Creating Your Personal and Business Road Map to Success as an Author! – Wrapping Up the Lessons Learned

By Pamela Ebel

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The time has come to talk of many things we’ve covered in the first three articles in this series and wrap them up with string and sealing-wax. 

In Article One, we determined that writing and publishing is a business. Because successful businesses have a concrete list of goals to be achieved, we outlined the skills needed to reach them. The list included 1) learning to avoid the ‘one right answer’ when outlining our career goals, 2) learning to create a structure to keep us on track to achieve those goals, 3) developing ‘situational awareness’ to respond to the impact that time and events have on those goals, and 4) Answering  Five Questions that will help us move forward on the path to writing success. 

Closing out our journey, we’re reminded that lives and career paths are not linear and therefore goals will run into head winds, be impacted by situations that slow us down or stop us completely for a time. Such is life, and if we’re confronted by the need to answer why the sea is boiling hot or whether pigs have wings, the answers to the following questions will help get us get back on the path.

The Five Questions to Answer

1. Who is our target readership?
   Is it large enough to provide a livable income for our personal and business needs? While this seems to go without saying, the impact of events in this day and age make asking and answering this question crucial. Traditional Publishing houses are consuming each other at voracious rates. Small and Independent Publishers are feeling the stresses of a reading public that seems to shift reading habits and preferences rapidly. Self-published authors who found ways to swiftly reach their intended readers are also beginning to feel the head winds as technologies change and readers see more ‘look-alikes’ available in their preferred genres.
   
   This means many readers no longer feel tied to ‘recognized author loyalties.’ It’s like reading tea leaves, yet failure to search the bottom of our cups may lead to a Mad Hatter’s Tea Party and failure.

2. What value does our writing provide the readers?
   Once we decide on the genre(s) and publication platform(s) we plan to use to reach readers, it will be time to determine what our works offer the readers that is different from similar writings. Writers have created virtual worlds to communicate with the readers in ways that feel as though they are ‘personal friends.’ We need to assess the brand we create, study the market place to look for trends that are working, and search for inspiration to create new approaches to support our work. 

3. What is our business model?
   Are we writing in the traditional world with an agent that makes the contacts for us; an editor that is assessing our work and keeping us on ‘deadlines’ and a legal team assessing contracts, copyright issues and other artistic rights? Or are we working with a small press, independent press, university press, or a hybrid of some sort, that don’t always have access to those resources? Or are we creating a self-publishing career where we wear all of the above hats? These models will different revenue streams, pricing strategies, and time and work flow management supports. We need to decide what we can handle and what we need to seek help for.

4. How are we working to build a sustainable business?
   We need to go back to that list of goals we created when we decided to turn writing into a career and tweak them with solutions that answer these questions: What are our strategies for attracting new readers and keeping those who have invested in our writing so far?   Networking strategies? Communication mechanisms, online and in-person? Calendaring and committing to attendance at conferences? Author/reader gatherings? Appearances at Public Events in the communities we live in? We need to remember all of these impact our family and other work obligations.

5. How do we manage the skills sets needed to operate our business?
   There are numerous operational questions that will arise when we begin to write full time. Chief among the early questions are, which computer, printer, and writing programs will fit our needs?                   

It’s at this point we need to look into the various publishing platforms we hope to submit to and publish with. Many online and traditional publishers no longer accept PDF submissions. So, we need to decide if purchasing this program and the supporting program, Acrobat, are necessary. Everyone will have to decide if a Mac of PC is the best set up for them. Depending on whether we plan to work with an agent and traditional publisher, a small press, a hybrid or go the self-publishing route we’ll have to contend with contracts for editing services, formatting services, publication clauses. and the financial decisions that arise. We should consider the possible need for tax professionals and intellectual property attorneys who can assist in avoiding tax and legal pitfalls. Finally, we’ll need to decide whether we should acquire professionals to assist in publicity development.                                                                                                                                    

Looking at the issues above, we’re reminded WRITING IS A BUSINESS! And what we don’t know or choose not to consider can cost us. If we’re willing to take the time to consider the points raised in this series and frame answers that best suit our individual  needs, we can Create Personal and Business Road Maps to Success as Writers.

