y o u r w r i t e r s g r o u p...

The Story Uses You

I'm a PK (pastor's kid). So for many years I resisted anything that smacked of churchy Christianity.

But stories could always circumnavigate my barriers.

Jesus knew this too--the story was everything. When he asked which man did the right thing, everyone knew it was the Samaritan. Story sticks in the brain and causes the hearer to rethink their ideas in light of what their minds can no longer deny.

That's because fiction or nonfiction, a story is its own proof. It either works or it doesn't. And when it works, that's something no other method (business, campaign, powerpoint, one-sheet) can match.

Without a story, nothing gets done. Good grief. Case studies abound. If you don't believe the best stories create an unstoppable force by now, it's time to get studying, my friend. For example--check out the video here too ("Unstoppable") Or here: poetry is apparently rocket fuel for brains (think poetry isn't story? think again) Or check out the power of "case studies," i.e. stories.

Your work may be many things. But when we all get home at the end of the day and tell our spouses about it, it's always a story.

Feel free (as I did for many years) to avoid the unbeatable power of story and go for something "better." Technology. Ads. SEO. Fun activities. A bunch of bullet points. A convincing blog post. Plenty of things can assist story. But there is nothing better than story.

It's always inevitably about the story.

As an editor, I urge people not to try to "use" a story as subservient illustration. It may work for some pastors and already-well-known business gurus. But you need to know a good story uses you. Defines you. Creates you. Show you accept this and your readers will respect you. If you don't have an unstoppable story of your own yet (and you probably don't), try to tell others' as best you can. Just be careful: be a user and try to profit from story and you will fail. The new rules favor a new sincerity.

We'll be learning more on the power of story all year with Donald Maass' Writing the Breakout Novel Workbook at YourWritersGroup.com.

There are many ways to learn about story, so even if you can't commit to reading this book with us, do yourself a favor and engage your brain in a good story today.

See what you learn...

The Power of Critique

So critique groups. Good or bad?

It's like asking if publishing is good or if a book is good. Of course the answer's yes and no. Like everything else. It always depends on the people in them.

And just like everything else, what you get out of them is largely dependent on what you bring to them. Know someone who didn't like The Shack? Maybe their theology caused them to bring something different to it than someone without that filter. The same people are now angry at Rob Bell for Love Wins even though it's nothing Don Miller didn't say before, a little differently, maybe less pointedly in Blue Like Jazz.

But after I experienced disillusionment as a 19-year-old kid, I wondered if disappointment with God is a universal, that necessary moment when your eyes open and your innocence falls away and you know that God is not always going to save you from the worst attrocities life may bring. Everyone gets to learn this eventually. Even believers and the faithful. Life happens. And the point is to recognize that even still, God is always good.

So I believe it's a "writer fundamental" that what I'm able to bring to my writing is largely dependent on my willingness to accept that life will bring pain. And this is not bad, not to be fought off, but embraced as the gift it is. Fear of pain is instinctual, elemental--those who deny it, deny the very thrust of existence. But facing the fear of that pain, peacefully but forcefully, is at least one essential benefit a good critique group can offer.

This week, I'm working with one of my favorite future authors who's writing a genre western romance (what? That's not strange--one of my favorite books is Redeeming Love. Okay, maybe it's strange). I've encouraged her to trust her abilities, to let herself feel the fear of failure and to courageously believe in her inevitable success anyway. At the OCCWF conference a couple weeks ago, author Simon Tolkien claimed that a big part of his grandfather's success was because he had spent years studying language--words, their meanings and origins--and this allowed him to know how his characters spoke and how that defined them. 

I'd argue that this is what every author has to do--study words, learn, and respect that training. And a good critique group encourages a healthy respect for the symbols of words, their meanings, listening for where your "translation" is inaccurate or not revelatory enough.

Does this involve fear? Yes. But can you face it with courage?

Some authors discredit critiques, which is understandable. It's nearly impossible to find a good group that understands what critiques are and consistently applies their full attention and effort to it. It's often hopelessly idealistic to believe you can find an honest, dedicated, knowledgable group of writers who can regularly meet to thoroughly discuss your work. Especially within 30 miles of you.

