Self-publishing help for children’s authors.

 

 

The Secret to Writer’s Block: How the Law of Attraction Can Help You Break Through It

 by Suzanne Lieurance

Writer’s block. 

 

Two words that send a chill down any writer’s spine. 

 

You’ve got the ideas, the passion, and the will to write, but when it’s time to sit down and actually do the work? 

 

Nothing.

 

Zilch.

 

The screen stays blank, and frustration builds. 

 

But here’s the thing: writer’s block isn’t a dead-end. 

 

It’s a reflection of the energy you’re putting out. 

 

And once you learn to shift that energy using the Law of Attraction, you can bust through those creative blocks for good. 

 

Here’s how:

 

Step 1: Recognize the Energy Behind the Block.

 

Writer’s block doesn’t just come out of nowhere. 

 

It’s a sign that something’s off with your energy. 

 

Maybe you’re stressed, overwhelmed, or doubting yourself. 

 

Whatever the case, writer’s block shows up when you’re out of alignment with your creative flow. 

 

The Law of Attraction teaches us that what we focus on expands. 

If you’re focused on feeling stuck, that’s exactly what you’ll attract—more stuckness.

 

So, the first step to breaking through writer’s block is recognizing the energy behind it. 

 

Are you coming to the page with frustration, fear, or self-doubt? 

 

If so, it’s time to shift that energy.

 

Action Tip: Before you start writing, take a minute to check in with yourself. What’s your current energy? Are you feeling tense or blocked? If yes, take a few deep breaths and release that tension before you get to work.

 

Step 2: Set the Intention for Flow.

 

Here’s the game-changer: instead of focusing on the block, focus on flow.

 

The Law of Attraction responds to your intentions, so set a powerful one before you start writing. 

 

Instead of sitting down with a mindset of  "I hope I can write something today,” shift it to, “I write with ease and creativity flows effortlessly.” 

 

When you set a clear intention, you’re telling the universe what you want—and you’re aligning yourself with the energy needed to make it happen.

 

The secret is to believe it before you see it. 

 

You have to trust that the words will come, even if they’re not there yet.

 

Action Tip: Create a personal writing affirmation that you can repeat before each writing session. Try something like, “I’m in creative flow, and the words come easily.” Say it out loud, believe it, and let that energy guide you.

 

Step 3: Visualize Yourself in the Flow.

 

Instead of stressing about being stuck, close your eyes and see yourself writing effortlessly. 

 

Picture yourself in the zone, your fingers flying over the keyboard, the words pouring out faster than you can keep up. 

 

Imagine how good it feels to be in flow—to feel inspired, excited, and unstoppable.

 

Why does this work? 

 

Because your brain responds to what you visualize. 

 

When you see yourself succeeding, your mind starts to believe it, and suddenly, that energy block starts to dissolve.

 

Action Tip: Spend 2-3 minutes before your writing session visualizing yourself in full creative flow. Get specific—picture the words, the ideas, and the excitement of writing with ease.

 

Step 4: Let Go of Perfectionism.

 

One of the biggest reasons we get stuck is because we expect everything to be perfect from the get-go. 

 

But perfectionism is the enemy of progress. 

 

If you’re waiting for every sentence to be flawless, you’re creating resistance. 

 

The Law of Attraction thrives on ease and flow, and there’s nothing easy about demanding perfection from yourself.

 

Let go of the idea that every word has to be perfect. 

 

Give yourself permission to write something messy. 

 

The important thing is to get it out. 

 

You can always go back and polish it later, but for now, the goal is to keep the words flowing.

 

Action Tip: Next time you sit down to write, tell yourself, “It doesn’t have to be perfect; it just has to be written.” Give yourself permission to write a rough draft, and trust that you’ll improve it later.

 

Step 5: Celebrate the Small Wins.

 

Gratitude is a powerful tool when it comes to manifestation, and it’s especially useful for breaking through creative blocks. 

 

Instead of focusing on what’s not working, celebrate what is. 

 

Did you write 100 words? 

 

Awesome, that’s progress. 

 

Did you sit down to write, even if it didn’t go as planned? 

 

Celebrate that. 

 

The more you focus on what’s going right, the more you attract positive momentum.

 

Celebrating your small wins shifts your energy from frustration to appreciation, and that’s exactly the kind of energy that brings more success your way.

 

Action Tip: At the end of each writing session, write down one thing you did well, no matter how small. It could be anything from showing up to writing a single sentence you love. Celebrate it and keep building on that energy.

