Writing from the Peak, PPW Blog

Why Should I Write Diverse Characters?

By: Jason Henry Evans

Right now you’re probably asking yourself, how can I add diversity to my story? It is my hope that by the end you’ll be asking, how did I write without it? However, I have a sneaking suspicion that you might have another question that needs answering first.

Make your story as diverse as our society.

Why?

Why do I have to shoehorn characters in that I never envisioned in the first place? Why is there suddenly another writing skill I am required to master before I can pitch or sell my or publish my novel? Why must I include one more layer on top of everything else?

Look, I get it. But think about writing diversity like you would about learning about how to write a novel. When I published my debut novel, not only did I have polish my basic grammar, I also had to learn pacing, theme, foreshadowing, character arcs, and a dozen other skills. But listen, I learned all those skills—and so did you. One more won’t kill you.

Why Write Diverse Characters?

1.) First of all, none of this is sudden. These issues have always been here. Octavia Butler, a Hugo Award winning science fiction writer, wrote “Why is Science Fiction so White?” back in 1980. You can read it here.

There have always been diverse people trying to write and get published. All they have ever wanted was to be seen in fiction.

2.) As more people are drawn into the reading public, the more diverse that public becomes. That public will want to see themselves in the literature they read. If you choose not write more complex stories with more diverse characters then you are potentially missing an entire market of readers because of the narrowness of your story. In today’s world when traditional marketing is dying and its getting even harder to get noticed, don’t walk away from potential customers.

3.) Writing with an eye towards diversity will make you a better writer.  Take a standard historic adventure story set in the 17th century. You’ve got pirates and the British fleet after those pirates. Ok, sounds cool, right? Now add a Japanese samurai into the story. He’s in Mexico working as a body guard. (They were there, I’ve checked.) Now have that samurai interact with the British sailors as he desperately tries to get them to go after the pirates who’ve kidnapped a Mexicana noble woman whom the samurai was guarding. This ally of your protagonist is now a loose cannon. See? Diversity has created more conflict and more tension. The samurai is honor bound to rescue his employer, even if it means he does something drastic. Failure means he must commit seppuku—ritual suicide. The samurai’s presence has ratcheted up the tension, the conflict and the stakes. Diversity helps you write better fiction.

4.)  Literature has the potential to change who we are and change the trajectory of our lives.  One of the reasons we are all drawn to story is because it has the capacity move us and change how we think about things. I’ll be honest when I say I am the man I am today because I read Marvel Comics as a kid. I wanted to be Captain America and do the right thing. I wanted to be as brave and as stubborn as Benjamin Grimm, the Thing, from the Fantastic Four.

Your story has the chance to do that for someone. If you’ve got an Amazon Prime Account, go watch Love Between the Covers, a documentary about romance writing. Watch it and try not to be moved by the gay romance author Raddclyff and how profound her writing has been to her fans. A group that rarely saw themselves in literature just thirty years ago.

Right now there might be a black girl, a gay Chinese boy, or a kid with Asperger who desperately needs to see themselves in your story. They need to see themselves as the leader, the expert with the answers, or the hero.

Diversity in Media

I grew up in the 1980s. I am African-American. While Bill Cosby is clearly problematic and deserves the punishment for his crimes, I wonder how many black men went to a historically black college because of the Cosby Show? How many decided to go to medical school because of that show? Representation matters. It can not only change lives, it can save them.

5.) Diversity in fiction will help you compete in the market place. Let’s get serious for a moment, shall we? Here is a look of the television networks that existed in 1985:

Number of networks in 1985

Here is the number of television networks that existed in the spring of 2019:

Number of networks in 2019

Of course, this is only a fraction of the networks now broadcasting television contents. The market has diversified. It has Balkanized. Stories don’t have to have mass appeal in order to sell, anymore.

Capture a Portion of the Market

What stories have to do is be unique enough to capture a portion of the market. That Y.A. novel about the captain of the football team who falls in love with the prettiest cheerleader, in a suburban, middle class setting where there is little to no diversity, is a tired story. It has been done over and over again. It won’t sell.

But what if the cheerleader was a lesbian and the story arc was about the QB learning to be friends with the cheerleader and respecting her orientation, her choices, and her eventual friendship?

What if the QB was transgendered, but nobody knew? The tension of keeping up the pretense for his teammates, while pursuing the cheerleader would be intense! The point is society is diverse and our stories need to be diverse, as well. The market that traditional stories were designed for has changed. The market wants diversity. If you won’t get on the party bus, the party bus will leave you behind.

I hope to see you on the bus!

Jason Henry Evans

Jason Evans always wanted to be a writer; he just didn’t know it. After attending college and working in education, Jason’s life changed when he fell in love with the Fetching Mrs. Evans. After over a decade as a teacher in public and private schools, he discovered the wonderful writing community in Colorado, where he still lives. Jason is an educator, and a historian (as well as a bon vivant,) who is active in the Colorado writing community as a teacher and speaker. Visit Jason’s website for more about Jason and his publication.

Producing a Novel – Part 3

Building Believable Characters

By: Donna Schlachter

Welcome back to our mini-course on Producing a Novel. This month, we’ll look at how to build and develop believable characters. Did you miss the first two parts? Hop over and read the first two sessions as well: Part 1 and Part 2.

Who needs character? We all do and so do the characters in our stories.

Who Needs Characters?

Well, of course we all do. It’s who the story is about. Even a story like The Old Man and the Sea had characters—the old man, the ocean, the fish, the bird, the boat. He thought about his wife and family. Without the ocean, fish, bird, and boat, there was no story.

Describing Characters

This might be easiest to explain by saying how not to do it:

  • Don’t read off their driver’s license
  • Don’t have them look in a mirror or a plate glass window more than once (in total) in a book.
  • Don’t give so much detail that the reader can’t imagine the person for themselves.
  • Don’t have the character think about her own hair color, eye color, or body description.

