Category: Advice

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From the Author/Editor’s Desk: A Guide to Worldbuilding (Part Two: Worldbuilding 101–the Author Side) 

We’ve all been there, right in the middle of a tense scene, when we lose the flow of the writing because we need to figure out a detail, a world mechanic, a backstory, or another little thing that underpins the moment we’re crafting. Worldbuilding is a complicated task, a mixture of Big Picture Overviews and Nitty Gritty Details that require organizational skills and excellent recordkeeping–or I suppose, an impeccable memory, though I cannot claim that (especially after Covid broke my brain!). 

There are many ways to create your world–and there are just as many ways to record those details to doublecheck later on when you need to ensure consistency across a series. Some authors create massive world guides (which they can later publish as reader extras!), though I have seen some people spend so much time on this document that they never actually get around to the story they want to tell inside that world. Another downside of the massive world guide is that some authors get so excited about it that the story they meant to tell gets lost amid the new details and context they have developed. Think of this guide as an iceberg–yes, readers know there’s more under the water. They can explore it if they want when they read your guide (published after the series ends, of course), but remember that your job as the author is to tell a story. With Characters. And Conflicts. All these details are nice to know when the moment arises (so you can mention the former governor’s policies on tea taxes), but they aren’t the story you’re telling–and they should always just stay in the background. Just think–if your story is as popular as Tolkien’s Lord of the Rings, you’ll be able to publish multiple guides and early drafts to satisfy the superfans. Most of your readers, though, just want the story that rests atop the world you have created.  

On the other hand, some authors wing it, relying on memory and fans to tell them if they switched a detail. Readers tend to be annoyed by this style, but plenty of authors still do it. The downside, of course, is that once a story screws up a detail or world mechanic, it’s really hard to recover–and some readers will DNF and never forget. 

Let’s avoid all that unpleasantness and allow readers to get lost in the Secondary World of your story! One way to do this is to get a worldbuilding guide–a book designed to help you create your world. (Psst, I wrote one). 

Your worldbuilding guide should help you consider the following: 

  1. Big Picture issues like creation, gods, myths, legends, and heroes (and probably villains)
    1. Where did your world come from?
    2. Are there gods or god-like beings that affect your character’s lives? 
    3. What are common myths or legends your characters would know?
  1. Cultural issues like government, society, cultural practices, warfare, and appearance (and you probably need a map somewhere!)
    1. How does the world run? Who’s in charge? How does this affect your characters?
    2. What social practices are familiar to your characters? What behaviors would shock them?
  1. Social issues like economy, education, relationships, communication, technology, travel, and health and wellness
    1. What does it mean to be educated in your world?
    2. What is a “normal” relationship between characters?
    3. How do your characters communicate over distances?
  1. World Mechanics like science, nature, weather, measurements (time and distance)
    1. Does your world use a recognized system of measurement (Pounds, kilograms) or something you’ve created (wheels, boughs)?
  1. People and creatures who live in your world
    1. Who lives in your world? How do they get along with the other inhabitants?

If you like this layout, check The General Guide to Worldbuilding by JM Paquette (order HERE). This one also includes open-ended questions, guided activities, cool artwork, and a ton of resources like character cards, plot points, general notes, and top five lists. 

If you write in a specific genre, you may enjoy the themed Worldbuilding Guides, coming soon from 4 Horsemen Publications–Fantasy, Paranormal Horror, Science Fiction, and Romance. 

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You’re an Author … and a Celebrity!

Imposter syndrome is often the battle we face throughout our careers as authors, and the definition of success is a gray area that has no hard lines drawn. You’re not an imposter. You are now officially considered and dubbed a “Public Figure” in the public’s eye! Taking a step back, let’s first talk about the fact that once you decide to cross the line of writer to published author (Self-pub, small press, big publisher, etc.), you’ve officially become a celebrity, or in more legal terms, a public figure. 

WHAT? A public figure? Who, me?

That’s right. The moment you decide to become accessible to the public and engage with selling your work in one way or another, you fall under this category, and there’s some legal ramifications. Your rights, the way lawyers and courts handle your involvement, and even how you fall in the hierarchy of society shifts. In doing so, you need to be diligent to establish and lock in your public presence, pulling much of it under your control. Let’s break this down!

Legality of a Public Figure

In the US, the definition and first impact on who and how a public figure is defined was first set during the New York Times Co. v. Sullivan case in the United States Supreme Court in 1964. The decision of you passing into the realm of a public figure can happen in several ways. It’s been defined as a person who has reached some level of fame, prominence, or notoriety within society through luck, achievement, action, or even through no purposeful action at all! 

Yes, that’s right. You can accidentally and unknowingly become one! WHAT! In any case, action and achievement are the more important ones here that cause the main event for us authors. The moment you publish a book and achieve public awareness, this new challenge starts. Here’s some things that can be startlin. Even if you aren’t selling more than a few books a month, these can still impact you as an author or public figure:

  • Defamation and slander will be harder to fight without obvious proof of actual malice.
  • What you say can be held against you more so than any other time.
  • You have a responsibility to the public.
  • If there is a large enough presence and history, you can use public figure status as another proof of Identification for Notaries.

