Rules for Writers and Money (and everyone else too)

Rules for Writers and Money (and everyone else too)

 
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You will find a lot of popular content all about how to make money. There are a lot of random blog articles about HOW I MADE 8 TRILLION DOLLARS IN PASSIVE INCOME A MONTH or 22 AWESOME PASSIVE INCOME IDEAS.

Which is lovely. But a lot of us writers are thinking, “What are these even talking about?”

What Is Passive Income?

Passive income is money that happens and builds from things that already exist. They can be from investments (like you rent a room in your house or an entire house or you open a savings account or CDs). It can also come from the investment of effort and time in something you build. This could be a YouTube channel or your eBook once it’s up and running. It could be affiliate marketing or selling prints of your art.

What is Active Income?

Active income is money that someone pays you when you do something for them that’s a service. It can be your salary at the grocery store. It could be an hourly wage at a bookstore. It could be a commission. It could be a tip.

So what’s all this have to do with writing?

According to a study by the Authors Guild, the average full-time writer’s median pay was $20,300 in 2017. That’s full-time. For most of us that’s not a big ton of money. There’s no real standardization of pay and that number doesn’t account for pay discrepencies for sex and race.

On Publishers Lunch, Erin Somers, looks at average earnings instead and wrote,

“For the 63 percent of authors who reported receiving book related income in 2017, the average total income was $43,247, which paints a very different picture . Over 2,000 authors had average publisher royalties of almost $32,000; close to 1,700 self-published authors reported royalties of just over $31,000, and a smaller group of about 700 authors also had average ebook subscription service earnings of over $13,000.”

Somers

But that’s only the writers who actually survived and didn’t give up. About a quarter of the authors that the guild surveyed received no money at all from book activity that year.

So, yes, most of us writers have to have other sources of income outside of writing. And that my friends, is why we’re writing this blog.

Being constantly terrified of not making money makes me, Carrie, a stressed-out writer who sometimes worries more about money and profitability than the actual craft. And a stressed-out Carrie equals a cranky Carrie. Nobody wants a cranky author.

So here are some examples of passive income investments when you have money to spend

  • Buy an investment property and rent it.
  • Invest in a high-yield savings account.
  • Check out crowdfunded real estate with REITs. Sites like Fundrise are a great place to start.
  • Peer-to-peer lending like on the Lending Club where you can loan money to others and get a return.

Examples of passive income investments that are more initial work than initial money.

  • Affiliate marketing on your blog. When people click through an ad that’s on your blog, you get a commission when they buy something that’s affiliated with that link.
  • YouTube – if you get a big enough following you can monetize your YouTube channel and have ads during your content.
  • Create an Online Course – Teachable and Udemy are great places to show off your skills.
  • Sell your art prints or your photos. Shutterstock Is a great resource for photographers.
  • Make an eBook – Seriously, especially if it’s nonfiction.
  • Rent out some storage space or your car or a room in your house.
  • Sell your clothes. Thredup and Poshmark will often give you cash or credit on their site. And it’s good for the environment, or at least better for the environment.

OTHER WAYS TO TAKE CONTROL OF YOUR MONEY SITUATION.

Those are ways to make extra income, but it’s also about not spending too much money and saving, right?

Live Like A Student

Mark Cuban (the guy from Shark Tank) is a big cheerleader for living beneath your means. Don’t buy all the things. Pretend you have less money than you have.

His yacht is anchored outside our town a lot and his yacht is HUGE so I’m not sure that Mr. Cuban is doing this? But I guess maybe he could have an even bigger yacht? It’s good advice for the rest of us though.

Step Away From the Credit Card

My dad was always murmur-screaming, DO NOT USE CREDIT CARDS! THEY ARE EVIL DEMONS FROM HELL! And he was right. Don’t use them if you don’t have to. Use your debit card.

The interest rates on these babies are horrific. You end up owing these companies so much money. Try to pay off or pay down your bill every single month. And then step away. Lock them in a gun safe or something. Seriously. Try not to use them.

Gather Information

Reading blogs and books (much more in depth usually) can give you the information you need and generate the ideas necessary to move your life or your business or your writing to the next level. A $25 investment with a potentially thousand-dollar return? That’s kind of a no-brainer.

Be as informed as you can be so you can make the best possible decisions.

Don’t Be Afraid

Because I grew up poor and because I heard a TON of stories about the depression and the stock market crash of the 1920s (my grandfather was a stockbroker allegedly and watched one of his friends die), I became a bit terrified about stocks and things.

There are three rules that help me deal with this and invest my money.

