The Writer’s Cookbook: Recipes for Author Success – Mark Dawson & Kristina Adams

IT’S TELEVISION TUESDAY

The Writer’s Cookbook: Recipes for Author Success – (The Self Publishing Show, episode 254)

 

www.writerscookbook.com

selfpublishingformula.com

How to Write an Authentic Crime Scene – With Patrick O’Donnell & Mark Dawson

IT’S TELEVISION TUESDAY

How to Write an Authentic Crime Scene – (The Self Publishing Show, episode 252)

 

www.CopsandWriters.com

How To Write About The FBI (And Get It Right) – With Jerri Williams

Selfpublishingformula.com

How to Get Organic Traffic on Instagram – with Hanna Sandvig & Mark Dawson

IT’S TELEVISION TUESDAY

How to Get Organic Traffic on Instagram – with Hanna Sandvig (The Self Publishing Show, episode 252)

 

 

Instagram Hanna Sandvig

How To Revise Your Book

Heroes, Villains, and Writing a Story That Matters with Ace Atkins & Gabriela Pereira


Heroes, Villains, and Writing a Story That Matters—-Interview with Ace Atkins 

Posted by Gabriela Pereira September 9, 2020.  Duration: 40 min 53s diymfa.com


diymfa.com

aceatkins.com

Intuitive Editing With Tiffany Yates Martin

IT’S TELEVISION TUESDAY

INTUITIVE EDITING WITH TIFFANY YATES MARTIN


“I trust Tiffany Yates Martin with the editing process even more than I trust myself. Read this book and steal her secrets!”–Kelly Harms, Washington Post-bestselling author of The Overdue Life of Amy Byler

“Tiffany Yates Martin is an exceptional editor, so of course her advice and counsel in Intuitive Editing is exceptional as well. Whether you’re a seasoned author looking to fine-tune your craft, pacing, or tension or just starting out and looking for guidance on building overall structure and engaging characters, this book is a must-read that will take you from idea to finished manuscript.”–New York Times-bestselling author Allison Winn Scotch

“This book is a must have tool every author needs in their toolkit. When you are ready to go deeper, to dig into the revision process, using Tiffany’s Intuitive Editing strategies will help you take your writing to the next level.”–New York Times– and USA Today-bestselling author Steena Holmes

“Authors, if you can’t be lucky enough to have Tiffany as your editor, then Intuitive Editing is the next-best thing. Her advice is sound, thoughtful, no-nonsense and given with the compassion that every author and their book deserves.”–Elisabeth Weed, literary agent, the Book Group

“Editing your own writing can feel like doing your own brain surgery….”

After you’ve completed your manuscript and you’re standing at the foot of Revision Mountain, climbing to the summit can feel impossible. It’s hard to look at your own writing with the objective eye needed to shape it into a tight, polished, publishable story–but just like writing, self-editing is a skill you can learn.

Developmental editor Tiffany Yates Martin has spent her career in the publishing industry honing practical, actionable techniques to help authors evaluate how well their story is working, where it might not be, and how to fix it.

With a clear, accessible, user-friendly approach, she leads writers through every step of deepening and elevating their own work, as well as how to approach the edit and develop their “editor brain,” and how to solicit and process feedback. Intuitive Editing doesn’t offer one-size-fits-all advice or rigid writing “rules”; instead it helps authors discover what works for their story and their style–to find the best version of their vision.

Whether you’re writing fiction, narrative nonfiction, or memoir; whether this your first story or your fiftieth, Intuitive Editing will give you the tools you need to edit and revise your own writing with inspiration, motivation, and confidence.

Tiffany Yates Martin has spent nearly thirty years as an editor in the publishing industry, working with major publishers and bestselling authors as well as newer writers. She’s led workshops and seminars for conferences and writers’ groups across the country and is a frequent contributor to writers’ sites and publications. Visit her at www.foxprinteditorial.com.

 
 
 

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About Tiffany Yates Martin

Developmental book editor Tiffany Yates Martin is privileged to help authors tell their stories as effectively, compellingly, and truthfully as possible. In more than 25 years in the publishing industry she’s worked both with major publishing houses and directly with authors (through her company FoxPrint Editorial), on books by New York Times, USA Today, and Wall Street Journal bestsellers and award winners as well as newer authors. She presents objective editing and writing craft workshops for writers’ groups, organizations, and conferences to help authors learn to edit their own writing and revise their stories. She also offers editing tips and advice on creative story revision for numerous writers’ sites and publications.
 