Maybe they don't have to be within 30 miles.

A professional editor knows how to fix the things that need fixing. And a good critique group can point those things out. Where it's slow, redundant, and even not fully developed yet, a critiquer who's well-read, knows you, and appreciates the process of writing (through having done it themselves and having read the best books on craft) is worth a fortune. Professional agents are good readers as well, though until you've risen in stature a bit, you won't likely be told what isn't working. You need someone you can trust, who gets both what you're trying to do and what you need to do to pull it off and get peple talking. This could cost you a bit out of pocket. But that's why I started YWG and it's proving that just like a great book, what's truly valuable doesn't have to cost what it's really worth. Is it worth it to you? I don't know. It's not perfect and there's work involved. But I do think it's worth it to check it out--there's no charge to read the critiques.

Pro authors know early feedback is the best "promotional" money you can spend. But what can't a good critique do? It can't replace the need for a copy editor who will look for grammar mistakes, misspellings, wrong words, weak constructions, inconsistent elements like Suzy being 9 on page 4 and 12 on page 37. Critique groups shouldn't waste time on the minor things until the big things have been addressed. So authors, do not skip this step or you will suffer the consequences. If you're a good student of language, you'll save money when it comes time to hire a copyeditor. 

But just like the earlier stages, this one can be painful. It's hard to give up the pieces of ourselves that are holding us back. We fight for our ignorance and call it personality, style, artistic license. Most often, it's plain prideful stupidity. Sure, readers will accept your incomplete sentences. Even love them. But respect the refinement process. It's not just making your book better, it's making you better as well. And that's the big point.

The artist who demands he has nothing to learn soon finds he has nothing to say.

A powerful critique group is about growth, a shared journey of trust, fear, empathy, hope, and faith. It's powerful because it's built on relationships over rules, on embracing acceptance and peace amidst the striving for what's better. I have been in a few of them in my lifetime, and I can promise you the people you learn to write with will remain lifelong friends.

It's about being your vulnerable, wart-covered self and finding it accepted and improved. And as a bonus, you get to discover the true meaning of gratitude.

One of my critique partners, Rob Stennett has a book releasing today called Homemade Haunting. (I know. I'm a lucky dude.) Rob is a one-of-a-kind genius with character comedy and this time he mixed it into a thriller and asked "If evil is real, what happens when someone doesn't have the only true weapon against it?" If you think it was easy to blend comedy with such a serious subject, you're dreaming. But Rob figured it out and critiques played a hand in that. I'm sure he'd be happy to tell you if you asked. Anyway, get the book (it's only $10), read it and ask yourself how many people it really takes to finish a great book.

Editor to Author: Letter to a Memoir Writer

Dearest Author,

I've been thinking about worth lately.

What's your story worth?

At a recent writers conference I taught a workshop on how I saw publishing changing. Modern publishing, the only time in history when we've had separate "markets" for books, has begun to fracture and redistribute. I've shared several times about how The Shack has shifted things. It isn't just a book, of course, it's a bridge. And those bridges are inevitable because it isn't only spiritual people or Christians who recognize God as creator.  

Blue Like Jazz came well before it and created connections between the Christian and secular markets. Lauren Winner's memoir Girl Meets God made some connection points before that, similar to how Eat, Pray, Love did more recently, from the other side of the spiritual divide. Several spiritual/worldly, secular/sacred books have become best-sellers as bridges in the long history of such books since the beginning of print, and some people have traced this line back to the best-selling book of all time: The Bible.

The Secret. The Purpose-Driven Life. The Alchemist. The Celestine Prophesy. The Late Great Planet Earth. Pilgrim's Progress. Books you've never heard of have sold over 30 million copies: Steps to Christ by Ellen White, In His Steps by Charles Sheldon, late-19th century Congregational minister and advocate of the ever-intriguing idea of "Christian socialism." Even Nikolai Tesla wrote about his life a true spiritual man and world-renouned scientist in My Inventions. The Canterbury Tales, The Odyssey, and The Divine Comedy by Dante, written in 1304, has "sold" more than anyone knows and we have no idea how it or any of these books have changed readers and the history of spiritual thought, becoming seeds for the trees of countless theologies.