  1. I ignore everything that’s happening in the stock market when it comes to my portfolio. I pretend that once that money is invested, it’s just gone. This lowers my anxiety even as I plug in $25 a week automatically to a random Edward Jones account.
  2. If you want to invest in something scary, only invest 5-10 percent of your total investments in that scary possibility.
  3. Standard & Poor’s mutual funds are good places to put a bit of money into. But go for the cheapest ones possible.
WRITING TIP OF THE POD

It’s okay to talk about money and to be smart about it.

DOG TIP FOR LIFE

Do not gobble all your box of dog treats (or writing advance) in one big gulp.

SHOUT OUT!

The music we’ve clipped and shortened in this podcast is awesome and is made available through the Creative Commons License. Here’s a link to that and the artist’s website. Who is this artist and what is this song?  It’s “Summer Spliff” by Broke For Free.

HELP US AND DO AN AWESOME GOOD DEED

Thanks to all of you who keep listening to our weirdness on the DOGS ARE SMARTER THAN PEOPLE podcast as we talk about random thoughts, writing advice and life tips. We’re sorry we laugh so much… sort of. Please share it and subscribe if you can. Please rate and like us if you are feeling kind, because it matters somehow. There’s a new episode every Tuesday!

Thanks so much for being one of the 252,000 downloads if you’ve given us a listen!

HANG OUT WITH US!

HEY! DO YOU WANT TO SPEND MORE TIME TOGETHER? JUST CLICK ON THIS LINK AND FIND OUT HOW WE CAN.

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THE END OF TENSION TALKS! How to Increase the Tension in Your Story

In my earlier posts these past couple of weeks, both Steve Wedel and Mark Del Franco had some interesting things to say about point-of-view and tension.

So, in this final blog, I’m going to talk about that a tiny bit more and then give some quick hints about creating suspenseful stories.

Because like Jeff Deaver said it’s our responsibilities as writers to: Give my readers the most exciting roller coaster ride of a suspense story I can possibly think of.


Although, to be fair I agree with Fawn Brodie’s sentence: Show me a character whose life arouses my curiosity, and my flesh begins crawling with suspense.

Character is really intertwined with point-of-view.

There are two main point of views I’m talking about here, first person and third person.

Every day you live in your own point-of-view. Every day you are the main character of your story living out the suspense of your life. That’s the first person.

If you expand beyond yourself, use empathy and imagination to jump back into other people’s lives as well, creating a web that connects both, that’s more third person.

Or, you might end up in this book turned movie, I’m not sure:

Anyway, there are special problems with both point of views.

Issues with I Stories:

1.      You know the narrator is probably not going to die, so there isn’t that mortal danger worry.

2.      In first-person past tense it’s hard to keep it fresh, because the I of the story already knows what’s going to happen.

Good Things About I Stories:

1.      You can use the ‘peril detector.’

2.      The narrator’s fear moves the scene forward, increasing tension.

Issues with Third-Person Stories:

1.      Sometimes it’s harder to get you to care about the character. There. Sorry. I said it. Haters get at it.

2.      Sometimes, if you don’t do it well, switching around can actually ruin the tension and frustrate the reader.

Good Things about Third-Person Stories:

1.      You can set up what’s going to happen, the crisis, the conflict, the scary by switching back and forth between the good guy and bad guy.

2.      It’s very freeing.

I asked Editor Andrew Karre (currently executive editor at Dutton about first vs. third person.

Andrew said, “I think suspense is often important, but adding it to a manuscript tends to involve removing stuff and rearranging stuff. I think a clear, sequential, third-person story is rarely maximally suspenseful, so if suspense is in order, I think a meandering, unreliable first person is the way to go.”

Okay. Here are some take-away tips about adding suspense to your story.

They are summarized from an article by Vivian Gilbert Zabel, which is sourced below.

1. Make the main character someone you like but someone who can screw up. The reader has to care. If the reader doesn’t care about the character, the reader closes the book. If the character is perfect and can’t screw up? Then there’s no tension.

2. Make the plot a question and then “Make a list of all the possible reasons why the answer could be “no.” Those “no” answers become the focus of problems and obstacles – suspense,” Zabel says.

3. Make the hero have a really good reason for what she wants. Make her need.

4. Do that for the bad guy, too.  Stories like Harry Potter wouldn’t be nearly so fun if there wasn’t the possibility that the evil wizard Voldemort might kick everyone’s butts.

5. Make things harder and harder for the hero. Make it get worse.

6.  Pick the right POV for you and your story.

7.  Try to make the story urgent. Imagine a bomb ticking down before the explosion. Make the story a race against that.

And there you go! I hope all these blog posts on tension help you out a bit instead of making you more tense.

SOURCES:

Luce, Carol. “Writing Suspense That’ll “Kill” Your Readers.” The Complete Book of Novel Writing. Ed 2002. Med Leder and Jack Heffrom. Cincinatti: Writers’ Digest Books, 2002.

