Posts Tagged ‘blog’

It’s a New Year…Let’s Set Some Goals

It’s true! 2019 is here! Goal setting is in motion, well, hopefully anyway.

Have you thought about it?

Let’s break it down together. Because, like many of us, I put it off, then before I know it, I’m making my way through January with no direction. It’s a thing! And, you know it.

We’ve all heard of SMART goals:
Specific—clear and concise.
Measurable—tracking your progress.
Achievable—challenging, yet achievable.
Relevant—consistent with all other life goals.
Timely—target deadline.

The things I’ve outlined below are what has worked for me. You will find your jam and what works for you. But, if you don’t have a jam yet, why not give mine a try.

Think of things you want to accomplish and write them down.

This is a list. There are so many schools of thought when it comes to ways to think of things you want to accomplish. Maybe you’re a spreadsheet kind of person. Maybe you have to go out and buy that shiny new notebook just for your goals. That’s me.

We’re talking about writing goals specifically, but other areas of your life come into play when you’re setting these goals, so why not include family, personal, and any other categories that are important to you. That makes you more motivated to complete your writing goals when you know everything else is in alignment.

This seems to be the hardest, for me anyway. I have a million things that I want to accomplish. I have a million and one things that need to be accomplished. YOU? Thought so!

Put these in order of importance, create timelines, and break them down.

Each category has a list, I assume. It’s important to identify what is important to do first. I’m not asking you to create a list that’s over-the-top out of control. It should include two or three things in each list. But you will have ONE main goal for each list.

Figure out your WHY for doing what you’re doing.

That’s one goal.
Your why, you ask? Your why is the reason you want to accomplish your goals. This goes back to step one. Let’s define your why when it comes to establishing your goals; thinking of the things you want to accomplish.

Your WHY is your deep-down personal motivation for what you do. Until you identify this, you won’t be able to figure out the what and how. This is the hardest for me.
This is also what can fuel you to complete your goals.

Find a friend. An accountability partner. Tell them your goals and your whys.

We all have the one person in our life that we tell everything to, whether they want to hear it or not. Find that person. Take them to coffee.

When you tell someone your goals, you feel a sense of commitment. You know it. It’s embarrassing to not finish or complete what you said you’d do.

Schedule regular reviews of your goals.

Good—this would be every six months. Put it in your calendar.
Better—once a quarter. This plays out every three months. Put it in your calendar.
Best—every month. Put it in your calendar.

When you see you are making progress with your goals, you’ll keep going.

Examples of writer goals:
In the next 12 months, I will read 12 books specific to my genre.
(Your Why) Because I want to become more proficient in writing in my genre and reading can help me see how others do it.

In the next 30 days, I will have a concrete plan for writing my novel.
(Your Why) Because writing my novel is my end goal and I must get writing it.

Examples for personal goals:
I will workout every day in the month of January.
(Your Why) Because it makes me a happier person, easier to live with, and I have a more positive attitude toward my writing goals.

Every payday for six months, I will set aside $50 for home projects.
(Your Why) Because I can’t use credit and paying for cash is how I roll.

Let’s wrap this up…

When you take the time to plan out your goals, write them down, figure out your why(s), phone a friend, the schedule reviews, you will have a very productive year.

Guaranteed!

 


Deb Buckingham headshotDeb Buckingham is a long time member and Vice President of Pikes Peak Writers. She is a published author of two successful knitting books, Dishcloth Diva and Dishcloth Diva Knits On. She writes for her own blog, and her artistic side is part of her every day. Deb is a creative photographer whose passion is “shooting” creatives in their own studios. She enjoys reading a well written novel.

Your Niche in Historical Fiction

By: Jason Henry Evans


Hello, gentle reader. This month on the historical fiction blog, I am writing about finding your niche in historical fiction.
You’ve got that great idea for a story. You’ve fantasized about the clothes your characters wear, the horses they ride and the type of weapons they carry.
STOP! Stop right there! Before you go and write ten thousand words, think about your story and ask yourself these questions:

What is the Conflict?
Every story begins and ends with conflict. What is the protagonist struggling against? What are they trying to overcome? Is the conflict centered on a person (Person v. Person)? A group of people, (Person v. Society)? A place (Person v. Nature)? Or an internal struggle (Person v. Self)? Are there multiple conflicts going on (A protagonist fighting an unjust system while struggling with an ally for control of a political group)?

