Congratulations to Kendra Merritt on the release of her YA fantasy, Skin Deep, releasing from Blue Frye Press April 1, 2019.
Cursed for a
youthful accident which maimed a young woman, Léon Beauregard roams his
mountain as a bear, clinging to the scraps of his humanity. But when he comes
across an enchanter scarred from an accident she doesn’t remember, she promises
to free him.
As the graceful young woman studies his curse, Léon begins to realize she is much more than just a passing enchanter. She’s the one he’s falling in love with. And she is the one whose life he ruined. When bodies show up mauled by a large animal, Léon has more to hide and everything to lose if Anwen ever learns the truth about the monster inside him.
Kendra Merritt
Kendra Merritt
is an author and avid reader living in Denver with her very tall husband, their
book loving progeny, and a big black monster masquerading as a service dog.
She writes familiar stories from unfamiliar points of view,
highlighting heroes with disabilities. Her first book, By Wingéd Chair,
is a retelling of Robin Hood where Maid Marion kicks butt from a wheelchair.
We’re
all aware that readers are finding their favorite content in many places
besides physical books. With this in mind, Debbie Maxwell Allen’s Write Brain
presentation provided a refreshing look at how writers can take advantage of
multiple technologies to get themselves and their content in front of readers.
Affordable
print-on-demand services make it possible to produce a variety of creative
materials such as card decks, board games, and even coloring books. Augmented
reality (AR) apps open up the possibility of adding animated artwork and video,
viewable by smartphone, to your books and promotional tie-ins.
Of
course, no discussion about self-promotion would be complete without mentioning
Facebook. Citing the platform’s rising costs for paid advertising, Debbie
shared ways to use Facebook in a more organic and conversational way. Rather
than boosting posts and buying ads, she suggested leveraging currently free
features such as groups and live videos to connect with fans and share content
such as story world details, what you’re currently working on, or how you found
an idea.
As
much as some of us (and by some of us
I mean me) would like to imagine it’s
not necessary, both traditionally and independently published authors need to
find and build their own audience, even before publication. Fortunately,
technology makes it easier than ever to get your words and your brand in front
of an increasingly global audience.
Debbie Maxwell Allen is an editor, YA author, and Scrivener teacher. She works as a project manager for Good Catch Publishing and writes young adult historical fantasy. Find more of her resources for writers on her blog, Writing While the Rice Boils.
This recap from Write Brain is presented by Contributing Editor Robin Laborde. Robin is not sure exactly how long she has been a member of Pikes Peak Writers but she enjoys it very much. She worked as a technical writer for over ten years and has had nonfiction articles published in newspapers and magazines. While she is currently writing a speculative fiction novel set in the near future, she dreams of flying to the moon in a spaceship made from butterfly wings.
In this case, I mean specific categories: Race, sex and
gender, orientations, ethnicity, national origins, religion, and so on.
Diversity of ideas we won’t spend much time or energy on but that’s also a
thing that exists.
~Jason Diaz
Why try to write it? Just because it’s Politically Correct (PC)
or in demand – or for deeper reasons?
There’s respectful language and careless language. If one is
motivated by fear of criticism, that’s a solid reason to add diversity. That’s
how society changes: We criticize outmoded ways of doing things. Nothing wrong
with responding to that.
I’d like to start with one primary reason to be as inclusive
as you can.
Representation matters; The Doll Test
Mamie Phipps Clark and Kenneth Clark are famous for the Doll
Test, which they wrote about in three papers between 1939 and 1940. The
internet is replete with various versions of this test (for example https://youtu.be/tkpUyB2xgTM).
The short version is this:
A 5-year-old black girl is shown two baby dolls. One has
black skin, the other white skin. Mamie asks her a series of questions about
the dolls. “Which one is pretty?” “Which one is good?” “Which one is ugly?”