Establishing Your Public Figure Status

Marketing is the bane of any author, but this coincides with the ability to build stronger roots for your presence as a public figure. Being in control of your identity is vital, and there are several things you can do to secure your public image. Be sure to be consistent in biographies. Keep things up to date and use consistent branding, colors, images, covers, content, and more. You are the entrepreneur, and your books are your product, so commercialize how you present yourself. This helps with being able to prove and disprove your content and public figure status. We recommend establishing the following items if they are applicable to your individual journey:

  • Lock in a website and domain name
  • Copyright your books in your name, LLC, or Alias
  • Register you pen names as a company or alias 
  • Pull and own your own ISBN (self-publishers especially!)
  • Social Media accounts and presence (same naming pattern is a must!)
  • Wikipedia author page
  • BookBub author page
  • Amazon author page
  • Goodread author page
  • Register yourself as a business on Google Business and similar sites
  • Wikipedia book page(s)
  • Anywhere you can add yourself as an author and professional!

Imposter Syndrome

We’ve interviewed HUNDREDS of authors, and it doesn’t take long to realize we all suffer from Imposter Syndrome. You know–that gut-wrenching sensation that we’re not a “real” author and make us wonder why are we even bothering to keep this “sham” going as a so-called “author.” Sound familiar? STOP IT. These negative insecurities happen even to successful authors such as Stephen King and Jonathan Maberry, and it can be mind blowing. When we struggle to write, to sell, to do events, to do anything under the umbrella of being an author, we tend to doubt ourselves. But you became a public figure the moment that book hit the hands of the public or was posted within access to them. You’re there. Check out our article on how to deal with imposter syndrome here!

Growing Your Public Figure Presence

Now we’re back to your current presence. You’ve barely sold a book, so you may wonder why any of this matters… STOP IT! You’re amazing, and you’ve done something many haven’t–put a piece of yourself out into the world in the hands of the public. CELEBRATE. You’re a public figure, and you shouldn’t be afraid to ask! Venture out of your comfort zone to make it known not only in your network, but in circles and places you wish to be part of. How? Start growing your presence by:

  • Attend events by getting an artist alley or vendor table
  • Participate in panels
  • Teach workshops
  • Introduce yourself to book clubs, libraries, and schools
  • Send copies of your book to podcasts, influencers, book reviewers, and others involved in your circles who have proven status as public figures themselves
  • Participate in interviews
  • Create press releases
  • Introduce yourself to brick-and-mortar bookstores using sell sheets or one sheets
  • Create media kit or press kit for journalists

Remember: you’re a big deal now! You may not feel this, but you have the power to grow and make your presence known!

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Unveiling the Magic: The Importance of Using Psychological Principles to Create 3D Characters!

In the world of storytelling, characters serve as the heart and soul of any narrative. Crafting 3D characters, those who feel real and relatable, requires more than mere description and plot devices. By incorporating psychological principles into character development, writers can breathe life into their creations, resonating deeply with readers and leaving a lasting impact. In this blog post, we’ll explore the significance of using psychological principles to create 3D characters and how it elevates the art of storytelling.

  1. Relatability and Empathy: One of the key advantages of applying psychological principles to character development is the ability to create relatable characters. Human beings are inherently drawn to stories that reflect their own struggles, emotions, and experiences. By understanding the nuances of human psychology, writers can craft characters with flaws, fears, and aspirations that readers can connect with on a profound level. As readers empathize with the characters’ journeys, they become emotionally invested in the story, making the reading experience all the more powerful and engaging.
  2. Authenticity and Depth: A character’s authenticity is crucial to their believability. Psychological principles allow writers to delve into the complexities of human behavior and emotions, creating characters with depth and authenticity. By exploring their backgrounds, motivations, and internal conflicts, writers can paint a vivid picture of the character’s persona. As readers witness the inner workings of a character’s mind, they develop a sense of intimacy with the story, making the characters feel like real people with genuine struggles and triumphs.
  3. Character Arcs and Growth: Psychological principles also play a pivotal role in shaping character arcs. Understanding how individuals respond to challenges and evolve over time enables writers to create dynamic character development. Characters can start with weaknesses and vulnerabilities, and as they encounter obstacles, they grow and transform, ultimately overcoming their flaws or facing their inner demons. This growth not only adds depth to the character but also provides readers with a sense of fulfillment as they witness the character’s personal journey.
  4. Reader Engagement and Investment: The power of psychological principles lies in their ability to captivate readers’ attention and keep them invested in the story. As readers observe characters navigating through relatable psychological struggles, they find themselves drawn into the narrative, emotionally attached to the outcomes. By creating multi-dimensional characters, writers can hold readers in suspense, drive them to turn each page, and keep them emotionally engaged until the story’s resolution.

Incorporating psychological principles into character development is an art that elevates storytelling to new heights. Creating 3D characters fosters empathy, authenticity, and growth, leading to more profound connections with readers. As writers harness the power of psychology to craft multi-dimensional characters, they gift their readers with an immersive and transformative journey. So, the next time you sit down to create characters, remember the magic of psychological principles, and let your storytelling prowess shine.