Who is your Protagonist?
Many times we have ideas in our head about what a good story should look like. Many of those times it’s based off of our experiences with books and movies we’ve watched and read. The stories we envision sometimes are simply duplicates of what we’ve read or scene before. (Which is a natural part of the writing process. We all do it.)

What would make your story interesting is if you shift your point of view. A war story from the perspective of a refugee is pretty common today. A war story told by the villain, and justifying their villainy might be unique.

Writing historical fiction can be exciting and rewarding.

What is your Time Period?
This can be really hard. Not because certain time periods require a certain amount of research. Nor is it because you have to get every little detail from a time period absolutely perfect. The real reason is this: We as writers get it in our heads that our story belongs in a certain setting. Many times we are probably wrong.

Let’s face it, if we want to be professional writers, then we have to know about market saturation. We have to know about certain time periods that are overwhelmed with stories. English Regency romance about a destitute woman who finds love and regains her stolen estates? Overdone. American Revolutionary War about orphan boy who finds himself in the middle of two armies? We’ve read that.

Stop. Just stop.

Don’t do what everyone else is doing. Find a niche that is both familiar to your potential audience, yet interesting and creative.
Aimie Runyan took a basic story about frontier farm living in her novel Promised to the Crown, and turned it on its head by setting it in 17th century Quebec. All the tropes of frontier fiction, just twisted a little.

Want to write a mystery set in Victorian London? You want to write about the opulence of high society, while the poor suffer in the street? You want political intrigue? OK. Why not choose another time? How about 1820’s London? How about the London of 1665, during the last big outbreak of Bubonic Plague? What a backdrop THAT would be!

Choose your Setting.
Finally, if you’re really set on a time period, like Renaissance England, or World War II, why not flip the story upside down and write about a different setting? The American Revolutionary War is a grand time period for a story, but instead of your story taking place in Boston or Charleston, could it be set Quebec? (Remember, Benedict Arnold led an expedition up there in 1775.) That mystery in Victorian London? I bet a story set in Victorian upper crust of Bombay or Hong Kong would be even more decadent and mysterious than one set in London.

I know from personal experience that writing historical fiction can be both exciting and rewarding. I also know that when I wrote my first story, I didn’t think too much about setting, or time or conflict. It was a painful lesson I learned as I got pummeled in my critique group. But I learned. If you can hold off on writing that story, do the research to avoid over-saturated markets, then you can write a novel that is closer than you think to getting published.


Jason Henry Evans: Life is funny. In 2004 I moved from Los Angeles to Denver, newly married with a desire to be a great teacher and husband. I dedicated myself to public education and realized my heart was not in it. So I moved on. At the same time I stumbled into a creative world of art and literature I now call home. It hasn’t always been easy, but it has been worthwhile.
You can catch up with Jason on his Facebook Author Page or on Twitter. You will also find up to date posts on his blog.

Letter from the Editor

Kathie KJ ScrimHello Pikes Peak Writers! My name is Kathie Scrimgeour (writing under the name K.J. Scrim) and I have taken the reins of Managing Editor From the Editorfor PPW’s blog. I have been the Sweet Success coordinator since 2013 and last year started the column, Meet the Members. When Gabrielle asked if I would be interested in taking over for her, it only seemed to be a natural transition.

PPW is an organization that is here to help all of us learn the craft of writing, editing, and publishing whether it is an epic five book high fantasy or a twenty-word flash fiction. Our blog is a wonderful resource to learn not only tips and tricks to be a better writer, but also a place for moral support and sometimes a few laughs.

As Managing Editor, I will strive for professional, fun, and informative content, and, in the same breath, ask for your help to reach these goals. We are accepting submissions from all members on all aspects of writing. Did you have an “ah-ha” moment at a Write Brain? We would love to hear about it. Have you struggled through writer’s block? How did you get through it? Have you ever had a book optioned for film? Been through a publishing nightmare? Experienced the difference between traditional and self-publishing? Do you know Scrivener, WordPress, or Blogger? What about PPW’s conference? What experiences have you had? These are just a few questions that you could share your experiences through. I am also open to all suggestions. Please contact me at editor@pikespeakwriters.com.

We are going to have a great time together here on Writing from the Peak. This month look for Barb Nickless’ post Devil in the Details, along with Jennifer Lovette’s piece on Facebook algorithms and Jasons Evans’ next installment about villains in historical fiction, plus more!
Bookmark this page so you can visit often.