“Which one is bad?” and so on. The girl points to the white doll for pretty,
good, and nice and to the black doll for the opposite answers. Then Mamie drops
the bomb: “And which doll are you like?” At this point, the girl looks at the
researcher with this hurt expression. Like, “You sonofa… you tricked me.”
Because she knows which doll she is like.
This is a segregation-era test, but it wasn’t set in a
segregated state and the results persist across time and place. Segregation
matters for this thing, but isn’t the only factor. One of the issues must be
representation – otherwise, why would brown kids south of our border react in
just the same way?
It isn’t just little girls of color. The suicide rate for people
on the GLBTQIA+ spectrum always exceeds straight folks. People of disability
constantly push back on well-meaning microaggressions. Jews, Sikhs and Muslims
in America often experience literal danger, and black trans women, being at the
pernicious apex of three disadvantaged groups, are some of the most murdered
people in this country.
The better we represent people in our writing, the more we
can reflect and create a just and equal society.
Five Diversity Errors
With that, let’s delve into five diversity errors, ranging
from worst to best. To get into the plus side, ways of getting this right, come
to PPWC and drop in on my talk on this subject.
Exploitation
People will pay to see films and read books/comics that portray them.
Sometimes creative products get made that include or focus on minority or
underrepresented groups just to pump sales.
The comic book character, Cyborg, was
written and produced by white, able-bodied people. Black people had no say and
the money they spent didn’t profit them or their communities. The titular
character hates himself and his prosthetics—a very able-bodied view of what it
might be like to rely on medical devices for empowerment.
Women in film and comics, and yes in literature, are often-usually
included for sexual value. There’s a certain trope in horror, for example: A
serial killer stalks around the nightclub scene and finds his perfect victim.
She’s young and hot and we get to linger on descriptions of her sexuality. The
killer gets her home, things get hot and heavy, and then she murders him. She’s
not there to empower female readers; she’s there to profit white male writers.
Pandering
A lesser form of exploitation. The character is still there to attract
a certain audience and still doesn’t profit the minority community. She doesn’t
necessarily conform to a bunch of stereotypes or otherwise outwardly offend,
but she’s alone on the screen.
Example: Rogue One. Felicity Jones stars. She has a non-romantic plot, a Hero’s Journey, with tons of screen time. BUT, the male crew, and stars, outnumber females by well over 6:1. Only male characters die on screen.
Mary Sue
Sometimes we’re so afraid to say anything bad about a minority group
that we go too far the other way. A Mary Sue is overly idealized and usually
has incongruent skills.
The NCIS TV franchise is notorious for MarySue characters: the Goth
girl with extraordinary hacker skills (“girl” being a misnomer; Abbie is
portrayed as eternally 28 despite being born in 1969). Wheelchair bound Patton
Plame (portrayed by Daryl “Chill” Mitchell) is an unrealistic hacker with
magical superpowers. Sebastian Lund played by not #ActuallyAutistic actor Rob
Kerkovich (as far as I know), starts in forensic medicine, graduates to field
agent, also has unrealistic levels of skill and knowledge and ability to
“overcome” “autism”.
If you’re doing Mary Sues, you aren’t necessarily doing anything
terrible, but you can do better.
Stereotyping
Some writers may not know any people of the minority group and
therefore relies on stereotypes to write the characters. Sometimes we get our
ideas about people who aren’t like us from movies, TV and books.
Positive stereotypes are still stereotypes. What’s the harm of positive
stereotyping? It tends to pigeonhole the group. You can be black and not into
rap music or dancing. You can be Asian and have neither talent nor aptitude for
math. You can be female and have actual ambitions.
I’m an autistic man. You don’t know me. Everything you think you know
about me from watching TV is wrong. I’m not smart because I’m autistic; I’m
both smart and autistic. I worked very hard for my academic success.
Positive stereotyping tends to credit our success for attributes rather
than effort and dedication and sacrifice.
Othering
So, you’ve decided to include people of color in your novel –
congratulations – because people of color exist, and you want to write a
realistic world. Racing towards inclusion, in good faith with good intentions, we
might make some mistakes. Call them microaggressions.
