Joyce Glass is a writer, speaker, writing coach and lover of most things chocolate! Her desire is to encourage you to write your book and share your expertise with the world. She loves to teach the power of story in nonfiction, and has a passion to see you connect with your clients and customers.
She has self-published two books while helping others create their nonfiction book. Weekly she shares writing tips on her podcast The Write Hour – Nonfiction Tips From The Write Coach.
The best part of being a writing coach is watching her clients create their own masterpiece, and seeing their joy when they share it with the world.
You can connect with Joyce through social media and on her website www.thewritecoach.biz
Show Notes
How did you become a book coach?
It took me four years to write my first book, and that’s what lead me to coaching. I tried this, and tried that, and worked really hard, but I didn’t make a whole lot of progress. Finally, when I got a system down, that’s when it helped me. It also encompasses my love for teaching, because I love to teach people concepts that they aren’t sure about or don’t know, and then watch them grow. It’s so much fun for me. It’s the blend of all of my gifts in the perfect way.
What are lessons you’ve learned as a writing coach?
I, now that I edit so much, am much more conscientious when I’m writing, and I’ve got to turn that editor off sometimes. But, it’s also helped me make my writing stronger.
What does a coaching session look like?
With each client, I always start them with getting their content organized. We have a lot of fun. I get to know them. We work hard, and I take them through the steps. And then after they get their clarity and they get their outline done, then I take them on the journey of actually writing. Essentially, when you’re working with me you’re getting coaching and editing all at the same time.
Explain the coach/client relationship.
You need the mindset that this is like a business. You need to have that kind of seriousness. If you didn’t show up for work every day, you wouldn’t get paid and you’d eventually get fired. Essentially, the relationship is that if you want to get the book done, then you need to make the commitment to do it. I want that kind of client, who is ready to get it done.
How do you know when you’re ready to hire a writing coach?
I’d say even if you’re at the beginning stages you can use a writing coach. But, you’ve got to be ready to be serious about it, because it is a commitment. If you’re not ready to get serious – if you know you want to do this, but you’re not quite there yet – just keep writing. The main thing is get the content out there, and then we can make it beautiful later.
Do you have any advice for writers who are considering becoming a book coach?
Take baby steps. Get one or two clients. Don’t try to get five at one time. Get a process. I learned how to create a system to take them through. Figure out a process that works for you, and a style that works for you. And know the kind of client that you want, the kind of book that you want.
What is your four step process to the “Best Book Ever?”
(This is the process in a general since. A complete course in the process can be found for free at www.thewritecoach.biz)
1. Know your general, overarching topic 2. Break that down into your specific topic 3. Know the desired outcome. What do you want the reader to think, know or do after reading the book. 4. How can they achieve this outcome?
What is one piece of advice you would like to give to a new writer?
Give yourself permission to free-write, to get your ideas out. Then you can go back and get that organized.
Find your voice, live your story…is the foundation of Edie Melson’s message, no matter if she’s reaching readers, parents, military families, or writers. As an author, blogger, and speaker she’s encouraged and challenged audiences across the country and around the world. Her numerous books reflect her passion to help others develop the strength of their God-given gifts and apply them to their lives.
She’s a leading professional within the publishing industry and travels to numerous conferences as a popular keynote, writing instructor and mentor. Her blog for writers, The Write Conversation, reaches thousands each month and is a Writer’s Digest Best 101 Websites for Writers. She’s a board member of the Advanced Writers and Speakers Association, the Social Media Director for Southern Writers Magazine, as well as a regular columnist for AriseDaily.com, Just18Summers.com and PuttingOnTheNew.com.
Show Notes
Caleb: Does every writer need to have a blog and be active on social media?
Edie: Unless something bizarre happens, we all need to have a presence online, whatever that looks like. If you’re already a bestselling author, and you’ve hit the New York Times bestseller list, then of course you’re going to have fans and connections that the rest of us don’t have. But for the rest of us, our fans and our readers are found in the digital universe. With a little bit of qualifier, yes, everybody needs to be online somehow.
Caleb: What are the different types of blogs writers should consider?
Edie: You need to do something that people would be interested in. You also want to choose a topic that’s sustainable. The point of a blog is for name recognition and to build a tribe. You’ve got to have that community base, and a good way to build that is through a website or through a blog. I like to warn people that blogging is not a one-size-fits-all proposition. Some people hate blogging. It’s important to have a presence online, and if you’re somebody who cannot sustain a once a week schedule for blogging, maybe your best bet is to be on a group blog.