Foxprinteditorial.com

The First Steps to Writing a Book (Ft. Michelle Prince)


SHE with Jordan Lee Dooley

Posted June 24, 2020 – Duration: 31 min 54s


About Michelle Prince

Michelle Prince is a best-selling author, sought-after motivational speaker, CEO and founder of Performance Publishing Group, a “partner” publishing company dedicated to making a difference … one story at a time. She’s helped thousands of professionals around the world become published authors through her consulting, courses, seminars, and done-for-you publishing services. She is the founder of the Book Bound Workshop (www.BookBoundWorkshop.com), which helps soon-to-be authors get their story “out of their head and onto paper.” Michelle knows we all have a story, and she is passionate about helping others tell their stories so they can make an impact in other people’s lives. Michelle is also an enthusiastic, dynamic speaker who captivates audiences with her authenticity, high energy, and natural ability to connect with any audience. She has been endorsed by some of the most influential speakers in personal development, including Zig Ziglar, and she currently serves as the “Ziglar Brand Ambassador,” representing the values and legacy of the late Zig Ziglar. Learn more at
 

www.MichellePrince.com

Great Stories Don’t Write Themselves: How To Develop Strong Fiction Ideas With Larry Brooks & Joanna Penn

 

Posted on May 11, 2020 by Joanna Penn

Podcast: (Duration: 1hr 56 min)

Subscribe: Apple Podcasts | Android | Google Podcasts | Stitcher | TuneIn | Spotify | RSS |

 

You can find Larry Brooks at Storyfix.com and on Twitter @storyfix.

You can find Joanna Penn at www.thecreativepenn.com.

Book Ad Tips to Boost Your Author Business with Nicholas Erik & Mark Dawson

IT’S TELEVISION TUESDAY


Book Ad Tips to Boost Your Author Business with Nicholas Erik The Self Publishing Show, episode 250

 

 

Nicholaserik.com

Learn.Selfpublishingformula.com

DON’T MISS THE NIGHT OF A THOUSAND AUTHORS!

 

All your favorite authors, one night, five-plus hours of LIVE streaming . . . and it’s all free!

Join us on November 3 for Night of a Thousand Authors, an evening of endless interviews and appearances from some of the biggest names on the thriller and mystery scene today. Co-hosting will be author K.J. Howe (ITW Executive Director) and The Real Book Spy’s Ryan Steck, with special help from The Crew Reviews‘ Michael Houtz, Sean Cameron, and Christopher Albanese.

David Brown, Deputy Director of Publicity at Atria Books and “driver” of the @AtriaMysteryBus twitter feed, has teamed up with the Executive Director of ITW and ThrillerFest, Kimberley Howe and influential book blogger Ryan “The Real Book Spy” Steck to create NIGHT OF A THOUSAND AUTHORS,election day counterprogramming for mystery, thriller and suspense fans to escape from the stress and anxiety of that day.

 

BEGINNING AT 3 PM ET ON TUESDAY, NOVEMBER 3 — STREAMING LIVE AT THE LINK BELOW. DON’T MISS IT!

 

Mystery Thriller Week

 

Writing, Rewriting, and Craft by Elena Hartwell

 

 

Writing, Rewriting, and Craft

By Elena Hartwell

 

As a novelist and playwright, I’m often asked where I get my ideas. Almost every writer I know gets this question, and I think we all feel the same. Ideas are never the problem. That’s the easy part. Ideas are a dime a dozen. The hard part, the magic part, is turning the idea into a polished, final manuscript.

 

The writing process varies wildly from author to author. Some write extensive, detailed outlines. Others sit down with an idea and write scenes on the fly. A number of writers fall somewhere in between, while they may not outline, neither do they sit down and write completely organically. They might write a synopsis or outline a chapter in advance.

 

The various combinations of these methods all work, depending on the writer and the project. There is no “wrong” way to write a novel. The “how” a writer works isn’t why their manuscript sells or doesn’t sell. The primary reason an author’s work has not yet sold is a lack of craft.

 

People who lack craft skills rarely sit down to write a novel. Or if they do, they can start, but never finish. Or if they do finish, they don’t rewrite. Or if they do rewrite, they quit after a single pass. Or, if they do continue to rewrite, they aren’t aware enough of craft to recognize the flaws in their own work. You get the picture. The problem is the writer stops too soon.

 

As a writing coach—I do one-on-one manuscript critiques as well as teaching workshops—there are some fundamental issues I see repeated in early drafts, over and over. These same issues show up in my own work, and probably on some level, in the early drafts of every writer out there. So the first thing aspiring writers can do to increase their chances of writing a successful manuscript, is learn how to identify these problems.

 

The first is a lack of clear objectives, obstacles, and stakes. It’s not enough to have a dead body to write a mystery. Someone has to investigate the murder. The person investigating the murder has to need to solve the crime. If they don’t need to solve the crime (objective) there’s no tension about the investigation. If the solution doesn’t matter to the investigator, it won’t matter to the reader. 