But of course, we know this is what books are--seeds. And this is what they do: define life and defy death.

"So long as men can breathe, or eyes can see, So long lives this, and this gives life to thee."

So this story that's a part of you, that is you, that defines your work and all of your effort and sacrifices to share it completely (or as completely as possible) for others to use--what's it really worth?

Don't answer. You can't. Simply try to see the fullness of the question clearly. Continue on...

Do you know where your worth is really found?

Yes, in God's ownership of the life and love he's created you to embody (1 John 4:7-12). His ownership, creating, protecting, guiding and infusing of his great, unchanging spirit into us. He dies that we might live (parents always understand this principle). And we die that others might live through our sacrifices. This is the daily work of writing.

Do you know what that is really worth?

Intimately known and held, seen and heard and helped in every way, this knowledge is invaluable, isn't it? We can talk of worth and value, and shift our understanding of that from copies sold to readers influenced, but it's the knowledge a reader will have by the end of your story that makes what you're doing truly valuable. And this understanding of how God fills us and dies for us is the greatest wisdom, the most valuable in the world. And if you are practicing that, that makes what you're doing invaluable.

I want to give you, as a witness of your discovery of that unchanging love, my invaluable opinion on it, my affirmation that you've been seen and heard and that what you've written down is completely worthy. And with your assurance that it's been well established and others will see it and respond, you can continue, knowing it's incredible and invaluable. 

So do you see what your story is really worth?

Because there's no true price tag you can put on it. There's no proper estimating the value of my work, my seeing it, or others' receiving it either. It's in-valuable. We have to simply trust together that whatever comes of it is just a small piece of its fullest value as a seed for God to use, and not at all connected to the worth of what you've written, or what I've done to help. I know you've sacrificed and given for your story, and I've been brought into the processing of it, but regardless of how it will be published and the realities of our modern marketplace, you must know:

What's your story really worth?

I remain your solid co-laborer in the process of delivering these invaluable words. Never assign its worth to money, public perception, publication, or anything else. Your heart is here, and that's established and it's something you have written definitively, and just as we have agreed together at the outset here, others will when they read it.

We don't know how it will all play out. But I'm on your side and not looking for specific outcomes big or small. Don't think in terms of what's "fair," but decide you will pay with your life what's necessary to give to this project. What you give is directly proportional to what that seed will be able to produce in readers. And in terms of return and profit, I believe Cohelo is right: the universe will conspire in our favor.

So what's your story really worth?

 

Your Loving Editor,

Mick

Does Your Writers Group Provide These 3 Essentials Every Writer Needs?

Welcome back, everyone. Hope you had a fabulous Easter.

Being a book editor is such a strange job. It has enormous up sides: not requiring me to, say, buy a lot of expensive equipment or be out in extreme elements. I don't have to dig through anything too revolting. At least not physically. But still, it has its challenges.

Chief among those is the fact that everyone I meet wants to publish. And this varies in intensity, often marked by dilated pupils and shortness of breath when I mention what I do, who I've worked for, authors I've helped. In most settings, I try not to mention it because chances are if the person has thought about writing at any point in their life, a little bell labeled "My-Golden-Ticket-to-Published-Author" goes off in their heads. And its particular frequency has a way of pushing the conversation past the more important matters like writing, editing, networking, etc.

Even the best writers need a lot of help ignoring this pesky bell. Especially if they spend any time online.

But once in a while I meet someone who wants to be an editor and I always get excited because I've always wanted to help more authors than I have time for. It's no easy thing sometimes to help authors say what they mean, prove we're worth listening to and that they're not, in fact, full card-carrying citizens of crazyland.

My advice to future editors is this: 3 things. Creating great books (and authors) always starts with the same 3 things, and they all derive from the question, Will this book absolutely force people to share it?