In summary, by understanding the psychological motivations and complexities that drive human behavior, writers can craft characters that resonate with readers on a profound level. Creating 3D characters that are relatable, authentic, and undergo growth throughout the story ensures an engaging and emotionally fulfilling reading experience. As writers embrace the magic of psychological principles, they elevate the art of storytelling to new heights, creating narratives that leave a lasting impact on their audience. So, the next time you sit down to create characters, remember the power of psychology, and let your storytelling prowess shine.

Do you want to learn more? 

Check out the book and the course, The Psychology of Character Design—Using Psychological Principles to Design 3D Characters and uncover all the secrets of using psychological principles to craft life-like characters.

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From the Author/Editor’s Desk: A Guide to Worldbuilding (Part One: Secondary Worlds and Why We Care–the Reader Side)

We’ve all been there, right in the middle of a tense scene, when something in the story contradicts something we already know about the world, and boom–we’re sitting outside the story again, disappointed and a bit miffed that the author couldn’t maintain the magic. Whether it’s something complicated like a magical system or something simple like the song on the radio at the bar, the stories we read need consistent details to make the world feel believable. These little things all add up to create the word of the story, a world readers to crawl inside and explore. 

Tolkien talks about what he called the Primary and Secondary Worlds in his essay “On Faerie Stories” (where he basically defends fantasy as a worthy genre, among other things). The Primary World, of course, is the one in which you live, the one in which you now sit, currently reading these words. Perhaps the words are on your phone screen; maybe you’re waiting for a bus or curled up on a couch, nursing your morning coffee. Either way, odds are you don’t always find the Primary World to be the Best Thing Ever. For Tolkien, the Primary World is good because we all live in it, but it’s definitely lacking in certain aspects–and that’s why readers read Fantasy (or really anything imaginary at all). We want to escape the Primary World and spend some time in a Secondary World. 

Now, let’s pause for a moment, as Tolkien did, to examine that word “escape.” One of the easy criticisms of fantasy readers is that they can’t face the real world and have to run away into a book. I’m probably not alone in being told that reading so-called “escapist fiction” is some kind of cop-out, a weakness, a failure to accept the very real world around all of us. Tolkien disagrees, and in the most Tolkien way ever, of course, because he starts by examining that word “escape” (Tolkien’s love of words and philology knows no bounds!). He argues that there is a difference between what he calls the Flight of the Deserter and the Escape of the Prisoner. Readers of fantasy aren’t deserting reality because they can’t handle it. They aren’t running away. Instead, readers (and everyone else in the Primary World) are all prisoners of what can be, honestly, a pretty terrible place sometimes. For Tolkien, a devout Catholic, the Primary World is a fallen world, a kicked-out-of-Paradise world, and so of course, like anyone imprisoned, the inhabitants will long to escape–to occupy their minds with something not so depressing. Keep in mind that Tolkien lived through two World Wars (he fought in WWI and was one of a handful of survivors among his classmates). You don’t need to be Catholic to see that some days, the Primary World sucks–and the urge to escape into somewhere else, anywhere else, is a perfectly normal human reaction. It’s not that fantasy readers can’t handle the real world; it’s that the real world is often ugly and harsh–and humans need a break. A release. An escape. Who would deny a prisoner the chance to escape, at least in the mind?

So where are we prisoners, I mean, readers to escape into? The Secondary World. Where can we find that? Inside the writer’s mind, at first, but then through some artful magic, what Tolkien calls Enchantment, readers are also allowed to inhabit this Secondary World. And this world only works if it is consistent in and of itself. There must be rules, and the rules must be followed, or readers (and prisoners) risk being knocked out of the story forever, unable to enter it believably again. 

In other words, if people in the book’s world use the sun and candle rings to tell time, then someone shouldn’t say it’s 10:11pm. If people can fly on broomsticks, then that’s how gravity works (or doesn’t) in that world. The world should be consistent. Readers pay attention to the little things, the details, when they invest in a story. If authors switch out the small stuff, readers will notice, and then remember they are reading a book, finding themselves back in the Primary World rather than still lost in the Secondary World the writer has created for them. 

Another thing to keep in mind when discussing worldbuilding: willing suspension of disbelief. You may have heard this term somewhere in a literature course, but the essential idea is this: Of course I always know I’m reading a book. My fingers feel the pages, possibly my neck aches from staying in one position too long, I can hear the soft shuffle of the page as I turn it (or hear that little electric swoosh noise my Kindle makes when I turn on that sound feature). But sometimes, when the enchantment is done right, I can forget all that, and really lose myself in a story, falling headfirst into the world of the characters, blissfully watching their trials as the real world goes by outside the pages. In order to do that, though, I have to willingly suspend my disbelief. If I’m reading a book where people can fly, and I know that flying isn’t possible in the Primary World, I have to willingly and knowingly suspend my natural disbelief in the possibility–and just go with it. Often, people who don’t enjoy reading fiction have a hard time making this leap. In order to travel from the Primary World to the Secondary World, you have to leave your disbelief behind–and accept whatever rules the Secondary World has. 

Since we spent so much time on Tolkien, this is a good time to bring up the fact that while he enjoyed plays (and movies) in theory, he never “got lost” in them because he could never forget he was watching people perform either on stage or screen. He thought performers could never transport him the way words on a page could, the way his own imagination could. Either way, there is no transportation at all if the Secondary World isn’t coherent and complete in itself. 

