Tag: Author Tips

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The Constant Finding of My Creative Voice

I’ve written a lot. Professionally and as a hobby. Easily over five hundred million words—though that’s a rough estimate. I have no idea how I’d even try to check that. The point is, you would think, after all of that, I would’ve found “my voice.” 

You know the concept of a writer’s voice, I assume. It’s a series of vocabulary choices, pacing choices, sentence length, and rhythm decisions that make your art feel like yours. 

But I never found it. The writing voice that comes out of me doesn’t feel innate. Perhaps it does for others. I have to assume it does for others. But, for me, even in this article you are now reading, I am deciding what my voice sounds like. 

There’s a way I like my writing to read. 

Part of this is rhythm. I like my writing a little fast-paced. Go back and look, and you’ll see that I put a lot of short sentences around long ones. 

This isn’t always uniform, though. In my fiction, I like for more otherworldly and cosmic horror events to be more descriptive. I use specific words in those scenes. I save them for when I need to make a big impact. 

But here’s where I flip this on its head. Because isn’t what I am doing still my writing voice? I’m honestly not sure. Voice is supposedly this innate thing. A way of writing that occurs without thinking. Does it still “count” if it’s chosen?

And yes, this is going to be a little existential. I do write existential horror, after all. 

Because, to go down this line of thinking, we are essentially talking about the version of me that is writing and the version of me that is editing. I do make that distinction. I almost think of them at war. Or perhaps in a begrudging working relationship. Is the tempering done by the part of me paying attention to sentence length more or less my “voice” than the raw creativity before that tempering? 

Perhaps the true question to determine this is consistency. If voice is the art we cannot help but produce, then—by the nature of me always wanting to edit my work to a certain style—this controlled version of my creativity, what you are reading, is what’ll always happen. The rough drafts could be argued to contain more of my voice, but I hate my rough drafts. That’s ultimately what inspired me to pay so much attention to composition. It could be argued to be the catalyst for defining a style for myself.

Now, as is the case for a lot of these sorts of questions, I don’t actually think there’s a true answer. I don’t have one at least. The term “writing voice” is a vague enough term that someone may have already disagreed with my initial definition. And I wouldn’t blame them.But, as some form of a conclusion, I do believe that there’s something that changes in you when you’ve written enough. Your connection to words and sentences and stories becomes both more mechanical and more like sorcery. That is likely true of all art though, no matter the medium. And, frankly, that’s kind of wonderful. Let the mystery of voice continue, if only so we can try to understand it even more.

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Release Day: 10 Steps to Save your Editor’s Sanity

We are excited for the release of 10 Steps to Save Your Editors Sanity by Dr. Jenifer Paquette!

Dreading the moment when your manuscript comes back from the editor dripping in red lines?

You can save both of you time and energy with a few basic steps. Sending your work to an editor can be a nerve-wracking experience, but it is possible to make the moment worth celebrating if you have confidence in your writing quality and edit for the most common issues that plague manuscripts. Follow these 10 steps before hitting send and your editor will thank you!

Part One: Start with the Big Picture

  • Step One: Consider Point of View
  • Step Two: Fix Pesky Dialogue Formatting Stuff

Part Two: Zoom in to Examine the Nitty Gritty

  • Step Three: Up Your Verb Game
  • Step Four: Use Punctuation as Intended
  • Step Five: Track Your Bad Habits

Part Three: Come Over to the Deep End—you’ll be fine!

  • Step Six: Tweak Your Sentence Structure
  • Step Seven: Add Sentence Variety

Part Four: Before You Click “Send”…

  • Step Eight: Know What You Want
  • Step Nine: Create a Style Sheet
  • Step Ten: Just Breathe

You can order this book  in all formats directly from our 4HP Website and receive 10% OFF using coupon code 4HP10!

10 Steps to Save Your Editor’s Sanity
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From the Author’s Desk: Worldbuilding 101: Consider Your World’s Cultures

Thinking about the way different people behave is an integral part of worldbuilding. Often it impacts your story, but sometimes, it’s just background that gives readers the feeling that there is a lot more below the water’s surface–that the iceberg is indeed quite deep. One way to do that is to flesh out small details as well as the big picture ideas. 

When it’s time to build the cultural practices of the people in your world, consider the following questions: 