Good luck to us all!

Creating Your Personal and Business Road Map to Success as an Author: Creating Situational Awareness of Time and Events Impacting Our Journey

By Pamela Ebel

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Article One of this series explored the hurdles faced when we begin the change to writing as a full-time endeavor. We considered why and how to avoid the ‘One Right Answer’ when setting our professional goals. 

Article Two examined how new goals may require major changes in our professional and personal lives. Their impact on our families, friends, and co-workers—many of whom will become the first audience for our writings—need to be addressed. To lessen that effect we discussed the need to explain the goals to these groups, include them in the decision-making process, seek their acceptance, and bring them along on the journey.

Now we’ll work to acquire or refine skills that ensure our goals stay relevant and achievable. 

Creating Situational Awareness

Situational Awareness is something most of us do every day. We look around carefully as we head to our car in a darkened parking lot; prepare for an important meeting by studying those who will attend and the topic(s) to be covered. The list of things we believe require us to be aware of certain situations is prolific. 

Still, when it comes to personal and professional goals, we often struggle to examine them with fresh eyes because, having committed to them early on, we’ve become victims of habit. To avoid this pitfall, let’s start creating situational awareness.

There are three parts to the process:

1. Perception–   Start by examining our current writing situation to see what key elements, events and/or individuals have changed since we set the original goals. This requires refreshing memories about what our professional and personal lives were like before beginning the journey. 

Next, we look at what changes have occurred. Did we quit the other career completely or did we move to part-time? Were there any major changes in our personal lives such as marriage, births, divorce, death, illnesses, relocation, which changed our plans? The answers may have altered our initial goals and immediate environment.

2. Comprehension– This step is often the hardest for us to tackle. When we delve back into the time, place, events, and the people that existed when we announced, “I’m going to be a writer full time!” what ifs abound. 

The results of those original decisions may or may not be satisfying. They are, however, the reality we must work with when deciding if goals need to be changed. Consulting with the people that were and are still a part of our decision-making process will help in comprehending the new situation.

3. Projection– Identifying goals affected by time and events is the challenging part of this exercise. 

Looking back, we should note the goals that have been met and are still worth time and effort to pursue because…? Beware of keeping goals based on the ‘One Right Answer’ or on habits that are outdated. List the reasons that justify maintaining and supporting certain goals.

Then take a close look at the goals that don’t appear successful or relevant considering added information. Checking with those individuals who have been with us from the start and other writers on similar journeys will allow us to make predictions of what is likely to happen in the near future.

Wait! This process is asking us to recalibrate our futures based on guesses about known and unknown facts and situations? When would we find ourselves in such a predicament having been so careful at the beginning? What could possibly throw the ‘best laid plans’ into such disarray? 

One word that comes to mind – AI! 

From Federal Court decisions in search of a way to demand and determine the presence of the ‘Human Hand’ in a work seeking publication and copyright protection under the U.S. Constitution to copyright protection in general being threatened with extinction in the United States, our journeys are now filled with land mines of questions that may have answers or no answers, all of which threaten to blow up the carefully planned journeys.

All of the above information suggests that we need all the help we can get to navigate through uncharted waters. That brings us to the final discussion in this series—what are the Five Questions we need to know and answer to have a successful personal and professional writing career? Join me for the final discussion soon.

You Want Me to Spend Time with You?

By Paula Messina

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We all have different measures for what keep us reading. One of mine is characters I’m willing to live with all the way to the end. The gift of a mystery got me thinking about this. Why do some characters meet my requirement and others fail?

The novel looked promising. The author had won a prestigious award. The main character is an archaeologist. I enjoy books that involve an expertise, especially one I’m not schooled in. Alas, my interest dwindled quickly.