I’ve read a lot of books lately where, when a character is black, the
author mentions it but, when a character is white, they don’t mention it. This
sets up black as a category that bears discussion, but white as default mode:
nothing to see here.
If you’re going to describe characters as black, then their skin color
is in some way noteworthy. Probably you’re right. But the truth is, black is
important because white is important. So, I advise also describing white
characters as white.
What else? Describing females in terms of their sexuality but not the
males. Lingering on black hair but not white hair. Describing a Hispanic
person’s accent but not those of Euro people from all over the country.
Now that you have a glimpse into what not to do, sign up for the conference workshop and we’ll primarily spend time on doing this stuff right, with more positive examples.
Jason Dias is a doctor of clinical psychology with fifteen years of experience working with developmentally disabled adults, and is the co-founder of the Zhi Mian Institute for International Existential Psychology. His writing credits include web journals and articles for The New Existentialists and A New Domain, two book chapters about existential psychology, a book of poetry and several novels and anthologies. Jason lives in Colorado Springs with his wife and son and keeps mostly to himself.
Okay, I know it’s still a little too cold to be camping outside. But this is camping you can do at your computer. I’m talking about Camp NaNoWriMo.
I know you’ve heard about National Novel Writing Month (NaNoWriMo) in November. Camp NaNoWriMo is the same premise, but a little different vibe. It’s like the younger sibling of NaNo. Camp NaNo takes place twice a year, in April and July, during a less stressful time of year. No major holidays to worry about or Christmas shopping to stress over, and little Sally doesn’t eat the cat’s food for lunch. I personally like Camps better than NaNoWriMo in November. I don’t feel as if I’m in a cave the entire month of writing, and it’s less stressful than NaNoWriMo.
In NaNoWriMo you have writing buddies, whereas in Camp NaNo
you’re put into “cabins” with other writers, up to twenty in each cabin. If you
have a group of friends you’d like to “bunk” with, you can create and name your
cabin with those friends, or you can find a cabin to be a part of. Either way
works. The fun part is encouraging each other, making jokes about your cabin
(Okay, who left the smelly sock on the floor? Do we have stuff for the
S’mores?”), and tracking your progress as well as each other’s.
The Count is up to You
Camp NaNo allows you to choose your goal by selecting either
a word, page, line, minute, or hour count (anywhere from 30 to 1,000,000 words).
You keep track online the same way as you would during NaNoWriMo, by inputting
your words each night. Don’t feel like you’re going to make your goal? You can
adjust your goal by editing your profile. If you have to change your goal, it’s
okay. Life happens and the main thing is you’ve started writing, so that’s a
major win!
Camp with Friends
If you like a more local feel, there are several places
which host writing nights, where you can interact with other Wrimos in the area
after being in your cabin all day. You can find them on the website by looking
for your city. Municipal Liaisons will keep you informed on the whens and
wheres, too. Writing sprint prompts, helpful hints, and more will be sent to
your inbox once a day.
You’ll probably want some of the same survival items you had
for November’s marathon. Tea or coffee, snacks, music if that’s your writing
thang, and a notice to family and friends to only bother you if the house in on
fire.
If you’re looking for a retreat to do some writing this year
and you don’t want to spend a lot of money renting a cabin in the middle of the
woods, Camp NaNoWriMo is the place to be, and you don’t have to pack the
sunblock and insect repellant to participate. Happy camping!
Note from editor: Although Camp NaNo is a non-PPW event it is a perfect opportunity to write your novel just in time for #PPWC2019’s Query 1 on 1.
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.
Congratulations to Catherine Dilts on the publication of her new amateur sleuth mystery, Survive or Die, from Encircle Publications, released February 28,2019 (ISBN: 978-1-948338-33-2, e-book, 390 pgs).