 

Step 6: Trust the Process.

 

Finally, trust that you’re exactly where you need to be. 

 

Writer’s block doesn’t mean you’re failing—it just means your energy is a little off, and that’s fixable. 

 

Trust that by shifting your focus, setting intentions, and taking action, you’re opening up space for creativity to flow again. 

 

It may not happen all at once, but that’s okay. 

 

The important thing is you’re moving in the right direction.

 

The Law of Attraction works on its own timeline. 

 

Keep showing up, keep aligning your energy, and trust that the words will come when they’re ready. 

 

Writer’s block is temporary—your creativity is always there, waiting for you to tap into it.

 

Action Tip: When you feel frustrated or stuck, remind yourself that this is just part of the process. Take a deep breath, realign your energy, and trust that the flow is on its way.

 

Writer’s block isn’t a curse—it’s a sign that your energy needs a little shift. 

 

By using the Law of Attraction, you can turn that block into flow. 

 

Set clear intentions, visualize your success, let go of perfection, and celebrate your progress. 

 

The more aligned you are with the energy of ease and creativity, the quicker the words will come. 

 

So next time you’re staring at a blank screen, remember: the power to overcome writer’s block is already within you. 

 

All you have to do is unlock it.

 

Try it!

And for more Law of Attraction tips for writers, get your free subscription to The Morning Nudge with access to a private Resource Library for Writers.

Suzanne Lieurance & Some of Her Books

Suzanne Lieurance is the author of more than 40 books and a Law of Attraction coach for writers at writebythesea.com.

Are You Ever Too Old to Become a Writer?

 

Contributed by Karen Cioffi, Children's Writer

I jumped into a writing career in my mid-40s. I was an assistant controller for a manufacturing company before that.

With my accounting background, writing about business and marketing was a natural fit… or so it seemed at the time.

My first gig as a freelance writer was for a company that offered human resources solutions. They had two related (sister) sites; I wrote articles for one site and rewrote them for the other.

Rewriting can be fun but also challenging, as it’s crucial to have the new content pass a duplicate content checker.  

The reason for this is Google doesn’t like duplicate content on your website or your related sites.

Heath writing was soon added to the mix, which was more lucrative than the business and marketing writing.

I supplied an allergy site with about 100 articles per month. I had to hire subcontractors to help with this project.

I also did academic rewriting and editing for health professionals.

Then I decided to add on writing for children.

It seemed like a natural addition as I had written a bedtime lullaby when my first daughter was a baby – to help her fall asleep. I turned it into a children’s bedtime picture book in 2008.

Soon, though, I was stretching myself too thin as you can imagine. That’s never a good thing for a number of reasons.

-You can’t devote the time and focus needed to a particular genre.
-You don’t have a strong platform or brand.
-And, you know the saying: Jack of all trades, master of none. This is definitely not a good thing. It should always be quality over quantity.

I had to decide what genre I would focus on.

Focus is essential to success.

As the children’s writing really took off and grew each year, and I love to bring children on journeys, that’s the genre I chose.

And that’s how my children’s writing career got started.

Another example of never being too old to follow your dreams is a client I worked with a couple of years ago.

I got a query from a woman who had a children’s picture book published by Houghton Mifflin in 1988.

She had a 25,000-word middle-grade story she had been submitting to agents but wasn’t getting any interest. She asked if I’d review it. After a few emails, I learned she was 92 years old!

Ninety-two! And she was following her dream!

She inspired me.

Working and raising seven children on her own during most of their growing-up years didn’t leave room for writing, especially as she had to work. Once she was able, she got back to it, though. She wanted to publish more stories.

After consulting with this client, she turned her middle grade into a chapter book, and I edited it for her. She then self-published. I went on to review and edit several shorter stories for her.

And there are lots of other late bloomers.

The very successful authors listed below also started their writing careers later in life:

Toni Morrison - Age 40
Mark Twain - Age 41
J.R.R. Tolkien - Age 45
Raymond Chandler - Age 51
Annie Proulx - Age 57
Laura Ingalls Wilder - Age 65
Frank McCourt - Age 66 (1)

So, if you’re wondering if it’s too late to start writing, IT’S NOT.

One of my favorite sayings is: Nothing ventured, nothing gained.

If you have the desire to write for children, but haven’t gotten started yet, GET STARTED TODAY!