Proper worldbuilding, creating a world behind the story that stands on its own and supports the tale being told, is critical if authors want readers to join them in a Secondary World. How does one create a believable world? As the old adage says, lots and lots of time and practice. And maybe a little help. 

Check out The General Worldbuilding Guide, coming soon from 4 Horsemen Publications (pre-order HERE).

In Part Two of this blog, I’ll delve into the nitty gritty of worldbuilding, and we can get you started on creating a viable Secondary World for your readers. 

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From the Editor’s Desk: A Guide to Ellipses

You wouldn’t think that three little dots would cause so much trouble… but here we are! An ellipsis is the mark of punctuation created when you join three periods together and hit the spacebar–your writing program should join the separate periods into a single unit of punctuation. 

An ellipsis indicates hesitation… and it’s really annoying when people overuse them. There are legitimate reasons for people to pause in your writing (especially during narration), but when someone always ends a sentence with an ellipses, it makes them seem uncertain about everything. 

A few ground rules: 

  1. An ellipsis includes three periods. Not two or four, but three. 
  2. An ellipsis can function as end punctuation. You do not need to add a period or question mark or exclamation point after it.  
  3. You use an ellipsis to indicate a pause in the sentence, a moment for a character to find the right word or decide how to proceed or what to say, or even for the narration to reveal something … slowly. 
  4. Generally speaking, treat ellipses like a word when they occur in the middle of a sentence or clause; that is, they get a space on either side. So if you begin … a sentence, and then continue the thought, it looks like this. 
  5. If the ellipsis occurs after a complete clause, put a space after it, but not before. So if I’m not certain how to do this… but eventually I read a blog and figure it out, it looks like this. 
  6. If the ellipsis ends the clause and the next sentence is its own thought, capitalize the first word after the ellipsis. For instance, if I am uncertain… Then I go home and read a blog about ellipses, this is how it would look. 

Ellipses in action

If the ellipses ends the sentence, it looks like this: 

  • Don’t get me wrong: I had a blast. I don’t know… It just didn’t spark anything, you know?
  • “I won’t let you paint my nails because…” Jordan thought for a moment. 

If the ellipse is in the middle of sentence, it looks like this:

  • He paid his bills, his taxes, bought what he needed … and watched his bank account dwindle.
  • We’d need sets, actors, cameramen, sound people … and more importantly, money to pay those people.

If the ellipses is in the middle of a sentence where it is more “stuttering” or hesitating, it looks like this:

  • I… I don’t know. 
  • Wh… What?

MORE Ellipses Examples

No Space before—new idea after ellipses… 

  • Gabriella tells her, “Like you… yes… I see a part of myself in your face, the way you are looking at me now.” 
  • He helped them start the genocide that’s happening where I was born, blinding them into believing they were gods… that they have the power over life and death. 
  • It’d break her heart to hear… and you and I both know I shouldn’t be naysaying a gift. 
  • I would say I like to go out in that rec yard, but it’s a concrete box with mesh over my head… still walls. No need to belabor that… I’m fucking done. 
  • But this… this type of thing, she can’t investigate. 
  • Wilson’s dead… my boy… my legacy is dead, but I’ll be goddamned if my legacy will be some bitch sitting in my house. 
  • He swirls the brown liquid in the cup, teasing spilling it on her white couch… messing with her some. 
  • I know you have something you want to say… Not speaking isn’t an easy thing for you. 
  • I… I don’t know.

Space—pause within same idea … within the sentence (Christopher Walken style) 

  • “They are evil. Devils … destroying what was a great country, a great people.” 
  • Some places … like the one I was at before all this started, they had good food. 
  • Her face absorbs the seriousness of the space … and the death. 
  • Tanner … Brogdon is not just some pretty boy. 
  • That you exaggerated or lied about … some truth.

Both space and no space in the same sentence! 

  • He thought … he couldn’t accept that by working with those … savages who now control the South… He thought he could control everyone. 
  • Either you embellished it or something, or you made it up… Either way … it hurts your credibility.

The bottom line is that ellipses are hard, but they can be mastered by following a few simple rules. Think about the clauses in your sentence and use that as your guide for spacing!

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4 Must Haves for Covers to Land in Book Stores

It’s every authors’ dream to see their book on the book shelf at a local store. In fact, there’s something awe-inspiring when it lands on a shelf at a large retailer such as Barnes & Noble. With the publishing industry rapidly evolving, even the self published author has a chance to achieve this. Traditional publishing is no longer the only path to allow this dream to come true, but there’s a lot of factors that impact how successful your attempt will be. You have to have the right distribution channels, a book genre they are needing to fill the space for, register the title in such a way, and more importantly, design your book can be the difference between a hard no and getting that yes.

We hear the adage of “don’t judge a book by its cover” all the time, however, in the world of selling and marketing, this is the first point of contact. Your cover has 3 seconds to grasp an amazon customer’s attention as a thumbnail, but that’s for digital sales. When it comes to landing on a bookshelf things get more complicated. Stores have needs, stipulations, and more that if the book’s design doesn’t meet these, you won’t get that dream locale.