Meet the Member – Maria Melendez Kelson

Today, Kathie Scrimegour, Meet the Member and Sweet Success editor, shares her recent interview with member Maria Melendez Kelson.   We’re pleased to share successes and highlight our diverse membership.  Kathie can be reached at  sweetsuccess@pikespeakwriters.com.


On Writing In Diverse Genre

KJ Scrim – I read that you are a poet and a mystery writer. Does one help with writing the other? How?

Maria Melendez Kelson – Both poetry writing and mystery writing involve a dance between fulfilling and subverting a reader’s expectations about form and structure.

  • Poetry taught me to look for opportunities to use unexpected phrasing, and to appreciate the potential for patterning in the physical sounds of language.
  • Fiction teaches me to look for opportunities for unexpected emotions or events, and to appreciate the potential for patterning in symbols and motifs.

Each genre adds to my understanding of the other. I wouldn’t go so far as to say one helps, or doesn’t help, the other. Who knows?

Current Work in Progress

KJ – What are you working on right now?

Maria – I’m writing a contemporary mystery set in the redwood country of northern California. The lead character, Boots Montoya, is a multiracial single mother of an adopted teen son. She’s an education reformer with a lot of do-gooder self-righteousness. But when her son is accused of the murder of an undocumented boy, she becomes a liar, a prowler, and a thief in her struggle to find the real killer and exonerate her kid. Clues lead her deeper into the area’s Spanish-speaking immigrant community, out to the wild Pacific coast, and into the ancient forest backcountry of Humboldt County, where she discovers a clandestine camp for teenaged domestic spies. If she fails to find the threads connecting these worlds, it could cost her son his freedom. When the killer learns Boots has come too near the truth, her search for answers becomes a fight for her very life.

Santa Fe Art Residency

KJ – You were recently selected for a writing residency at the Santa Fe Art Institute. What did you have to do to secure this residency, and what does this mean to you as a writer?

Maria – The Santa Fe Art Institute has a theme each year for what they call their “sponsored residencies.” These are residencies for which the cost of housing is underwritten by sponsors, and residents need only pay for food and personal needs while living on-site.

Apogee Journal, a literary magazine I follow, tweeted out the SFAI call for residency applications, where I learned the theme for the upcoming residency year was “Equal Justice.” I thought—isn’t this a concern of many crime writers? It’s a concept that raises driving questions for the characters I’m writing about.

each genre adds to my understanding

The application requested a current work sample and a proposal for work to be done at SFAI. So I sent sample chapters from the work-in-progress, and … *gulp* … a brief outline of a “Book 2” with these characters. This felt like a huge leap of faith, since I’m still revising Book 1.

I submitted the application in February of this year. When I found out in July that I’d been selected for a residency, it meant a panel of strangers that included writers, residency staff, and other artists had seen value in what I am doing. This was a significant affirmation, and a handy little oar for (what feels like) my solitary writing raft. I’m not really going a whole lot faster with one oar, but it’s something to hold onto, and I might be able to beat back a shark with it.

The residency itself, I imagine, will be a big fireworks show of inspiration! I’ll be living at the Art Institute for the month of July 2018, which is a month the brilliant SFAI staff have designated for artists who are parents. I’ll have my family with me, and I’ll be living with seven other residents from multiple disciplines and their families. SFAI provides an apartment and a separate studio workspace. I’m so excited to learn about the other artists’ creative processes, and to see what kinds of unpredictable things come of our time with each other. The only thing I’m tasked with doing, as a resident, is my own writing, but residents are encouraged to interact and collaborate if their muses move them to do so.

For writers who are starting to build a record of publication, or for established writers who could benefit from a concentrated period of time in the company of other working writers or artists, applying for residencies is a great way to validate that your work, and the time needed for your work, are things to be taken seriously.

Beating Procrastination

KJ – What do you do when procrastination is winning over writing?

Maria – I’ve gotten better at measuring when I am truly procrastinating and when I am simply living my life. I used to think that ANYTHING I did that wasn’t writing was a way of procrastinating from writing. For this reason, I could feel guilty brushing my teeth, guilty about taking my car in for an oil change. Who can live like that? Now I make a weekly writing schedule at the start of the week, and set the expectation that I’ll be at my desk during those times. When it’s not those times, I consciously let go of guilt or anxiety about whatever it is I might currently be working on. Something that helps me do this is physically putting the work back in a drawer after each session.

When it comes to maintaining focus during a scheduled writing session, I have a couple of tricks: tracking my focused time in 25-minute increments (aka “the Pomodoro method”), leaving the home modem off, and keeping my writing desk generally free of non-writing related stuff.