DO:

  • Describe their physical appearance metaphorically. For example, “her translucent skin made her look like a ghost.”
  • Use clothing or other items. For example, “The rumpled raincoat shrouded him like a burial cloth.”
  • Use other people’s point of view. For example, “Tom eyed Bob up and down. Boy, he’s packed on the weight since college.

Character Backstory

Our character’s story explains who they are, why they believe what they believe, and why they do the things they do. It also explains why they wouldn’t make another choice in a similar situation.

Now we know all this information about our character, and the reader is going to want to know it, too, right? Right. They just don’t need to know it all at once. Have the character make a bad choice and relate it to something from their past, but don’t say exactly what. Just yet.

Backstory, like compliments and salt, is best used sparingly. We never want to have a character’s history splashed on the page. Instead, sprinkle it in judiciously. Allude to why they think the way they think in response to a comment or action of another character. Many well-published authors say no backstory in the first 50 pages.

Female Dialogue

In general, women talk about the same topics that men discuss, but will have a different perspective. That doesn’t mean they have more or less expertise, just that female brains process the information differently than male brains do.

When women communicate, they tend to share emotions, feelings, dreams, concerns, and they look for ways to extend compliments. Women like to help others, including making them feel comfortable. Women tend to nurture, to solve problems by offering advice, to sympathize by putting themselves into the situation of the person they’re talking with. Women use body language and facial expressions, so be sure to include that information as action beats. Without that detail, the reader could misconstrue the words.

Walk and Talk Like a Woman

Women process dialogue differently than men. To that end, I’ve summarized a list I found on a Writer’s Digest blog post about dialogue.

  • Women tend to sympathize and share experiences rather than give advice. Add empathy to your character’s reactions and have her talk about similar things that happened to her, rather than tell someone what they should do.
  • Women tend to talk about their accomplishments and themselves in a self-deprecating fashion rather than a boastful one. Rephrase her comments in order to make her laugh at herself.
  • Women tend to be indirect and manipulative; even an assertive woman usually considers the effect her statement is likely to have before she makes it. Add questions to her dialogue, or add approval-seeking comments and suggestions that masquerade as questions.
  • Women notice styles; they know what colors go together (and which don’t); and they know the right words to describe fashions, colors, and designs. Ramp up the level of specific detail.
  • Women tend to bubble over with emotion, with the exception that they’re generally hesitant to express anger and tend to do so in a passive or euphemistic manner. If you need your heroine to be angry, give her a really good reason for yelling.
  • Women notice and interpret facial expressions and body language, and they maintain eye contact. If you need your female character to not notice how others are acting, give her a good reason for being detached.

Walk and Talk Like a Man

Men use just as many words as women do, but they tend to divide and order them differently.

  • Men tend to request specific information, rather than ask rhetorical questions. Men also tend to reply to a tough question with one of their own. And if they don’t want to discuss a topic, they might use a question to change subjects.
  • Men tend to resist explaining; they generally don’t volunteer justification for what they do. If you need him to explain, give a reason why he must.
  • Men tend to share feelings only if stressed or forced; they’re more likely to show anger than any other emotion. If you need your hero to spill how he’s feeling, make it more painful for him to not talk than to share his emotions.
  • Men tend not to pay close attention to details unless it’s something they’re interested in. Men don’t usually notice expressions or body language; they stick to basics when describing colors and styles. Scale back the level of detail.
  • Men tend to avoid euphemisms, understatements, comparisons, and metaphors. Rephrase your hero’s dialogue in concrete terms.
  • Men tend to be direct rather than ask for validation or approval. Check for “pecking order displays” between men of same status, and between men of different statuses.

Pecking Order Displays in Men

When two men meet, they assess each other’s status which then dictates how they treat each other. For example, a doctor and a mechanic meet, and this pecking order kicks in while they’re talking, to the point where the doctor can make a joke about the mechanic’s work, perhaps saying something about choosing medicine over car repair because doctors get to wear gloves to keep their hands clean. Both men would laugh, neither feels slighted, but the mechanic wouldn’t respond with any comment that could be considered derogatory or mocking of medicine.

If two mechanics met and talked, they’d joke about grease monkeys and the like, and think nothing of it because they’d consider each other equals.

If a doctor and a mechanic met to talk about car repairs, the mechanic is now the professional with a higher status and knowledge base, so he would be “in charge” of the conversation.

Note: if a woman stepped in and made similar comments as the doctor made to the mechanic, the mechanic wouldn’t appreciate it. Not because she is a woman, but rather because she is outside the circle of influence these two have created. As a result, we must be careful our female characters don’t step into the established relationships between male characters and expect to be treated like “one of the boys”.

Resources for Part 3:

Writing Gender Specific Dialog
How to Write Believable Characters
Character Motivation: How to Write Believable Characters
Creating Believable Characters
Creating Believable Characters: 8 Tactics
Writing Authentic Male Characters
How to Write from a Guy’s POV
Creating Interesting Characters: Characterization by Trait
A List of Character Traits
Character Development – Creating Memorable Characters

Did you miss any installments of Producing a Novel?
Generating—and Testing—Ideas for Fiction and Non-Fiction Books – Part 1
Genre and Markets – Part 2
Building Believable Characters – Part 3
Character Sketches and Backstory – Part 4
Hooking Your Readers – Part 5
Character and Story Arc – Part 6
Outlining Your Book – Part 7
Overcoming the Muddle Middle – Part 8
Racing to the Finish – Part 9
Writing a Series – Part 10
Self-Editing – Part 11
Cover Design and Self-Publishing – Part 12

Donna Schlachter

Donna Schlachter writes historical suspense under her own name, and contemporary suspense under her alter ego of Leeann Betts, and has been published more than 30 times in novellas, full-length novels, and non-fiction books. She is a member of ACFW, Writers on the Rock, SinC, Pikes Peak Writers, and CAN; facilitates a critique group; teaches writing classes; ghostwrites; edits; and judges in writing contests.
Find her on: Facebook, Twitter, Amazon, Smashwords, Etsy,

Writing in Covid

By: Jenny Kate

Are you still writing?
Do you think it’s even worth it?
Is your new normal so stressful that you think it isn’t?
Well, I want to put your mind at ease about at least one thing.