You think you’re gonna
Survive, but you’re gonna Die. Die. Die. The owner of a dysfunctional company
arranges a mandatory team-building exercise at the Survive or Die survivalist
camp, once the setting for a defunct reality TV show. When he receives a death
threat, what surprises employees is not that someone wants their lecherous,
hard-drinking boss dead. The surprise is that he’s not the first casualty. The
unexpected demise of a coworker’s husband barely causes a ripple. The annoying
photographer’s death is attributed to natural causes. The excitement comes when
the boss announces the winner of the week-long game will receive a raise, and
the loser will be fired. Most employees dig in with grim determination. A few
have other agendas.
Catherine Dilts
Catherine Dilts is the author of the Rock Shop Mystery
series, while her short stories appear regularly in Alfred Hitchcock Mystery
Magazine. She takes a turn in the multi-author sweet cozy mystery series
Secrets of the Castleton Manor Library with Ink or Swim. With a day job as an
environmental regulatory technician, Catherine’s stories often have
environmental or factory-based themes. Others reflect her love of the Colorado
mountains. Visit Catherine at her website.
The March 13 Write Drunk; Edit Sober meeting at Bar-K is cancelled due to pending weather conditions. We’re sorry for any inconvenience, but we want people to be safe. Please join us next month on April 10th for the next Write Drunk; Edit Sober.
Note: This is Part 2 of a two part series. See yesterday’s post for Part 1. We pick up where we left off yesterday….
Your First Comp
To find your first comp book, first find out what you’re
selling (genre and subgenre), then look at the bestseller list for that
genre. Don’t pick anything that hasn’t
been released yet. Click on a book, then
note the name of the publisher and whether they’re traditional, small press, or
indie; the publication date; the number of reviews; and the sales rank.
If you’re not sure whether the publisher is
traditional, small press, or indie, copy the publisher name and search for them
in Google.
Look for a publication date of 2-3 years at
most. If you’re not sure whether the
date is the original publication date or just the date the book was uploaded to
Amazon (or whatever site you’re using), look up the same book on Goodreads,
which should list the original publication date (“first published XXXX”).
The number of reviews should be at least a
dozen, although more is better.
Indies can select books of any bestselling rank;
I would say that for people doing traditional or small press, don’t go above
the 2,000 ranking on Amazon.com (the US site)—some agents and editors get a
bajillion queries for “the next Harry Potter” and may be turned off by that,
where “the next Magic Misfits by Neil Patrick Harris” might be perfect.
I would not pick anything under a 50,000 ranking
on Amazon.com for a comp.
I would not pick any book that is clearly on
sale; the sales rank will be temporarily skewed.
If you’re struggling, pick a bestselling book
that is somewhat close to your own and look at the “also boughts” or “sponsored
products” that are related to that book.
Anything that Amazon thinks will sell because you came to the Harry
Potter sales page may be a good comp for a book like Harry Potter. Looking at Goodreads lists with that
bestselling book in them can be helpful as well.
I would not pick anything related to a media
franchise. The marketing will be skewed
toward the movie, TV show, or video game; likewise, the sales rankings will be
artificially lifted by fans of the other media checking out the book.
Subgenres
Some subgenres, especially down in nonfiction book rankings,
can have lower sales ranks in general.
If your subgenre’s sales ranks don’t match the numbers I gave, I would
say that, roughly, don’t pick anything in the top 10 or under the top 50, if
possible.
Finding your first comp is the hardest! After that, you can leapfrog to other comp
books by searching for books like your first comp. Make sure your first comp is as good as you
can get it!
Example Comps
In our domestic suspense example, I skimmed through the
bestseller list and checked the following books:
Room
by Emma Donoghue is a traditionally published book. The publisher is Back Bay Books, which I
googled and found was part of the Hachette Book Group (a large traditional
publisher). It has a movie out, and it
is more than 3 years old. The rank is in
the 8500s (which is fine). 5000+
reviews. Not on sale. Cannot use due to movie and age.