The big challenge with being an editor is that you get to be the one to ask how exactly it will do that. It's a difficult question for authors to accept, let alone answer. But if you can get them to face the question, the rest isn't all that hard. Help an author keep answering that question through every stage of the book process, and eventually what they'll get is an exceptional book.

Will this writing compel sharing? Does this edit improve the chances of sharing? Is this a brand that fills a desperate need or want? And is there someone who would be naturally inclined to enjoy it?

And while good editors can provide help in at least two of the three essential categories, a good writers group can help in all three:

1. Motivation.

The first essential element in birthing a book that can change lives is a heart that's fully engaged. Writers who are most productive need daily encouragement and inspiration to continue the hard work of showing up, sticking with it, and continually developing the vision. This is a critical step that's missing in most of the courses I've seen. Each week, I want to send you a new motivational message to inspire you to write what matters most.

2. Education.

Writers need to engage in every step of the book process as though it's the most important step there is. From writing to editing to branding, networking and publishing, the reason a book doesn't sell is a breakdown in one of those areas. And unless authors have a strong understanding of their story and their essential difference, the book won't rise as well as it might have. First, authors need to know how to write words that work better than the rest, and like any creative endeavor, this takes training and practice over time. Each step should build on the last, with solid guidance in editing, building a brand, networking, and choosing best publishing options.

3. Connection.

The final element that's sorely missing for writers today is connection to a larger, engaged community. The trick with books is getting critical feedback on your best efforts at each step to ensure you're on the mark. And when it comes time to release your message, the best way is organically--by letting people put it to use. You don't sell great books, they sell themselves because they're so remarkable. They solve huge problems and inspire people to change. If I was a fancy marketer, I'd call this the Authentic Approach Advantage or something, but it's basically what happens naturally  when you stay focused on helping people all along the way through your own development.

To encourage authors to finish well and excel my new plan is to focus on an online writers group. I'll still help authors individually, but much of it will be through the website. For those who signed up over Easter weekend, I'm grateful for your trust, and I'd like to extend the $10-first-week offer for your entire first month. Anyone else who would like to check it out, your first month will be $10 as well. Who knows, if it gets going well, I may extend that price indefinitely.

I'm learning how to run a website as I go, but I'm still just an editor and my goals for these three categories haven't changed. So if you want to see if YWG can help you produce an exceptional book, I encourage you to come by and see the different kind of community we've just gotten going.

Thanks for reading--I'm always open to any ideas you have for making it better. See you over there!

 

 

 

Progressive Publishing Program, Part 1: Finish Your Book (for Free) with a Writing Coach

Some offers are just hard to believe, aren't they? 

The day I came up with the idea for a "progressive publishing program," I didn't believe it either.  

But here's a confession: I’ve always been something of a skeptic. As a small(er) babbler, I remember seeing the commercial for the Tootsie Roll pop and I determined to prove them wrong. I stuck with that thing until I licked the stick clean. I probably have some undiagnosed OCD, and coupled with a near-religious devotion to Sesame Street and Mr. Rogers during my newly-verbal years, my ability to persevere through difficult tasks that I enjoyed was virtually assured.

Of course, my mom would tell you, I was one headstrong little snot. I stomped my defiant foot into the deep shag carpet more than once. And as corporal punishment was something of a Christian duty in the 70s, I learned to withstand much pain. 

At school, I followed my own beat stubbornly, even learning to use my spankings to make my punishers cry. But something stuck. I learned self-discipline. And today I use it every day, to edit, write, and not coincidentally, to help authors edit and write.

Research shows that for those who want to write a book, finishing is the #1 barrier. Estimates put it that over 80% of American adults want to write a book, but it turns out life can get in the way. And I could use competition, the TV-addicted childhood, California slacker thing, or my Gen X label as excuses.

Or I could write myself a different story.

There are plenty of stories for all of us to choose from. But eventually we all need to recognize it's our choice to chose the one most worth fighting for.