Caleb: How do you go about starting a blog?
Edie: I recommend brainstorming some things that you think you might like to write about, and then writing about 30 posts. And don’t limit yourself in those posts. Just every day write a blog post, and see at the end of those 30 posts what focus you’ve ended up with. Then I recommend starting out with a free site – the WordPress free site or the Blogger free site.
Caleb: What is the general structure of a blog post?
Edie: It depends on the type of blog you’re writing as to how long it should be. If you’re writing a really deep subject – like I have a friend of mine who lost a daughter to teenage suicide, and her blog is all about preventing suicide. So her posts tend to be 1,200 to 1,500 words long, because you kind of need that much to get into that deep of a topic. I have another friend who writes very pithy interesting takes on the world, and her posts are 300 words. So it really depends on your voice.
As the person who owns the blog, you are the host. So it’s up to you to make the posts easy to find in search engines, make it easy for people to comment and reply. So you want to use an open-ended question or a call to action at the end of every post to get the conversation started. Keep in mind that everything you write is for the reader. So we want to try and avoid using words like “you” when we say “you should do this” or “you should do that.” It comes across very preachy and almost condemning. Instead what we want to say is “well, I’ve found in my life it works better when I do this.” You want a very open and safe place for people to come and interact. You want to make them feel valued and engaged.
Caleb: How is writing for a blog different from other kinds of writing?
Edie: People read very differently on the internet or on a digital screen than they do in person. They read about 25% slower and they read for a different reason – they read for information. You need to be able to format your blog in block formatting, which means no indention and extra space between paragraphs. You want to make sure you’re using a sans-serif font. Truthfully, about 65% to 75% of your readers are going to be reading your blog posts on their phones, so it’s got to be easy to read. You want to familiarize with keywords, you want to make sure you know how to do correct titling for blog posts so that it shows up in a search engine. I teach weeks long seminars on how to do blogging. And everything I teach on how to have an effective blog you can find the information for free on my website www.thewriteconversation.com.
Caleb: How do you avoid copyright laws with images?
Edie: You can never Google an image and use that image for blog posts. Copyright infringement is not based on whether or not you earn any money off of what you borrowed. It has to do with whether or not you have used something or stolen something that it not yours. So you want to make sure that you only use reputable sites. I recommend Pixabay.com and Unsplash.com.
Caleb: How should someone’s approach to social media change when moving into marketing and branding?
Edie: The biggest thing is that you want to make sure that whatever you’re putting out there isn’t self-serving. In other words, I shouldn’t always be tweeting “buy my book…read my blog…here’s a new article…come to my book signing.” If somebody goes to my Twitter page and those are the types of updates then my Twitter page is nothing but a running commercial for me. There’s nothing of value for my readers. I try to be a resource for the people who follow me on social media. I don’t want to be asking them to do something for me without having done a whole lot more for them first.
Also, people think that social media is a great way to sell books, and it’s not. Social media is not advertising. It is building relationships. Marketing is advertising, and you do some marketing on social media but you build the relationships first.
Cherrilynn Bisbano is an award-winning writer. She founded The Write Proposal after reading hundreds of book proposals with avoidable errors. These errors cost the author a contract or representation. As a submission reader and junior literary agent, Cherrilynn wants you to succeed. Her desire is to help you present a professional and memorable proposal. She has written proposals for Paws for Effect, a Hollywood movie company, and helped edit many proposals. As the managing editor of Almost an Author, she helped the website earn the #6 spot on the Top 100 best writing websites for 2018 by The Write Life and Top 101 Websites for writers with Writers Digest.
Cherrilynn can be reached at editor@thewriteproposal.com For more information about the Write Proposal visit www.thewriteproposal.com
Show Notes
The New Year is just around the corner. As writers, it’s important to fine tune our senses and discipline our minds so that we can capture the events unfolding around us and share the experience with others. We’ve compiled a list of personal goals that we hope will serve as a guide to refocusing the writer’s mind in the New Year.
1. You don’t have to wait for a New Year to refocus your mind. You don’t even have to wait for a new day. You can refocus your writing journey in a new second. The most important choice is the next one, because that choice can change everything.
2. Treat writing as a job, and not as a hobby. A dedicated writer is not defined by whether or not they are published, but by how seriously they take their writing career. Write every day. Start with small attainable goals, even if it’s just 15 minutes of writing a day. Write even when inspiration isn’t there and doesn’t seem to come. Some of the best scenes and chapters are written when you draw from your skill and talent rather than random spikes of inspiration.
