When it came to my author newsletter, I asked my subscribers what they wanted to hear from me. I also looked at other newsletters for ideas. It is a great way to formulate how you want your newsletter to look and to give you ideas on your content and frequency of transmitting it.
Tip: You can pre-write your newsletter and schedule it.
Make sure you are not mailing out your newsletter too frequently or it will become a chore. I send mine monthly (most of the time!)
Chose a name for your newsletter and stick to it.
Mine is Musings from Mandy Eve-Barnett – to distinguish each newsletter I add the month and a title.
Here is a list of possible content you can include: (it is by no means conclusive though).
Personal anecdotes and photos of your everyday life. You can include your writing space.
Behind the scenes peeks – what you are currently writing, ideas formulating etc.
Exclusive content like a cover reveal or a sneak peek at your next title
Launch dates of your new book
Events you are attending (due to COVID19 these will be virtual of course)
Your writing process
Request feedback on a current manuscript/project
Interviews you have participated in with links
Spotlights/interviews of guest authors
What you are reading
Your book reviews
The goal of any newsletter is to promote, so make sure to include:
Your author bio Links to your blog, social media sites and any interviews and your book sale sites
Tip: Even unpublished authors can create an author newsletter. The sooner you start to grow your subscription list, the bigger your platform will be when you have something to sell.
Whether you spend time intricately plotting and creating your story line or let the story flow unbidden, one facet of all stories that must be created and created well are its characters. Your protagonist, antagonist and all the supporting characters have a ‘job’ to do. They must give our readers an insight into their personalities, their struggles, ambitions and fears. Characters build the ‘world’ you have set your characters within by showing it through their eyes, their thoughts and actions.
Every writer has his or her own methods, when it comes to the creation of a character.
For example, Setting: an alien being trapped in a spacecraft, a monster hunting its prey or specific behavior traits for period pieces.
Physical features: This primarily gives our readers an image but more importantly an idea of their personality. A thin, acne-faced teenager will not automatically give our readers the idea of a ‘superman’ kind of personality but a muscle bound, athletic type could.
Name: a good starting point for our creation, but it is also a minefield. Research into real persons, living or dead should be foremost, unless of course you are writing about that particular person.
Accent: a character’s voice says a lot about their location and background.
Real people or not: We can base characters on people we know or a combination of several or from people watching – an author’s favorite pastime. As writers situations, overheard conversation and life in general is a constant source of inspiration.
There are numerous ‘character development work sheets’ available on the Internet and it can be useful to fill them in for your main characters, if you have no clear ‘picture’ of them to begin with.
I tend to write the story letting my characters dictate how their story will unfold. In so doing the characters develop creating their own story. This tends to change the narrative from my initial perception. In this way they may develop characteristics I had not considered or react quite differently to a situation from my preconceived idea. This method may seem harder than having a detailed description of each pivotal character, their backstory and emotional compass, but it is my method.
We ‘live’ with our characters for a long time and they become ‘real’ to us. This enables us to write the story with ‘insider knowledge’ of our characters backstory, their emotional compass and their ultimate goal. This knowledge becomes paramount during the subsequent drafts and editing process, giving us a well-rounded character and a believable one for our readers. In truth, the initial draft is the testing ground for our characters, and revisions make them well rounded and ‘believable’.
How do you create your characters?
Recognize these characters? Remember how irate poor Wile E Coyote would become with Road Runner? No matter what he did he never succeeded in catching his ‘dinner’. Beep, beep would ring out as yet another ACME kit damaged the coyote instead of the bird. It was truly a lesson in perseverance. No matter how many times the speedy bird escaped the coyote he would try, try, try again. I actually went past a road sign to Acme on my way to Canmore one time and wished I could have made a detour just for the fun of it.
The art of creating such lovable and memorable characters is what every author strives for. We hope our creations will stay in our readers minds long after the last page has turned. Character profiles and back story play a large part in ensuring our characters are well rounded and believable. We delve into their personality type seeking out traits and habits to make them react to their crisis situations in an authentic way.
Do you make up scenarios for people you observe? Have any made it in to a manuscript?