Commitment isn’t all we need. But it's like, 9/10s. It may be true that obsessing gets you nothing but ulcers, but devotion is the main defense against the enemy of all great books, this enticing fruit of distraction. Greedy salesmen and barking self-publishers purport to want to help you, but do they care how good your book is? What's in it for them to help you not just publish, but sell well? The vision you initially had for your book when you imagined it finished, is that what you have? Or are you in danger of straying from your path? Opportunists have sprouted up everywhere, even in Christian corners, to prey on your flagging devotion. And they're very convincing.

"Congratulations! You finished writing! Now it's time to publish! Trust us, we're professionals."

Maybe you've noticed the decline in book quality. Or typos. Or simply what Stephen King calls "fast-food books" that bypass anything nourishing and go straight to the bowels. I think they're going straight to authors' heads, making their brains fat and slow, convincing them they can publish bestsellers as quickly and easily as, well, passing some fast food.

My theory, and it's just a theory, is that the major problem is undisciplined authors. They may not tell the lies, but they give them power by believing them. And they sell out their vision before a better book is given a chance to be born. Either too distracted, untrained, or afriad of never reaching the shelves, the majority miss their chance of connecting and selling well.

A glut of entitled sell-outs is dragging down the art and literature of publishing.

And why? Because they believe the hype. A brainless machine can publish your book. The real value is in the wisdom to know what's required to publish a best-seller. Are best-selling books always great books? No. And no one can predict success. But there are common characteristics in the authors who write well and sell well. The easiest way to make money in publishing is in selling false hope. And it costs far less to give people what they want than to commit to high quality work (what they really want, trust me).

If you've got a different kind of story, maybe it needs to be published as a great book. Maybe you are one who should choose a better way.

You can do that and make a stand. But you'll also need others around you who believe in that goal really, really stubbornly.

Look at how best-selling authors do it. My newsflash for you after having worked with many successful authors over the past decade is that the good ones committed to the idea that valuable work costs much. They sacrificed for it. They sought out professionals to ensure the highest quality and before they published, they decided they really, really wanted to learn to write and edit well. They learned to tell a story. Armed with this, they managed to wait, to learn to edit, to research the market and others' books, and put themselves through the paces to pull together a refined vision, instead of selling it for scrap.

Choosing a different story than the self-publishers' hype is a new first step to becoming a great author. And only those with the determination to finish well will ever sell a great book.

Stay tuned...part 2 tomorrow.

(Oh, and in case you're wondering how many licks it really takes, I'll tell you over in the forum at the new site...)

Ice Cream, Writers Websites, & Making Your Calories Count

Tillamook ice cream is one of the true pleasures of our moving to Portland.

I know I risk outing myself as a closet ice-cream freak, but I don't care. The way they pack so much lactocine goodness into every delicious spoonful is enough to make me want to move here all over again, just to have the pleasure of realizing I now, once again, have access to the greatest ice cream in the universe.

I am not proud of this. But I refuse to be ashamed of my obsession any longer.

Yeah, okay, there's Haagen Dazs. But that's not really ice cream. It's frozen butter. Of course that's going to be good. Dip a cold stick of butter in vanilla and sugar and go to town. It's tasty. It's also going to deposit you in coronary junction.

You think I'm kidding. Go ahead. Have your Haagen Dazs. We'll see who dies first.

But to bring this just a little bit nearer to my actual point, as I was preparing to indulge in my shopping day rendevous with a blissed-out ice cream coma, I came across a new ad printed along the plastic safety collar. You're familiar with these, and the same lawyers' work from tamper-evident seals on vitamin jars and baby toys. These same demons clearly made these evil little wrappers indestructible because they derive pleasure not from ice cream, but from making you convulse in frustration while slicing your hands on their cleverly-designed razor bands.

I could get scissors, but now it's too much like letting them win, so I decide teeth would be best and I bring the carton to my face to gnaw the daylights out of some shrunk-wrapped landfill.

And that's when I saw it. Little white printing in a playful serif font: "More ice cream per container." Well, I'll be chocolate-swirled.

That's it, I thought. Though even then, I wasn't quite sure what "it" was.