1. Be On Trend

The most apparent aspect is making sure your book matches the trends. This means even considering changing your cover as the hot trends in your book’s genre and audience as they evolve. You see even the bigger publishers do this for books such as Stephen King’s The Stand with covers evolving in several ways. You’ll find his name grows larger with his popularity, that variation covers for television and movie adaptations, and even recent remakes to match current trends. In short, as much as you loved the art or that cover, you can’t keep your book competitive by settling on one version and hope that the trend stays. In short, your cover needs to sell to today’s readers, not yesteryear’s fans. It has to compete and be on the same level as the big publishers, so don’t be afraid to find a cover designer that can take this to the next level and this may come down to forfeiting your initial vision for the cover completely.

2. Spine Text

As 4 Horsemen Publications steps deep into year four of being in business, it’s surprising to see the gap in what readers are buying and what traditional says is expected for books in regards to word count and book lengths. Overall, books pushing over 80,000 words in all genres sell better. With that in mind, books with a 5×8 to 6×9 book size, or trim size, will have the spine width needed to have room to place spine text. If your book doesn’t have title, author, imprint logo, and series number (on top preferably) – your book won’t be considered for in-person shelf placement. That’s right, because they need the readers to be able to see what book that is among the sea of books, and added bonus if at a glance they know which in the series it is. Even the library system wants to see this more on books they carry! I can’t express how important it is for them to be able to shelve the 

3. Barcode Placement

Did you know there’s a book group in charge of regulating what a book barcode looks like? Every book in the market has the same barcode pattern and now large retailers including Amazon are demanding in 2023 that print books, paperback and hardcover, have the barcode on the back cover always in the bottom right corner. Why? Because automation is king and the more consistent and standard these are the easier to process large volumes of books. Your barcode consists of ISBN, or International Standard Book Number, as well as your book’s price. Barnes & Noble and many large retailers make it clear in the fineprint that they only carry books who have the price listed on the barcode. For example, 52299 on a barcode indicates USD, or US dollars with the 5 followed by $22.99 price. If your code says 90000, this means no price is listed and this book will have a hard time landing at brick and mortar stores.

4. Leveling Up

Don’t stop with the basic shelf needs! Be sure to take advantage of the cover and look at the trends for your genre. If you have a non-fiction book, you will be making space for the author’s short bio alongside the blurb so readers know why they are the best expert about their topic of choice. Regardless, every publisher and author should be using this space to add a modern touch and include not only website information but social media. With author platforms being number two in the best way readers discover new authors and books for over a decade, don’t leave it out (Statistics from Ingram, Written Word Media, BookBaby, etc.)! Make sure to add your book award seals, quotes or one liners from reviews, and “foreword by” are all great additions to catch the reader’s attention and connect.

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What Is an Audiobook Guide and Why Do You Need One?

It’s no secret that having an audiobook for your series is a good idea–albeit an expensive undertaking. When the time comes to have someone narrate your words, creating an audiobook guide (or Audiobook Bible, as we call it at 4 Horsemen Publications) can make all the difference between a performance you are proud of and an experience you don’t want to talk about. You invested a lot of time in writing your story–take a bit more to create a guide that will enable an accurate version of your vision. 

What is an Audiobook Guide? 

An Audiobook Guide is a document you share with your narrator (and perhaps your readers?) that contains two vital pieces of information: how to pronounce the names, places, and specialized vocabulary in your story as well as the mannerisms and speech patterns of your characters. You can do this in a few different ways. 

First, let’s talk about pronunciation and why it matters. A lot of authors will say they don’t really care about how a name in their story is pronounced–or my least favorite comment, “Just say it the normal way.” Let’s talk about what the word normal means. 

My name is Jenifer. Aside from the odd spelling (only one n–thanks, Dad!), the name Jennifer has been in the top 100 US names for the last few decades. Growing up, I always had at least one (often two three) other Jennifers in my class, meaning we had to pick separate nicknames. For the first fifteen years of my life, I was Jeni (Jenny if I had the traditional spelling). I didn’t think there was any other way to say my name… until I moved to Florida–and my Jeni became the much more serious and adult Jen–and everything shifted. 

Instead of Jen, rhymes with “hen” and “pen,” Floridians pronounced my name as “Jin,” like the drink “gin,” rhymes with “sin” and “tin.” I didn’t think I would become an alcoholic beverage, but this simple example shows how much regional variation exists in even so-called “common” name pronunciation. If this kind of thing matters to you as an author (I have shrugged and accepted that my name can sound different in different mouths), and you don’t want your character names mispronounced, take the time to explain how the word should sound, even common names. 

Your Audiobook Bible Should Include These Two Things:

  1. Pronunciation Guide

There are two ways to describe the proper sounds you want your narrator to use:

  • Option A: Spell it out with rhymes
  • Option B: Use the phonetic alphabet

Option A: Spell It Out

Spell the word out the way it would be pronounced with helpful rhymes and references to help the narrator understand what you mean.

