Author Archives: Emily

a stack of old, romantic-looking books with glasses on top

Feminism and Romance Writing

Last weekend at the Heart of Carolina Romance Writers’ Monthly Meeting, Katharine Ashe spoke about feminism and romance novels. Katharine presented a list of “tropes”—characters or situations commonly used in romance—that she proposed writers leave behind.

But she recognized that some tropes might be “old favorites” that would be hard to leave behind. She used an analogy of a favorite chocolate cake her mom made. As she got older, the cake gave her headaches. At first she thought she’d have to stop eating it, or suffer the headaches. But she researched and eventually learned certain types of chocolate caused the headache. She started making the cake with different chocolate, and was able to enjoy it again. She asserted that we can change what we write while still keeping what we love about writing romance.

Setting the Stage

a man "playfully' choking a woman, both wearing medieval costumes
Ugh, not so sexy in real life

Katharine discussed the statement that “readers know the difference between fantasy and reality,” which is often given to justify including something in a book that might not be acceptable in real life. She gave some examples of studies showing that fiction can affect the brain and behavior, even if the reader doesn’t think it has. (She didn’t need to convince me; when I returned to Disney World as an adult, I realized what a warped sense of relationships I’d developed, probably as a result of too many fairy tales.)

She also made the point that her call to remove certain tropes from romance isn’t about being politically correct. It’s about creating books that display good behaviors, to ultimately make the world better. Heroines in romance should leave readers feeling stronger.

Feminism 101

Katharine gave her definition of feminism, which is simply a belief in equality. The word has been disparaged to the point that some people are uncomfortable with it, even if they believe in gender equality.

a stack of old, romantic-looking books with glasses on top

Someone asked about the reality of history, when women often didn’t have many rights. Katharine pointed out that today, women have legal rights but still lack power. In past centuries, they might not have had legal rights, but they still could have power; often the instances of this are not recorded in mainstream history. For example, Katharine wrote a heroine who’s a pamphleteer (like an 1800s activist blogger) in the Regency period; this was a real thing, but no one knows about it.

Tropes to Retire

Finally Katharine presented the list of outdated tropes. Here are some that I liked best:

a smiling male cartoon doctor, and an overly sexy cartoon nurse holding a needle
No more of this!
  • The hero is a misogynist who hates all women, until he falls for the heroine; wouldn’t it be better if he LIKED women and still picked her?
  • The hero is a villain whom the heroine tames into domesticity; wouldn’t it be more exciting if they were allies, and if both of them were part domestic and part wild?
  • The hero’s behavior would, in real life, be creepy harassment.
  • The heroine is exceptional, the only woman like her in the world.
  • The hero has more power or authority than the heroine (he’s the doctor, she’s a nurse), or more money while the heroine struggles financially. Why not try making them equal or flipping the traditional roles? Note that “power” doesn’t have to equal money; it can also be about the characters’ personalities.
  • The hero physically rescues the heroine, while the heroine emotionally rescues him.
  • The heroine is pitted against an evil “other woman” and must best her to win; it would be better for the heroine to have female friends.

Katharine concluded that yes, these tropes still work to create an appealing story. But authors can choose not to use them, because it would be better if they went away. And readers might like new stories better: A large part of the reason the old tropes persist isn’t that readers like them, but that large publishing houses keep putting them out, and the marketing budgets are spent convincing people they want to read them. This situation is slowly improving with the rise of independent publishing. 

two daffodils in early morning sunshine

Spring Is Here! Classes, Sourdough, and Romance Novels

Each year around the start of spring, I find myself making plans for the rest of the year. I value winter for the time indoors (i.e., without yard work), but it’s hard not to be excited when the daffodils appear and the weather warms. The year feels filled with promise.

Press (!)