The industry still needs books.

People are still reading.

The Reading Agency just reported that almost one in three people in the UK are reading more – classics and crime novels in particular.
Yay for mystery, crime and thriller novelists!

Those in the 18-24 age bracket showed the greatest increase.
Yay for Young Adult writers!

The reasons seem to be that books offer a new (for them) form of release, and that they now have more free time to read them. In the United States, Americans have shown a full 30% increase in reading across all age demographics.

Children’s and kid’s books are way up
Yay for children’s!

Most people admit to reading to either learn something about health or to escape reality.

We don’t have current stats on romance or science fiction, but if I’m reading to escape reality, these are a fair bet.

But how are people reading?

Not with print books.

Those are dipping, probably due to the closure of bookstores and Amazon’s priority list doesn’t include books right now. Ebooks did slump a bit, but those numbers bumped back up over the Easter holiday. Same with audio. It was down at the beginning of the quarantine but has since leveled back out to where it was.

I feel this was a commute and gym problem. Folks like me with long commutes or gym time didn’t have those anymore. But we humans adapt and evolve, so we figured it out. I now listen on my daily walk.

All of this is important for any writer who may feel discouraged.

Don’t. People are still reading and still want books. If you are feeling too stressed out to write. Take heart. That’s totally normal as well. Maslow’s hierarchy of needs tells us that if basic needs are met (food, home, shelter, job security), it’s real hard to move up to enjoy interests and hobbies.

Take care of yourself and your family and breathe.

At some point a new normal will take over and you’ll want to write again. Until then, do whatever you need to do to get through. If it’s not writing, that’s ok. If it is, then have at it.

If you’re writing, are you also thinking about your career?

Again, don’t overwhelm yourself in one of the most unprecedented times of our lives. But if you feel up to focusing on your career, then send out a couple of queries and see what happens.

The industry still needs books.

Continue to grow your email list or work on your social media engagement. Readers are hungry for connection. Maybe just focus on world building or character development or plotting. Set a schedule or create a way to focus on just a bit of writing every day. Take small steps to stay connected to your author business.

If your author business is your livelihood, then let’s talk.

Create a game plan. Don’t just wing this. Here are a few things to consider:

  • Write down your objective.
  • Plot out the tactics to meet that objective.
  • Think about ads. Now’s the time for Facebook ads. They are at an all-time low.
  • People are buying ebooks. Put yours up.
  • Try an email blast ad like BookBub or BookGorilla.
  • Consider content marketing…this means once a week create a piece of content: video, blog, podcast, long social post, and repurpose it into other content: Instagram Story, Tweet, Facebook Group post. It will boost your website’s searchability on Google.

Regardless of where your state of mind is right now, know this. You are a writer, and it’s totally fine if you want to write or you don’t want to write. A global pandemic that just killed 60,000 Americans in two months is seriously unnerving, and there is no right way to deal with it.

So, however you manage that is absolutely what is best for you – writing or not. Things will get better. Readers will read. And your stories will be awesome.

Sources:
The Coronavirus Pandemic Is Changing How People Buy Books
World Book Night: One in three reading more during lockdown
Share of adults reading books more due to the coronavirus…

Jennifer Lovett Herbranson

Jenny Kate is the founder of Writer Nation, an online space dedicated to helping writers market their work. With 19 years communications experience, she regularly writes on social media, internet marketing and face-to-face publicity. You can find her on her Website, Facebook, and  Instagram

Interview with Sandra Murphy

The Voice Mama

By: Jennifer Wilson

Sandra Murphy
Sandra Murphy – AKA The Voice Mama

Audiobooks are a fast growing staple of the literary world. I myself devour at least three audiobooks a month. Readers still love the hardy feel and ink-stained smell of a good tome, but with streaming services, booming audiobooks are on the rise. They ease long drives, are great when walking the dog, out for a run or even while cooking. Especially now, as we are all stuck inside, audiobooks are a great escape, allowing people to still be productive while listening to an amazing story.

And it’s not just the Big Five publishers taking advantage of this growing trend either. With the launch of ACX, indie writers are now joining the game without breaking the bank. But this is a whole new construct from what we writers are used to, so I’m pulling in expert Sandra Murphy —AKA The Voice Mama—to dish on everything from her process to resources to how to find the right talent for your book.

Q: Sandra, it’s wonderful getting to connect with you today. Thanks so much for taking the time. First and foremost, how are you doing in this new world we’re all adjusting to?

A: My pleasure! The biggest change is that there is no quiet time to narrate which I would usually have when my husband was at work and the children in school.  With the entire family home, we’ve instituted quiet hours when I record.  I do my best to stick to that time frame and we converge as a family and make plenty of noise when I’m done.

Q: Tell me, what do you love most about narrating audiobooks?

A:  I get to play ALL the characters!!  There is no type casting in audiobook narration.  As an actor, it’s so freeing to play fairies, ogres, Mexican hit men, Ukrainian circus performers – roles I would never be cast in on stage or on camera. 

Q: Do you have a ritual or routine you do before sitting down to record the audio (such as vocal exercises or donning your lucky unwashed socks)?

A:  Pre COVID-19, I’d head to the gym in the morning which would function to wake up my body, release tension, and get me in touch with my breath.  After doing my vocal warm-ups and before heading into the studio, I always make a cup of apple cider vinegar and honey “tea” to have with me in the booth, which helps clear mouth congestion.

Q: What genres will you always say no or yes to, and why?

A:  I will always say yes to books in the mystery genre – from cozy mysteries to police procedurals to thrillers – if there’s a dead body, I’m interested.  I’m an active member of Sisters in Crime Colorado and love to attend events like “Night with a Coroner” or tour the CBI building to increase my understanding of the genre.

I will always say no to Erotica.

Q: What are some of your favorite projects you’ve worked on?

A:  I love literature and good writing is what really pulls me into a project. 