  1. What are the cultural practices of the people in your world? How are the cultural guidelines unique? Are they specific to different groups? In what way? (Do they brush their teeth with their toes? Do they leave their babies with strangers? Do they shave their heads before childbirth? Do they use distilled human remains to lengthen their lives like in Jupiter Ascending?)
  2. How do different groups of people view one another and why? What is the power dynamic between different groups (gender, race, country, etc.)? Are men in charge of women or vice versa or are they equal? Are certain races or nationalities seen in specific ways? (Women are subservient, Vikings are wild men, orcs are evil, Native Americans are noble savages, etc.).
  3. What religions exist in your world? How do they function and who follows them? How important is religion in this world—enough to fight wars over? 
  4. Does slavery exist in your world? How does it work? Which group enslaves what other group? How do people become slaves and how can they be freed? How do other cultures view those who practice slavery?
  5. What is considered a family unit in this world? How does the average person define “family”? What determines who runs a family unit? Is it the breadwinner, the oldest, the one born under a good sign?
  6. Are small or big families common in your world? At what point has one reached a “big” family? Is this a social status thing—do lower classes have fewer children while higher classes have many?
  7. What is the general attitude toward birth control in your world? Is it available? Is it encouraged or frowned upon? Does abortion exist as a medical procedure or a concoction of plants? How do people view single parents?
  8. At what age is an inhabitant considered an adult? What is the average life expectancy for your people? How does social status affect that projection? Do wealthier people live longer?
  9. How is adulthood different from childhood? Is “childhood” a thing in your world or are children expected to behave like little adults from the time they can walk and communicate?
  10. What are common child rearing practices among inhabitants? How are children treated in your world? How do parents discipline their children? Are children expected to work right away or can they wait until they are older?
  11. What kind of stories are told to the children of your world? Is there a boogeyman? What are children taught to fear? To respect? Why?
  12. What kind of games do children play? Where do those games come from?
  13. What are some of the sports in your world? How are they played?
  14. What is considered art in your world? Is it the traditional Humanities (painting, sculpture, music, literature, etc.) or is there more to it? Do people argue about what is “art”? Is art valued in this world or seen as a waste of time and energy? Is reading stories or listening to music a treasured moment or a lazy indulgence?
  15.   Can the average person in this world read? Are fiction/non-fiction books a thing, or are they oral stories, or both? How many books does the typical person in the world have at home? What kind of books would a person read—fiction, history, science?
  16. How do people relax in your world? What are some common hobbies? What activities would the average person do at home after the “major” work of the day is over—needlecraft, painting, sculpting, cooking, watching television?
  17. Is the schedule of the average person set by sunlight and everyone goes to sleep at sunset, or do people stay up after dark to do things? Is non-natural light available? How is the average day divided into work and play? 
  18. Are there major holidays in your world? What are they? Where did they come from?  How do inhabitants celebrate important days throughout the year? Do people celebrate equinoxes/solstices? Are certain days more important than others? 
  19. How do inhabitants keep track of birthdays? Are they celebrated? Do birthdays involve cake and presents or something else? (Hobbits give away presents on their birthday.)
  20. What are common hygiene practices for the people? Do they bathe every day, wear perfume, wash their clothes often? Is there an industry of products around hygiene (hair, body wash, soap, make-up, etc.)?
  21. How much food does the average person have in their home? Is it common for people to make dinner at home, or do they grab food elsewhere? Is food delivery a thing in this world (Doordash, Uber eats, etc.)?
  22. What are some popular foods that are unique to your world? What is considered a lavish meal, an afternoon snack, a poor-man’s-breakfast?
  23. Is food preserved in some way, or is it all fresh? Do people store food for the winter because they must supply it themselves, or is it always available?
  24. What do the inhabitants of your world celebrate (birth, graduation, new cars)?
  25. What do they grieve (war, famine, death of a loved one)? What do they fear (spiders, zombies, pandemic)?
  26. What do they love (other people, satisfying pens, great advice)?
  27. Do people have pets? What is considered a normal pet in your world? Where is the line between a pet and a food source?
  28. What do people value? What is considered beautiful or handsome? What facial/body features are prized right now?
  29. Are certain traditions prized more than others? What practices are looked down on by most people?
  30. How much does the average person know about the cultural practices of other people?

Considering the answers to some of these questions when you aren’t writing will allow you to continue writing when you reach the moment when you need to insert a detail about one of these beliefs or behaviors or practices. Like thinking this way? Check out The General Worldbuilding Guide for more questions and fun activities!

The General Worldbuilding Guide (The World Building Guide Book 1)
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From the Editor’s Desk: Little Things That Make a Big Difference

I am both an author and an editor, and it’s important to know the difference when the time comes to switch roles. I can write my own work. I can edit other people’s work. I can kinda sorta maybe start to edit my own work. But ultimately, I’m never going to see all of my mistakes, so I need another pair of eyes on it if I want it to head into typeset error-free (or as error-free as any other book can possibly be!). That said, there are definitely things I can do to my own work to help the editorial process along. 

  1. Take a break. 

Yes, I said it. Walk away from the manuscript. Yes, I wrote it. Yes, I love it. Yes, I wrote it because it’s exactly the kind of book I like to read, but if I want an objective view as I tangle with my sentence structure and word use, I need to have some space (preferably in time, but also in distance, I suppose) between me and when I wrote the book. I’m not saying you need to hide it in a drawer for years, but give yourself a few days to let it settle before approaching it with your prepping-for-editor eyes. If you go directly from composing something to reading it, your eyes will see what you wanted to say, not necessarily what is on the page. Anyone who has written what they considered a semi-passable paper at 4am, printed it out, and then sat in that 8am class staring at a first line that is missing half the words knows what I am talking about. Give your brain a break to see what is actually there. 

  1. Prepare to re-read your book at LEAST twice. 

The first time you re-read your book, settle in somewhere comfortable, preferably soft, with a beverage of choice nearby. Your goal during this read-through is to read the book as a reader would. Immerse yourself in the world you created. Meet the characters anew. Make sure that the story goes where you wanted it to go (and tweak all those little annoying story details that no longer make sense now that the story is finished). Don’t stress out about grammar during this read-through. Focus on the story and the details. Gauge the plot, the pacing, the character development, and the dialogue. Appreciate your work as a whole. 

The second time you re-read your book, sit somewhere serious that you associate with work, like a desk or kitchen table. It’s time to read for grammar. That means doublechecking spelling and capitalization. Look for incomplete sentences or phrases that don’t make sense. Check your punctuation, especially around dialogue. Have your reference guides handy during this process (or use google if in doubt). Please do not rely on Word’s editor and even Grammarly. They try heard and mean well, but they are programs that do not know what you are trying to say. They may fix it correctly, but they may make it much worse. Trust your own voice first. And if you aren’t sure, like I said, google it. I guarantee you there is a blog or video about the exact thing you are wondering. If you have an editor friend, ask them (but don’t bombard them unless you plan to pay them for their time–wordsmithing is their job, and unless they spend all weekend asking you questions about your day job, don’t assume their knowledge is free unless they offer it). 