Emily holding a heart-shaped baguette over her heart
Valentine’s Day bread

In February, Michael Hilburn interviewed me for the Sourdough Podcast. We talked about sourdough science and myths, among other things. The episode is here:
https://www.thesourdoughpodcast.com/
episodes/2019/2/12/emily-buehler-author-of-bread-science

I also cohosted with Sarah Cypher the Editorial Freelancers Association’s February #EFAChat on Twitter, which was about self-publishing. The archive of the chat is here: https://wakelet.com/wake/8b24c9cd-7cc6-43f9-89af-7ddbe4c2f22a

This Year’s Events (So Far)

artisan breads with logo for Asheville Bread Festival

Due to some scheduling complications, I’m not teaching at the Asheville Bread Festival (April 13). It turns out I am able to attend, however, so look for me outdoors at the Bread Fair with a bread science booth. Learn more and sign up for classes: https://www.ashevillebreadfestival.com

I’m teaching Baking Traditional Breads at the Folk School in May, but I believe the class is already full. If you want to get on the wait list, you can do so here. Tentative dates for 2020 are April 26 to May 2, 2020 (Making Traditional Breads) and September 20 to 26, 2020 (The Science of Bread).

I’m giving my presentation on “old-fashioned self-publishing” at the Orange County Public Library on September 22 at 2 PM. The talk looks at self-publishing with as few intermediaries as possible as a starting point, and then discusses where and why an author might value an intermediary. I’m working to streamline the talk so it will be a little shorter than last time. The slides from last time are still available, here: https://emilybuehler.com/miscellany/how-to-guides/

In other news, I am hoping to attend both the Romance Writers of America conference in July and the Editorial Freelancers Association conference in August. (The writer conference is what I need right now, but last time I attended the editor conference, I felt so much like “These are my people!” that I’d hate to miss it.)

My Writing Career

a construction sign that has folded over on itself so that it reads "Be Prepared", with a rainy roadside
I saw this as I left my office job one afternoon and it gave me a laugh

I’ve got a new plan for my writing endeavors taped on the kitchen cabinet. What I’ve gathered from classes and reading is that to have a career as a writer, I need to produce a lot of books that are in one genre. Readers will expect consistency, and I don’t want to let them down. At first this concept seemed stifling, but I looked at my favorite authors. For example, I’ll read anything by Sarah Dessen because I know there will be a teenage girl protagonist struggling with family issues and figuring out where she belongs.

So my current situation is, I have three manuscripts in three different genres. I need to pick which genre to focus on—which genre I think I can produce more books in, and which manuscript I want to pitch to agents at the conference this summer. (I’m not opposed to self-publishing but am interested to give the traditional process a try.) I’m currently trying to read as much as possible, to figure out where my books fit in.

single daffodil growing on a lawn in a neighborhood
The first daffodil of spring!

I’ve also become more clear-eyed about readers. Most Bread Science readers are not going to be interested in a bicycle trip memoir or women’s fiction. Even among women’s fiction readers, those who value one type of book may not be interested in another. Thinking about the inevitable one-star ratings and hateful reviews that every book gets on Goodreads made me imagine a book-sharing website where the ratings and reviews you see are from other readers who have the most “book overlap” with you, based on your own ratings. I blogged about this here: https://emilybuehler.com/2019/my-wish-for-goodreads/

an open book with the pages folded into a heart, with a pink rose

I’m currently thinking about the themes and character growth that are likely to keep popping up in my books. It’s kind of a relief to realize that I don’t have to come up with a brand new theme each time—I only have so many major life lessons to share! I’m wondering how to convey these themes to reach readers who’ll appreciate them. Two related bog posts:

Tips about writing back cover copy that hooks the potential reader, from a webinar featuring Lee Silber, https://emilybuehler.com/2019/cover-copy-tips/

Considering the “inciting incident” that led to a misconception I held as an adult: the time in middle school when a boy made fun of me for going to the school dance, https://emilybuehler.com/2019/the-legacy-of-middle-school/


That’s probably enough news for now. It’s nice that spring keeps returning each year to bring the feeling of promise, even as life progresses steadily on.

crackers with hummus spread on them and raw peppers, plus fruit scattered nearby

Writing for My People

a couple in a coffeeshop, seen through the window; they are holding hands and she is wearing glasses
They’re on a date! And she’s wearing glasses!