The story is told through the main character’s viewpoint. She is miserable and self-loathing because of her weight. This was not a good sign, but I read on. Soon enough a detective needs her help on a murder case. He comes not with hat in hand. Rather, he’s downright nasty. Not only is the detective as off-putting as the main character, his approach is irrational. The characters have no history together. His unprofessional behavior is inexplicable, even cause for termination. Didn’t he learn at his mother’s knee you catch more flies with honey than vinegar?

Actually, he was terminated. I stopped reading the book.

For me to sustain interest, I don’t demand that the characters be Mother Teresa incarnate or a Nobel Peace Prize winner or even a Boy Scout rescuing abandoned dogs. It’s those one-note grumpy characters I can live without. 

I’m not alone in this. After I closed that book, I read the online reviews. I have plenty of company. The negative reviews essentially said the same thing: I don’t want to waste my time on these characters.

It’s next to impossible to imagine anyone more dislikable than Ebenezer Scrooge. Dickens is emphatic that absolutely everyone avoids him. “Even the blind men’s dogs appeared to know him; and, when they saw him coming on, would tug their owners into doorways and up courts; and then would wag their tails as though they said, ‘No eye at all is better than an evil eye, dark master!’”

And yet Scrooge is one of the most enduring and, dare I say, beloved characters in English literature. Ebenezer is proof that flaws are fine. It’s how flaws are presented that makes all the difference. Characters need not be perfect. Indeed, they shouldn’t be.

Dickens pulls the reader into A Christmas Carol by raising questions. Who is Marley and why should we care that he died? Why was Scrooge “his sole executor, his sole administrator, his sole assign, his sole residuary legatee, his sole friend, and sole mourner.”?

Dickens quickly establishes Scrooge’s wretched personality. No reader would invite Ebenezer over to watch the Super Bowl, at least not until the three Ghosts of Christmas get through with him. Dicken’s delicious descriptions keep us curious about how one being could be so miserable and disliked, but delicious descriptions only satisfy for so long. Dickens could have easily pushed Scrooge into an unbearable, unreadable character.

Yet Ebenezer Scrooge endures. Why?

The answer is simple. Scrooge doesn’t tell the story. An intimate, chatty, gossipy narrator does. If Scrooge told A Christmas Carol, it is highly doubtful even the inestimable Dickens could keep readers turning the pages for one hundred eighty years.

Arthur Conan Doyle and Rex Stout used the same technique for the odd genius Sherlock Holmes and the often belligerent but brilliant Nero Wolfe. We see Holmes and Wolfe through the eyes of their friends, and because Watson and Goodwin find redeeming social value in Sherlock and Wolfe, the reader does as well.

It’s no accident that Dr. John Watson is a cheerful, friendly character, or that Archie Goodwin is only a few IQ points short of Wolfe’s genius. Archie is wittier than Wolfe, likes women, and is a great dancer. Our view of Sherlock and Nero is filtered through these immensely enjoyable narrators, and we’re willing to stick around until the end.

A narrator isn’t the only technique to make an unpleasant character palatable. We often describe our lives in absolute terms. I’ll never be anything than an utter failure. My husband never compliments me. My mother never has a kind word for anyone. There’s a name for this kind of thinking: cognitive distortion.

We humans are not a never-ending one note, miserable or ecstatic. Even in the worst of times, we laugh at a good joke, make goo-goo eyes at an infant, and enjoy the warm sun on our skin. It’s impossible to be miserable all the time, just as it’s impossible to be endlessly upbeat.

Humans experience ups and downs throughout a day, a year, a lifetime. Characters do as well. Good characters are complex. They enjoy life one minute and complain in the next. They lament about their weight, then promise to diet tomorrow.

In the mystery mentioned, a little levity, for example, would have made the character’s self-loathing tolerable. An explanation and an apology would have made the detective’s initial bad impression understandable and relatable. In other words, mitigating circumstances make an unpleasant character more lifelike, but even mitigating circumstances only carry a reader so far. 