  1. Send it to an editor (or a very helpful beta reader).

I know I already said it, but this is the time to send your book to the editor. You’ve fixed as much as you possibly can, and the rest is for another pair of eyes. That’s fair. Beta readers and proofreaders are your friends at this point if you can’t use an editor. If it’s all on you this time, consult some references. I always recommend Woe is I by Patricia T. O’Conner for grammar questions and Eats, Shoots & Leaves by Lynne Truss for punctuation issues. I can now also recommend 10 Steps to Save Your Editor’s Sanity (available for pre-order from Accomplsihing Innovation Press). 

  1. Read it one more time. 

Oh, come on. You’re not sick of it. You love it. Enjoy it one more time and see if anything awkward or weird jumps out at you. Take a moment to appreciate this moment. You created a new story and are ready to release it into the world. You rock.

  1. Now, start over with a new story!
https://accomplishinginnovationpress.com/product/10-steps-to-save-your-editors-sanity/
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What Authors Need to Know About Newsletters

Let me be honest. At the beginning of my own career, I too avoided the infamous checkbox of an author newsletter without fully understanding the weight of that decision for not only my career, but also in correlation to my readers and sales. Regardless, as many of us often eventually do, I reached out to a marketing professional asking for help on developing a marketing plan since I was missing the mark on book reviews and sales. Sure, my book has won awards, gotten accolades, invested in Blog Tours, Book review Tours, and so much more. Time and money never to be seen again with very little results can dishearten anyone and worse, feed that monster we call Imposter Syndrome. It was this one tiny piece of conversation that made it clear, my only mistake was avoiding a newsletter:

Marketer: Where’s your newsletter?

Me: People still do those?

Marketer: Oh no…

Honestly, she gave me one homework assignment: MAKE A NEWSLETTER. Then pointed me in a direction, and told me “KEEP IT ACTIVE!” And I half-assed that advice. 

The results? 

Well, after struggling to get 16 reviews on an award-winning book for 6 years (including giving away 5,000+ free or discounted copies in one of those years), from Mid-Jan to Mid-Dec, I had jumped to 60+ Amazon reviews and started seeing constant monthly sales. 

The secret? 

I made a weak attempt at making a newsletter. 

What Do You Write?

Don’t overthink this. It can literally look like an email and text only style. You don’t have to be fancy and program logos, drown it in art and graphics – none of that matters. Getting it started and sending the newsletter out and being consistent matters more. What should you write? Remember this person just gave you their email, the virtual version of a phone number, and invited you to “call me” knowing you intend to talk about you, your books, and push for reviews, sales, and support. Don’t be shy. There’s nothing shameful about writing to these fans. YES FANS. READERS. YOUR READERS.

Instead of thinking about the 20/200/2000+ people you are sending this to, hyperfocus on a single entity named “Your Reader” and talk to them. Make this the slowest conversation you have ever had, make them feel like the two of you just became pen pals. You can be casual and short. Share what inspired the story, why you write, and every so often ask if they have left a review for other readers to know what to expect. If you have a wide span of monsters, or characters, have some fun and every so often send them a profile or compendium style entry. On holidays give them an exclusive short story or even invite them to be your ARC readers if they have opened your last 5 emails. REWARD ENGAGEMENT. 

It’s ok to send them invitations to events or announce pre orders, but a majority of the emails from you should be conversational. You’ll be shocked to see how many reply and engage in emails with you depending on what you’ve written. Some may even apologize for forgetting that book review, so be sure to let them know it’s ok, and how much you appreciate they cared to even tell you that much! THEY ARE HERE FOR YOU.

Automation and Drip-Campaigning

We always hear that phrase, “work smarter not harder” and considering us authors LOATHE marketing (in most cases or simply introverts), this is one way we can do just that. Many newsletter or mailer sites allow you to gain access to automated emails, or journeys (may cost more to access i.e. MailChimp). These can be a lifesaver for keeping consistent engagement. Instead of stressing about creating fresh content, you instead CURATE content in 1/2/4-week intervals for the ideal reader or target person. Again, these can be super simple that are set to send after a timer of X amount of days have passed since the previous email was sent to the subscriber/email in question. 

Again, this doesn’t lessen the intimacy of your interactions, but it can also show you when you are being engaging and which email/newsletter fell flat and should be changed. The reader can still “reply” to these emails and you can engage one-on-one with the readers who do reach out, respond, and so forth. This is meant to help you focus your target audience into a single entity, which overall, is much easier to engage with. 

Be sure to sneak in a reminder every so often for a review or even remind them this is part of a bigger collection or series, but for the most part it’s a great way to share inspiration and intention about your journey and writing. This is only 13/27/53 emails to establish the first year depending how often you want to “drip” an email into their inbox!

Where and When Do I Start

This is one of the most COMMON questions I get when people realize they are going to have to rip this bandaid off and get cracking on a newsletter. Many start with a conversation with me that goes like this: 

Author: I published my book on Amazon about five years ago, but I only sold like 12 books.

Me: Who did you tell that you published your book?

Author: Well, I published it on Amazon.

Me: Over a thousand or more books are published on Amazon every day. Name one that was released today?

Author:  I don’t know what was published on Amazon today.

Me: Then how does everyone else know your book is on Amazon today as well?

You have to tell people about your book. 

Otherwise, no one knows it exists no matter where it’s posted or sitting on a shelf at!