I’ve been thinking a lot about the different communities of readers in the world. As a future published fiction author, I want to write books that readers will like. At the same time, I want to write books that I like.

A lot of book characters have different lifestyles than I do.* Which is fine, but sometimes I wish I could read about a character more like me. So perfect; I’ll write that character!

But I see these things so often… is this what readers want? Is my writing career doomed if I can’t muster the willpower to include these in my books?

Ugh I Could Never Write This

Here are some things you probably won’t find in my books:

a candy car with caramel and chocolate poking out of a wrapper
Delicious… or toxic?
  • Characters eating junk food constantly, with relish. I dislike how the sugar and corn (syrup) industries have so much power, and how their products cause major health problems.
  • Female characters wearing makeup and heels. Some women like to wear these—great. But other women wear them because they are expected to in their job or situation, which bothers me.
  • Characters wearing perfume and cologne. I have a hypothesis about scent: Studies show that scent helps humans determine who their compatible partners are. So wouldn’t wearing perfume or cologne confuse the issue? Blinded by fragrance, people will begin relationships that are less likely to work in the long run. Also I just find all cologne stinky.
  • And even if they’re not wearing cologne, characters always smell like random things (cinnamon, strawberries… sandalwood shows up a lot).
  • Characters who spend their free time shopping and watching television.

Things You Might Find in My Books

Here’s what I’m likely to put in a book. I’m hoping other readers would like characters with these habits:

crackers with hummus spread on them and raw peppers, plus fruit scattered nearby
And then they ate some hummus!
  • Characters eating a meal with vegetables.
  • Characters wearing practical clothes. And when they do dress up, flat shoes.
  • Characters who wear glasses. Even on a date.
  • Characters who smell like soap or clean laundry or vague, natural things like “the forest.”
  • Characters who read and go on walks in their free time.

*I’m not saying these things are wrong or that I don’t ever do them, just that I don’t want to promote them or encourage them to be the norm.

eight teenage girls in formal dresses outside a school, posing for a photo

The Legacy of Middle School

Each week I listen to Write-Minded, a podcast of “Weekly Inspiration for Writers.” The episode on January 28, 2019, was “Healing through Writing” featuring Francesca Lia Block. (You can listen to it here: https://podcast.shewrites.com/healing-through-writing/.)

During the episode, one of the hosts commented that everyone has an incident from childhood that results in the “flaws” we must heal as adults. This statement seemed too broad to be true—doesn’t anyone just have a nice childhood that leads to a healthy adulthood? But at the same time, I immediately knew what my incident was.

The Backstory

Let me set the scene: I was shy and still friends only with girls. When I started middle school, school dances appeared. I decided I had no interest in them: I didn’t want to dance with a boy, so what was the point? So while all my friends went, I stayed home. Really, I was just scared of going to a dance, of moving into new territory with boys and who knew what else.

eight teenage girls in formal dresses outside a school, posing for a photo
Here we are! Actually, this photo was from the last dance of middle school, in eighth grade.

The last dance of sixth grade was on my birthday. I wanted to have a party, but I knew my friends would want to go to the dance. “Why don’t you have a party,” my encouraging friend Kelli said, “and then we’ll all go to the dance together?” That sounded manageable, plus I didn’t want to let her down, so I agreed.

And it turned out dances were fun! There was very little dancing, at least among my crowd of friends. There was a lot of giggling, talking about who was cute, and running to the girls’ bathroom when any boy looked your way. Toward the end of the two hours, a few brave souls ventured out for a “slow dance,” which looked awkward, dull, and not much like actual dancing.

After that, I was in. I was going to the dances from then on.