3. Every good writer is a good reader. Studying the craft is important for every writer, no matter where they are in the journey to publication. Even bestselling authors constantly improve their skill and read other bestselling books to deepen their knowledge of the craft. Reading allows us to observe the subtle techniques of good writing.
4. Write about your experiences. During each experience, whether stressful, beautiful or exciting, view each moment through a writer’s perspective. Take note of how each emotion catches in your chest. How can those feelings be described in such a way that a reader would identify and share the emotion with you or your character? Stop, look and listen to the world around you. Listen to the way people converse in a restaurant. Absorb every sound in nature. Learn from the technical jargon used in doctors’ offices and repair shops. Details observed in the chaotic dance of every environment can make your stories vibrant.
5. Network with other writers and broaden your knowledge of the craft. Many writers’ websites, including Serious Writer, have courses and content on the craft of writing. Attending a writers’ conference broadens an author’s opportunity and creates amazing connections with other writers.
Write for knowledge, write for entertainment and write for healing. We are communicators, and whether our writing inspires one person or millions, each word is worth our full passion and dedication. Each New Year provides a clean slate, but every moment is a new start.
In addition to being a loving father and husband, Aaron Gansky is an award-winning novelist, teacher, and podcast host. In 2009, he earned his M.F.A in Fiction at the prestigious Antioch University of Los Angeles, one of the top five low-residency writing schools in the nation. Prior to that, he attained his Bachelor of Arts degree in English with an emphasis in Creative Writing from California State University of San Bernardino, where he studied, in part, under Bret Anthony Johnston, now the Director of Creative Writing at Harvard University.
His first novel The Bargain (2013, Lighthouse Publishing of the Carolinas) was a finalist for the Selah Award for debut novel. Two years later, The Book of Things to Come (2015, Brimstone Fiction), the first book in his Hand of Adonai YA Fantasy series, won the Selah Award for YA Fiction. He has written two books on the craft of fiction; Firsts in Fiction: First Lines and Write to Be Heard (with Diane Sherlock). To find out more about his books, visit AaronGansky.com.
As a Creative Writing teacher in California, he brings his expertise on the craft to several writing conferences around America where he speaks on a variety of topics.
In 2013 he began his Firsts in Fiction Podcast with Steve McLain. Shortly after, Heather Luby joined the line up. Lately, he chats with his father, novelist Alton Gansky, about elements of the craft. Each week they dispense practical, in-depth analyses of how to write powerful fiction.
You may find Aaron on Twitter (@adgansky) and Facebook.
Show Notes
Caleb: Why did you decide to write fantasy novels?
Aaron: Writing fantasy was not something that I had ever planned on doing. I had just completed my first novel, “The Bargain” and agonized over every word, every turn of phrase, every simile and every metaphor. I just really wanted that to be the Great American Novel. After that I thought, “fantasy sounds like fun!” I love the Final Fantasy series, and I was playing a lot of Skyrim, and I thought it would be fun to do a fantasy. I don’t have to worry about trying to be highbrow literary and worry about every turn of phrase. Turns out I still worry about every turn of phrase, and every chapter, and every word, and every sentence.
Caleb: What made you want to write a YA series? How does fantasy change when written for teenagers as opposed to adults?
Aaron: Typically, it’s the age of the protagonists. In Game of Thrones, your primary characters are all adults. For me, I was dealing with contemporary teenagers, and as a teacher I felt like that was a natural thing. Teenagers are interesting. They take things very, very seriously. There’s a lot of interpersonal conflict, a lot of self discovery that goes on as well as discovery of a new world. I felt like that was a natural way to increase the tension and then the stakes and the conflict in the story.
Caleb: What are some of the main characteristics of fantasy that publishers and readers will look for?
Aaron: Really what they’re looking for is kind of an epic scope. Fantasy readers are very big into setting and world building. They’re very in tune with that and they want to know what this new and strange world looks like. It’s discovery for them. They’re also pretty militant about rules – the rules that you set up in your world. They’re looking for usually some sort of swords and sorcery… elves and dwarves and things of that nature. But really, they want something that feels unique and original. Even if it’s familiar, they want something that’s going to be different enough.
Caleb: How does the structure of a novel change when you move into the fantasy genre with things like word count and story flow? I’ve heard that fantasy requires a longer length to account for things like world building.
Aaron: Fantasy readers are notoriously patient, shockingly so I would say. By and large in terms of word count you have a lot more room to play with. If you’re a new writer, I would default to the normal industry standards (75,000 to 95,000 words). If you look at the Sorcerer’s Stone (the first book in the Harry Potter Series), it’s much smaller than Deathly Hollows. Each book increased in length, and that’s because JK Rowling had developed a reputation and people would drop 30 or 45 bucks on her books. That was far less of a risk for the publisher.