The Flats Junction series by Sara Dahmen is my first venture into historical fiction.  I’ve thoroughly enjoyed narrating this series.  In TINSMITH 1865, Marie Kotlarczyk must learn to become a female tinsmith in the Dakota Territories.  In WIDOW 1881, Jane Weber, a proper Boston widow, must choose how she will truly reinvent herself and where she belongs.  Two vastly different female protagonists, two different time periods, but both stories take place in the same frontier town of Flats Junction.


The character development, character arcs, and conflicts in this series are masterful. 

Q: A lot of authors don’t realize how long it takes to get their book babies into audio format. Can you talk about how much time it takes to produce an audiobook and how that breaks out? (ie prep, studio time, editing…)  

A:  The quick answer is 6-8 weeks.  It takes roughly 8 hours of time – prepping, recording, editing, mastering – per finished hour of audio to produce an audiobook.  So, for a 93,000 word book, which would be a 10 hour audiobook, 80 hours of time went into producing the finished product.

Q: When selecting a narrator, what are the top 3 things an author should do?

A:  Define the Voice of Your Brand:  When you select an audiobook narrator, you are choosing the voice of your brand.  When talking about this topic, I like to give the example of the James Bond movies.  Many different actors have played this role and they all bring something different to the character.  Each narrator will bring something different to your audiobook.  You know what your brand looks like since you worked with a cover artist to create your book cover.  What does your brand sound like?  Sophisticated, gravelly, prim, urban, etc.  Need guidance?  Check out audiobooks from other authors in your genre.  If you can find one or two words that describe of the overall narrative tone you are looking for, it will help narrow down your search for the right narrator.

Do Your Research: Do your research and listen to the narrator’s audiobook samples.  Do you like what you hear?  Check their websites and social media presence.  Will they be a good business partner?  How are their reviews?

Trust the Creative Process:  There is a point when the baton of creativity is passed from author to narrator.  If you’ve done your research and found the voice of your brand, trust the audiobook narrator to bring their unique voice and creative vision to your work.  Trust me—the voices will NOT sound like the ones in your head, no matter whom you choose.  If you’ve chosen your creative partner correctly, they will honor your characters and your writing.  You might even be pleasantly surprised to hear a different approach to your work.

Q: Where are the best places for an author to connect with a quality narrator?

A:  If you are traditionally published and like a particular narrator, you can make a recommendation to the publisher.

If you are independently published, you’ll be looking on sites like ACX, Findaway Voices, or Spoken Realms for narrators.  Listen to samples, look at reviews, check social media feeds, visit websites to ascertain a narrator’s body of work.  Membership to the Association of Audiobook Publishers is a good indicator the narrator is committed to the audiobook narration profession. 

If you listen to a lot of audiobooks and are a fan of a particular narrator, you can reach out to them and ask if they would be interested in narrating your work.

Q: How do audiobook narrators and directors decide what kind of tone to use for each character? 

A:  All of the clues to what the character should sound like are in the book.  In THE WHISPERING PINES MYSTERY series by Shawn McGuire, the character of Morgan Barlow always takes the protagonist by the arm when she wants to talk with her.  I stood in the booth with my arm in a similar manner to what was described in the book and when I said Morgan’s lines, her voice just naturally came.

Q: How do you connect with each character, theme, and emotion?

A:  One of my favorite characters is the cantankerous Granny Apples of THE GRANNY APPLES MYSTERY series by Sue Ann Jaffarian.  This character reminded me of Granny from the Beverly Hillbillies, so I used that as a jumping off point to create her voice.  Granny Apples has a certain tilt to her head, facial expression, and twang for her voice to come out just right.  Her spitfire personality is very fun to narrate but I’m glad people can’t see what I look like when I do it.

Q: Haha! Understandable, I make similar expressions when writing. If in a coffee shop, I probably look crazy. What is it like reading different characters’ dialogue lines?

A:  It’s just two people talking to each other so you switch between voices.

Q: Do you ever laugh at yourself as you’re testing out voices?

A:  Occasionally, a voice comes out that totally doesn’t work and I have to start over.

Q: As a professional voice actor are there special techniques you use to care for and condition your voice? 

A:  Hydration.  Sleep.  Wellness care.  I drink a lot of water to make sure I’m hydrated – it makes a huge difference in your voice.  Getting 8+ hours of sleep is essential as is taking very good care of yourself.  I usually wear a scarf in crisp weather since the common cold can take my voice out of commission for a good 6 weeks.  That’s a disaster.

Q: What audiobook do you love to listen to and what about that narration makes it special?

A:  Johnny Heller is one of my favorite audiobook narrators because of his creativity and commitment to any project.  His narration of the evil genius guinea pig, Gizmo, in the WEDGIE & GIZMO series by Suzanne Selfors always lifts my heart and makes me smile.

Q: What advice would you give someone who wants to become an audiobook narrator?

A:  Audiobook narration is first and foremost an acting profession.  Just like acting for stage or film, one should start by taking acting and improv classes.  The more you understand the foundations of acting and how to break down a scene, the more successful you will be as an audiobook narrator.

Q: Okay final and most important question! Where can our readers find you and your work?

A: On my website at www.voicemama.com you can sign up for my newsletter or type my name in the Audible search engine to find my audiobooks.

Sandra Murphy, the Voice Mama, is an award-winning audiobook narrator known for her compelling, sophisticated narration and sarcastic female protagonists.  Fictional characters include an uptight lisping beaver, Ukrainian circus performer, Polish settler, snarky female detective, and a whole host of Mexican hit men.  Non-fiction narration includes parenting and women in leadership titles.   Sandra provides entertaining workshops on audiobooks for self-published authors. Facebook, Twitter, Instagram

Jennifer Wilson

Jennifer Wilson is the #1 Amazon bestselling author of the young adult New World Series. The gripping trilogy spans Rising, Ashes, and Inferno. Jennifer is constantly on the move, always working on her next story line and drinking way too much coffee. When not writing, she is enjoying life in Colorado, rock climbing, camping, exploring new foods, playing with her golden retriever, Duke, and sharing life with her heroically supportive hubby. You can connect and nerd out with Jennifer on Facebook, Instagram, Twitter and on her website.