Without characters our stories would have no real impact on our readers. We write to engage and intrigue them and hopefully make our protagonist the character our reader cares about. If your experience is anything like mine, there is usually one, or possibly two characters, that make their presence known in no uncertain terms. They want the starring role in our narrative. These characters are usually more defined in our minds and are ‘easier’ to relate to, whether because of a personality trait or that they are more fun to write. When creating the protagonist and antagonist in our stories, we give each opposing views and/or values. This is the basis of the conflict that carries our readers along their journey. Each character, whether major or minor, needs to have flaws and redeeming features, motivations, expectations, loyalties and deterrents.
With such a guideline our characters become clearer. A lot of the details will never reach the pages of our manuscript but knowing our characters well makes for a more believable personality as they struggle through the trials and tribulations, we subject them to. As most of you know I am a ‘free flow’ writer so everything is by the seat of my pants until the editing starts. This is where I find character flaws or great character traits that I can correct or build upon. My characters live with me during the writing process and usually lead me in directions I had never considered – I’m sure many of you can relate to that. As these personalities gain strength they become more ‘real’ and that is the moment their true selves appear.
When creating characters we must remember to ensure that each character acts and responds true to their given personality. Character profiles are a good way of ‘getting to know’ our characters. For example this sheet.
A good editor is worth their weight in gold. They not only fix your grammar and find and correct major and minor errors , but also improve your book’s content and structure in a way that preserves your style. There are two main processes a manuscript has to go through prior to publication. Both require a systematic approach.
Use these as a guideline to edit and proofread your manuscript before sending it to an editor. Expect a red-lined manuscript back and learn from the experience.
This process concentrates on:
Paragraph structure and clear transitions between paragraphs.There is a flow of the story – whether character development or plot.
Highlighting any repetition of words, sentence structure, and the correct use of any technical, historical or factual elements.
Helps to condense and improve the efficiency of your writing.
Questions your flow of the narrative.
A more focused approach to find common errors and the ones missed during editing. Here are a couple of tips to help you:
Read the manuscript out loud or divide it into sections. TIP Read from last chapter to first.
Rewrite structure if required, such as plot, story line, consistency and continuity. TIP Create a general outline 1 – 3 pages maximum to track the story line.
Scene outline. Read each scene to determine if they require editing or deletion TIP Do they push the story forward? If not delete them. TIP Create a check list for each step of proofreading. Then concentrate on that particular one at a time.
Print out your manuscript – it may seem odd to do this in the computer age but we perceive information differently between screen and paper. TIP Read it out loud. On hearing the flow of the language you will understand your strong and weak points.
TIP from the King!
We can be too wordy in our writing, Stephen King learned: “2nd Draft = 1st draft – 10%”. An average manuscript requires at least three rounds of editing and at each round try to shorten your draft for 10% of its original length.
Linear Edit. This is the point you deal with the minor issues such as rewriting sentences, exchanging with words, and fix grammar, punctuation, proofread for misspellings and typos.
Do you have a particular system or tip you use while editing & proofreading?
I have read about one author who prints the manuscript on different coloured paper for each step but this seems a bit excessive!
What do you consider essential for your writing zone? It may not be the same as everyone else, so firstly let’s take a look at my desk (the one above).
Firstly, I have a laptop and second screen – this enables me to utilize two screens for editing purposes with beta-reader and publisher suggestions and edits. It is easier than splitting one screen to read two full pages.
Secondly, there are numerous note books and folders/binders of relevant information, event details, contact sheets, and freelance clients contracts. Yes, I am rather obsessed with organization – I put my hands up to that! As you can see I have several desk organizers for said items all labeled, storage is key to having information at your finger tips.
Next is ‘fuel’ – water and tea! What do you favour for hydration?
You may have noticed the propensity for purple – yes it is my favorite colour. Purple wall, crystals and water bottle to name a few. It is interesting that when I looked up the meaning of the colour purple there were key words relevant to my writing. Maybe there is a deeper force at work than we know, when it comes to our colour choices.
Color Meaning: Meaning of The Color Purple. … The color purple is often associated with royalty, nobility, luxury, power, and ambition. Purple also represents meanings of wealth, extravagance, creativity, wisdom, dignity, grandeur, devotion, peace, pride, mystery, independence, and magic.
Light sources are also an important choice – I have the normal ceiling light and natural light from the window but a spotlight disperses shadows so I have a clean and clear view of my screens.
Storage is key and yes I have several spaces just for it. The storage tower holds business cards, promotional items, paper, filing supplies, and more.
The cupboard has books, more promotional material, such as an event banner, card holders, table coverings and larger promotion items as well as books.