Reynolds, William. “Keeping Them In Suspense.” The Complete Book of Novel Writing. Ed 2002. Med Leder and Jack Heffrom. Cincinatti: Writers’ Digest Books, 2002.

Article Source: http://EzineArticles.com/?expert=Vivian_Gilbert_Zabel 

Personal Interviews with Mark Del Franco, Andrew Karre, and Steven Wedel, Sept. 2008.

Want More of Me?

HEY! DO YOU WANT TO SPEND MORE TIME TOGETHER? JUST CLICK ON THIS LINK AND FIND OUT HOW WE CAN.


NEW BOOK ALERT!

My little novella (It’s spare. It’s sad) is coming out October 1 and if you pre-order it now, you can get the Ebook for .99 before the price goes up to $2,99. It is a book of my heart and I am so worried about it, honestly.

There’s a bit more about it here.


HEAR MY BOOK BABY (AND MORE) ON PATREON

My Patreon site I read and print chapters of unpublished YA novels. THE LAST GODS and SAINT. I also share some writing tips that are also going to be on Teachable as the WRITING CLASS OF AWESOME and send people art.

It’s a super fun place to hang out, learn, read, and see my weirdness in its true form.


Carrie Jones Books is a participant in the Amazon Services LLC Associates Program, an affiliate advertising program designed to provide a means for sites to earn advertising fees by advertising and linking to amazon.com

Writing In The Tension Into Your Story Interview with Author Mark Del Franco

I talked to Mark Del Franco about how he builds tension and suspense.  According to his website, “Mark Del Franco spent several years in the publishing field in editorial and administrative roles and in the institutional finance field as a proposal writer. He currently is pursuing a freelance career in both these fields.”

SONY DSC

“Mark Del Franco lives with his partner, Jack, in Boston, Massachusetts, where the orchids tremble in fear since he killed Jack’s palm plants.”

What his website bio doesn’t say is that Mark is an amazing guy and masterful at first-person suspense.

So, Mark, what do you do to build tension in a scene?

I find tension one of the harder aspects of writing because I know what’s going to happen.  Sometimes the execution surprises me—the  scene I envision does not always result in the scene that gets written—but the bottom-line is that it’s not tense for me in the same way it is for a reader.  So what do I do?  I try and be a reader as I write.  The crucial point of tension is something has to be at stake that the reader cares about or at least believes the characters care about.  For me, that means setting a scene first–the visuals and why it’s important.  Then I layer in the idea of the success or failure being equally important—it’s not tension if the result is not in doubt.  Last, the pay-off has to work credibly–if something resolves successfully, the reader must feel that I haven’t cheated to get there (for example, “Poof! she waved her magic scepter”) and if something resolves tragically, the reader must not feel I stacked the odds to an impossible height to make a plot point (for example, “everyone died,  but now he had a reason for revenge”).  These three things overlap, but they do happen for me in roughly this order.

Is it a “big bang shock” sort of technique for you or you more fond of the “take the reader down the dark and sinister hallway” approach?

I like both!  Both techniques have their uses and achieve different goals.  I think the big bang is an after-effect technique.  The Bad Thing happens, and the tension derives from how characters have to deal with it.  The dark hallway is more front-loaded—we know something is coming, so the goal is to face it and the tension derives from whether
the characters can prevent the Bad Thing.  Both techniques, I think, are a test of character (in both senses of the word) that should make a reader care about what happens.

Do you think that it\’s easier to build tension in first or third person? And either way, as a reader (not as a writer) which do you prefer?

As a writer, I’ve been focusing on first person to date so I’m more comfortable with first (though a new novel I’m working on is in third). With first person, I have an easier time slipping behind my protagonists eyes and trying to imagine what would make things tense for me, then translating that to the page.  I think this gives the reader a certain
immediacy to the tension, too.  Third person is a broader kind of tension in that I’m trying to make things tense for the reader and the character in slightly different ways while telling one narrative.  Right now, as I learn my way through third person writing (and every novel is a new learning experience), I’m feeling that third person makes a higher
demand for ensuring the setting tension is strong because the viewpoint is broader.  As a reader, I respond more to first person tension.  With third person tension, for some reason I tend to notice more the way scenes are crafted to create tension, but that may be due to the fact that third person has not been my main writing point of view so far.

If you think of suspense coming in different sizes (small, medium, super-ultra large) do you think it\’s best to alternate these or are you into the steady diet of massive (or tiny) suspenses in your book.