  • Where do I get emails or find subscribers?
    • Start close to home. Inform and provide a link to those on social media, family, friends, colleagues, peers, and anyone in reach. It’s amazing how many will join to support you on this first step.
    • Sign up sheets or tablets at live events are old skool but still works wonders! These are folks who have physically met you and your books and want to be able to follow along or know more in the future!
    • BookFunnel, StoryOrigin, and similar sites can be affordable resources for book-specific readers willing to trade samples and free books for email collection. 
    • You can also do Author swaps. Feature a book and link to sign up for another author and swap interested subscribers this way.
    • There are purchasable “email lists” but I advise caution due to a few reasons. For starters, the money spent here isn’t the same as elsewhere, the unsubscribe rate can be high and cause your newsletter to start landing in SPAM folders or be flagged, and there’s no confirmation how OLD the lists are that you are receiving.
    • Always have a sign up on your website! It’s still surprising how well this works, but remember, no one knows to sign up unless you tell them.
  • I don’t have a book out yet, so I don’t need one right now.
    • WRONG. You need one now. If I could go back in time, I would have been gathering readers and sharing progress and snippets while I was writing before I ever had a publisher or date or full manuscript. 
    • Not comfortable that too soon? That’s ok. Once you do have a preorder live, now is definitely a good time to start pushing and announcing your book. Share samples, gather a street team, early reviewers, and share behind the scenes about the story and what you’re doing to gear up for the release.
  • I only have 1 book out right now so I have nothing to push to my newsletter.
    • YES YOU DO. You have a book… out! RELEASED! Let people know, talk about what’s next, what you want them to know about said book, and more. Readers are reading your work, but how can they talk to you? 
    • There’s more than just pushing a book. Engage with readers, review books, discuss topics, and more. Interact with the fans so when that next book comes along, they are primed and ready to go.
  • I don’t feel comfortable emailing strangers.
    • They aren’t strangers. They’re YOUR READERS. Who want to know you and your writing. Again, stop seeing a room full of strangers and start seeing an adoring fan talking about what you wrote over a cup of coffee, tea, or even a glass of wine. TALK TO YOUR READERS. They gave you an email, and permission to do so.

The Numbers You Should Know

  • Publishing Industry average open rate for newsletter emails has been at 12-15% for “open rate” while Author Newsletters often fall between 25-65% open rate. We have better results than publishers and PR firms.
  • On average in 2017-2022, most author newsletter subscriptions noted to see roughly 20-27% of the total audience buy or review the book when presented with the opportunity. 
  • Most newsletters should fall between 200-1200 word count for the average online reader. Though sample chapters and freebies are expected to be longer.
  • Authors who send weekly emails always see more engagement and higher results for open rates than those who send monthly by 15-30% depending on style and genre.
  • In 2023, 75% of new subscribers for Self-Published authors came from a link or QR code in the back of their books and 69% from links on social media. (Psst! TELL SOMEONE!)
  • Most report have under 500 super engaged subscribers, or a mixed bag between 1,000-5,000. It’s about QUALITY over QUANTITY!
  • The average click rate on selling or pushing a product is 2% on average across ALL INDUSTRIES. Anything higher and you’re doing an amazing job and keep it up! Lower? Consider trying other ways to announce or present the book in those newsletters!
  • There are 8 billion residents on Earth… and over 4 billion of them are EMAIL USERS. That means the reach via email is still far greater than that of social media!
  • 69% of Marketers in 2024 have reported using exclusively email marketing to distribute content and reach consumers.
  • 6 out of 10 consumers say they bought using a link in emails in 2024.

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Like the advice and information you see here? Follow me on social media where I often post videos talking about and discussing my own tribulations as well as encouraging others to excel. From advice about writing, book design, to insight on my own work and creations that may prove inspiring. Stay connected here at WillisAuthor.com OR https://linktr.ee/WillisAuthor

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Stop Giving Condolences on Revisions

A woman with brown and blonde hair smirks at the camera.

Though the novel has now moved onto the Editor’s Desk, I couldn’t believe what I was hearing from my fellow authors when I had told them I was in revisions for The Assassin’s Saint under my pen name V.C. Willis. It confused me. I was met with many “I’m so sorry” and “Oof! That’s rough” instead of the expected response of excitement that I felt. Feeling something had to be said, I took to social media and posted my thoughts and reactions to this whilst giving some proper advice, and support for those of you who feel condolences are needed.

Revisions VS Self-Editing

Editing is the final step before it hits the actual editor’s desk. Trust me, it’s impossible to see everything without a second pair of eyes. Revisions however is what happens between emptying the initial draft (rough and/or first draft) onto the notebook or word document. What follows is the tribulation and excitement that seems to either haunt most writers, or worse, send them into a spiraling black hole of grief that is on par with someone dying.

It’s ok. I can easily see why that happens. You would think after painstakingly prying the story from the depths of your mind and imagination, that you would be able to move on, but you can’t. In this way, yea, condolences may feel very on point. Moving on when you suddenly lose someone is very similar to the sensation of: 

“I finished, but I’m not, and I just want to move on to the next story but can’t because [insert muppets hands waving about] emotional distress is still happening with this story!”

Just remember this is not the time to be the grammar king/queen nor aim to polish your work. I know, that feels … wrong … but I assure you, this will make sense in the next few paragraphs!

It’s Not a One-and-Done Process

First mistake I am noticing is that many authors are thinking or forcing the concept that a revision is a one-and-done process. No. Please don’t do this to yourself. Revision is like combing tangles out of a wily little girl’s hair. Prepare for a long process that may even threaten to time spent getting that draft written. You will be combing through this one section or focal point at a time, and you might have to call for help or research or gather additional tools. I know, that sounds frightening, and it shouldn’t. 