Caleb: What are some things that you do to help with the world building process?
Aaron: I think I’m different than the normal fantasy author. I was intentionally writing to kind of challenge and perhaps even break a lot of the expectations, the rules and expected tropes of fantasy. I was going to write a standalone novel. I wasn’t going to write about politics and I wasn’t going to fall into writing 18 chapters of world building. When I started the novel, I wanted kind of a quick, fast paced story. I found out when I was writing that the genre really demands those things for a reason. I had to start putting in some political intrigue, and I had to start putting in some more of the world. I tried to do it a little more organically. A lot of people will sit down and world build first, and come up with their magic system and their rules. I just started writing. As I was writing my main story, I was also creating my story bible at the same time.
Caleb: Are you an organic writer or an outliner?
Aaron: I’m very much a discovery writer. If I know where my story is going, I feel like my readers know where my story is going. I don’t like to write things that are too wildly predictable. Give them something that they didn’t expect but that they like more than what they expected. I outline the next scene or two, if that, but it’s usually just the title of what’s going to happen in the scene and that’s about it.
Caleb: If you already have most of the story in your head, is there still a way to write organically?
Aaron: You can still be organic in that way. I’ve outlined an entire novel and then I didn’t follow the outline.
Caleb: I guess it’s just a matter of following what the character would naturally do as opposed to strictly following the outline?
Aaron: Right. What would my characters naturally do in this situation? My formula is very simple. It’s just to create characters that people love and then mess up their lives.
Caleb: You mentioned character development. Do you go about that organically as well, or do you like to use things like character sketches?
Aaron: A little bit of both. I will try to find out as much as I can about the characters. When I begin writing, I always challenge myself to put some sort of scene where a character does something that I don’t expect. A normal person would do A. This person is going to do B, and then I challenge myself to figure out why. What it does is it helps me understand that my characters are not my characters. They are their own people, making their own decisions, and there’s something that’s happened to them in their past that I don’t know.
Caleb: What are some of the common mistakes or clichés that newer writers might make with fantasy stories?
Aaron: I really think that the number one issue is the clichés. They rely too heavily on worlds that too closely resemble that of Tolkien or Narnia, or “insert favorite fantasy series here.” Fantasy readers like new and exciting things. It’s a problem that all writers have, especially when they’re beginning, is how to be inspired by something without copying something. My recommendation is to mix and match. What does Tolkien look like when you mix it with Narnia? Or in my case what does Jumanji look like when you mix it with Skyrim?
Caleb: If you had to give one piece of advice to an aspiring writer, what would that advice be?
Aaron: It’s hard to narrow it down to one, so I’ll make it a compound recommendation, and it’s the thing that really got me going. I was at the Blue Ridge Writer’s Conference, as a writer originally. I think it was Todd McNair who was talking, and he said something to the effect of you have to start thinking of yourself as a writer. He says if you sit down on a plane and the person next to you says “what do you do?” and you tell them what you do for your day job, maybe that’s not the right train of thought. I was telling people I was a teacher left and right. Now, when people ask what I do, I say “I’m a writer.” I also teach high school, but I define myself as a writer. The biggest thing is to think of yourself as a writer, and then to write. You have to read, and you have to consume as much information as humanly possible about how to become better at the craft.
Cherrilynn Bisbano is an award-winning writer. She founded The Write Proposal after reading hundreds of book proposals with avoidable errors. These errors cost the author a contract or representation. As a submission reader and junior literary agent, Cherrilynn wants you to succeed. Her desire is to help you present a professional and memorable proposal. She has written proposals for Paws for Effect, a Hollywood movie company, and helped edit many proposals. As the managing editor of Almost an Author, she helped the website earn the #6 spot on the Top 100 best writing websites for 2018 by The Write Life and Top 101 Websites for writers with Writers Digest.
Cherrilynn can be reached at editor@thewriteproposal.com For more information about the Write Proposal visit www.thewriteproposal.com
Show Notes:
Cherrilynn Bisbano is the founder of The Write Proposal, a company that specializes in coaching writers from around the world to creating professional book proposals for every genre of writing. Cherrilynn’s team includes freelance copyrighter and marketing strategist Holland Webb, and award winning editor Crystal Phelps. She was generous enough to share the basic structure of a book proposal and how the different elements change across genres. The book proposal is the first impression that publishers get about you, your writing, and your professionalism. Publishers don’t have the time or resources to get to know every submitting author individually, so the proposal works as a type of resume that gives insight into your book and skills as a writer.