In a way, this is a broader issue of pacing and making decisions as a writer as to the type of book you want to write.  My Connor Grey series tends to medium hits of tension that grow larger over the course of the novel until I hit the big one.  That’s the pay off for myself and the reader—laying out a series of events that become more and more
perilous until Connor must make the big decision on how to act.  With my new novel set in the Convergent World, I’m looking to create a faster pace–I want my main character, Laura, to be put through her paces and prove she’s as good as everyone thinks she is.  So, I end up throwing a lot at her.  That increases the pacing and the way to do that is those
steady hits of tension.

When you write do you think the nature of  your suspense comes from your characters or from the plot?

As an urban fantasy writer that has focused on mystery, I hope the tension is in the plot!  At the same time, I think (and hope) that there’s a level of character tension too since my main character learned he has feet of clay and is struggling to overcome that.  How he becomes a better person–making mistakes along the way.


NEW BOOK ALERT!

My little novella (It’s spare. It’s sad) is coming out October 1 and if you pre-order it now, you can get the Ebook for .99 before the price goes up to $2,99. It is a book of my heart and I am so worried about it, honestly.

There’s a bit more about it here.


Want To Learn About Me, My Writing Coach Business, Editing or Just Hook Up on Social Media?

HEY! DO YOU WANT TO SPEND MORE TIME TOGETHER? JUST CLICK ON THIS LINK AND FIND OUT HOW WE CAN.

Carrie Jones Books is a participant in the Amazon Services LLC Associates Program, an affiliate advertising program designed to provide a means for sites to earn advertising fees by advertising and linking to amazon.com

The Tension Interview with Steven Wedel, He Who Writes Erotic Werewolf Novels and So Much More.

I interviewed author Steven Wedel, and my cowriter for a couple of books, about where all his writing tension comes from. At first he said his daughter cell phone bills, but then he got all charming and agreed to the interview.

What Steve’s website says about him is : 

I was born in Stillwater, Okla., in 1966 and we moved to Enid, Okla. about a year later. Some of my earliest memories are of watching The Foreman Scotty Show on a black-and-white TV and winning a call-in contest on the show; the prize was a T.G.&Y. gift certificate. I played in the dirt a lot and had a fire engine peddle car I rode like hell on our back patio.

Somewhere back then, I recall my mom and aunt letting me watch Hitchcock’s “The Birds.” That scared me a lot.

Steve is the author of  a bunch of scary books, mostly about werewolves and people.

So, Steve, what do you do to build tension in a scene?

I always come at my writing from a character-first perspective. So, for me, tension comes from creating a character readers really care about. My stories typically start kind of slow because I’m developing the lead character(s). I also write from the POV of the antagonist (keeping in mind that he’s the hero of his own story). This way, the reader sees the goals of both the antagonist and protagonist and can watch as they come closer and closer to confrontation.

Is it a big bang shock sort of technique for you or you more fond of the taking the reader down the dark and sinister hallway?**

Always go down the dark and sinister hallway! Hopefully there’s a big bang shock at the end of it. When I teach my Writing Horror class at the local vo-tech we spend a lot of time comparing Friday the 13th to The Exorcist. In the Friday movies, all you get is the big bang shock. One after another, characters you don’t care about are killed in creative and gruesome ways. In The Exorcist, you see Regan, her mom, and Father Karras in their normal lives. You come to like them before the evil invades their lives. When it does, it starts slowly, with noises in the attic, a quiet conversation about the loss of faith, etc. By the time of the final showdown, you really know these people and are deeply emotionally invested in their well-being.

Do you think that it’s easier to build tension in first or third person? And either way, as a reader (not as a writer), which do you prefer?

Hmm. That’s a tough one. In many regards, I think it’s easier to build tension in third person simply because if it’s told in first person the reader assumes the character telling the story lives. Also, because you can jump heads and show the motivation of the antagonist. That’s something you can’t do so well in first person because the reader can only see what that one character sees, only know what that one character knows. As a reader, I love the intimacy of the first person narrative, though.

If you think of suspense coming in different sizes (small, medium, super-ultra large), do you think it’s best to alternate these or are you into the steady diet of massive (or tiny) suspenses in your book?

I think of it as dating. Let’s say the goal is, umm … the honeymoon night activity. There are stages you go through in getting there.

“If I try to hold her hand, will she pull away and tell me how gross I am and how she’ll kill me if I ever touch her again?”

He thinks about that, stews about it, starts to do it, but she suddenly has an itch and her hand is gone.

He waits, waits, waits, then tries again. Success! She looks at him and smiles. Later, he wants to kiss her. The stakes are higher, so he’ll have to think about that one longer. After all, his breath probably stinks, he’s never kissed anyone before, doesn’t know how to form his lips, when to use his tongue, how long to hold the kiss, all that. But then it simply happens and it’s fantastic and you release a little of that tension. There are smaller goals, medium goals and that super-ultra large goal waiting at the end of the story.