Conferences, Workshops, Critique Groups

KJ – Writing conferences, workshops, and critique groups are an important part of the new writer’s experiences (and more experienced writers too!). How have they helped you?

Maria – Pikes Peak Writers Conference and SleuthFest (a mystery writers’ conference in Florida) have both been great for how-to sessions and for unparalleled opportunities to network with agents and editors.

Although I’ve only attended one or two events in each case, I should also mention that I’ve learned quite a bit from periodic free or low-cost workshops run through Pikes Peak Writers Write Brains, Pikes Peak Writers Critique Group, Romance Writers of America, and Colorado Sisters in Crime. The volunteer person-power that goes into running these public events year-round is staggering, and every one of these organizations’ board members and volunteers deserve a room of their own with unlimited chocolate, coffee, and craft beer in that great writer’s retreat in the sky.

Sisters in Crime runs a wonderful workshop the day before the annual mystery fiction fan-con (aka “Bouchercon”) that I’ve attend a couple of times. It’s for Sisters and Misters!

learn to love your process, not someone else's.

My local anchor for professional development as a writer has been the Rocky Mountain chapter of Mystery Writers of America. I attended their monthly dinners, where there’s always a generous and free-flowing exchange of information, heartaches, and triumphs. Members range from newbie writers to established bestsellers with 30+ books in print.

Because it’s the largest writers’ conference in North America, the Association of Writers and Writing Programs (AWP) conference is a wonderful place to meet other writers of color from around the country for fellowship and mutual support. In fact, writers of many stripes can find their tribe there. There are panels for and about writers with disabilities, writers who’ve lived abroad, veterans who write, etc. As a poet, I’ve presented at AWP a number of times over the years, and two years ago I put together a panel of women of color who write crime novels. The chance to connect these novelists I admire with potential new readers in the audience was a real high, for me.

As far as critique groups go … over the last 20+ years I have lived in Wyoming, South Carolina, California, Indiana, Utah, and (now) Colorado. In four of those six states, I’ve participated in critique groups. Some writers do fine without them, and in the two states I lived where I didn’t have a critique group, I still produced a fair amount of work, but I simply enjoy my own process more when I have regular meetings with peers to provide understanding, challenge, and … deadlines!

Go to Books for Writers

KJ – Do you have any “self-help for writers” books that you use regularly? How do they help? Please share your list of your top 2 or 3.

MariaAround the Writer’s Block, by Roseanne Bane, helps with organizing time and understanding the neurological conditions under which creativity can/can’t flourish.

Plot Whisperer, by Martha Alderson, helps with fictional structure and with seeing a sense of purpose in the highs and lows of the process of writing.

7 Secrets of the Highly Prolific, by Hillary Rettig, helps writers understand and improve their own processes and mindsets.

KJ – What is one (or a few) of the most important lessons you have learned so far?

Maria – Learn to love your process, not someone else’s process. And if learning to love your process is too much to ask, then learn to accept that feeling confident is desirable but not required. Only showing up and working is a must. In the words of an 80s candy bar commercial: “Sometimes you feel like a nut. Sometimes you don’t.”

 


photo of Maria Kelson reading a book

Maria Melendez Kelson is a poet and mystery writer. These very different genres lend a dynamic approach in writing. She has been accepted to a month-long writing residency at the Santa Fe Art Institute beginning in July of 2018.  

Visit Maria Melendez Kelson’s website at: www.mariakelson.com

Email: maria@mariakelson.com 

Twitter @mkelsonauthor

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Realistic Diversity in Historical Fiction

Readers, today we hear from Jason Henry Evans’ latest installment on How to Write and Publish Historical Fiction. This month, Jason addresses diversity in historical fiction, the what, the why and the how.


It is January of 2018 and having diverse characters is still a big deal in historical fiction. But how do you add diverse characters when the market you write in is pretty, well, white? 

I mean, how much diversity was in the English Regency?  How much diversity was in Ancient Rome? Or Tudor England? How much diversity was in the Highlands of Scotland where my Highland Romance takes place? 

Ah, never fear, gentle reader. Never fear. We will go over this. 

But first, let’s check our privilege at the door and understand what diversity really means. 

What Exactly do we Mean by Diversity?

Diversity is not only about race. 

Diversity is about sex. 

Diversity is about orientation. 

Diversity is about gender.

Diversity is about age. 

Diversity is about ableism. 

Diversity is about thought.