The Inciting Incident

Emily in a flowered dress on a deck, with and without a white jacket
I would still wear this dress. I would not, however, pair it with a white Miami Vice jacket.

I remember the boy involved. But he could be a lawyer now, so I will withhold his name. Let’s call him M. It was seventh grade, and I left the cafeteria to buy a ticket for the dance that Friday, from the ticket booth set up in the hallway. I was heading back to my table when he struck.

“Why did you buy a ticket for the dance?” M asked from his seat as I passed.

I knew he was about to be mean, but felt I had to answer. I don’t remember what I mumbled back, maybe “Just to go” or “They’re fun.”

“No one wants to dance with you,” he said, his whole face cringing in disgust.

And he was right, it seemed. No one did ask me to dance. Never mind that no one asked anyone else to dance either, or that I hadn’t wanted to dance, or that slow dancing looked pointless and stupid. No one asking me seemed to prove M right. I didn’t dance with a boy until the end of eighth grade, when Valerie decided she’d had enough of everyone standing by the bleachers and started dragging boys over to us and pairing us off. I remember that boy’s name, too. The song was “Open Arms” by Journey. Slow dancing was just as unpleasant as I’d expected.

The Aftermath

two women with loaded bicycles under a tall sign that says "Welcome to Idaho" with evergreen trees in back
Mary and I at the top of Lolo Pass on the bike trip

I think of my cross-country bicycle trip as the major event that began my healed life, but probably writing about the trip was what actually did it. The memoir of the trip, Somewhere and Nowhere, explores a few themes, but the general idea is that getting away from the noise and busyness of regular life enabled me to see my patterns more clearly, the first step in overcoming them.

A few scenes come to mind when I remember the middle school dance incident:

  • Becoming extremely self-conscious because of the cute barista in the coffee shop in Powell, Wyoming. While writing this scene, and struggling to figure out what “becoming self-conscious” actually meant, I realized all the thoughts I’d had during the moment, such as thinking the barista would be repulsed if he knew I thought he was cute (because I was so romantically repulsive—thanks, M!).
  • Talking to Ryan at the Jackson Hot Springs in Montana, and how I’d been acting confident, but felt sure that I could never pull off a whole day in his company.
  • Making up elaborate daydreams about Scott, the ranger on Lolo Pass. I was prone to daydreams because they helped me avoid any real-world actual dating, which was sure to fail because of my flaws.
two log structures with an American flag flying and a parking lot, alongside the road, with a backdrop of evergreen trees
The Lolo Pass ranger station

Writing these scenes helped me realize the negative patterns I had internalized. (One of my early beta readers called Somewhere and Nowhere my “search for Ranger McDreamy,” which made me laugh. But the book has other themes as well, I promise!)

What I’m Writing Now

a view down Lolo Pass with a road and a bicyclist in the distance, mountains beyond, and evergreen trees lining the road
Onward! Heading down Lolo Pass

Since I’ve been writing fiction, I haven’t settled on one genre, but I have identified my mission as a writer: to show characters overcoming beliefs about themselves like the ones I harbored for so long. Even if the story begins with an adult character, it’s helpful to identify the inciting incidents that led to her being the way she is in the story. So maybe I should thank M for giving me such a clear example of how an incident can be internalized, festering for years before it’s exposed and overcome.

shelves filled with books

Cover Copy Tips

cartoon book with blank cover

Last week I watched a webinar from the Independent Book Publishers Association (IBPA): “Back Story: Back Cover Copy That Sells” with Lee Silber. The recording is available free to IBPA members here: https://www.ibpa-online.org/page/pubuniversityonline. (Non-members were able to sign up for the live webinar, so there may be a way for them to pay for the recording as well, but I don’t know.)

I had thought writing cover copy was simply about creating a good hook to snag readers, but the webinar introduced many more factors to consider. Here are some that I found particularly useful.