Sherlock’s genius makes him impatient with lesser mortals. Wolfe has a dark past that is never explained. It possibly involves a bitter betrayal by a woman. Dickens shows us Scrooge’s descent into a spiritual wasteland through a series of flashbacks while also showing Scrooge’s journey to reclaim his soul. It is those flashbacks that make his redemption on Christmas Eve believable. His goodness was always there to be brought to life. We know in our hearts that Ebenezer Scrooge does become “as good a friend, as good a master, and as good a man, as the good old city knew, or any other good old city, town, or borough, in the good old world.”

It’s not flaws that are off-putting. A character without a flaw is malformed. It’s how those flaws and foibles are presented that makes the difference. A main character can be stubborn and uncooperative. Supporting characters can goad the protagonist into a better disposition. Archie Goodwin is a master at this. Introduce a humorless character to a cutup. Dr. Watson on the page isn’t the bumbling Nigel Bruce, but he does lighten Holmes’ intensity. A dour woman populating pages needs to meet a ray of sunshine. Conversely, that main character who insists on imitating Pollyanna is just waiting for someone to burst her bubble.

Contrasts work wonders. Characters bring out different aspects of the main character. Best-selling author Barbara A. Shapiro says different friends bring out different aspects of our personalities.

Think about it. You discuss politics and solve the world’s problems with one friend. You’re a veritable joke machine with another, and a third has you discussing how to grow mushrooms and make kimchi and sauerkraut. Scrooge interacts differently with Bob Cratchit than he does with his nephew Fred. Scrooge moves from disbelief, to insolence, fear, and finally to submission as he travels with each ghost.

This works both ways. No human is always bubbly and positive. Characters aren’t either. What my friend Marilyn says of life is also true of fiction. “If you don’t have a problem now, wait two weeks.”

In the novel I’m writing, Donatello, my main character, is essentially a good guy, but he vents his fury on his parish priest. The priest deserves the drubbing, but Donatello believes it’s a sin to scream at a priest. He screams anyway. Donatello would be a weak character if he ignored the priest’s nastiness.

Donatello’s anger serves another purpose. It displays Donatello’s determination to reclaim his life after an accident robs him of his dream to pitch pro ball. Donatello’s anger says he’s not giving up. No one’s pushing him around, not even his parish priest. This anger intensifies Donatello’s commitment to find his sister’s murderer.

When I pick up something to read, I want to be carried along in a story filled with characters I’d invite to share my life for a while. They can be a pompous Sherlock, a ton of immovable flesh a la Wolfe, or a Scrooge so nasty even dogs avoid him. But I only keep reading if those negative traits are balanced by positive ones. In short, for this reader, how a writer presents his characters is vitally important. 

As for the kvetchers, the malcontents, the one-note nasties, I’d rather not even open the book.

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Paula Messina lives near America’s first public beach. When she isn’t sloshing barefoot through the Atlantic, she’s writing short stories and essays. Her humorous caper, “Which Way New England?” appears in Wolfsbane, Best New England Crime Stories 2023. “Science for the Senses,” an essay, is in issue 7 of Indelible Literary and Arts Journal. You can listen to her reading works in the public domain at librivox.org.

The Magnificent 7: Universal Story Plots and the Twelve Archetypes

By Martha Reed

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I was asked by a curious fan how I built my stories. Not where my story ideas came from, but about their actual construction, their underlying, underpinning architecture. Writers already know how to use the basic three-act structure, but are there other options in our writerly toolbox that we should be using to lure our readers in?

The answer is ‘yes.’ Human beings have certain story expectations bred into our bone marrow. Developed in pre-written history, seven universal plots and 12 archetypes have successfully survived into our modern era, crossing multiple cultural divides. That’s not to say writers should rigidly follow a static and unwavering formula or create stale and hackneyed characters. Those would instantly turn an avid reader off. But do the following inherited plots and archetypes still have something to offer?

First, let’s look at definitions:

• The basic story question is: “What happens next?”

• Plot happens next. It’s the sequence of events inside the story.