  • Klauden van Sherinak (main character):
    • Claw (like a cat!) din (like dinner is ready) 
    • van (like the vehicle) 
    • Sher (first part of sheriff or an awkward fast sure) in (like an inn or bed and breakfast) ack (like you just stubbed your toe or the ending of the word back or tack or wrack)
  • Chaivin (nickname Klauden uses for Hannah): Chai (like the fancy tea with spices) veen (rhymes with queen and seen)
  • Hannah van Kreeosk (Main character):
    • Hah (like you were right about something and letting someone else know, or you just found the thing you were looking for) nah (like you’re passing on an option “nah man, I’m good” or rhymes with blah or like you’re at the dentist opening your mouth)
    • Van (like the vehicle)
    • Kree (rhymes with sea or like the Marvel creatures) osk (like mosque or the Star Wars character Bossk)
  • Talperin (small town): Tal (rhymes with pal or gal or the first part of the name Mal-colm) per (rhymes with fur) in (like an inn or bed and breakfast)

Option B: Use the Phonetic Alphabet

The phonetic alphabet (see a basic description here) for all the sounds.

  • Klauden van Sherinak (main character): /klaʊ dɛn væn ʃɛr i næk/
  • Chaivin (nickname Klauden uses for Hannah): /tʃaɪ vin/
  • Hannah van Kreeosk (main character): /hæ nɑː væn kri ɒsk/
  • Talperin (small town): /tɑːl pɛr ɪn/

The order in which you list your words is up to you, but think about the ease of use for your narrator. I once had an author hand over an excel spreadsheet with over a thousand words and phrases on it (Thanks, epic fantasy!). At first, this seemed too unwieldy, but it ended up being easier for the narrator to search for keywords and find them quickly. 

Another thing that will help your narrator is if you make short recordings of you saying the word. You can do this with your phone and one of the many free voice recording apps.  Put these files in a folder that you share with the narrator so they can listen to it over and over again, getting your pronunciation down before they begin reading your story. 

2. Character Tone Guide

After your pronunciation guide, you should also give a quick overview of the personality that influences the speech patterns of each character. Include any accents, verbal tics, famous references (She sounds like Famous Person X in Movie X), or anything else that will help the narrator nail the sound you seek. 

Klauden van Sherinak: (Main character) very studious, reserved, patient, speaks thoughtfully except for the rare occasion when he gets upset (usually because Hannah is being a jerk to him). He is a vampire, so if you want to give him an accent different from everyone else (except Hannah–they’re from the same place), go for it.

Hannah van Kreeosk: (Main character) generally happy or excited about whatever is happening, speaks sometimes before thinking (blurts things out), cautious when meeting new people, secretive about her own life/abilities, sometimes shy and awkward, especially around Rory. If Klauden has an accent, give Hannah a similar one, maybe slightly less since she’s been away from home for a bit. 

Once you have started your Audiobook Guide, keep it updated as each new book in the series comes out. Just add new names, places, or words from the newest installment. Make this a living document that grows with your series. (Also, keeping it all together makes it easier to remember how you wanted that word from book one to sound when the characters revisit that idea in book five.)

Choosing a Narrator

Finding the right voice for your series is a big decision–and there are many other blogs that have useful tips about the process, so I will just sum up the biggest ones here. 

Remember that recording an audiobook is expensive. Make sure you and the narrator are on the same page about everything from pronunciation and payments to timeframe and corrections. Listen to the person reading a sample of your work, and think about listening to that same voice for hours as they read your entire story. Listen to other recordings by that narrator and see if you like the vibe. 

Choosing the voice for your series is an important decision, and one that sets the tone for the rest of the series. Changing narrators midway can be jarring for readers, so you want to avoid that situation. 

Overall, an Audiobook Guide can make life easier for you, your narrator, and ultimately, your readers. You wrote an epic story! It’s time to let new readers hear it–the way you want it to sound. 

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From the Editor’s Desk: The Oxford Comma

You may be wondering what is so special about the Oxford comma and why there are so many delightful memes about it. Some context: the comma before the “and” in a list of three or more items is known as the Oxford comma (also known as the serial comma). You may have heard some debate about whether or not this comma is necessary. 

Let me assure you—it is. 

While it pains the editor in me to say, there are times when a comma doesn’t really matter. You can put it in or leave it out, and the sentence will survive. Readers will comprehend the nuanced meaning, and life will go on. Those commas are often called stylistic commas, and they may rely on their surroundings. Does the previous section or sentence have a lot of commas? Can you get the meaning across without including this one? Then leave it out to spare your reader’s attention span and focus on the important things instead. 

The Oxford comma, however—that comma in a list of three or more things—is NEVER a stylistic comma. It is never optional. It means something very specific in a certain situation, and when you need it to be there, you really need it to be there. 

Essentially, here’s what the Oxford comma says: these three (or more) items are not related to one another, as in, they are not dependent on the previous item to make sense. 

Consider the sentence: 

Tonight, at my computer, I drank a cup of tea, a bottle of water, and a can of lime Bubbly.

This sentence has three separate things: tea, water, and Bubbly. 

Here’s what happens if I remove the Oxford comma. 

Tonight, at my computer, I drank a cup of tea, a bottle of water and a can of lime Bubbly. 

Ew. Right now, my cup of “tea” is apparently a mixture of water and lime Bubbly. When you don’t have the Oxford comma, what you are conveying through your punctuation is that the two (or more) items following the commas are EXAMPLES of that first item. 