But something grabbed me in that claim that sounded vaguely similar to what I'm pulling together in my little corner of the information superflyway. Sure, you can go for those other writers sites and publishing packages that promise "editing" and thorough quality controls. But you'll get more ice cream per container with this site. And you don't even have to chew your way through uncertain danger to get to it.

I'm not big on self-promotion, so it can be tough to feel competitive against so many big guys who pump their ice cream full of air and diglycerides, just to make sure you think what you're getting is the good stuff. I also know I've been less than gracious about the end product of such. But "frozen dairy dessert" is not what I want for all my sacrifices in the supermarket of inspired dreams. Writers work hard for their visions. And no flashy ads or deep discounts from the other guys can supply the fullest experience my mouth and stomach deserve.

So I'm continuing on writing and designing the new site, hoping someone will notice the fact that there's more actual of the real good stuff shoved in here and that's what they really want. It's not going to catch everyone, but at least those who appreciate such things will know their calories are doggone gonna count.

Why Writing Must Not Be Used for Love

"Don't Use Writing to Get Love"

The title comes from Writing Down the Bones by Natalie Goldberg. Not a bad book, and several of her thoughts are useful. One is something I've seen in writers, especially of fiction, obviously because I've seen it in myself, this idea that we writers are curious creatures who can't live the way others do. Some of us come to believe we don't give and receive love like normal people and our best relationships should be pretend, inner worlds often substituting for the outer. It can be easy to forget that everyone has to eat real food, even writers, and that means finding the real food of love in the real world.

"Writers get confused," Goldberg says. "We think writing gives us an excuse for being alive. We forget...that life and writing are two separate entities. Often we use writing as a way to receive notice, attention, love. 'See what I wrote. I must be a good person.'"

Where do successful writers find the love that says, "You are of value, regardless of what you do?" The same place all fully nourished humans do. But writers are special and many times this leaves us without a guide to remind us that we aren't any different in this basic human need, or where it is and how it's found.

Most guides aren't much help on this point, I'm afraid. But the great truth is, this fuel doesn't automatically come from inside you. And that's a great truth because the source of that love frees you from any responsibility. You don't have to muster it up or perform well, or even wait until you understand it. No, you don't have to write to be worthy of love.

I'm pondering that today. It's meant for me and all writers. The love you need, to be happy and whole and free of using writing to get it, is bigger than you, beyond your understanding, in that real place you can only travel to by faith. Where our minds leave off, the heart picks up and while writing can help train our minds to escape into that world through faith, it can't bring us the food our hearts ultimately need for the journey.

Writing must not be used for love because it isn't the food. It's your bowl.

Everyone has a bowl. And when you know you're a writer, the words are how you share the food of love. But you receive it by simply accepting it from God as he fills the bowl  and makes it more, a hundred times over. And with that love, you can hold out your bowl as it's filled and pours overflowing, always more, never empty. Yes, you will find your hands full and it will become hard to carry. And yes, you may even find yours so full you can't carry it alone. But as you learn to adjust and walk with care not to spill it, he'll still be there to help you handle what's poured out. He decides how much to give and as long as you keep giving it away, there's always more when it's needed.

Don't try to hold your writing hostage to bring you love. Trust and be all there in the writing today and simply let yourself be filled. Don't work hard to reason out the process logically, just believe.

And hold out your bowl.

Success as a Writer

Wouldn’t it be nice if someone could hand you the steps to success? Haven't you fantasized about finding the formula like some long-forgotten treasure hidden away in the attic for several years, collecting dust and just waiting to be employed by an enterprising writer--like you?

Maybe you've even believed the blueprint existed.

Like anyone, I've secretly longed to find that plan. I've imagined it as a golden list of time-saving short-cuts or a nice clear map to follow to the promise of perfect publishing bliss. Maybe it's our weaker selves who harbor this shameful hope to avoid the time and practice the art and skill of writing requires. But it's not uncommon. I'd wager that for writers it's near universal.

Of course, part of us, the wiser part, realizes if we got all we wished for and ended up easily writing bestselling books, we might quickly find out we weren’t prepared to handle the responsibilities and pressures that come with it. Why are we so easily convinced we should find that mystical land assumed to be “Success” anyway, or that we’d even like it when we got there?