When you write do you think the nature of  your suspense comes from your characters or from the plot?

What? Are you my wife? You haven’t listened to a word I’ve said, have you? Well, I have that affect on women.* Ya’ll just tune me out. I’m like the checkbook trying to say, “Do you really need another pair of shoes?” when you’re already at Shoe Carnival.

Plot is important, of course. You have to have something going on. This is why I don’t get into much “mainstream” literature. Too often, nothing really happens. Interesting people become boring if all they do is veg in front of the TV. Something has to be going on in their lives, and they have to react, anticipate, and act to shape the course of those events.

Last night I finished this new book where nobody was killed, the foundation of the planet wasn’t threatened, and no ship capsized to kill hundreds, but a lot happened to this one fascinating young girl who was writing letters to John Wayne. In the grand scheme of things, what was going on with her was pretty small potatoes, but in her world the events were huge. That’s what’s important. It was completely believable that Lily became a “girl hero” in the context of her story, but she wasn’t going to be defusing atomic bombs in that story. The plot will grow out of the characters.****

I’ve tried developing stories where the plot is more important and I end up with cardboard cutout characters that are just moved across the board like the little plastic pegs in the little plastic cars in the Life game.

Steve, you are awesome! Thank you so much!

*Reader, he does NOT have this affect on women. It is the opposite. I swear to you.
** Reader, we talk about these techniques in an earlier post.
*** Reader, does it annoy you to be called reader? If I sent you strudel would it make it better

**** This is my book he’s referring to. Steve is nice like that.


NEW BOOK ALERT!

My little novella (It’s spare. It’s sad) is coming out October 1 and if you pre-order it now, you can get the Ebook for .99 before the price goes up to $2,99. It is a book of my heart and I am so worried about it, honestly.

There’s a bit more about it here.

HEY! DO YOU WANT TO SPEND MORE TIME TOGETHER? JUST CLICK ON THIS LINK AND FIND OUT HOW WE CAN.

Carrie Jones Books is a participant in the Amazon Services LLC Associates Program, an affiliate advertising program designed to provide a means for sites to earn advertising fees by advertising and linking to amazon.com

Dear Bully, You Are Ruining Things Because We Are Awesome And You Are Not

Dear Bully, You Are Ruining Things Because We Are Awesome And You Are Not

 
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So about nine years ago, DEAR BULLY, the anthology of authors telling their stories of being bullied, or standing by, or being bullies was released. Carrie was the co-editor for this anthology.

And I am so proud of all the authors in there. 

HEY YOU! AUTHORS! I AM PROUD OF YOU!

For a lot of them, it was a big act of bravery to tell their stories. For a lot of them, it was a big act of bravery just to survive. 

I was thinking about that right now because our country (The U.S.) is having some major difficulties and bullying is the norm despite all the efforts and advocacy that happened back in 2009.

And there are truths in every single story of that anthology that resonate. Those truths are that pain is real, that actions and words can shatter us, that it’s hard to remember how awesome you are when people are telling you that you aren’t. 

And there are differences in the experiences too. Some authors hurt more than others. Some used the experience to try to become stronger. For every one of us, the story is our own, and it is different. But one of the biggest, and greatest truths in those stories is that each and every one of us survived. We all lived to tell our stories. And if you are reading this right now or listening on the podcast that means that you have lived through too.

And here’s the thing. You must keep on living and fighting and trying to remember that you are awesome even when people are hating on you.

People hating you doesn’t change that you have worth.


People being violent towards you, doesn’t mean you don’t deserve respect, and tolerance and love.

People ignoring you on purpose, doesn’t mean that you don’t deserve to exist. 

And the opposite is true. You don’t get to hate, to decide other people’s worth, to be violent and disrespectful either. We have to be the shiny light that we want in our lives.

Writing Tip of the Pod

What’s this have to do with writing? Well, it was an anthology of true stories from writers that Carrie co-created, but it’s also about what makes the best stories.

Hint: It’s not just having a beginning, a middle, and an end.

It’s about having a point. It’s about believing in something. It’s about being honest and having something to say, something that might be hard to say but needs to be out there.


Dog Tip for Life

Treat everyone the way you want to be treated. It’s as simple as that.


SHOUT OUT!

The music we’ve clipped and shortened in this podcast is awesome and is made available through the Creative Commons License. Here’s a link to that and the artist’s website. Who is this artist and what is this song?  It’s “Summer Spliff” by Broke For Free.


HELP US AND DO AN AWESOME GOOD DEED

Thanks to all of you who keep listening to our weirdness on the DOGS ARE SMARTER THAN PEOPLE podcast as we talk about random thoughts, writing advice and life tips. We’re sorry we laugh so much… sort of. Please share it and subscribe if you can. Please rate and like us if you are feeling kind, because it matters somehow. There’s a new episode every Tuesday!