• An archetype is a story element like an idea, a symbol, pattern, emotion, character type, or event that occurs in all cultures. Archetypes represent something universal in the overall human experience. (I’ll share an example. The international movie, “Crouching Tiger, Hidden Dragon” used so many common archetypes that I found myself repeatedly wondering if I’d seen the movie before.)

In 2004, literary theorist Christopher Booker wrote “The Seven Basic Plots: Why We Tell Stories,” basing his premise on the following seven plots:

1. Overcoming the monster – An evil force is threatening the hero/heroine and their world. The h/h must slay the monster to receive a great reward.

2. Rags to riches – The h/h is insignificant and overlooked by others. Because of a trigger event, they are revealed to be exceptional.

3. The quest – The h/h sets out on a long, hazardous quest, overcoming all obstacles until they reach their goal.

4. Voyage and return – The h/h travels outside of their comfortable world into the unknown before returning to the safety of their home.

5. Comedy – A series of trigger events involving mistaken identity or a fundamental misunderstanding that results in hilarious chaos.

6. Tragedy – A story without a happy ending that ends in loss or death.

7. Rebirth – The h/h falls under a dark form of control before breaking free and being redeemed. 

Regarding archetypes, psychologist Carl Jung theorized that we use such symbolism to grasp complex concepts more easily. He stated: “There are forms or images of a collective nature which occur practically all over the earth as constituents of myths and at the same time, as individual products of the unconscious.” Jung maintained that these archetypes remained unchanged and recognizable and that they exhibit personality traits that are commonly understood.

The 12 archetypes are:

1. The Innocent – Seeks to do things the right way in harmony, free of corruption or influence.

2. Everyman – Seeks connections and belonging. Supportive, faithful, and down-to-earth.

3. Hero – On a mission to make the world a better place.

4. Outlaw – Questions authority and breaks the rules.

5. Explorer – Inspired by travel, adventure, and risk.

6. Creator – Imaginative and inventive, driven to create things with real meaning.

7. Ruler – Creates order from chaos. Typically controlling and stern, yet responsible and organized. 

8. Magician – Makes dreams a reality.

9. Lover – Inspires intimate moments with love, passion, romance, and commitment.

10. Caregiver – Protects and nurtures others.

11. Jester – Uses humor, irreverence, mischief, and fun to bring joy to the world.

12. Sage – Thoughtful mentor or advisor bringing wisdom and deeper insight.

Taking this information, try these exercises to tighten your creative focus:

• Name a book or movie that uses each one of the seven plots.

• Name a character from a book or a movie that fits each of the 12 archetypes.

• Using your current work in progress, which of the seven plots fits your story? If you discover some overlap, which plot is stronger? What happens to your storyline when you focus only on that one?

• Identify an archetype for each one of your characters. Next step: which archetype do they think they are? Do the two choices match? What happens to your focus and your character’s motivations when they do?

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Martha Reed is the IPPY Book Award-winning author of the John and Sarah Jarad Nantucket Mysteries and of “Love Power,” her latest mystery set in the spellbinding city of New Orleans featuring Gigi Pascoe, a transgender sleuth. 

She’s an active member of the Florida Gulf Coast and Guppy chapters of Sisters in Crime, a member of Mystery Writers of America, and in a moment of great personal folly she joined the New Orleans Bourbon Society (N.O.B.S.)

Her stories and articles have appeared in Pearl, Suspense Magazine, Spinetingler, Mystery Readers Journal, Mysterical-e, and in “Lucky Charms – 12 Crime Tales,” an anthology produced by the Mary Roberts Rinehart Pittsburgh chapter of Sisters in Crime. Her story, “The Honor Thief” was included in the 2021 Bouchercon anthology, “This Time For Sure,” edited by Hank Phillippi-Ryan.

Martha adores travel, big jewelry, California wine country, and simply great coffee. She delights in the ongoing antics of her family, fans, and friends who she lovingly calls The Mutinous Crew. You’re invited to follow her on Facebook and Twitter @ReedMartha.