If you are a new writer without a formal education in history, sometimes the world can seem pretty vanilla. Sometimes it can seem segregated, too. But with a little research and a little creativity you can peel that veneer off of the tableau you’re looking at and discover a rich and varied world. 

Also – and let me be blunt – you are writing historical fiction. No one is going to get 3 units transferable to the college of their choice by reading your book. You don’t have to be absolutely historically accurate to write a compelling piece of historical fiction. 

Don’t get me wrong – you do have to get the details right. You gotta know your stuff about horses, crops, firearms and swords. You have to know your way around corsets and fabrics and etiquette and politics. But you do NOT have to be perfect. 

How do We Write Diversity in Our Stories?

So, how do we write diversity into our stories?

Maybe you are writing a romance set in the English Regency. You feel diverse characters would add richness to your story and make it pop. But you can’t bring yourself to make one of the supporting characters from Africa or Asia. That’s OK. What if your character were disabled, in some way? A veteran of the war in the colonies who’s now in a wheel chair? Or, perhaps blind? How many romances have disabled characters?  What about a supporting character who is very old, but wise? Someone who can reminisce about the love of their youth and give good advice to the protagonist. 

Cultural and Ethnic Diversity Occur Natural in Times of Great Exchanges

But if you did want someone to stand out because of their ethnicity and background, please remember, the settings of most of our great pieces of historical fiction have been during times of great exchanges. Many take place in cities or on frontiers where cultures meet, clash and trade. It is there you will find the diversity you seek. 

My first novel takes place in 1590s Ireland, in the Queen’s Army. It is a hotbed of war and culture clash. English Anglicans work alongside Irish and Highland Catholics. There are Italian mercenaries and French smugglers. And the Spanish. Boy, are there lots of Spanish. More importantly, able bodied women who work in and with the Queen’s Army. Sometimes, they fight too. 

Don’t Force Historical Characters to Adopt Unrealistic Modern Attitudes

I’ve said this before, but there have always been gay and transgendered people. Why not have a gay or transgendered character in your novel? It would not feel right to me for my characters to adopt modern attitudes about the gay and transgendered. I think that would be going too far. (Although, open minded people always existed.) But wouldn’t it be a lovely subplot to add to your novel if your protagonist discovered one of their friends were gay and have to wrestle with that knowledge? And, as the book moves forward, your character realizes that their friend is their friend and comes to accept them? I would read that book. 

Ethnic Diversity in Historical Fiction – It Comes Naturally

But maybe you really want ethnically diverse characters in your novel. Ok. Then let’s talk about diversity. 

Any story set during the Columbian Exchange is going to have diversity. Native Americans went to Renaissance Europe. (Many, unfortunately, as slaves.) The French, Spanish, Papal and English courts all had ambassadors from the Ottoman Empire. (Turkey.) Those ambassadors brought staffs of servants and slaves from throughout North Africa, the Mideast, and Persia. 

If your story is set later, say the 18th century, the same thing applies. However, now you can add Indian, Chinese, Filipino, Japanese, and people from Southeast Asia as potential characters into the mix. The closer to our modern period you get, the more diversity becomes apparent. Mexican miners in 19th century Colorado. Black cowboys and buffalo soldiers. Chinese migrant workers who toiled on the railroad and in San Francisco immigrant communities.  

Is your story set in Medieval Europe? Crusaders sometimes came back to Europe with Armenian and Arab Christian wives and servants. Spain before the Reconquesta was a home for Jewish and Islamic scholars and artist for a millennia. People who came from around the Islamic world. As far south as Timbuktu, and as Far East as Jakarta. That is diversity. 

Remember, adding diversity to your story can be as simple as thinking about outside the box about the culture you’re trying to explore. There have always been diverse characters, we just have to illuminate them. 


Jason Henry Evans:  Life is funny. In 2004 I moved from Los Angeles to Denver, newly married with a desire to be a great teacher and husband. I dedicated myself to public education and realized my heart was not in it. So I moved on. At the same time I stumbled into a creative world of art and literature I now call home. It hasn’t always been easy, but it has been worthwhile.

Like my Author Page on Facebook: Jason Henry Evans

Follow me on Twitter: @evans_writer

Read my personal blog at www.jasonhenryevans.com

 

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Book Launch Marketing – What Works and What Doesn’t

Readers, today we have installment number eleven of Jason Henry Evans’ series on How to Write and Publish Historical Fiction.  Today he shares book launch marketing, what works and what doesn’t.