Sometimes
I Lie by Alice Feeney is a traditionally published book. The publisher is Flatiron Books, which I
googled and found was part of Macmillan Publishers (a large traditional
publisher). A TV series is in production
(which makes it multimedia). It was
published in 2018. The rank is in the
9500s. 722 reviews. Not on sale. Cannot use due to TV series.
It’s
Always the Husband by Michele Campbell is a traditionally published
book, published by a subdivision of Macmillan.
I can’t find any related multimedia. It was originally published in
2017. The rank is in the 10,000s. 527 reviews.
Not on sale. We can use this!
Also Bought
Scrolling down to the “also bought” section of the It’s Always the Husband page, I can see
several other titles that might work. With
some effort, I picked out:
White
Lies by Lucy Dawson. (Small press, no multimedia, 14,000s sales
rank, not on sale, 253 reviews, published 2018.)
The
Ex-Wife by Jess Rider. (Small press, no multimedia, 31,000s sales
rank, not on sale, 380 reviews, published 2018).
Watch
Me Disappear by Janelle Brown. (Trad press, movie options sold but
no movie in the works [this is okay for our purposes], 22,000s sales rank, not
on sale, 402 reviews, published 2017.)
The
Liar’s Wife by Samantha Hayes.
(Small press, no multimedia, 9000s sales rank, not on sale, 125 reviews,
published 2018.)
Some notes: The
sales ranking between print and ebook will vary. If you’re aiming for traditional publishing,
look for print sales ranks; if you’re aiming for indie, go with ebook. But, really, if a book hits a decent ranking
on either print or ebook, it’s probably fine.
Some websites, Amazon especially, tries to make
everything look like it’s on sale when it’s not. If it’s $3.99 US or over on the ebook, just
assume it’s not on sale—although traditional publishers’ ebooks will usually be
$9.99 to $12.99 US.
We now have our five comps!
What to Do with Your
Comps
Now that you have comps, you have a wealth of options:
Pick out similarities between titles to use when
titling your book.
Pick out similarities between covers and use them
for your book cover, especially when sending instructions to a cover
artist/designer.
Study their book descriptions for hints and
tricks. (But, beware: book descriptions
are often terrible, even on successful books.
Consult The Copywriter’s Handbook
for copywriting tips.)
See what categories the books are in and use for
additional sales categories for your book.
Use alternate categories as keywords.
Use comps to find ad keywords.
Look up the authors online and see how they are
marketing themselves via their websites, newsletters, and social media
accounts. (Again, caution; sometimes authors are terrible at this.)
Find out (on Goodreads, for example) who is
reading those books so you can start working out your audience.
And more.
Comps in a Query
In a query letter, you may want to only mention the top one
or two comps that you’ve chosen; however, if you are including a book marketing
plan for your book (which is beyond the scope of this article), you can include
all of your comps as data points.
Marketing is a separate skill from writing an actual book,
but it can still play into your writing.
Understanding your audience is never a bad thing.
But let me stress that you don’t need to start with your
marketing before you start writing. It
is perfectly okay to write that one weird book that doesn’t seem to fit in
anywhere. You will find comps. They won’t
be perfect, but they’ll help you get away with writing what you really want to
write.
On the other hand, if you’re stuck for ideas, starting with a book you enjoyed is not a bad way to start brainstorming…
DeAnna Knippling has two minor superpowers: speed-reading and babble. She types at over 10,000 words per minute and can make things up even faster than that. Her first job was hunting snipe for her father at twenty-five cents per head, with which she paid her way through college; her latest job involves a non-disclosure agreement, a dozen hitmen, a ballerina, a snowblower, three very small robots, and a disposable dictator in South America. Her cover job is that of freelance writer, editor, and designer living in Littleton, Colorado, with her husband, daughter, cat, more than one cupboard full of various condiments, and many shelves full of the very best books. She has her own indie small press, www.WonderlandPress.com, and her website is www.DeAnnaKnippling.com.