Main Points

people looking at books on a table in a store

Some of the points stressed in the webinar are ones I have heard before. But I had heard them in other contexts, like writing blog posts. I had not considered applying them to a book’s back cover.

  • Put the most important information at the top, in larger text, then work your way down
  • Focus on one main idea, and let your excitement shine through
  • If you use bullet points, 3 is best; otherwise use 5 or 7
  • Keep things simple and clear
  • Focus on the reader and what the book can do for the reader

Consider the Audience

an open book with the pages folded into a heart, with a pink rose

Lee brought up some interesting points about audience, such as the following.

  • Baby Boomers value status and credentials, so you’d want to include a bio on a book targeting them; but Millennials generally don’t care about credentials
  • Emotional words (e.g., heart, kiss, sweet) appeal to women*, so if your target is women, find ways to use these words (e.g., “Kiss procrastination goodbye”)
  • Right-brained readers are hooked by teasing and creative wording, while left-brained readers want a clear problem and solution

Design

The webinar briefly touched on design in a way that was helpful.

  • Design trends change with time; if you’re trying to fit in today, you’d want a minimalist design with less words
  • The cover sets the tone of the story inside
  • Remember your brand and stay true to it
  • Different colors compel people more or less, or convey certain feelings or ideas
  • The headline should be readable in a glance
  • Use a sans serif font for the headlines, and serif font for the copy
outdoor bookshelves in a store, filled with books

The webinar ended with the reminder that books are for people, and your cover copy should make people feel something and show you care about them. There were a lot more details, tips, and examples in the webinar. I recommend watching it if you are interested in learning more about effective back cover copy.


*Lee used the terms “men” and “women” for gender, but the fact that gender is non-binary was addressed. I’m not sure how to properly categorize: maybe “people who are more emotional like emotional wording”? Also note that some viewers may not care for Lee’s humor; to his credit he seemed to realize that his jokes were problematic, mid-webinar.

one black sheep eating in a field of white sheep

My Wish for Goodreads

A few weeks ago I visited a friend’s “Little Library” and picked up a few romantic-looking books. I wanted to see where they fit in the wide world of romance, as I figure out my own place. The difference between two of the books made me realize how different audiences value different books.

Book 1: Beach Read

the covers of the two books mentioned in the text; The Big Love has a woman lying on a bad; Summer at Oyster Bay has a couple walking on a beach

The first book I opened was Summer at Oyster Bay by Jenny Hale (Bookouture, 2016). It was a about a young woman returning to her hometown after a breakup, figuring out where she fits in while dating the rich developer who is building/destroying her town. It had lots of description of the setting and interactions with the woman’s family. A typical sample: “Rachel turned back to the bay. Emily followed her line of sight. A speedboat rushed by, agitating the tide, sending it slamming against the shore. The sun was behind the trees now. The sand was cool on Emily’s feet as she took off her shoes and set them beside Rachel’s.” (p. 35)

a heart drawn in beach sand

This book wasn’t really for me. I didn’t relate to the main character’s journey, I didn’t connect with her struggles, and I was not drawn to her personality. I grew tired of all the description. I noticed lots of references to clothing and grooming; I’m not into fashion and such references make me dislike the characters who are noticing such things. The thing is, I don’t think this is a bad book; it’s just not for me.

Book 2: Neurotic Narrator

a sad looking woman in the woods holding a book

The second book I opened was The Big Love by Sarah Dunn (Back Bay Books, 2004). It was about a young woman trying to get by after her boyfriend leaves her. She acts out with atypical behaviors and considers how her upbringing led to her current state. A typical sample: “Well, I haven’t figured out what the point is. Another thing I haven’t been able to figure out is whether the religion of my childhood is the source of my neurotic problems or the cure for them. I have figured out a few things, of course, but for the most part, none of them seem to apply.” (p. 23)

I immediately loved this book. The narrator rambles on about her thoughts, emotions, and habits, but I totally got it. I related to her struggle to overcome a pattern in her life, and understood the bad decisions she makes along the way. I liked her snarky attitude, and felt uplifted when she finally got herself together. I could see that some people would find the book unreadable, but it was a perfect fit for me.