When to start the process:
In nonfiction writing, some people recommend writing the book proposal ahead of time, because it can be an outline for the writing process. In fiction writing, parts of the proposal can be compiled as the book is being written, such as the biography and marketing research. However, the synopsis should be written after the first draft is finished, because the story often changes as the writing process progresses. The proposal for a children’s book should also be written after the book is completed, but the proposal for children’s books are much different than those for different genres. The first step is to go to the website of the agent or publisher to which the proposal is being submitted. If submitting directly to a publisher, make sure that they are accepting books proposals, and that they are interested in proposals for your particular genre. Always check the submission guidelines for that particular agent or publisher.
The following is a generalized format based on what the majority of agents and publishers expect in a book proposal.
The Title Page includes the author’s name, address, email, and the title and subtitle of the book. If working with an agent, their name should also be listed. Be sure to include the genre and word count of the book.
The Table of Contents is for the proposal itself, not for the book that is being submitted.
The One Page Sell Sheet should include the title, genre and word count. It should include a tagline to hook the agent or publisher’s attention. (This section is different from a One Sheet that is often presented at writer’s conferences.) This section should also include the back cover copy for the book. This is the opening summary of the story that is often found on the back cover or inside flap of published books, but should not give away the story’s ending. Include an abbreviated bio, which can detail facts about your writing experience and achievements. Lastly, the One Page Sell Sheet should explain why you are the person to write this book. The only graphic on this page should be a current headshot of the author.
The Biographical Sketch (a.k.a. the Author Page) functions as a resume for the author. This includes your writing experience, education and prior publishing history. You can also list the number of people you reach through social media platforms. Provide a current headshot. This is different from the One Page Sell Sheet, which provides one or two lines about the author. The Biographical Sketch gives much more detail.
The Story Synopsis or Chapter Review is different with fiction and non-fiction. For a fiction book, the synopsis is typically one to three pages summarizing the story from beginning to end. For non-fiction book proposals, this section should include a summary of each chapter in the book. For children’s books, each page of the book should be shown in spreads that include both the writing and illustrations.
The Market Analysis identifies the audience for the proposed book. It should include the identity of the audience, the age, gender, location and income level of the average reader in that audience. This is where a lot of research must be done in the genre. Statistics on sales of similar books should be included, as well as statistics on blogs and magazines with similar content. You must demonstrate that there is an audience for your book, and who that audience will be. Consider special interest groups that would be interested in reading the book. It’s also important to explain how your book meets a need for readers.
The Competitive Analysis deals heavily with current trends in the industry. This section compares your book with other successful books in the same genre. Make a list of seven to ten books that tell the same type of story or give the same type of information as your book. They should each have been written within the last five years. Make sure to compare your book to best sellers. Do not list any self-published books, unless that book has been wildly successful, selling eight thousand or more copies in its first year of publication.
The following information should be included about each book: – Title/subtitle – Author – Publisher – Copyright year – Number of pages – Format (paperback, hardback or ebook) – Retail price – ISBN
When comparing and contrasting each of these books to your own, ask the following questions: – How is my book similar? – How is my book different? – What promise does the author make to the reader? – What promise do I make to the reader that is different or similar? – How are my credentials similar to the author’s?
Make sure to never criticize the authors of these books, but simply compare and contrast their work to yours. It is not necessary to read each of the seven to ten books listed. Read as many as possible and make sure you are very familiar with each of them.
The Marketing Plan is the first place to which some agents and publishers look. This is where an in depth analysis of the author’s platform is given. First, give a general statement about the number of people in the author’s platform. Then, break down each element of the author platform to show how the large number was calculated. This section must prove that the author has a large enough following to sell eight to ten thousand books within the first year of publication. When calculating the platform reach, the author should include every avenue he or she has to publicize the book. This includes religious affiliation, Facebook groups, and social media followers. Ask Facebook and Twitter connections to help spread the word about your book when it is released. If these social media friends have large numbers of followers, that number can be included when calculating the platform reach. Local newspapers, alumni magazines and business newsletters can also provide additional marketing avenues.
Next, list any Endorsements for the book, and the History of the Manuscript.
Finally, provide three sample chapters of the book.
Sometimes, the proposal seems to require more work than the book itself, but a well crafted proposal is vital to the publication process. Without it, there is no way for the agent or publisher to learn about you or your book.