 

The sleuth also can’t solve the crime easily, that’s not dramatic. Various impediments (obstacles) have to appear, one after the other, to prevent the protagonist from catching the killer. The more the investigator has to overcome, the more satisfying to the reader when they do. 

 

Lastly, it has to matter (stakes). For example, the protagonist with an internal struggle, coinciding with their investigation, is far more interesting than someone who simply goes through the motions of solving a crime.

 

The more important solving the case is to the protagonist, the more dangerous or difficult the journey, and the greater the importance to find the guilty party, the more invested a reader will be. That’s what keeps a reader turning pages.

 

Complex protagonists will also have personal objectives, obstacles, and stakes to go along with their investigation. For example, a crumbling marriage, a child in danger, or overcoming an addiction are common tropes within the genre. When we know an investigator has to choose between catching a killer and saving their marriage, the stakes are high and we breathlessly turn each page waiting to see what the character chooses.

 

Another common error I find is a lack of structure. All stories have an underpinning structure. While there are variations to that structure, for the most part, especially in crime fiction, we start with the world as we know it, which is disrupted by a specific event, followed by rising action, where events pile one on top the other, each more important than the one that went before. This ends with a climactic scene, with the maximum danger to our hero or heroine, followed by a glimpse into the new world order for our characters.

 

If any of these parts are missing, the story can feel unfinished. For example, if we don’t have some sense of what the character’s life was before the intrusion, we don’t know what they are putting at risk. The “world before” can often be well hidden, it might not appear in the first chapter, but later in reflections the character makes as the story progresses, but usually a reader can identify it if they look for it. 

 

The middle of a manuscript might falter if a lot of exciting things happen at the beginning, then nothing exciting follows. Rising action is important, because it builds dramatic tension, making it impossible to put the book down.

 

Lastly, an ending can feel unsatisfying if we have no sense of the outcome. Readers don’t need everything tied up in a bow, but they do want the primary threads to be resolved enough to know what the character’s lives will be like after they read “the end.”

 

Dialogue can also be difficult to master. One of the most common problems I see is when authors have their characters say exactly what they feel and exactly what they mean. That doesn’t ring true. People lie all the time. We lie because it’s expedient, it benefits us in some way, it keeps us from hurting others, or we don’t want to get in trouble. We rarely say what we mean, we obfuscate, we dither, we agree out loud when disagreeing feels like a mistake. Dialogue works best when each character speaks distinctly from the others, through word choice, sentence length, grammatical accuracy, and the use of slang. 

 

If a writer can identify just these specific problem areas in their own writing, their next draft will be a much tighter, more polished manuscript. It can feel overwhelming to try to identify and fix all the issues I’ve outlined at one time. My recommendation for writers is to choose one aspect and rewrite just for that. Heighten the stakes in one rewrite. Focus solely on dialogue for the next. Breaking down the process into smaller chunks can make each rewrite a more successful venture. This will help the writer get through a series of rewrites rather than attempting one and feeling like the mountain is too high to climb. My final piece of advice. Don’t give up. That’s the only difference between a published author and an unpublished one. 

 


Elena Hartwell started out her storytelling career in the theater. She worked for several years as a playwright, director, designer, technician, and educator before becoming a novelist.

Elena has more than twenty years of teaching experience and now works one-on-one with writers as a manuscript consultant and writing coach.

She lives in North Bend, Washington, with her husband, two cats, and the greatest dog in the world. When she’s not writing, teaching writing, or talking about writing, she can be found at a nearby stables, playing with her horses.

For more information about Elena, please visit www.elenahartwell.com.

 

Twitter |Goodreads | Amazon


For fans of Julia Keller and Sheena Kamal, All We Buried disturbs the long-sleeping secrets of a small Washington state mountain town.

Deep in the woods surrounding the Cascade mountain range, a canvas-wrapped body floats in a lake, right in Elizabeth “Bet” Rivers’s jurisdiction. Bet has been sitting as interim sheriff of Collier after her father’s–the previous sheriff’s–death six months ago. Everyone knows everyone in a town like Collier. She has made it her duty to protect the people she’s come to see as family. And she intends to hold her title in the upcoming election, but she’s never worked a murder investigation on her own before and her opponent and deputy, Dale Kovac, isn’t going down without a fight.

Upon unwrapping the corpse, Bet discovers the woman is from out of town. Without an identification, the case grows that much more puzzling. Determined to prove herself worthy, however, Bet must confront the warped history of Collier. The more she learns, the more she realizes she doesn’t know the townspeople of Collier as well as she thought, and nothing can prepare her for what she is about to discover.

 

Amazon|B&N | Audible

 

An Expert In Her Field: Marketing to a Niche with Carly Kade & Mark Dawson

IT’S TELEVISION TUESDAY

 

An Expert In Her Field: Marketing to a Niche with Carly Kade 

 



 

selfpublishingformula.com