Most of us, as writers, are not that skilled at the
beginning-to-end process of selling things.
We aren’t trained marketers or promoters; most of us haven’t gone
door-to-door selling encyclopedias (although some of us have sold Girl Scout
Cookies and other items, back in the day).
Selling things isn’t just banging on someone’s door with a
fundraising form for a band trip. Someone has to figure out what to sell,
who they’re selling it to, and what that thing will do for the customer, then
translate that into packaging, ads, marketing text, and even the forms the
customer fills out to make their orders.
Books are no different, either for traditionally published
or indie authors. Roughly speaking,
here’s the process:
You decide to be an author.
You write books.
You sell, or help sell, those books.
Let’s say you’ve completed a book. What next?
You need to figure out what story you’re selling, who you’re
selling it to, what that story will do for the reader, and translate all that into covers, ads, book descriptions,
newsletters, and so on.
If you are an indie writer, this process is essential; no
marketing means no sales!
If you are a traditionally published writer, this process seems like it’s not your problem, but it
really is—you will be expected to help sell your book, once it’s published. Even before it’s published, you will need to
understand what you’re selling in order to write a query letter and
synopsis.
Why are query letters
and synopses so hard?
Because they involved
understanding how to market your book.
In other words, whether you’re an indie or are traditionally
published, understanding marketing will help you sell books.
Marketing vs.
Promotion
Marketing is the invisible process of getting your book
ready to sell. Once your book goes on
sale, the efforts that you put toward selling your book are no longer
marketing, but promotion. Marketing =
finding your market. Promotion = making
people within that market aware of your book.
Getting your marketing in place before you start selling your
books means you can promote very quickly.
You will be able to respond quickly to opportunities as they arise. Marketing is like having your house in good
repair and staged and ready to show for possible buyers, and listed for sale.
Promotion is showing your house, or holding an open
house. That open house may look like
what sells your house—but without the hours of repair work, cleaning, and
staging, your house isn’t as likely to sell as quickly or for as much, if at
all.
First the marketing.
Then the promoting.
(Unless you discover from your promoting that your marketing
is flawed. Then you can switch back to
marketing mode.)
Where to Start with
Marketing
You’ve decided to do some marketing.
Now what?
Some people start with the marketing research. Other people write the book first and then do
the marketing research. I recommend the
latter; markets change in popularity but passion gives a project legs (in other
words, the ability to build an audience over time).
But, in either case, the first step remains the same: find out what you’re selling.
How do you find out what you’re selling?
The same way a real estate appraiser finds out the value of
a house: they find multiple comps, or
comparable examples of houses in your neighborhood that have been sold recently.
To sell a house, find several other houses nearby that sold
well. To sell a book, find more books.
Your story has a genre.
That is the “city” that your story lives in. Your story has a subgenre. That is the “neighborhood” that your story
lives in. Your genre and subgenre are
where you should start to look.
Finding Your Story’s
Neighborhood
Let’s say that your story is a domestic suspense novel. Your “city” is mystery/crime/suspense; your
“neighborhood” is domestic suspense.
As an example, let’s look on the Amazon bestseller lists and
find their term for a domestic suspense novel.
(It might not be the same term across distributors, and you might have
multiple options.)
The subcategories (on the left side) are: Mystery;
Thrillers & Suspense; and Writing.
Our domestic suspense example probably “lives” in Thrillers
& Suspense rather than Mystery
or Writing, so let’s go there.
If we look down the list of subcategories under Thrillers & Suspense, we find one
called Domestic.
Let’s click that. We are now in a
good “neighborhood” for a domestic suspense story.
A note for indie publishers:
make sure you’re looking through the Kindle/ebook lists, rather than
print (print often has separate lists).
Print skews toward traditional and small-press publishers, and may not
give you a full range of good comps.
Finding Your Story’s
Comp Books
What makes a good comp book?