This is meant for you to take the time to decide on several factors. Now that you can see all of your story, the first sweeps of the comb should be checking that writing style or voice you developed at the end of the draft. For example, your first few sweeps should do the following:

  1. Go back, make that voice stronger and more consistent from start to finish based on the voice and writing style created by the end of the draft. Make that prose pretty! With everything in place, you can take the time now to adjust the way you are telling the story to really bring out strong prose or create some where none resided.
  2. Make sure what crazy-sauce that was in your head really did make it on the page for the reader. I can’t tell you how often we are unaware we left vital information unwritten because “I knew it off the top of my head” thanks to yammering from imaginary friends.
  3. Summarized paragraphs that may be best as fleshed out scenes and chapter(s). This is probably the most important thing to be doing in those first several comb throughs. I know this is one of my biggest issues that comes up time and time again. Honestly, after recently revising The Assassin’s Saint I realized how much stronger my writing has gotten and that it’s nice to first empty the story out, see what writing style/voice I have, then flesh out these moments more accurately. Who cares I had to have six new chapters between Chapter 2 and 3! The story benefited from the readers experiencing things and I didn’t struggle to write it now that I know what’s happening!

How to Break It Down

Now, how do you get the revision ready for self-edits and eventually the editor’s desk at the very least. BREAK IT DOWN. We are now on the rounds of revisions that tighten our craft. We’ve expanded, deleted, and strengthened the bones and added the muscles. These comb-throughs are intended to build up the muscles, put the skin on the beast we’ve written. Maybe even add some tattoos or piercings. Whatever you want, it’s your story. Here’s some ways I like to polish off revisions before diving into grammar and commas and things I am not so strong at mastering.

  1. Foreshadowing – I talk a lot about foreshadowing and this is a great focal point for a revision round. Now that the plot is clear, there’s plenty of hints and winks you can add in to really build the reader’s immersion and anticipation.
  2. Dialogue – This can be very telling. Some authors go as far as only reading the dialogue to see if they can still grasp what is happening in the story from that much. It’s a great way to check for meaningful and story-provoking dialogue content.
  3. Character – Pick your main character, secondary, love interest, or villain and start a comb through only paying special attention to their actions, dialogue, and narrative meant for them. It’s amazing how often this simple routine has helped me catch holes even in my plot! Try it out!
  4. Story Beats or Plot Points – Make sure you got it all in there and that the order of events makes sense. Sometimes recapping these can let you know if you’re missing something or need to adjust the story in some way. In fact, I realized between this and character revision I was missing an entire subplot and had to write that into the story. These comb-throughs aren’t always an easy fix, but they are often necessary.
  5. Narrative and Setting – Much like the dialogue check, start reviewing just this section of the story. Are you establishing a change of room, scene, and location? Does the narrative support what is unfolding, match the emotions of what is happening while instilling that tone into your readers? Are you leading the reader into the scene and to the next scene with strong enough transitions? These are all important factors that should be one of the many rounds of revisions you perform.
  6. Reader Immersion VS Character State – This is one I do, and I don’t know how many authors really dig their fingers into this. It’s not something I see written or talked about often but I fret frequently over this concept. My last few rounds are often making sure that the emotional states of my characters and readers are where I want them to be chapter by chapter. I find myself tweaking the length of sentences, changing out word choice, and even adding/deleting anything that might damage/improve the pacing. Delivery of those tense moments mean everything in my own work where broody, angsty characters roam and dark fantasy vibes tend to prove PTSD worthy. Ask yourself often if you feel what was written invokes the emotional state the reader should have before the next chapter, and if not, time to massage content.

Repeat after me:

“I am not grieving! 
No one has died (besides [insert character(s) names here])! 
I don’t need condolences and certainly shouldn’t be giving them!
Revision rounds are where my prose turns pretty!”

Good! Do you feel better? It’s not a race, it’s revisions. You will have to comb these tangles out a few times before it’s ready for you to work grammar magic. That’s ok. Take it one step at a time, break it down, and watch how strong your story becomes.

Discover More

Like the advice and information you see here? Follow me on social media where I often post videos talking about and discussing my own tribulations as well as encouraging others to excel. From advice about writing, book design, to insight on my own work and creations that may prove inspiring. Stay connected here at WillisAuthor.com OR https://linktr.ee/WillisAuthor

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From the Author’s Desk: Calling all English Teachers!

Looking for a new composition book for your class? The faculty at Hillsborough Community College decided that none of the publishers had what our students needed, so we wrote our own book that meets the needs of today’s students. 

Composition & Grammar is an easy to use, ADA-compliant textbook that includes useful overviews, practice exercises, and student samples. 

Take a look at the Table of Contents to see what is included in the textbook:

  • Part 1: Reading
    • Ch 1 Active Reading Techniques 
    • Ch 2 Reading Comprehension Strategies
  • Part 2: Writing Process
    • Ch 3 Writing Situation 
    • Ch 4 Writing as Exploration 
    • Ch 5 Planning/ Prewriting
    • Ch 6 Outlines 
    • Ch 7 Thesis Statements 
    • Ch 8 Introductions 
    • Ch 9 Conclusions 
    • Ch 10 Organization
    • Ch 11 Drafting, Revising, & Editing 
  • Part 3: Modes and Types of Writing
    • Ch 12 Writing Modes
    • Ch 12.1 Narration 
    • Ch 12.2 Description 
    • Ch 12.3 Exemplification
    • Ch 12.4 Definition 
    • Ch 12.5 Classification/Division 
    • Ch 12.6 Process 
    • Ch 12.8 Cause & Effect 
    • Ch 12.9 Argumentation 
    • Ch 13 Types of Writing 
  • Part 4: Grammar
    • Ch 14 Parts of Speech 
    • Ch 14.1 Nouns
    • Ch 14.2 Verbs
    • Ch 14.3 Adjectives 
    • Ch 14.4 Adverbs
    • Ch 14.5 Prepositions 
    • Ch 14.6 Pronouns 
    • Ch 14.7 Conjunctions 
    • Ch 14.8 Interjections 
    • Ch 15 Sentence Structure
    • Ch 15.1 Parts of a Sentence
    • Ch 15.2 Types, Patterns, & Structure 
    • Ch 15.3 Coordination & Subordination 
    • Ch 15.4 Modifiers 
    • Ch 15.5 Parallelism 
    • Ch 16 Punctuation 
    • Ch 16.1 End Punctuation 
    • Ch 16.2 Commas 
    • Ch 16.3 Semicolons 
    • Ch 16.4 Colons 
    • Ch 16.5 Apostrophes 
    • Ch 16.6 Hyphens 
    • Ch 16.7 Dashes & Parentheses 
    • Ch 16.8 Ellipses & Brackets 
    • Ch 16.9 Quotation Marks & Italics 
    • Ch 17 Common Errors
    • Ch 17.1 Verb Errors 
    • Ch 17.2 Pronoun Problems 
    • Ch 17.3 Run-on/Fused Sentences
    • Ch 17.4 Comma Splices 
    • Ch 17.5 Sentence Fragments s
    • Ch 17.6 Mixed Sentences 
    • Ch 17.7 Commonly Confused Words 
    • Ch 18 Style 
    • Ch 18.1 Person
    • Ch 18.2 Voice
    • Ch 18.3 Diction 
    • Ch 18.4 Clarity & Conciseness 
    • Ch 18.5 Tone 
    • Ch 19 Reference Overview
    • Ch 19.1 Numbers 
    • Ch 19.2 Abbreviations 
    • Ch 19.3 Capitalization 
  • Part 5: Research
    • Ch 20 Plagiarism 
    • Ch 21 The Research Process 
    • Ch 22 Finding Sources 
    • Ch 23 Integrating Sources 
    • Ch 24 MLA Format 
    • Ch 25 APA Format 

We live in a world of words.

The way we interact with our fellow humans is very often based on the language that always surrounds us, whether it be the messages we send, the news we read, or the assignments we complete in classes that give us the education intended to lead us to success.

What might be the best way to navigate the complexity of language, especially in a first-year composition course? This book addresses these issues by presenting lessons, examples, and student samples through an approach that is friendly, conversational, and realistic.

Created by actual instructors of composition at HCC, this book includes many resources to guide composition students of different skill levels:

  • In-depth overviews of reading, writing, and revising
  • Engaging exercises that anticipate and address the most common errors of writers
  • Actual student samples that provide the basis of class discussions and analysis

With guidance that includes both theory and practice, Composition and Grammar for HCC by HCC provides students with the skills they need for their educational goals, their careers, and their lives.

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From the Author’s Desk: Worldbuilding 101: Diversity in Relationships

An important aspect to consider any time you are creating your world is how the inhabitants there interact with one another. You don’t need to be writing a romance to have relationships between characters, and those parameters should be clear to your readers. 

Here are some questions to consider when building the relationships in your world:

  1. What does the average relationship look like in your world? Describe the typical romantic relationship.
  2. What does an atypical romantic relationship in your world look like? Describe a relationship that exists but would surprise others.
  3. Is gender the deciding factor for one’s role in the relationship? How does gender present in your world? How are genders defined in your world (if gender is the social expectations associated with one’s assumed sex while sex is the biological determination using physical attributes)?
  4. How many sexes exist in your world? Are there same-sex relationships? How does society view same-sex couples? In Prince’s Priest by VC Willis, the scandal is that the relationship is between a vampire prince and a human priest. The fact that they are both men is an expected option in that world.
  5. How do people feel about relationships between classes? What about relationships between races? How does the average person feel about people from different places being in a relationship?
  6. How does a typical relationship progress? Describe the usual steps of a courtship (meeting, wooing, dating, flowers, sex, meeting families, moving in together, proposal, marriage, family, children, etc.).
  7. Do people choose their partners, or are relationships arranged by family members? Are arranged marriages the norm? Are they outdated or outlawed? If they are a thing, how do families determine a fitting suitor?
  8. How do couples introduce prospective partners to their families? Is this an important step in the courtship process or just a casual affair?
  9. Do couples live together (before/after marriage)? How does society feel about those who break this expectation one way or another?
  10. Do couples get married, or does cohabitation mean they are an official relationship? Which relationships are recognized as official by the government? Does marriage matter, or is it just a minor bit of paperwork?
  11. What does a typical wedding ceremony look like? Who attends? Who speaks and what do they say? Does someone need to vouch for the couple or forever hold their peace?
  12. Do couples need permission to marry? From whom? Is there a waiting period, or can people get married right away?
  13. Do people elope to Vegas or run away to be together? How does society feel about this behavior? Is it cute or romantic, juvenile or crazy?
  14. Do people change their name when they get married? Is the new member fully embraced by the partner’s family? (You’re a Jones now!)
  15. Is there a physical sign that shows a person is married (ring, hairstyle, article of clothing, etc.)? Can someone tell at a glance if a person is in a committed relationship or not?
  16. Do couples marry for love? Convenience? A combination of both? Why do most couples pair up?
  17. Can anyone marry anyone, or are there rules? Who establishes these rules? What happens to those who break the rules? Are they ostracized like Anna Karenina or forgiven like Count Vronsky?
  18.  What are the rules regarding marriage? Who established them? Why?
  19.  Is marriage about procreation and children and continuing the family name? How does society feel about childless couples? What is the general view on couples having children?
  20. In terms of children, do couples value one sex over another (boys over girls)? How about twins or triplets, etc.? Are such children a blessing by the gods or a curse?
  21. Consider the maternal mortality rate during childbirth in your world. Is childbirth a dangerous proposition for women in your world? (If only women can give birth.)  
  22. Are relationships limited to two people, or do people support multiple partners in relationships? How does society view thruples/poly-groups? In Signs of Affection by Lynn Chantale, the main character courts a love interest who practices polyamory.
  23. How does the average person define love in your world?
  24. Is love something that happens to a person (over which there is no control)? Do people fall in love like they fall off a cliff? Is love a conscious decision made by a person? Can a person choose to fall in love?
  25. Is love an expectation in relationships? Or is being part of a relationship more commonly a matter of convenience and love is found elsewhere?
  26. How do people view adultery? How do people view emotional affairs? Physical affairs? Where is the line when a relationship has become adulterous (a glance, a stolen kiss, a long hug, sex)?
  27. Are there established punishments for breaking a vow to a partner? How are they enforced? Are they different depending on who has committed the offense (women are killed while men are chastised)?
  28. Is love predetermined by an outside force? By what/whom? Are certain lovers fated to be together in your world?
  29. Is there a deity of love? Who is it? What powers do they have? How do people view this deity? How much control does a love deity have over the inhabitants?
  30. Are there love potions/love spells in your world? How do such things work? How long does a love potion/spell last? What are the long-term effects of a love potion? (Are the children of such unions born unable to love like Voldemort?)
  31. Do people believe in love at first sight? How do people feel about such relationships?
  32. Is love an acceptable excuse for irrational behavior? Do people excuse “crazy” behavior on account of love?
  33. Does love have physical symptoms? Can others see that a person is in love?
  34. Are the majority of the inhabitants romantics or cynics when it comes to love? What do your characters think about this?
  35. What does the average person think about relationships in your world?