OK today we talk about the digital book launch and the things you have to do to make your book financially successful. Now I am going to say some controversial things to say about common ideas about book launch marketing and it might upset you. So this is your trigger warning. 

Things that don’t work

Kirkus Reviews. Among the professional writer community, receiving an excellent Kirkus review is a mark of status. It means you have literary chops. It means you have arrived among your peers as a well thought of writer. 

However . . . 

The vast majority of book readers don’t even know what Kirkus is. They go to Amazon, they look at the section called “Customers who bought this Item also bought . . .”  and the peruse titles like the titles they’ve already bought. 

Look, if you really want a Kirkus review, go get one! But please do not think this is going to help book sales. 

Spamming Private author FB sites or any other sites. Dude. You’re just going to piss people off with this. Stop it. If you’ve been invited into a private fb author group, please know that blasting the same old add about your book is only going to upset people. Besides, why are you trying to sell to other authors? Sell to readers, not authors. 

Book launch parties. Unless your Diana Galbadon or JK Rawlings, planning a book launch party should be a fun event to celebrate you. I have gone to these things to be supportive of other authors. Some will buy $400 in hor d’ourves. I went to one where we got free, premium beer! These parties are great and you should have one. But if you spend $600 bucks on a book launch party, how many books will you have to sell to break even? 

These activities are about you, the writer, celebrating your hard work. You should do them, if you want to. But disabuse yourself of the idea that these things will help you sell books. 

What does work? 

Getting reviews. Many authors use a lovely little tome called The Book Reviewers Yellow Pages by Christine Pinheiro. This book is updated every year. (Currently on edition 8) What I love about this book is it has an extensive list of websites that actually give reviews on new books. If you get twenty to thirty of these websites to read and review your book a couple of wonderful things happen. 

First, your book is now in front of their audience. These are readers from all over the world who now know about your book. They trust these websites and will probably go buy based off of their recommendations. You now have an audience. 

Second, the vast majority of website reviewers will also write a review on Amazon. This is HUGE. Everything I’ve heard from authors is that fifty reviews on Amazon seems to be the magic number. If you can get those from these book review websites, that makes selling your book a lot easier. 

Send out a press release to the sixty or seventy sites you want to review your book about 2-3 months before you launch. Actually read the details in The Book Reviewers Yellow Pages of each website so you know when and how to submit your book copy. (Most take digital copies, a small few only take physical books. Do your research.)

Sign up for Instafreebie. This site is for whale readers. (Readers who will read your entire back catalogue.) If you put up a novella, a long short story, or a chapter or two of your novel on this site, readers will download it and read it. Are you getting sales? No. But you are getting publicity. You can even ask that readers surrender their email address before downloading your piece of historical fiction. This helps with your mailing list, which helps with your sales. 

Write your next book. I was recently at the RMFW conference and I met author independent  David Gaughran. He said something author Susan Spann and others have said before. The biggest marketing tool you have is your next book. Constantly write. Constantly publish. The world is changing and there are readers out there who won’t even consider your book unless you have two sequels out. They want to get to know characters over the long haul. 

Writing multiple books, regardless of the genre, will capture your reader and get them to buy more!  

 


Jason Henry Evans:  Life is funny. In 2004 I moved from Los Angeles to Denver, newly married with a desire to be a great teacher and husband. I dedicated myself to public education and realized my heart was not in it. So I moved on. At the same time I stumbled into a creative world of art and literature I now call home. It hasn’t always been easy, but it has been worthwhile.

Like my Author Page on Facebook: Jason Henry Evans

Follow me on Twitter: @evans_writer

Read my personal blog at www.jasonhenryevans.com

 

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From Art to Can of Soup – Marketing Your Book

Readers, today we have installment number ten on Jason Henry Evans’ series on How to Write and Publish Historical Fiction.  Today he shares marketing tips.


Wow. Ten months ago I said I wanted to do a series of basic how-to’s for historical fiction. While this was originally conceived as an eight part series, it has grown to ten – yes ten blogs – on how to write and publish your historical fiction.

Over this year we have covered:

  • Story ideas
  • Historical research
  • Story planning
  • Character arcs
  • Publishing goals
  • Writing strategies
  • And a bunch of other stuff.

So now what are we going to talk about? Cover art? How to handle your millions in royalties? Managing the paparazzi in three easy steps? Make-up techniques for television?

Nope. None of that. There is one area we have not covered. It’s the 800 pound gorilla in the room.

(more…)