This will be affected by whether you’re selling an indie
book or are putting together a query letter for a traditionally published
project. Indie books should draw from a
mix of indie, small press, and traditional sources; traditionally published
projects should go for just traditional sources. Small press books should lean toward a mix of
small-press books and traditionally published books.
In general:
Comp books should have been published within the
last 2-3 years.
Comp books should at least be in the same
subgenre. If they have the same type of
plot or setting, even better!
Comp books must
have the same overall audience:
children’s, middle-grade, YA, adult, etc. Don’t use a YA domestic suspense title as a
comp for an adult domestic suspense book!
Comp books should have a reasonable amount of
success, but not be flops or bestsellers for
traditional and small-press publishers.
Indie publishers can go after the bestsellers as comps, if they like.
Agents and editors are often annoyed by a comparison to a really famous book.
A note: don’t worry about name recognition on your
comps. Book pitches should feature books
that people recognize easily; comps should be books that sell reasonably well
(name recognition not necessary).
DeAnna Knippling has two minor superpowers: speed-reading and babble. She types at over 10,000 words per minute and can make things up even faster than that. Her first job was hunting snipe for her father at twenty-five cents per head, with which she paid her way through college; her latest job involves a non-disclosure agreement, a dozen hitmen, a ballerina, a snowblower, three very small robots, and a disposable dictator in South America. Her cover job is that of freelance writer, editor, and designer living in Littleton, Colorado, with her husband, daughter, cat, more than one cupboard full of various condiments, and many shelves full of the very best books. She has her own indie small press, www.WonderlandPress.com, and her website is www.DeAnnaKnippling.com.
Born today in 1965, Robert Sabuda is
best known for his enormously successful popup books. Robert was brought
up in rural Michigan with few resources. He followed his passion and taught
himself now to create three dimensional books. He reminds us that the most
important tool in our craft can’t be bought. Some authors prefer to work the
old fashioned way. Do you find that pen
and paper change your creative flow?
Gabrielle V. Brown, Contributing Editor with Writing From the Peak, writes all manner of fiction and nonfiction. Find her on Facebook, and instagram ; contact her at gvbrownwriter@gmail.com. For more about today’s birthday author, visit her website.
My letter to you this month is coming a few days late. Sorry, but I have a really good reason. Writing from the Peak is jam packed with such an amazing batch of posts that I am having a few problems getting them all scheduled. It is so packed that I am going to skip my letter in April.
KICKING OFF MARCH
We kick off these two months with a two part series from DeAnna Knippling who will guide you through Book Appraisals: Picking Comps. Margena Holmes introduces us to a non-PPW event, Camp NaNo, which takes place during the month of April. Jason Diaz, faculty member for PPWC2019, also has a two part series post on Why diversify our characters? Don’t miss this one.
INTO APRIL
As we go into April, award winning author and keynote speaker Susan Wiggs shares her writing process in Stuff you need to Know about Writing. Next up is Rebecca Davis, a long time attendee of PPWC, who has her top 5 lists of the Peevie Jeevies of editors and agents.
Mid-month, New York Times best selling author John Gilstrap will get you up to speed on Networking at Conference. Be ready to shake some hands and pass around business cards at PPWC2019.
Wrapping up April, Gabrielle Brown will give you the scoop on What to Expect at Conference followed by Margena Holmes who is in the know about Marketing on a Budget.
Never fear…your favorites are still here. Lit-Quotes will celebrate a few birthday anniversaries, and the wrap up from Writers Night will stop by in March and April.
Whew!! That’s a lot! Be sure to BOOKMARK this blog so you don’t miss anything. Come back often to keep up with all the news from Writing from the Peak.
Managing Editor, Kathie “KJ” Scrim, is a graduate of the University of Colorado at Boulder. Her inspiration for blogging, flash fiction, short stories, and the long haul of novel writing comes from her many life experiences. When she’s not writing you can find her somewhere in Colorado walking, hiking, or rock climbing at the local gym.