Bonus Questions: 

  1. What kinds of familiar relationships are you featuring in your story? Why did you choose those and not others?
  2. What new types of relationships appear in your story? How are they different from traditional real-world connections?
  3. How much of the relationships depicted in your story are a reflection of your own experiences? What elements did you add to the relationships and why?
  4. How important are relationships in your story? Do they reflect real-world behavior, or are they exaggerated in some way? If so, how and why?
  5. If your story were turned into a film, what category would Netflix put it under: romance, romantic comedy, drama, horror, etc.? How much of the distinction is based on the types of relationships you include in your story?

Thinking more broadly about how relationships work beyond the scope of the story you’re telling allows you to write a story in a well-developed world, something readers will appreciate as they get to know your characters and the world they inhabit. For more Worldbuilding Questions, check out The General Worldbuilding Guide!

The General Worldbuilding Guide (The World Building Guide Book 1)
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Tapping into Your Hero’s Emotions: The Key to Engaging Creative Writing

In the realm of creative writing, heroes are more than just characters who drive the plot forward; they are the heart and soul of your story. Understanding and tapping into your hero’s emotions is crucial for creating compelling narratives that resonate deeply with readers. 

Emotions not only humanize your hero but also provide the reader with a window into their inner world, making the journey more immersive and impactful. Here’s a detailed guide on how to effectively harness your hero’s emotions in your writing.

The Importance of Emotional Depth

Emotional depth in a hero is what transforms a flat character into a dynamic one. Emotions provide motivation, shape decisions, and drive actions. They also make your hero relatable, allowing readers to connect with them on a personal level. This connection is essential for maintaining reader interest and investment in the story.

  1. Relatability: A hero with authentic emotions mirrors the human experience, making them more relatable. Readers are more likely to empathize with a character who feels joy, sorrow, fear, and love in realistic ways.
  2. Motivation: Emotions are often the driving force behind a hero’s actions. Understanding what your hero feels helps to explain why they make certain choices, adding layers to their character and making their journey more believable.
  3. Conflict and Growth: Emotional struggles and triumphs create compelling conflict and drive character development. Witnessing a hero navigate their emotional landscape allows readers to experience growth and transformation alongside them.

Techniques for Exploring Your Hero’s Emotions

To effectively tap into your hero’s emotions, you need to employ a variety of techniques that reveal their inner world to the reader. Here are some strategies to consider:

  1. Show, Don’t Tell: Instead of directly stating how your hero feels, show their emotions through actions, dialogue, and internal monologue. For instance, instead of writing “John was angry,” describe how he clenched his fists, his face turned red, and he spoke through gritted teeth.
  2. Internal Monologue: Use your hero’s thoughts to delve deeper into their emotions. Internal monologue allows readers to hear the character’s inner voice, providing insight into their fears, hopes, and desires. This technique is particularly effective for conveying complex or conflicting emotions.
  3. Dialogue: Emotions can be powerfully conveyed through dialogue. The way your hero speaks—tone, word choice, pacing—can reveal their emotional state. Pay attention to subtext as well; what is not said can be as revealing as what is said.
  4. Body Language and Facial Expressions: Nonverbal cues are a vital part of emotional expression. Describe your hero’s body language and facial expressions to convey their feelings. Slumped shoulders can indicate defeat, while a bright smile can suggest joy or relief.
  5. Sensory Details: Emotions often heighten the senses. Use sensory details to immerse readers in your hero’s emotional experience. Describe how the world feels, smells, sounds, and looks from their perspective when they are happy, scared, or grieving.

Building Emotional Arcs

An emotional arc is the journey your hero undergoes in terms of their emotional state from the beginning to the end of the story. Crafting a strong emotional arc is essential for character development and overall narrative impact.