How to Invest in Diversity in Your Story

Part 1

By: Jason Evans

This year I am kicking off a seven month series on the basics of writing diversity in your fiction. Whether you write dystopia or romance or science fiction. Right now, diversity in fiction is still a major issue. Over in Romance Writers of America, this very issue has led to a schism in that august organization. The question is why?

How do we write diverse characters?

Like anything else, the question is never Why should we write diverse characters, but How do we go about it? How do I write diverse characters? How do I define the term? Where can I go for research? Once I’ve done the research and created an awesome character for my awesome story, how can I make sure I’m not offending anyone? Did I get it right?

These are all really great questions. They deserve sincere answers that can make navigating the waters of writing fiction at least clearer, if not easier. Well, fear not, gentle reader, I am here to help you. While I am no master at this craft, it seems to me that this is an obstacle that can be overcome with some patience, kindness, and honesty.

Topics in this Series

Here is how we will break down our topics over the next several months. Please be aware that this blog is only supposed to spark your curiosity and get you going in the right direction. It will not, nor can our conversation about diversity and representation be comprehensive. You have been forewarned.

For the next six months I will focus on different kinds of diversity, giving a snapshot on how to approach each subject as you write. Here’s the list:

May ~~ Ethnicity

June ~~ Sex

July ~~ Gender

August ~~ Sexual Orientation

September ~~ Physical Ability

October ~~ Neurodivergence/Neurotypical

The great thing about diversity and representation is that you don’t have to do it all. Choose one and dedicated yourself to doing it really well and you’ll be farther along the game than a lot of other people. It may seem daunting now, but you’ll be a better writer at the end of the process.

A Note on offense and Outrage.

I’m going to be blunt here. Somewhere down this road of diversity and inclusion and representation you are going to offend somebody. It is inevitable. You’re going to use the wrong tone or the wrong pronoun. You’re going to disappoint some people and flat out enrage others. You’re going to get bad book reviews. People are going to call you names.

So what do you do?

You stop and you listen.

See, many of the groups we’re talking about have been so misrepresented that these marginalized groups are hypervigilant against being misrepresented again.

I teach a class at writing conferences called How to write authentic African-American Characters. After spending about half the class time going over the history of African-Americans in the United States, I talk about the stereotypes you see routinely in literature and film. None of them are negative or outright hurtful. All of them are one dimensional and antiquated. The process of creating authentic African-American characters requires people outside the African-American community to sincerely listen to us in the community in order to get better. All I’m asking is that you do the same.

Listen. Find sensitivity readers and get honest feedback. If someone confronts you about your story, listen to their concerns and promise to do better. The fact that they want to talk to you at all means that they believed you wrote in good faith. That is a compliment.

Are you ready? Good. Next month we’ll answer why we should do this kind of work at all. See you then and happy writing.

Jason Henry Evans
Jason Henry Evans

Jason Evans always wanted to be a writer; he just didn’t know it. After attending college and working in education, Jason’s life changed when he fell in love with the Fetching Mrs. Evans. After over a decade as a teacher in public and private schools, he discovered the wonderful writing community in Colorado, where he still lives. Jason is an educator, and a historian (as well as a bon vivant,) who is active in the Colorado writing community as a teacher and speaker. Visit Jason’s website for more about Jason and his publication.

Producing a Novel – Part 2

Genre and Markets

By: Donna Schlachter

Writing a novel—or a book of any type—requires groundwork laid in advance. Last month we discussed how to identify your topic, idea, or plot line; how to identify what you’re most passionate about, which makes the project personal, relevant, and much easier to write; and how that translates into a plot line or book subject. If you missed that post, you can catch up here

This month, we’ll look at ways to build on the foundation begun last month and identify which genre your book fits into, and then which markets might be interested in your book.

Why is Genre Important?

— It tells your audience—agents, publishers, book distributors, bookstores, and readers—what kind of book this is.
— Publishers fill slots in their publishing calendar based on that information.
— Book distributors need it to sell your book to bookstores.
— Booksellers need to know where to put the book on the shelf to recommend to patrons.
— Readers look for books based on an expectation of the genre.

Genre Definitions

  • Romance – romance is the main plot element; many sub-genres, defined by the time period of the setting; heat of the romance; and subplots.
  • Mystery – solving of the mystery is the key plot line; many sub-genres; can be contemporary or historical.
  • Thriller & Suspense a.k.a. Action & Adventure – where the reader often knows who the villain is, and that person has somehow put either the main character or somebody important to the main character in danger; the main character has a limited amount of time to complete the assignment (ticking bomb) such as save the world, save himself or someone/something, or simply catch or stop the bad guy; many sub-genres.
  • Science Fiction – where the setting is a world constructed by the author which could be partly or wholly based in real science; many sub-genres.
  • Horror – where the prime purpose of the story is to evoke a strong emotional reaction of fear, and keep the reader immersed in the story through that fear; can be physical, psychological, and/or emotional fear, for the character, someone they care about, or a larger societal notion such as justice, freedom, or equality.
  • Fantasy – where magical, supernatural, or demonic forces act on the characters, either to their benefit or detriment, and where the main character couldn’t achieve their goal without it; many sub-genres.

Where Does Your Book Fit?

  • Setting – historical, contemporary, futuristic, time-slip (where the story starts in one time and ends in a different one);
  • Primary Plot – romance, mystery, thriller, and so on
  • Secondary Plot
  • Level of intimate contact on the page – from sweet to erotica

Markets for Your Book

  • What agent might represent it?
  • What Publisher will publish it?

— read the guidelines carefully – see the resource list at the end
— if they say they don’t represent your genre, don’t send it to them
— don’t choose the first agent or publisher who shows interest without checking them out first:  check out their websites. Talk to friends. Contact the authors listed on their website.
— Don’t respond to unsolicited emails offering you a contract.  
— Don’t agree to pay even one cent to an agent—not only is it simply not done, it’s illegal and predatory.
— Consider carefully any publisher offering a contract that requires you to pay money up-front. There is nothing wrong with publishing with a self-publishing company, but just understand you might well end up paying for additional services, such as editing, cover design, and marketing.