Yes, I am lucky to have this space but bear in mind I started using the dining room table as my writing space. It took me nearly seven years to get to this. Maybe you don’t need this kind of writing area – anywhere can be a creative zone after all. When I go on writing retreats I use a folding table and write on the hotel bed or desk. (And even at home). As long as there is room for a laptop or notebook we can write anywhere.
Being aware of your genre can help you contextualize your story but remember—just because you may have been writing towards a certain kind of genre, it may not mean that’s what your story actually is.
Common Genres include:
Thriller –built around the fast-paced pursuit of a life-or-death goal.
Fantasy – typified by fantastic aspects, such as magic.
Sci-fi – Sometimes called ‘speculative’ fiction. Fiction typified by scientific aspects, such as nonexistent technology or alternative realities.
Horror – instilling dread or fear in the reader. Sometimes but not always featuring supernatural aspects.
Mystery – solving of a mysterious set of circumstances.
Crime – typified by a focus on criminal activities.
Historical – set within a defined time period but drawing context from the cultural understanding of that time.
Western – typified by aspects of the American frontier.
Romance –focuses on a romantic relationship as the source of its drama.
Erotica – primarily intended to instill arousal in the reader.
Literary – focuses on realistic, weighty issues, typified by character-focused writing and a lack of other genre features.
Adventure Story A genre of fiction in which action is the key element, overshadowing characters, theme and setting. … The conflict in an adventure story is often man against nature. A secondary plot that reinforces this kind of conflict is sometimes included.
Biographical Novel A life story documented in history and transformed into fiction through the insight and imagination of the writer. This type of novel melds the elements of biographical research and historical truth into the framework of a novel, complete with dialogue, drama and mood. A biographical novel resembles historical fiction, save for one aspect: Characters in a historical novel may be fabricated and then placed into an authentic setting; characters in a biographical novel have actually lived.
Ethnic Fiction Stories and novels whose central characters are black, Native American, Italian American, Jewish, Appalachian or members of some other specific cultural group. Ethnic fiction usually deals with a protagonist caught between two conflicting ways of life: mainstream American culture and his ethnic heritage.
Fictional Biography The biography of a real person that goes beyond the events of a person’s life by being fleshed out with imagined scenes and dialogue. The writer of fictional biographies strives to make it clear that the story is, indeed, fiction and not history.
Gothic This type of category fiction dates back to the late eighteenth and early nineteenth centuries. Contemporary gothic novels are characterized by atmospheric, historical settings and feature young, beautiful women who win the favor of handsome, brooding heroes—simultaneously dealing successfully with some life-threatening menace, either natural or supernatural. Gothics rely on mystery, peril, romantic relationships and a sense of foreboding for their strong, emotional effect on the reader.
Historical Fiction – story set in a recognizable period of history. As well as telling the stories of ordinary people’s lives, historical fiction may involve political or social events of the time.
Horror – includes certain atmospheric breathless and unexplainable dread of outer, unknown forces.
Juvenile – intended for an audience usually between the ages of two and sixteen. The language must be appropriate for the age of the reader, the subject matter must be of interest to the target age group, the opening of the work must be vivid enough to capture the reader’s attention and the writing throughout must be action-oriented enough to keep it with the use of suspense and the interplay of human relationships. Categories are usually divided in this way: (1) picture and storybooks (ages two to nine)… ; (2) easy-to-read books (ages seven to nine)… ; (3) “middle-age” [also called “middle grade”] children’s books (ages eight to twelve)… ; (4) young adult books (ages twelve to sixteen.
Literary Fiction vs. Commercial Fiction Literary, or serious, fiction, style and technique are often as important as subject matter. Commercial fiction is written with the intent of reaching as wide an audience as possible. It is sometimes called genre fiction because books of this type often fall into categories, such as western, gothic, romance, historical, mystery and horror.
Mainstream Fiction – transcends popular novel categories—mystery, romance or science fiction, [etc.] and is called mainstream fiction. Using conventional methods, this kind of fiction tells stories about people and their conflicts but with greater depth of characterization, background, etc. than the more narrowly focused genre novels.
Nonfiction Novel – real events and people are written [about] in novel form but are not camouflaged and written in a novelistic structure.
Popular Fiction Generally, a synonym for category or genre fiction; i.e., fiction intended to appeal to audiences for certain kinds of novels. … Popular, or category, fiction is defined as such primarily for the convenience of publishers, editors, reviewers and booksellers who must identify novels of different areas of interest for potential readers.