Looking back, we can see it’s a good thing we don’t always get what we believe we're after. In all likelihood, the treasure, had we found it, would have ruined us.

I think there are a few stories about this very thing.

Wisdom has taught us that there’s a journey, a struggle involved in the process. And this isn’t really a bad thing, however impatient we may feel. I think this is something every new writer has to face, maybe it's the first lesson of great writing—that it involves hard work. And that's the very thing that makes it so valuable when you do finally achieve it.

While there are several prerequisites to great writing, the hard work is a given, and it's really grueling, certainly not the kind most people prefer. Refining excellent, mature work requires intense internal focus and mental discipline that ends up draining and depleting the very heart and soul of you. And though I don't know, I wonder if it's the most taxing non-physical exertion there is. I do know that even those with uncommonly strong will power and stamina will find their commitment challenged and their daily lives reduced to a shadow of the former. At least for the time of editing and refining.

And then there's the proselytizing to worry about too.

But what we're really doing as these stubborn wordsmiths of wonder is not dreaming of an easy way out, but always searching, searching, searching for new ways to grow our awareness. Of the world, ourselves, the lives around us, and the all-important interrelationships of these most essential nouns. The verbs and mechanics are of course important too, and it's because all of this matters to the end product that we know the sacrifices will be great.

SO my encouragement to you is to believe in the treasure right before you! Be persistent in your application of all the learning you've acquired. Hope for the easy days, and there will be some, but you know better than to give the dream of easy leisure too much credence. Instead, believe in the hope that the time and trouble it costs you will be worthwhile, time spent in the most valuable way imaginable, in growing your awareness of the nouns and the art of translating their beauty to the page.

Is it worth your all to become a more astute observer of everything, and to fashion those thoughts into the most beautiful and revealing form? Do you trust that if you were called, you were also made capable of meeting that call?

Remember: it's always, in the end, a question of what you believe the real treasure is....

The Formula

You know how I know books are children? Because they can be such snots to their parents.

Michaelangelo, when asked why he didn’t have a wife or children, said his wife was his art and his works were his children. And when those children are little, they can be completely irrational.

If you want to be a parent of this type, you only need 3 characteristics: persistence, intelligence, and quirkiness.

That’s it. Soon as you’ve got those, you’re ready to be an author. But if you want to survive, you’ll need something else.

You don’t need a great plot. And you don’t need beautiful, special, larger-than-life characters, though if you are one, good for you. Enjoy that. I'm not one, don't want to be and I don’t want to read about them. I don't deny people liking such books, but to say all of them should be this way is ignorant. Such a prejudice deepens our culture of dissatisfaction and encourages people to forfeit the more meaningful things of life. And books can do this because as children they’re powerful, persuasive little boogers.

So it doesn’t take action, adventure, romance, riches, power, fame, or beauty. All it takes is a character who is extraordinary (or remarkable) in some way and uses it to escape moral and/or romantic peril. That is enough. The peril had better be worthy of bookhood or I'll think the author didn't look hard enough before choosing his story. Stand-out stories stand out. 

But the greatest, deeper fact about this truth is that everyone is extraordinary. Think about it. Ordinary doesn't really exist, and this is the theme of the most incredible stories. Show me the simplest stuff transformed into the grandest and I’ll show you a successful author. Want to realize a holy calling? Open people’s eyes to see majesty in a dirt clod. Transformation is not magic—it’s a simple matter of perspective. God constantly makes all things new, all things alive again, and if you want to inspire readers to buy a lot of books, inspire them to agree.

Authors who breathe life into seemingly flat people and situations will become well-known authors.

"Look closer," the story can say. "Don't be fooled." That's a holy awakening when it happens. Those are the stories we live for. 

Of course, that's hard to do well. There are no shortcuts. And there are bell-curves of taste, preference and experience dictating how stories hit different readers. But when an author can open my eyes to the extraordinary, I feel enlightened. I feel comforted.

How is your work opening readers’ eyes to the extraordinary in the ordinary? Asking the question of your work may help you discover some real key characteristics.