This article was first published at: https://karencioffiwritingforchildren.com/2022/01/16/you-are-never-too-old-to-be-a-writer/

ABOUT THE AUTHOR

 

Karen Cioffi is an award-winning children’s author, ghostwriter, rewriter, and coach. If you need help with your story, visit Writing for Children with Karen Cioffi.

Karen also offers authors:

HOW TO WRITE A CHILDREN'S FICTION BOOK
A DIY book to help you write your own children’s book.

WRITERS ON THE MOVE SELF-PUBLISHING HELP
Self-publishing help for children’s authors.

Book Marketing: Get Out of Your Own Way

 

Contributed by Margot Conor

Most of the writers I know have absolutely no interest in marketing their books. When they are finally persuaded that they must do it, they are at a loss where to begin. Worst still are those, like me, who are introverted and find it nearly impossible to toot their own horn.

I suggest we all need to get out of our own way… push past that block… and take control of the task by whatever means we are able! But do not shirk this responsibility. It is a necessary part of being an author. Writing is a business, and your book is your product.

I found my answer to this problem through unconventional means. Method acting involves deeply immersing oneself into a character, embodying their thoughts, emotions, and behaviors to deliver an authentic performance. Similarly, as an author I wear many hats and one of them requires that I fully embrace the fact that I know my book best, and I have to be the one to sell it.

To do this I take on a new persona and become a promoter for Margot Conor. I think of this promoter as her assistant, effectively becoming her sales and marketing representative. I don’t have a knack for sales or an outgoing personality, but she does. She is confident and eager to share what is exceptional and wonderful about Margot Conor’s books.

Method Acting won’t be the answer to every author’s shyness about marketing, but there are ways that authors can promote their work that will embrace their natural talents. I think you will find this way of engaging with your audience feels less like marketing and more like making new friends who share your interests. Here are a few ideas you might try.

Character-Driven Promotions

Just as method actors bring characters to life, authors can use their book’s characters to drive promotions. This might involve creating social media profiles for characters, writing blog posts from a character’s perspective, or hosting live readings in character. Character-driven promotions can make the book feel more real and relatable to potential readers.

A Deeper Look into Needs & Preferences

It has been a point of interest for me that many authors assume they know what their readers want. When asked why they think so, they may say they read in the genre and know what is popular. That is important, and it will give insights into trends.

But to really understand your ideal reader you may need to get more personal and address their questions and concerns. Don’t be afraid to ask.

Create social media posts with a question on them. Or create a questionnaire. Ask whatever you’re inspired to learn about your followers. One idea is to ask what their all-time favorite books are, and what has remained dear to them or left a lasting impression long after they put the book down. Do a deep dive into their interests and preferences. (Genre or Book related). Then tailor your marketing strategies with what you learn in mind. Understanding your readers helps you to better meet their expectations.

Inquisitive Engagement as a Call to Action

Actors often ask themselves questions about their character’s motivations and backstory. As a marketer, you can use inquisitive engagement as a call to action. Asking questions in social media posts, blog entries, or newsletters can prompt readers to engage with the content more deeply.

For example, an author might ask readers what they think will happen next in the story they are writing, or how they relate to a particular character or theme. This encourages interaction and keeps readers invested in the book.

Unconventional Strategies

If you are still uncertain about how to market your book, here are a few more unconventional ways to connect with your audience or find your ideal reader…

1. Collaborate with Influencers and Bloggers

Target Niche Influencers: Identify influencers or bloggers who cater to your book's genre or target audience. A personal approach requesting a review or a feature can lead to new readers discovering your book.

Guest Blogging: Write guest posts for popular blogs within your niche. Share insights related to your book's themes or your writing process, subtly promoting your book in the bio or content.

2. Host Interactive Online Events

Virtual Book Launch Parties: Use platforms like Zoom or Facebook Live to host a virtual book launch. Include readings, Q&A sessions, and giveaways to engage your audience.

Webinars and Workshops: Conduct webinars or workshops related to your book's topic or genre. For example, if your book is about writing techniques, host a workshop on character development.

3. Leverage Social Media Creatively

Storytelling on Social Media: Use Instagram Stories, Twitter threads, or Facebook posts to share snippets from your book, character backstories, or writing tips.

Themed Hashtags: Create and use a unique hashtag related to your book. Encourage your readers to use it when sharing their thoughts or photos related to your book.