The Problem with Goodreads

When I went to Goodreads to review The Big Love, I already knew what I would find, because it happens so often. The book had an overall rating of three-point-something, and the top review was one-star. As I scrolled down through the reviews, they continued to be mostly bad. This used to confuse me, until I realized the order is based on how many people have liked each review. Inevitably, some “clever” one-star review gets a lot of love and ends up on top.

I’ve hesitated to rate books I don’t like because Goodreads doesn’t clarify: am I rating the quality of the book, or how much I liked it?

Many of the site’s reviewers use language that suggests they are rating the former, and also that they are the harbinger of truth about the books they rate and review. And the bad reviews make me sad because authors are people like anyone else. The buffer of the Internet might protect a caustic reviewer from feeling like a jerk, but it doesn’t make reading the biting, nasty criticism any easier on the author. I don’t want to give a low rating and contribute to the negativity.

How to Fix It

one black sheep eating in a field of white sheep

The conversation could be framed differently: “Rate this book for your tribe—is it the kind of book you and your fellow readers will enjoy?” This language would clarify that the rating simply means the book isn’t a good fit for a particular audience. That a review isn’t so much about the book as it is about the person who wrote the review. I’d happily give Summer at Oyster Bay three stars, knowing I’m rating how well the book fits me and not the book itself.

My wish is that Goodreads* would order reviews differently for each user. The top reviews I’d see would be those written by readers who have the most “book overlap” with me, based on books we have both read and rated. Seeing those reviews (by my book tribe) would be much more helpful to me than seeing the generic one-star reviews that currently rise to the top.


*Or some other platform. If you know of one, please share!

banner that says 2018 Nanowrimo winner, with computer, coffee, books, pens, and pastry (cartoon)

New Year News Update

After the busy-ness of the holidays, January seems like a good time to round up my latest news.

Writing and Editing News

box that says Nanowrimo 2018 winner with sketch of computer and 50K

Last November I completed NaNoWriMo, writing a 50,000-word draft in thirty days. The new novel, Kensington, originated as a contemporary romance idea but turned out differently than I’d expected: there was less kissing and more plot. This result has led me to further consider what sub-genre I’m writing—light romance? new adult? chick lit?—and I’ve been stepping up my reading in the genre to try to find comparative titles.

I’ve also had a bit of a break from my science fiction novel, after an intense critique from a New York agent at a conference last fall. I’ve had some realizations; read them in this blog post: https://emilybuehler.com/2019/universal-truths-for-authors/

road sign on road that splits with four arrows, all pointing to "Right way"

The next steps I’m leaning toward are making some changes and then looking into other agents.

Right now, though, I am excitedly swamped with editing work! I’m providing feedback on an applied science textbook and writing a new booklet for the American Cleft Palate–Craniofacial Association. I’ve had a steady stream of academic papers for copyediting and language editing. And I’m starting a new test passage writing assignment and a report for the National Academies of Sciences in the coming weeks.

Events: A Bit of Sad News

artisan breads with logo for Asheville Bread Festival

I’m dismayed to report that, because of a scheduling conflict, I won’t be able to teach at the Asheville Bread Festival on April 13, 2019. I’ve never missed this festival since it began, and feel like it kicks off my spring each year with a good dose of bread. If anything changes, I hope to attend, but at this time, it is not looking good. Still, I encourage everyone to go. Info: https://www.ashevillebreadfestival.com.

My May class at the Folk School is already full. I hope to offer classes in 2020, but am waiting to hear from the Folk School’s new cooking resident artist. I also hope to have time for some local events, like a replay of my self-publishing talk at the library, but nothing is currently scheduled.