Thanks so much for being one of the 252,000 downloads if you’ve given us a listen!


Carrie Jones Books is a participant in the Amazon Services LLC Associates Program, an affiliate advertising program designed to provide a means for sites to earn advertising fees by advertising and linking to amazon.com

IN THE WOODS – READ AN EXCERPT, ORDER NOW!

IN THE WOODS, appeared in paperback in July with Steve Wedel. It’s scary and one of Publisher’s Weekly’s Buzz Books for Summer 2019. There’s an excerpt of it there and everything! But even cooler (for me) they’ve deemed it buzz worthy! Buzz worthy seems like an awesome thing to be deemed!

HEAR MY BOOK BABY (AND MORE) ON PATREON

My Patreon site I read and print chapters of unpublished YA novels. THE LAST GODS and SAINT. I also share some writing tips that are also going to be on Teachable as the WRITING CLASS OF AWESOME and send people art.

It’s a super fun place to hang out, learn, read, and see my weirdness in its true form.

Saint, a YA supernatural thriller. Sort of. 🙂

ART.

I do art stuff. You can find it and buy a print here. 

Why You Gotta Hate Like That Bad Guys In Writing and Life

Why You Gotta Hate Like That Bad Guys In Writing and Life

 
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This week we’re revisiting the idea of bad guys in our lives and in our writing because lots of us actually have bad people in our writing and our lives. These antagonists run the gamut from people who make us scream at their Facebook posts of Fakeness to actually physically hurting us and our community. Politics is full of making the other party the bad guy. People at work tend to make other employees or bosses the bad guys. We make bad guys everywhere.

Sometimes we make entire groups of people the bad guy like this week on Facebook a guy who manages an inn had a post that said,

The Facebook Post That Started It All

I have a couple staying with us, celebrating their 50th wedding anniversary. The woman came to tell me how she loves the Inn, but has been treated horribly by so many locals. Being told “go home” and have had obscenities shouted at her and her husband. I’ve seen posts in this group and others from people discouraging tourism. My question is.. .Do we want our town to be known as openly hostile towards visitors? Is this how the level of discourse is supposed to be?

Facebook person

And the responses were all over the locals. People saying locals were the bad guys. People accepting and expecting that those tourists’ side of the story was right and the locals were the bad guys. This might be true. It might not.

It’s like everyone just took one story, without verifying it, accepted it as truth and then jumped on the bad guy wagon.

The question is why? Why do we do this?

I’m sure the original poster believes that woman and that woman may absolutely telling the truth or at least her version of it, but why do we all jump in and take it as reality when it’s hearsay and just that woman’s side of the story. I mean, she obviously doesn’t want to think, “Hey, all these people are swearing at me. Maybe I’m actually doing something wrong.” Instead, she cast herself as the victim and the others as being the bad guys. Which could be entirely accurate.

We don’t know.

And that’s just it. In real life, a lot of the time, we don’t know. Things aren’t always as simple as good and evil; absolute right and absolute wrong.

Although, sometimes it really is. There are certain things that are just evil.


One of the biggest questions a lot of new writers have is this:

Do I need a bad guy?

Yes.

But your bad guy can be yourself or your main character.

Like in our random thoughts, Carrie is often showing that she is her own worst enemy. Watching tv gives her anxiety, but she almost always watches tv at night for a couple of hours.

When it comes to life or writing stories, this can help you figure out what the antagonist is.

Here are the steps:

  1. Figure out what your goal or your main character’s goal is.
  2. The bad person is whatever stands in the way of your character (or you) achieving your goal.

So, in life Carrie is her own antagonist because her goal is to not feel anxious at night, yet she still watches television for an hour or two. That’s an example of an inner-antagonist or bad guy.

Also in life, when Carrie doesn’t let Shaun watch American Pickers and makes him watch Pen15 or Teenage Bounty Hunters? She’s Shaun’s external bad guy, keeping him from his goal to chill with those picker guys.

WRITING TIP OF THE POD

Every story needs conflict. Sometimes that conflict and opposing force (what’s keeping your character from their goal) comes from the character themself.

DOG TIP FOR LIFE

There are enough bad guys in the world. You don’t have to make them up.

Sparty Dog
Sparty Dog, our rescue who saw way too many bad people out there.



SHOUT OUT!

The music we’ve clipped and shortened in this podcast is awesome and is made available through the Creative Commons License. Here’s a link to that and the artist’s website. Who is this artist and what is this song?  It’s “Summer Spliff” by Broke For Free.