Your publishing model choice comes down to deciding:
— how much time and effort you want to invest in the process of publishing your book
— how long you might be willing to wait to see your book in print
— your level of expertise when it comes to the production of your book.  

Sources of information on agents and publishers

– writer’s market guides – often found in libraries
– writing magazines – subscribe to at least one writing magazine and share with friends
– writer’s websites and blogs – search online
– word of mouth – ask a represented or published author friend
-books in bookstores – find one like yours and look for the publisher’s name. Often the agent will be listed in the Acknowledgements or Dedication

Next month, we’ll discuss the process of building believable characters, so hope to see you back again.

Resources:
Writer’s Digest University
It’s Getting Hot in Here A Romance Writer’s Guide to Heat level
Top 101 Independent Book Publishers

Did you miss any installments of Producing a Novel?
Generating—and Testing—Ideas for Fiction and Non-Fiction Books – Part 1
Genre and Markets – Part 2
Building Believable Characters – Part 3
Character Sketches and Backstory – Part 4
Hooking Your Readers – Part 5
Character and Story Arc – Part 6
Outlining Your Book – Part 7
Overcoming the Muddle Middle – Part 8
Racing to the Finish – Part 9
Writing a Series – Part 10
Self-Editing – Part 11
Cover Design and Self-Publishing – Part 12

Donna Schlachter

Donna Schlachter writes historical suspense under her own name, and contemporary suspense under her alter ego of Leeann Betts, and has been published more than 30 times in novellas, full-length novels, and non-fiction books. She is a member of ACFW, Writers on the Rock, SinC, Pikes Peak Writers, and CAN; facilitates a critique group; teaches writing classes; ghostwrites; edits; and judges in writing contests.
Find her on: Facebook, Twitter, Amazon, Smashwords, Etsy,

Finding Motivation to Write in a Stressful Time

Covid-19 has everyone staying at home and most writers I know are in introvert heaven. Stay home? Sure thing! Most of us do that anyway. But even though the stay at home order doesn’t affect us the same way as others, it does affect us.

Many writers just have no motivation to write.

We feel the stress of others. Having this pandemic and having stores, restaurants, and schools closed makes many of us think about the economy. How will these businesses survive? I work at a movie theater for my day job and there are news articles saying that my particular company may not survive this shutdown.  How will restaurants survive? The small businesses survive?

We have our own stressors, too. Everyone panic-bought toilet paper and canned foods. Where are we going to find these items for our own family? How do we keep ourselves safe?

With all this going on I know of many writers who just had no motivation to write. Too busy worrying about everything else to even think of writing. So how do you get that motivation back to write again?

Have A Purpose

When the governor first declared the stay at home order, I thought Cool, I can get a lot of writing done now that I don’t have to go in to work. But, as the reality started to sink in, I had no motivation to do anything creative. I couldn’t edit, I couldn’t write. I thought about my job, now closed, and the economy. How are these places going to survive?  How are we going to survive?

Luckily, April is Camp NaNoWriMo (National Novel Writing Month). I had been planning out what I was going to write (funnily enough, about the pandemic) and had my outline written. I was excited to start writing it, and in fact, wanted to start before April 1st. But I followed the rules and started on the first day of Camp NaNo and wrote 1,347 words that first day!

Writing As Therapy

It was actually therapeutic for me, in more than one way, to write out what was going on. It helped to write out my feelings about not being able to find toilet paper (since I didn’t get the memo to buy a ton of it), and also helped me to focus on something other than this pandemic. I was able to think as a writer as I wrote, kind of detaching myself from the issue, but in a way also think as a person, and trying to make sense out of it all.

Take Your Time

Let yourself feel what is going on around you. Don’t try to ignore it, or it will creep up on you and mess with your head. Once you work through what you’re feeling, even just by writing it all down in a journal, you can finally start working on your stories again.

Give yourself time to work through all that is going on around you, be it this pandemic, or any stressor that comes around. It is a stressful time, and if you can keep one aspect of normality in your life, you will be able to keep your sanity and have something to show for it later.

Here are some other inspirational posts to keep you writing:

photo of margin holmes

Margena Adams Holmes was born in Bellflower, CA sometime in the 1960s. She has always had a love for both reading and writing, writing her first song/poem in 1st grade. Margena is a big supporter of indie authors and will read anything that draws her into the story. She is an observer of life, and many everyday things could (and do!) end up in her writings. Her publications are available through her author page. Contact Margena via email: jedi_anegram@hotmail.com.

Why Use a Pseudonym?

By; Donnell Ann Bell

In a writing world where I’m surrounded by authors, I often know them by both their legal and author names, or wonder when I “cyber” meet them if they’re using a real or fictitious one. I often wish I had gone with a pseudonym, but by the time I published, nine years after I’d started writing, people knew me by Donnell. Besides, my editor at the Colorado Springs Business Journal had dibs on the coolest name ever—Victoria Lipton Smythe.

I bring this up because a few days ago on Facebook, a new Indy author was lamenting that she was publishing under a pseudonym, but friends kept addressing her by her legal name when they posted congratulations on her page. She very much wanted to keep the two separate and was asking experienced authors how to address this problem.

I thought that an interesting conundrum and wanted to know more. Obviously, I get the typical reasons of someone writing erotica, writing in different genres, or a controversial topic might choose a pseudonym. But I wanted to dig deeper, so I asked a few colleagues the following questions:

  • Do you use a pseudonym? Why or why not?
  • Have you found it advantageous to do so? Why or Why not?
  • If you publish under two names or more, would you ever consider using . . . say Author X writing as?
  • Are there any legal ramifications and/or protections to authors who use a pseudonym?
  •  Do you have to post your legal name in the copyright area?

Here are some of the answers I received back. (I have tried to stay true to their statements, while deleting names and reference points to protect their anonymity.)