Recent Blog Posts

the cover of the book This Is Marketing, which is mostly text

In case you missed any, here are the blog posts I’ve written in the past two months.

a row of silhouettes of people with a magnifying glass showing the faces of five people, all smiling

Book Review: This Is Marketing by Seth Godin

the cover of the book This Is Marketing, which is mostly text

Someone at my day job recommended This is Marketing by Seth Godin (Portfolio, 2018). The book explores today’s marketing (as opposed to that of a few decades ago), highlighting the changes brought by the Internet. The book’s content seems a far cry from traditional marketing advice. A lot of the ideas resonated with me.

The main theme seems to be that marketing used to mean advertising, but today it means serving others and solving their problems. With this new type of marketing, there are no shortcuts, but it is a viable path to success.

Advice for Authors

As I read, I was thinking of how to use the content at my day job but also for the local farmer’s market (I’m on the board), for my freelance editing business, and especially for me as a self-published author. A few chapters seemed highly relevant to authors:

silhouettes of people with a magnifying glass showing the faces of five people, all smiling
  • You cannot reach everyone, so you should try to reach the people who will love your product; Godin describes the “smallest viable market.” If you reach these people, they will endorse you and spread the word. (Chapter 3)
  • And, instead of thinking in terms of demographics, group people by psychographics of what they believe in, dream of, etc. (Chapter 3)
  • These days people have endless alternatives. Trade their time and attention for something they really want. Make a product so good they seek it out—you won’t have to pitch it. Light a beacon to help YOUR people find your product. (Chapter 5)
  • Chapter 15 differentiated between direct marketing (like paying for ads) and brand marketing. Online ads sound great, but they are mostly ignored. Most of us low-budget small businesses need to do brand marketing. You must be patient and engage with people and not try to measure results.
  • Your goal is not to appear first in every generic Internet search, but to have people type in your name—to have them specifically searching for you because they want your product and not a generic alternative. (Chapter 15)
scrabble pieces spelling audience, relevant, target, and content

When my bicycle trip memoir came out, I tried to think of all the audiences I might target (bicyclists, outdoor enthusiasts, women who travel). But I never felt comfortable enough to move forward with the marketing tasks. I knew some people would not like the book, and felt too nervous about their reactions.

Now, though, I know whom I want to reach: people who have trouble being in the present moment and silencing the noise in their heads, as I did when I went on my bike trip. I’m planning to rewrite my metadata and back cover copy to better target this group by more clearly showing the book’s contents, instead of trying to make the book appeal to as many groups as I can.

Advice on Branding

person sketching logos with the letter R

This Is Marketing also considers branding. Describing my brand is a struggle for me because I am currently writing fiction, but I also have a bread persona from the past, plus the bike trip memoir. And my fiction manuscripts seem to be in three mismatched genres (I’m still trying to pinpoint what they are). But my worries aside, here are some of the book’s ideas:

  • Consider what brand you immediately think of when you want to feel a certain way like “Safe” or “Powerful.” If a word made people think of your brand, what would the word be? (Chapter 5)
  • People scan instead of reading, and they make assumptions about you based on what they see at a glance; this is why you need a professional looking website. If a person sees your materials and thinks “unprofessional, must be a scam,” that feeling will stick, even if it is irrational (e.g., plenty of good organizations have dated-looking websites).
  • This is also why book covers work better if they look professional and, sadly, similar to other books in the genre; the sameness signals to readers that the book fits in with what they like to read. The ideal case is to have a cover that fits in enough to be trusted but is also unique enough to attract interest.
  • Many logos look the same because the company is trying to remind you of a “solid company.” Remember, it is the viewer’s opinion that matters, not the designer’s.
  • NOT “flying a flag” is not an option; not having a presence online, for example, will lead to assumptions about you.
  • Think of phone companies. They don’t really have a brand, and people switch between them easily. You want your brand to be something people can’t get anywhere else and something they care about. (Chapter 13)

What Are Your Strong Points?