Carrie Jones Books is a participant in the Amazon Services LLC Associates Program, an affiliate advertising program designed to provide a means for sites to earn advertising fees by advertising and linking to amazon.com

Continue reading “Why You Gotta Hate Like That Bad Guys In Writing and Life”

Why I Stopped Getting Google Alerts Way Back in 2007

I stopped getting Google Alerts.
Google Alerts are these wild things that tell you (sort of) when your book’s name or your name comes up on the web.

That can be a good thing.
That can be a very bad thing.

But in 2007 for me, it became a really, really bad thing.

 Tell us why Carrie.

Okay, Grover. Just because you are so darn cute and blue and furry, I will.

In 2007 Google Alerts coming to my email about my book TIPS ON HAVING A GAY (ex) BOYFRIEND had been coming through saying a line of a review and a website. I clicked. The website took me to… I don’t know, Grover. Should I really tell?

Yes, Carrie, do tell.

Okay. It was taking me to porn sites.

Do not worry, Carrie! I, Super Grover, and I, Scary Flasher Grover, will save you from this horrible thing.

I know, Grover, I wish you would! And it was not taking me to just any porn sites, and it was not even taking me to gay porn sites which would seem more appropriate, but it sent me to really hardcore horrible places. Do not worry, I clicked off my computer right away.

But, I guess, my points are:

1. I felt kind of violated. There was nothing to indicate that these sites were naughty. And they were really, really naughty.


2. That made me worried about other people somehow getting there from reviews of my book?


3. My poor editor guy, Andrew, gets Google Alerts for his authors’ books and it happened to him, too.


4. I still feel like that Dateline NBC man is going to come to my computer and say, “You were on an Internet porn site for 1.2 seconds before you screamed, shut it off and sprayed yourself with an entire bottle of Lysol Disinfectant spray. Why did you go there? Why? And don’t give me that Google Alerts line. We’ve heard it before.


5. I can’t help but wonder what sweet Grover would think if he knew what I accidentally saw. Please forgive me, Grover. I knew not what I did.

Oh, Carrie. Do you really think I, Grover, have a problem with this? Really… C’mon. Do you?


BRAVE THING I’M DOING

Pretty soon, I’m going to have a Teachable class all about the scene. It’s going to be pretty cheap and hopefully you’ll sign up and like it. You can also get access if you sign up for the $5 level for my Patreon. That link is behind the jump.

Carrie Jones Books is a participant in the Amazon Services LLC Associates Program, an affiliate advertising program designed to provide a means for sites to earn advertising fees by advertising and linking to amazon.com


Continue reading “Why I Stopped Getting Google Alerts Way Back in 2007”

Writing Talk Wednesday: The Scene

The Scene

It’s this element of structure for the story. We all write them, but sometimes it seems like this overlooked aspect of our stories. I’m not sure why this is. It’s not as elemental as the word or punctuation. It’s not as long and sexy as a chapter. It’s not as easily diagramed as a sentence, right?

But it’s so important.

There’s an old book by Raymond Obstfeld called Crafting Scenes and in its first pages he has a chapter called “What a Scene Is and Isn’t.” In it, he quotes the actress Rosalind Russell who was asked what made a movie great.

She answered, “Moments.”

And Obstfeld compared that thought about movies to our thoughts about scenes. He wrote, “The more ‘moments’ a work has, the more powerful it is. Think of each memorable scene as an inner tube designed to keep the larger work afloat.”

And then there is the corollary, “The fewer memorable scenes there are, the quicker that work sinks to the depths of mediocrity.”

So What’s A Scene and How Do You Make It Memorable?

That’s the obvious question, right? A scene is usually action that happens in one setting. But it’s not always. It’s about focus. It can be ten pages or one.

Obstfeld says that a scene does the following:

            Gives reader plot-forwarding information

            Reveals character conflict

            Highlights a character by showing action or a trait

            Creates suspense.

And a memorable scene? What is that?

It’s unexpected.

What does a scene have to have?

A beginning, a middle, and an end.

And the beginning? It’s like a blind date, he says. You have to tell the reader what’s going on and not just expect her to know. It has to hook the reader in, pulling her into its clutches so she wants to keep reading.

So, authors, look at those scenes. Are you hooking people in? Do they want to keep on that journey with you?

And people, look at the scene you’re at in your life. Are you into it? Is it at a beginning place? Are you still hooked into what you’re doing, who you are? Do you want to stay this way? Are you good?

I hope you’re good, but if you aren’t? Be brave. Make changes. Think about who you want to be and what you want the scenes in your life to be like. You can do this.

Brave Thing I’m Doing

Pretty soon, I’m going to have a Teachable class all about the scene. It’s going to be pretty cheap and hopefully you’ll sign up and like it.