  1. Starting Point: Establish your hero’s emotional baseline at the start of the story. This provides a reference point for measuring their growth and changes.
  2. Challenges and Triggers: Introduce events and situations that challenge your hero’s emotional state. These triggers should be significant enough to cause an emotional response and propel character growth.
  3. Climax: The emotional climax is often tied to the story’s overall climax. This is the point where your hero faces their greatest challenge and their emotions reach a peak. It’s a moment of intense vulnerability and revelation.
  4. Resolution: Conclude the emotional arc by showing how your hero has changed emotionally. This can be a return to a new normal, a moment of acceptance, or a newfound strength.

Playing on Your Hero’s Trauma Using CBT Principles

Cognitive Behavioral Therapy (CBT) offers valuable insights into how trauma shapes a person’s emotions and behaviors. By applying CBT principles to your hero’s emotional journey, you can create a more authentic and nuanced portrayal of their trauma and growth.

  1. Identifying Core Beliefs: Trauma often leads to the formation of negative core beliefs. These beliefs shape how your hero sees themselves and the world. For instance, a hero who survived a traumatic event might believe they are powerless or that the world is inherently dangerous. Understanding these beliefs helps to explain their actions and reactions throughout the story.
  2. Triggering Emotional Responses: Use specific events or interactions to trigger your hero’s trauma-related emotional responses. These triggers can be people, places, or situations that remind them of their trauma, leading to intense emotional reactions. This technique adds depth to their emotional arc and provides opportunities for growth.
  3. Cognitive Distortions: Highlight your hero’s cognitive distortions, such as black-and-white thinking, catastrophizing, or overgeneralization. These distorted thoughts can create internal conflict and drive the plot. For example, a hero who catastrophizes might interpret a minor setback as a complete failure, leading to a crisis of confidence.
  4. Emotional Regulation: Show your hero learning to manage their emotions through healthy coping mechanisms. This can include self-reflection, mindfulness, or seeking support from other characters. Their journey towards emotional regulation can be a significant part of their character development.
  5. Reframing and Growth: As your hero confronts their trauma, use CBT techniques like reframing to show their growth. Reframing involves changing negative thought patterns into more positive or realistic ones. For instance, a hero who initially believes they are powerless might, through their experiences, come to see themselves as resilient and capable.

Tapping into your hero’s emotions is essential for creating rich, engaging narratives. By understanding their emotional depth, employing techniques to reveal their inner world, and crafting a compelling emotional arc, you can create heroes that resonate deeply with readers. Incorporating CBT principles into your hero’s emotional journey adds authenticity and depth, making their experiences and growth more believable. 

If you’re eager to explore more tapping into your Hero’s emotions and using psychological principles to do it, I highly recommend checking out my book, The Psychology of Character Building for Authors. This comprehensive guide delves into the psychological underpinnings of character development, providing invaluable insights and practical techniques to help you create multifaceted characters that resonate with readers. 

Happy writing!

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From the Author’s Desk: How do you know it’s time to update your covers? 

Covers are a tricky business. I’m a writer, someone who works well with words and characters and dialogue. Graphic design is not my strength in any way, and my art skills peaked with stick figures. I am not the person to ask about cover design, but even with my shortcomings, I still know a few things about covers and marketing. 

You know the drill–your books come out, and you are super excited about those first covers. They nail the genre, convey the feeling of the story, and look cool on your shelf (or behind you during meetings online). Usually, this is the result of your cover designer’s hard work–they researched the market, considered the trends, and created something you are proud to show off atop your baby book. 

However, the crazy (and cool?) thing about books is how often things shift. A bestselling cover ages out, sometimes in a few years–but sometimes over a span of a few months. When you design your covers, think about how long you predict this trend will last. Yes, this often requires a crystal ball and some scrying stones–but there are some people in the industry who have the marketing sense and judgment. Follow them and heed their advice. 

Think about the shifts in these covers for Stephen King’s The Stand over the years:

This is the cover I had when I first read this book in the 80s (a tattered secondhand shop version I hid in my backpack to read at school). Yes, I now know this version is worth money (it was the first edition!), but mine has long been lost to cross-country moves and bookshelf updates. No worries–I now have more copies of this book than I know what to do with, the result of writing my dissertation on it–people keep giving me copies (and I LOVE all of them!).

Here are a few more over the years:

Think about how these have shifted. The fonts have changed, though the name is always at the top. The graphics shift from artwork to abstract to realistic. They each convey a slightly different tone: some focusing on the post-apocalyptic feel while others emphasize the horror undercurrent. 

My own series, Klauden’s Ring Saga, just got re-released with new covers, and it’s only been out five years! Check out the difference between the old covers and the new:

Note the changes: no more people! Less vibrant color shifts! The new covers follow current trends for fantasy romance, symbols buried amid swirls and designs. 

How can you tell when it’s time to update your covers? I’m glad you asked. 

  1. Look at the top 100 bestsellers in your category on Amazon. Scroll the covers–they will probably all be quite similar. Does your book match that vibe? 
  2. Do a google search for your genre + book covers. Does your cover look anything like the images popping up? 
  3. Watch reels about your genre on social media. Does your book resemble the ones you keep seeing?

If the answer to these questions is no, it’s time for a new look. Yes, I know it’s time-consuming and expensive to redo your covers (not to mention the stack of old covers you probably still have to sell!), but keeping up with trends in your genre is a great way to stay relevant and catch the attention of new readers. 

And what to do with old stock? So many options!

  1. Sell them at a discount at shows (“Get the old version on the cheap!”)
  2. Wrap them up and call them “Blind Dates” with a book!
  3. Send them to readers–prizes, free copies, review exchanges, etc. 
  4. Offer them to libraries or local community centers.

Any of these will get your name out there–and get new readers buying the rest of your books! I know we say, “Don’t judge a book by its cover,” but we all do it. Don’t let readers pass you by because of an outdated look. Update your covers!