The All-Time Top Reasons to Pursue Big Publishing, Part 3

The question was raised by an author who's recently been offered a contract, would it make sense to push for hardcover, the thinking being this raises credibility and importance in the eyes of buyers. Sure, if it's a good size run as well, but it'll be more expense for buyers too, so it's a gamble. And hardcover alone doesn't get you the respect you're hoping for. 

And as I've been realizing and saying in my last posts, the bigger point we're talking about here is perceptions and assumptions. Manipulating them and creating them and respecting them. If we don't understand them, we won't get anywhere. But if we just accept them and adopt them, we'll stay just as stuck. 

It'd be really cool to break down a number of publishing assumptions and dissect the resulting perceptions, or vice versa, but that sounds cumbersome and cerebral. And I'm tired and I want to get moving on the forward motion part of this journey. I'm not impatient, I just want to get going and we can talk about all this on the way. 

But above all, I want to be authentic. The troubles we have with perceptions and assumptions are largely about people not being authentic and careful in how they represent things whether it's their own work (in the case of self-promoting authors), their published books (in the case of publishers and agents), or whatever. Duplicity and selfishness tend to rule the day so there's a lot of garbage piled up in the way of trust and the real insights possible when that trust is there. I want to be trustworthy. 

I'm not going to say things to improve my "business" and I don't care if people don't agree with me. I listen, most the time but not always, to learn and make sure I'm thinking through all the angles. But ultimately, I answer to a higher purpose. I won't sit here and tell you not to pursue big publishing just so you'll come here and join the tirade against big publishing. That's not my goal and I love the people in big publishing. All I'm saying is that some authors have made it their goal to be published with big publishers and that's dangerous because big publishing is a business and businesses are soulless, so you need to take a few steps back before you get hurt. I'm asking people to let go of getting published and start with the necessary steps first.

This doesn't mean those who have taken the necessary steps of researching, writing, editing, branding, building a network, researching online marketing and building a platform aren't ready or shouldn't pursue big publishing. But they need to divorce their hearts from the process and know that it will likely mean changing a bit to fit into that hole, niche, slot, channel, whatever at the publisher. And believe me, if you're not sure what your slot is on the shelf, it means that's probably not you yet. Figure this out before you go and you'll save yourself a lot of headache. 

My "agenda" is largely to be without an agenda here. But as a guiding principle, I will promote the idea that there's a proper time and place for everything--for the writing to sing, you can't be editing and thinking about how you'll market it. Same principle when I see people at conferences taking classes on marketing and branding and such who haven't even finished their manuscript. This should be forbidden and when I'm king, I'll pass the law. But I'm just asking us to think and strategize together, break the steps down, and take them in their due course. Thing is, even if you've had some experience in all the steps, with each book, you have to do them all again, and in the right order, so it'll help to get this clear in your brain no matter where you're at. 

At the recent writers conference in Santa Barbara, I met some great people who were right on with this and I could see many of them doing very well in some of the emerging alternative publishing options. But before we go there, we need to ensure everything is where it needs to be with the book and the message, and then with the platform and presentation, so we can ensure nothing is left to chance or changed by big publishing if and when that becomes a possibility. 

And the exciting thing is, I'm hearing a lot of people agreeing. So while I keep working on this bigger site, let's keep talking about where we're at in our processes. I'd love to hear some stories, build some community. Also, pretty soon, I'll have a few polls and things to look at on the beta site so you can sound off and tell me what's helpful and what's not. It's all underway, but in the meantime, feel free to chime in and introduce yourself, your project and experience, and maybe an insight or two if you're so inclined. 

Oh, and for the record, I told my friend that the risk and the reward of hardcover is that you're betting that more expense will better convey it's value, but other things also work against this perception with buyers, such as the size of the house, the size of the print run, the visibility of the author, and previous publishing history. So while such proof of a publishers' positive belief would be conveyed more strongly with HC, the higher risk the seller is then forced to take mitigates some of that. And if the print run isn't very large, hardcover could undermine it's chances rather than help.