Continue reading “Writing Talk Wednesday: The Scene”

Five Writing Quotes To Make You Feel Better About Things

Five Writing Quotes To Make You Feel Better About Things

 
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Carrie is a bit burnt out this week so we decided to take a fast look at the advice and quotes that writers give to each other.

Quote #1

“The road to hell is paved with adverbs.”
—Stephen King

Mr. King has strong feelings about adverbs. He has strong feelings about a lot of things. Just because a successful man has strong feelings about things doesn’t mean he’s correct.

Quote #2

“Know your literary tradition, savor it, steal from it, but when you sit down to write, forget about worshiping greatness and fetishizing masterpieces.”
—Allegra Goodman

This is just here because it has the word ‘fetish’ in it, but the truth of it is pretty obvious. Don’t write because you want to be John Steinbeck or God or Toni Morrison. Write because you want to be you.

Quote #3

“There are no laws for the novel. There never have been, nor can there ever be.”
—Doris Lessing

Many agents, editors, readers and critics would disagree with Doris.

Quote #4 A and B

“The idea is to write it so that people hear it and it slides through the brain and goes straight to the heart.”

“I don’t know about lying for novelists. I look at some of the great novelists, and I think the reason they are great is that they’re telling the truth. The fact is they’re using made-up names, made-up people, made-up places, and made-up times, but they’re telling the truth about the human being—what we are capable of, what makes us lose, laugh, weep, fall down, and gnash our teeth and wring our hands and kill each other and love each other.” – Maya Angelou

These are my favorite quotes about writing ever. Writing is about being understood and communicating truths that go straight inside of the reader and helps them see their truths, too, truths and connections.

Quote 5

“Read a thousand books, and your words will flow like a river.”

― Lisa See

Like any craft, when you read other people’s stories, it helps you see how to construct your own.

WRITING TIP OF THE POD

Advice can be take it or leave it, but try to remember to be yourself.

DOG TIP FOR LIFE

You can learn a lot about your craft by seeing other dogs’ techniques. Don’t be afraid to be learned.

SHOUT OUT

The music we’ve clipped and shortened in this podcast is awesome and is made available through the Creative Commons License. Here’s a link to that and the artist’s website. Who is this artist and what is this song?  It’s “Summer Spliff” by Broke For Free.

COME WRITE WITH ME! 

I coach, have a class, and edit things. Find out more here. 


WHERE TO FIND OUR PODCAST, DOGS ARE SMARTER THAN PEOPLE.

The podcast link if you don’t see it above. Plus, it’s everywhere like Apple Music, iTunesStitcherSpotify, and more. Just google, “DOGS ARE SMARTER THAN PEOPLE” then like and subscribe.

Join the 252,000 people who have downloaded episodes and marveled at our raw weirdness. You can subscribe pretty much anywhere.


Last week’s episode about poop, dentists, surgery, flavored alcohol and Jung. 

This week’s episode about generalizations and what men want. 

Last week’s bonus podcast with Jessica Burkhart! 

A link to our podcast about fatal errors, scenes, and ghost reaper sauce

What Are These Terrifying Beasts Called Pass Proofs?

So, when you publish traditionally you get this thing called First Pass Proofs.

What are these diabolical little things? Well, to understand that we have to take a tiny jaunt into the copyediting and proofreading world. Grab some snacks!


A Pass

This is when you go through your story and look for all the typos and mistakes and consistency errors. and redundancies.

The Proof

It’s a verb and it’s a noun. You can say “I’m proofing this” when you are proofreading.

But also, when you get your beautiful story manuscript after the copyeditor, proofreader, regular editor, editorial assistant and King Kong have all gone through it, you have pages called a pass proof. This is what your story looks like before it goes to publication. You are to read it all and see if anyone missed anything.


The Fear

I am afraid of pass proofs. 

But they are still super cool.

Why am I afraid of them?


Well, they come after the copy edits, so even if you suddenly realize that having your main character fall in love with a bottle of ALL NATURAL SNAPPLE ICED TEA was important to the plot of the book, you can not magically make this happen now. It is too late!!!!

SnappleIs it ever really too late to make SNAPPLE an important plot choice/love interest? I doubt it. 

Yes, Snapple! It is too late. 

Why is it too late?

Well, the first pass proofs are really what the book is going to look like on the page. It’s sort of all set and ready to go. 

And that’s scary. Your book baby is ready to go off into the world of anonymous reviews and bookstore shelves, and there is nothing you can do now to toughen her up, make her street smart. She is out there on her own very very soon and you just have to pray she won’t be a train wreck and become the kind of book that the paparazzi take pictures of because she’s always forgetting to wear her underwear when she gets out of cars. 

Continue reading “What Are These Terrifying Beasts Called Pass Proofs?”