Author A. I do, because I was just starting to get some gritty short stories published as my husband decided, late in life, to become a Methodist minister. I thought it would be good to separate our names.

Have I found it advantageous to do so? Very much so! And in some unexpected ways. I found it convenient to use my legal name as my “company name” for my Schedule C on my tax return.

Then, after a few years of getting published, I ran into some scary people online. One got irate that I had not told her. In a personal email, I responded that I had assumed (at the publisher’s request) another pen name. My website clearly references each other, so I didn’t understand. But the all caps and dozens of exclamation points, plus the language, made me think this person might be violent. I was very glad she didn’t know my real name. And I’m careful not to put my address anywhere. I use a PO Box for my newsletter.

Author B:  I have two pen names. The first I chose for professional reasons, and to keep my private life and my book business somewhat separate. I’ve never regretted that decision. And no, you don’t have to use your legal name to copyright something (in the U.S. at least). All my books are copyrighted under the pseudonym.

Author C: For my second cozy series, my editor wanted me to use a pen name. My agent said it was so I would look like a debut author to booksellers and readers, since the first series didn’t sell hugely well. It worked. My two series under my pen name are way more popular than the work I published under my legal name.

My (publisher/agent) never said I couldn’t link the names and I do, everywhere. I talk about my alter-ego and vice versa, and my copyright is always my legal name.

Author D:  I was a professor of Health and Exercise Science, publishing articles of the credentialing of yoga teacher training programs, when my first book came out. And I was also teaching a lot of first-year students who didn’t always exhibit much maturity when they got low grades. I could imagine a one-star in revenge for a D or and F. Or social media harassment. I was keeping my professor life and writer life separate.

Author E:  (finally, here’s an author who uses her real name but . . . ) As you know, I use my real name.  People assume it is a pseudonym.  The bonus is it grabs attention.  The downside I was put in Facebook jail until I proved myself. My friends campaigned to spring me.

I enjoyed reading the various answers as to why authors use pseudonyms and the benefits behind using one. These responses aren’t particularly helpful to the author who would prefer people not to “out” her. Perhaps a private message is in order to anyone who does.

Donnell Ann Bell

Donnell Ann Bell is a former editor of Writing from the Peak. These days she’s writing a cold case series, but hopes to pop in with an article now and then because she misses her tribe. www.donnellannbell.com 

Conference Under Quarantine…

We’re Bringing the Resources To You!

By: Jennifer Wilson

There is no denying the heartache felt around the world in this unexpected climate. On a global level, we are experiencing a full-blown pandemic. With public health in mind, quarantines have continued to spread, and many doors have closed. It’s been a whirlwind of emotions. Or as we in YA like to say – “ALL the feels.”

Resources that will inspire you to keep writing, keep pitching, and keep going.

But there is a proverbial silver lining. While we practice physical social distancing, the World Wide Web has allowed us to be alone together. Not to mention the plethora of information it puts at our constantly typing fingertips.

Let’s get real, for all the good content out there, there’s a bazillion more not-so-great resources to weed out. So, we’re doing it for you and bringing conference to your desktop.

Now, enough of my words—let’s check out what PPW and the 2020 guests, staff, and colleagues have to share:

PPW Presents:

April 2020 Write Drunk, Edit Sober: Presented ONLINE Apr 08, 2020 — 6:30 PM to 9:00 PM

Pitch Your Book: Loglines, Synopses and Queries that Hook & Hold April 11, 2020 — presented by; Chris Mandeville

Write Brain: Zen and the Art of Parody April 21, 2020 — presented by; R.J. Rowley

Pitching:

How To Pitch Your Manuscript – Chris Mandeville, Author

Write From the Seed – James Persichetti, Lost Hat Editorial Services

Don’t Go Crazy with Your Comps – Angie Hodapp, Director of Literary Development at Nelson Literary Agency

Start Here: How to Write a Book Proposal (Non-fiction) – Jane Friedman, Author & Editor

Publishing:

25 Steps to Being a Traditionally Published Author – Delilah S. Dawson, NY Time Bestselling Author

Indie vs Traditional – Which Would You Choose? – Jennifer Lovett, founder of Writer Nation

Writing Skills:

15 Blood-spattered Tips for Writing Violence – Delilah S. Dawson, NY Time Bestselling Author

Electrifying Emotion – James Persichetti, Lost Hat Editorial Services & David R Slayton, Author

8 Ways to Make Your Characters Sound Distinctive – Laura DiSilverio, national bestselling and award-winning author

Writing from an Editor’s Perspective Podcast – Tom Hoeler, Associate Editor at Del Rey Books

Successful Queries Start with Honing Your Craft – Jennifer Wilson, Author

Juggling Multiple Projects – Catherine Dilts, Author

Character Profiling — Are You Missing the Spark? – K.J. Scrim, Writer & Managing Editor of the PPW Blog

How to Structure Your Novel: Story Arc and Character Arc – Jason Henry Evans, Author

Author Brand & Marketing:

Effective Social Media Marketing – Claire McKinney, founder and CEO of Claire McKinney PR, LLC and Plum Bay Publishing, LLC.

Author Branding – How Are You Different? – Jennifer Lovett, founder of Writer Nation

How’s Your #Hashtag Game? – Jennifer Lovett, founder of Writer Nation

Do it Yourself Book Marketing – Jason Evans, Author

Defining Your Author Brand – Sandra Beckwith, Author

Connect with other writers online:

Facebook, Facebook, Facebook – No joke! Use the Google machine to look up “Facebook writers groups for + your genre.” You will be shocked by how many groups are out there. Start with Pikes Peak Writers! (FREE!!)

Manuscript Academy – Still want to take classes, but quarantine got you locked down? The Manuscript Academy offers online courses. Brace yourself, it’s a bit pricey for us starving writers. But their free podcast has great insights and they occasionally host free webinars. ($49 – $69 per month)

NaNoWriMo – Writing a novel alone can be difficult, even for seasoned writers. NaNoWriMo helps you track your progress, set milestones, connect with other writers in a vast community, and participate in events that are designed to make sure you finish your novel. Oh, and best of all, it’s free! (FREE!!)