My heroes are my parents, Captain America, and Oprah Winfrey. 

Great, you have three heroes: parents, Captain America, and Oprah. Awesome. 

My heroes are my parents, Captain America and Oprah Winfrey. 

Uhh, really? I didn’t know Cap and Oprah were a thing…

When you leave out the Oxford comma, you change the meaning of the sentence and the relationship between those listed items. Instead of a list, everything after the first becomes an example. 

Hence, the litany of glorious memes!

With the Oxford comma: We invited the strippers, jfk, and stalin. Image includes stripers, jfk, and stalin. Without the Oxford comma: We invited the strippers, jfk and stalin. Image includes jfk and stalin dressed as strippers.
We invited the rhioceri, Washinton, and Lincoln. Image included has rhinos, Washington, and Lincoln. We invited the rhioceri, Washinton and Lincoln. (missing the comma) Image included has Washington and Lincoln as rhinos.
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Decorative Image

Or you can even argue that the items following the first are being addressed in the sentence!

With the comma: I had eggs, bacon, and sausage. 3 items in the picture. Without the comma: The person says he had eggs while speaking to the bacon and sausage.

So, let your readers get the message you’re trying to send. Use the Oxford comma.

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6 Heat Levels to Romance

Spicy, sweet, steamy, hot, mild, vanilla: All of these are various words used to describe the “heat level” to a romance novel or series. What do they even mean? And in the reviews, readers often leave infamous chili peppers 🌶️ or flames 🔥 to express to one another what “heat level” the romance story hot for them. So what is the heat level?

Heat levels or spice in a romance is often in reference to the sexual content. This implies how often you get a racy scene but as well as how intense, long, or level of description you may be getting out of these intimate rumble in the sheets moments with the characters in a story. 

Sometimes we can guess based on the genre and tropes a romance novel has. For example, erotica is going to be an instant heat level of 6 whereas smalltown christian romance is going to be a 1 or 2 max. Dark Mafia? Motorcycle Rebel? Expect 4-6! Rom-com or paranormal romance? Depends on the darkness and can range on averaging 3-5!

As an author, we often struggle to communicate what we wrote and where it falls in this insane system that has developed among readers. So, let’s take a look at what each level looks like from the story or camera angle readers are seeing these lovey dovey or intimately racy moments.

🌶️ Heat Level 1 🔥

Aww! They’re holding hands, flirting, and at last kissed! Camera can’t follow them through the door. 

This is where we get those describers of sweet, wholesome, clean, and more. We also see this as the first time in love stories typically more common in Juvenile Fiction or romance stories for Christian Fiction. 

🌶️🌶️ Heat Level 2 🔥🔥

Oh she’s making out with her crush and they’re dating now! Camera can see through the open door before lights out.

Now we are getting to make out and have public displays of affection. Again, we are still in that younger audience, or readers who want the romance vibe without the need to see the naughtier bits. Most authors writing here have a sweeter ambience to their stories and a lot more character development and drama unfolding.

🌶️🌶️🌶️ Heat Level 3 🔥🔥🔥

Making out, talking about sex, touchy feely – things are happening. Camera is following them to the bed; clothes are coming off – OH! Lights out!

This is the most common middle ground for a good chunk of authors and books that use romance as a subgenre. We are having some really adult moments, out of wedlock encounters, and talking dirty isn’t off the table. Granted, the naughty bits get rather close and heavy before lights go out and jerk us forward to the next morning and the aftermath of complicated character and plot development that it ties into.

🌶️🌶️🌶️🌶️ Heat Level 4 🔥🔥🔥🔥

Oh they are going to do this! I see bras and panties. Things are thrown to the floor. The lights are on, but Camera can’t zoom in.

Let’s preheat the oven and let things bake. Now we are taking out time, really showing the body language and chemistry slower and in greater detail. This is your spicy or steamy romance reads who are pulling sexual content more into the plot or as something a character needs to explore themselves or the love interests being presented. We can follow to the bed, but the details are fuzzy and refined. Language and vocabulary may be limited but more daring in comparison to heat level 3.

🌶️🌶️🌶️🌶️🌶️ Heat Level 5 🔥🔥🔥🔥🔥

Camera is in the room, and they are naked and talking dirty. There’s a few explicits and even words like “cock” and “pussy” – WOW!

Now we are in kinky, dark romance, romance erotica, and things skirting at the edge of erotica as a genre. These sometimes will be labeled both in Romance categories as well as Erotica because they have thinned the line between the two. The naughty bits still sit second place or lower as for plot focus, but it’s become a huge element of the story. The vocabulary is vulgar and brash, the scenes daring and if you weren’t fanning yourself before this, you are now. Get ready to sweat, blush, and hide where no one can read over your shoulders more so than ever before.

🥵 Heat Level 6 🍆

Camera is there with a whole crew, asking for a leg to move so they can see how things are going into other things. This could be a guide to how to have sex with so many details. Wait, where’d that whip come from?