Psychological Novel A narrative that emphasizes the mental and emotional aspects of its characters, focusing on motivations and mental activities rather than on exterior events.
Roman a Clef The French term for “novel with a key.” This type of novel incorporates real people and events into the story under the guise of fiction.
Romance Novel – the romance novel is a type of category fiction in which the love relationship between a man and a woman pervades the plot.
Romantic Suspense Novel – romantic suspense novel is a modern emergence of early gothic writing and differs from traditional suspense novels because it moves more slowly and has more character interplay and psychological conflict than the fast-paced violence of [most] suspense thrillers.
Science Fiction [vs. Fantasy] Science fiction can be defined as literature involving elements of science and technology as a basis for conflict, or as the setting for a story.
Techno-Thriller – utilizes many of the same elements as the thriller, with one major difference. In techno-thrillers, technology becomes a major character.
Thriller – intended to arouse feelings of excitement or suspense focusing on illegal activities, international espionage, sex and violence.
Young Adult – refers to books published for young people between the ages of twelve and seventeen.
Do real research, describe aesthetic/tone/vibe over content, and be open to adjusting your decision down the line as you grow more accustomed to working with genres.
Genre is different from age group
Genre isn’t the age group you’re writing for. Age group and genre are often said together, so it’s easy to think they’re the same, but they’re not. For example: Young adult is the age group – Spy and thriller are the genres.
The primary age groups are:
– Board books: Newborn to age 3 – Picture books: Ages 3–8 – Colouring and activity books: Ages 3–8 – Novelty books: Ages 3 and up, depending on content – Early, levelled readers: Ages 5–9 – First chapter books: Ages 6–9 or 7–10 – Middle-grade books: Ages 8–12 – Young adult (YA) novels: Ages 12 and up or 14 and up
Choose a primary genre
When you pick your primary genre, you’re identifying the most prominent elements of your book. Ask the following questions.
You may have a handful of these elements in your book but when picking a primary genre focus on the most dominant aspects of your novel.
Is there magic?
If the answer is yes, then your book is most likely a fantasy. Is it set it in a fictional world that you created from scratch (like Lord of the Rings)? Then you probably have a high fantasy. Or is it built into our own world? If so it is most likely an urban fantasy.
Is it a fairy tale or a fairy tale retelling then you might want to classify your book as such.
Are there paranormal creatures (such as vampires, zombies, etc.)?
If there are, then it could be a fantasy, or it could be a supernatural/paranormal. Fantasy and paranormal are closely related and share some overlap, so it comes down to what is the more dominant element. If the magic is the more dominant element, then you have a fantasy. If the creatures are the more dominant element, then it’s supernatural.
When is it set?
If it’s set in the past, it’s probably a historical fiction. If it’s set in the present, you’ve got a contemporary and if it’s set in the future, it’s probably science fiction.
Where is it set?
If it’s set in this world, it might be a historical or contemporary. If it’s set in a world you made up, it might be some kind of fantasy or science fiction.
Is there manipulated science/technology?
If you are using significant manipulation of the science, we know today it’s likely to be science fiction. If you have time travel, then you could consider it science fiction.
Is there an element of mystery/crime to solve?
If the main purpose of your plot is mystery, then this is the genre you will use.
Is it laugh-out-loud funny?
If it is, then you’ve got a comedy
Is it a tear-jerker or a book with a lot of interpersonal conflicts?
Then it’s probably some form of drama.
Is there a romance?
Use the romance genre when the central plot of the book is a romantic relationship.
Is it intended to scare?
Then you’ve got a horror.
Is it “literary”?
If it’s a deep book, rich with symbolism and deeper meaning that’s meant to be dissected an analyzed than you most likely have written a work of literary fiction.
Is it action packed?
If your book is littered with action scenes like fights and car chases, then you have an action or thriller on your hands.
Is it about a terrible version of this world?
Then you’re looking at a dystopian.
Now decide which elements you think are the strongest/most prominent. That’s your primary genre.
Do your research
Make sure you do your research and have a good understanding of genre conventions. Readers of each genre have certain expectations. While you can most definitely take some liberties, you want to make sure you’re giving your readers what they’re looking for.
Note*** I did a series of posts throughout 2018 detailing every genre if you want to scroll through put ‘genres’ in the search box.***