Pitch Wars – Pitch Wars is a mentoring program where published/agented authors, editors, or industry interns choose one writer each, read their entire manuscript, and offer suggestions on how to make the manuscript shine for an agent showcase. (FREE!!)

Writers Club Live – Author, ghostwriter, and book coach Christine Whitmarsh hosts live virtual workshops focusing on the art and science of writing your book. She’s even offering structured sessions to provide ample collaboration and quiet work time at a fair cost. ($19 – $29 per month)

Craft books?

Why, yes please! (PS many local book stores are delivering – don’t forget to support them too!)

The Kick-Ass Writer: 1001 Ways to Write Great Fiction, Get Published, and Earn Your Audience – Chuck Wendig

Self-Editing for Fiction Writers by Renni Browne and Dave King

On Writing by Stephen King

The Writer’s Journey by Christopher Vogler

The Magic Words: Writing Great Books for Children and Young Adults by 

Cheryl B. Klein

Save the Cat! Writes a Novel – by Jessica Brody

True to our 2019 conference slogan “It takes a tribe,” now more than ever, my friends, is the time to #SupportEachOther. I hope these resources inspire you to keep writing, keep pitching and keep going. Share these articles with your friends and remember to thank the contributors on social media.

It’s okay to lament the cancellation of the 2020 Pikes Peak Writers Conference. It’s not often we introverts want to come out and play. Even though there will be no hugging of old friends or toasting a long day over evening drinks this year, PPWC is still here to help you further your writing skills and connect with other writers in a safe way.

Stay healthy. Stay home. Stay supportive.

For the latest news on the Coronavirus, please refer to CDC.gov.

Jennifer Wilson

Jennifer Wilson is the #1 Amazon bestselling author of the young adult New World Series. The gripping trilogy spans Rising, Ashes, and Inferno. Jennifer is constantly on the move, always working on her next story line and drinking way too much coffee. When not writing, she is enjoying life in Colorado, rock climbing, camping, exploring new foods, playing with her golden retriever, Duke, and sharing life with her heroically supportive hubby. You can connect and nerd out with Jennifer on Facebook, Instagram, Twitter and on her website.

Interview with Maureen Moretti

By: Bowen Gillings

Writing from the Peak is pleased to present a special interview between Bowen Gillings and Agent Maureen Moretti .

Maureen Moretti
Maureen Moretti

Maureen Moretti began her publishing career as an intern with several prestigious New York City literary agencies before joining P.S. Literary as an associate agent. She holds a B.A. from Saint Mary’s College of California, and attended the Columbia Publishing Course. Maureen is looking for narrative driven non-fiction with a gripping voice and a unique hook, such as unusual or untold biographies, commentary on culture, both mainstream and subversive, and new interpretations of history. She is also actively searching for fiction, romance, upmarket and commercial women’s fiction, select science fiction, thrillers, mysteries, and literary fiction. She loves new perspectives on old stories, characters that resonate and stay with you, novels about the zeitgeist, non-fiction that teaches you by accident and loves a happily ever after. 

Bowen Gillings: Have you always wanted to be an agent? Allow me to reword that as, “What motivated you to become an agent?”
Maureen Moretti: I wanted to advocate for authors. Agenting is a mix of skills that range from editorial to advocacy. I wanted to do work I love and ensure that the artists were fairly treated and paid. It allows me to be both creative and technical. I love contracts and I love art. It’s a mix of the two.

BG: What are you reading right now? I would add to that, reading for pleasure or for work or both.
MM: I recently finished THE BROMANCE BOOK CLUB by Lyssa Kay Adams which I adored. It subverted so many tropes of the genre. I’m also finally getting around to ELEANOR OLIPHANT IS COMPLETELY FINE, I’m definitely late to that train! 

BG: What books and authors have most influenced your career?
MM: First and foremost, Nora Roberts. I inhaled her books, I must have read at least 100 of them. 
Rosemary Graham, STALKER GIRL
Tom Rachman, THE IMPERFECTIONISTS
Cherrie Moraga & Gloria Anzaldúa edited THIS BRIDGE CALLED MY BACK

BG: Walk us through your process of taking on a writer as a client. How do you determine that you want to represent that writer?
MM: Do I think I could I sell their book? Do we have similar ideas and working styles? Do we have a similar vision for their work and their career? It’s important to me that I’m not forcing a vision of a work and having revisions done that don’t feel right to the writer. Ultimately, I want the book that’s on the shelves to be the best version of the book they imagine. 

BG: What are the top three things a writer should do to make you want to be their agent.
MM:
1. Write a book they love
2. Have a community of writers (e.g. a platform, a critique group, supportive friends etc.)
3. Have a positive attitude and a willingness to put in the work

BG: What story are you longing to read? Describe the type of novel you long for, but have yet to see cross your desk. If that doesn’t exist, describe which novel you have read that is as near perfection as could be, and why.
MM: RED WHITE AND ROYAL BLUE by Casey McQuiston is on my top 10 of the last decade. The absolute joyful abandon, the incorporation of marginalized characters, the real and intense emotions made that book a joy to read. 

 BG:  Describe your perfect reading scenario fantasy. Are you a beach reader? Secluded in a mountain cabin? On a retreat with a book club? What is it?
MM: I live in New York and it’s one of my favorite places in the world, but there’s nothing like a cabin in the woods to read. When everything in the city gets too loud, I like to get a cabin for the weekend and relax with a stack of books. I never travel with fewer than five.

Bowen Gillings

Bowen Gilling’s writing has appeared in Allegory e-zine, was selected for “Ghosts of Downtown,” “Writing is Art,” the “Writing from the Peak” blog, and has placed in the Zebulon Writing Contest. He is a member of Pikes Peak Writers and Rocky Mountain Fiction Writers, and participates in Colorado Tesla Writers and Colorado Writers and Publishers groups.