Unapologetic smut. Sex is the plot and is often a huge part of the world or characters goals, motivations, and conflict. Getting laid varies in many ways, but this is close up, play-by-play, and there’s not much left for the imagination to know exactly where that hand went and what they did once they reached their destination! Fanning and heart thumping, these books are meant to entertain and invoke arousal in the reader themselves much like their visual compadres on the dark, naughty side of the interwebs. That doesn’t mean you can’t find enriching stories, immaculate writing, and amazing character development even with intercourse served as the main course of the plot. Just remember, much like their visual brethren, it’s not recommended to try to reenact what you read.

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Keeping Focused During Your Fiction Research

Research isn’t just for academic or non-fiction writing. Many readers are pleasantly surprised when they discover their fiction books, whether high fantasy or historical fiction, have more truth or real world influence than one would expect. As a fellow author, I often tie in lesser known myths, history, and superstitions into my own work despite creating worlds not connected to our own. With this magical blend comes several concerns and bear traps that can cripple the writing process on a few levels. I’ve often been asked:

  • As a writer, how do you know when to stop research and start writing? 
  • Or how do you focus and break it down so it works for you? 
  • Furthermore, how do you stop yourself from falling down the rabbit hole of research and find yourself elsewhere hours later?
  • Wait, exactly how much fiction to fact ratio do you even include/exclude!

After several panels and workshops, I have found myself writing a workbook on the topic. Mindful that this is not intended to create excitement and love for research, that’s just a personal vibe I carry close to heart. Instead, Writer’s Bane: Research 101 is intended to help an author break it down and stay focused. How? Well, here’s some of the advice from me to you:

Break it into 3 Core Focal Points

There’s only three main reasons you should be doing research for any story, whether short story to an epic science fiction. Don’t try to gather research on all three of these and you should do this one point at a time. So what are these three things? Character, World, and Plot. This shouldn’t be anything new to writers who have done a lot of workshops and reading on the craft of writing.

Character

Pick a single character at a time. Cliff notes and bullet points are best as you discover something you want to add to your character. If you’re writing historical fiction, you don’t want to stray too far from the truth. Meanwhile, fantasy and alt-history will have room to stretch, twist, and even re-invent. Even though you are doing research, it doesn’t mean it has to be exact in this case unless your audience and genre calls for it. Research a little up front on your main character, love interest, antagonist, and supporting or vital secondary characters. It’s encouraged to do research as they arrive in a scene so as to not derail your writing and telling of your story.

World

Again, same concept as the characters. Focus on key locations and research them one at a time. Creating an ice planet? Do some extreme weather survival dives and note ways your characters will have to combat. What would be available here? Even consider resources that would be common or accessible that may rendered useless in areas. For example, in a high fantasy world, magic is legal in one kingdom, while forbidden in another and puts the entire party at risk of burning at the stake if caught! You can use real world applications to help decipher unique cultural aspects, but remember to be respectful of cultures, religions, and indigenous people you are using for research. Not sure if you did so? Grab a sensitivity reader and share. Work with them to correct any red flags you weren’t knowledgeable enough to see.

Plot

As strange as this may sound, your plot often will cause a snag or leave you unsure of how to best describe or execute how the character and world should be interacting with one another. Is there an earthquake? No problem, there’s tons of actual accounts on video, written, and recorded throughout history. Don’t be afraid to research even the smallest detail to help create a believable story. For example, the character making soap from scratch! Can he just do it with nothing more than a campfire? How long does it last? Can he find the missing elements close by? Can he even stomach the process? These are all things to consider that impact how this plot of making soap can even impact the character’s needs for the next scene… So if a campfire isn’t enough, then perhaps throwing them in the way of a trappers cabin or similar to help provide a way to access items. Don’t be afraid to consider the options and twist the plot to make a more believable story!

Do and Don’t Lists!

As you set forward to research, keep in mind often what you DO want and DON’T want for that focus point. You aren’t researching a bunch of things all at once, or you’ll spiral away from the thing you need in this moment to keep writing and derail yourself. So, the moment you can say “I don’t need this for this character” or focal point, pivot back a step and look for something you DO need. This takes some getting used to. Found something too juicy to let go? Copy and paste it to a dump file! This can be a great starting point for research in other areas, but don’t allow yourself to dip off the path any further! These lists also come in handy when you want to hyperfocus on building characters, worlds, or even a plot with certain aspects while keeping others out completely.

Set a Timer

Much like the practice of writing sprints, it’s always good to set a timer to come up for air from research. The last thing you want to do is steal time away from your writing simply because you’ve found yourself distracted by the content. Again, this is a good way to make yourself ask “DO or DON’T” what you are looking at at the end of this sprint. If it’s not on focus, change focal points, reset and refocus on the current focal point, or head back to your story and start writing! You may not realize you broke loose without taking the time to assess often. Research hounds such as myself can lose an entire day on a single point! 

Make Grids and Charts

If you have a copy of Writer’s Bane: Research 101 You already have access to some great charts that are flexible for any style of writing. These can make it easier to see information about your three focal points and make more sense. It’s also a great way to see how research overlaps or perhaps opposes, strengthening the development of your story’s characters and plot as a whole. Here’s a sample of a chart that works great at seeing your core focal points at a glance. This chart is designed to help you streamline your research ahead of time to keep focus on point. Creating a more detailed list on each of these points may help you, but this is a great starting point for those needing help to stay on course for combining research and fiction.

Happy writing!