4. Engage with Local Communities

Local Libraries and Bookstores: Partner with local libraries and independent bookstores for book signings, readings, or discussions. These venues often have dedicated audiences interested in supporting local authors.

Community Groups and Clubs: Join or create book clubs, writing groups, or community forums. These smaller, engaged audiences can become loyal readers and advocates for your book.

5. Utilize Online Forums and Niche Communities

Reddit: Participate in subreddits related to your book’s genre. Share your book, but also engage in discussions to build rapport with the community.

Goodreads Groups: Join Goodreads groups that align with your book’s genre. Actively participate in discussions and subtly promote your book when relevant.

6. Create Multimedia Content

Podcasts: Start a podcast related to your book’s themes or be a guest on existing podcasts. This can introduce your book to new listeners.

YouTube Channel: Create a YouTube channel where you discuss your writing process, share book readings, or offer writing tips. Visual and audio content can attract a different audience than traditional marketing.

7. Interactive Content and Games

Quizzes and Polls: Create engaging quizzes or polls related to your book’s content. For example, a quiz determining “Which Character from [Your Book] Are You?” can be fun and shareable.

Book Trailers: Produce a short, captivating trailer for your book. Share it on social media and your website to attract visual learners and movie enthusiasts.

8. Connect with Book Clubs and Reading Groups

Book Club Outreach: Reach out to book clubs and offer to join their meetings virtually to discuss your book. Providing discussion questions can also be a valuable addition.

Reading Challenges: Encourage readers to participate in reading challenges that include your book. This can be done through social media campaigns or partnerships with reading websites.

Just using some of these strategies will help you get out of your own book marketing way!

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/

Benefits of Writing Your Work Using Pen and Paper

 

Guest Post by Christina Q

Sometimes the old ways of doing things are better.

I began my writing journey when I was in the third grade, and back then we didn’t have computers so everything I did was handwritten.
 
Once computers came around writing became a breeze. No more hand cramps, or swollen fingers. No more tennis elbow!
 
However, something strange happened recently. As I was editing my novel for submission, I noticed those annoying red, green, blue, and yellow lines!
 
I was hit with an AH-moment.
 
The lines highlighting my mistakes are distracting!
 
When I realized this, I did some googling, cause that’s what you do when you are distracted and you need to do something while you’re in front of a computer, right? It was then I discovered something revolutionary.
 
And it was simple.
 
And it was something I had been doing since I was a little girl.
 
Handwriting out my work.

Here are three benefits of writing your work using pen and paper:
 
1.     Distractions
The moment I opened the notebook, picked up a pen and began writing three hours flew by. There were no lines, no distractions just me and the words. And it was liberating. I understand those things are meant to help our writing, but it also hinders the writing process.

Of course, you can turn those lines off but what about the internet? Sure, you could download a bunch of apps and do some fancy stuff but hey, you know how to turn that off.
 
2.     No pressure
Writing with a pen left no pressure. If I made a spelling mistake or forgot a something, I wasn’t filled with the pestering feeling that I needed to go back and rework the sentence or fix anything.
 
3.     Plot builds naturally.
The inspiration I subscribed to was the Four Notebook Method, which you can google about and take the course. In general, you use the four notebooks in an organized way to build your story like so:
 
·      Notebook 1: This is where your problem starts. Things are so bad that by the end something has to give!
·      Notebook 2: Here we create the challenge that our problem in Notebook 1 caused, but by the end, things start looking up.
·      Notebook 3: In this notebook, things go from bad to worse. This is where your characters ask themselves, can we ever solve this issue?
·      Notebook 4: Big finish! This is the confrontation or the change that happens. You know where everything comes together or leaves on a cliffhanger.
 
I know convincing someone to ditch the computer and return to the Stone Age is a hard nut to crack but trust me. But the freedom to create and explore your imagination is worth the callus returning on your finger (in my case my ring finger), and the hand cramps.
 
Since adopting this method, I’ve never felt more refreshed and excited about writing. Bringing back the love I had when I first discovered story writing in the third grade.

So, what are you waiting for, go get yourself some notebooks!  
 
ABOUT THE AUTHOR
 
Christina is the Friend-obsessed creative behind Christina Q Writes. As a full-time freelance writer, she helps clients in need of fantastic content. Christina Q Writes is where she tips on awkwardly getting through the day, with or without a good glass of wine or a good cry.  
 
Instagram:@Christinaq.Writer
 
Links: Website: https://www.christinaqwrites.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/