Chapter 5 included a concept that helped me brainstorm: Different people value different attributes, like price or quality. Figure out where your product falls in the range of each attribute; which ones are your strong points? These will determine your target audience.

Even better, can you find an attribute that has been overlooked? If so, you can be the first to offer it.

  • I first thought of my editing business. I sometimes feel uneasy because I never worked at a publishing house, and I don’t have decades of experience. But, I’ve passed editing tests to copyedit for several companies and gotten positive feedback from authors, I think I am pretty friendly to work with, and I’m always willing to do a sample to show potential clients what to expect from me. So I might make a plot like one of these:
shows pedigree versus quality, with Emily plotted low on pedigree but high on quality, and one shows ease of working with me versus years, with Emily plotted high on ease but somewhat low on years
  • Then I thought, what attributes can a book possibly have? Hopefully the writing is high quality, but the price is pretty standard. But I thought of two plots for my bike trip memoir: (1) I’m not famous, but my story is authentic and readers can share the journey with me, and (2) I’m not traditionally published, but I’ve been told I am a good storyteller. So I might have plots like these:
Two plots, celebrity versus authenticity and storytelling versus professional looking book; Emily's book is plotted on each as described in the text
  • Regarding the attribute of price, trust does not work rationally, and cheap prices often lead to distrust. Price is a signal about your product, and people make assumptions based on it. But also, remember the attributes and what your audience values; they may value a low price or they may value something else more. (Chapter 16) 

Other Advice I Liked

the words "marketing strategy" written on a chalkboard

Here are some final bits that I could not fit in above.

  • We’re not really selling products, we’re selling feelings or status or connection. How will your product give the buyer emotions? Products change, but the underlying emotions stay the same. (Chapter 7)
  • Big hits started with small numbers. We only learn about the hit after it is a big hit, so it seems like it magically appeared that way. (Chapter 3)
  • You can match the existing pattern (but this makes you forgettable) or you can interrupt it (but this might not work). Try to break the pattern just enough that you are unique, without leaving people behind. Hook some people, and they will pass your product on to others. (Chapter 10)
  • People’s attention is scarce. Get permission to contact them and then send anticipated, personal, and relevant messages. Create a situation where they’d miss you if you were gone. Have your own permission asset (like a mailing list), without a company (like Facebook) as an intermediary. This takes time and there is no shortcut. (Chapter 17)
  • Make it easy for people to spread the word about you; ideas travel horizontally,customer to customer, not from you down to them. (Chapter 17)
  • And from the inspiring Chapter 23, some marketing is evil. But marketing can also be good and make the world better. It should be transparent and bring joy. Marketing is a craft you can improve, so if you feel like you are failing, don’t blame your product, just learn to market better. There are people out there who need your product.

Although some material in the book repeated, and at times I had trouble following it, the short length of the sections made it easy to get through, and there were many broad ideas and nuggets of wisdom to take away. I recommend this book to anyone with a product to market.

road sign on road that splits with four arrows, all pointing to "Right way"

Universal Truths for Authors

laptop on table with mouse and glasses

Usually New Year’s Day is a time where I reflect back and clarify goals and feel positive about moving forward in the new year. This year was kind of a muddle. What do I do with my manuscripts? What genre are they? How much more work do they need? Should I be putting more time in as a freelance editor, instead of writing?

As nothing came together, I did what I do when I need clarity: put the questions “out there” and then walked away. Over the next few weeks, some ideas came to me—not specific answers but general guidance. As of January 2019, I think these things are true. (If you disagree or have alternate ideas, please share your thoughts in the comments.)

Things Authors Should Do

Regardless of how you decide to publish, doing these things will help you:

Categorized romance novels in my library
  • Find your readers (or, for beginners like me, potential readers). Preferably, connect with them directly (e.g., they subscribe to your blog or sign up for your mailing list). Also connect with them via an intermediary (e.g., a social media platform).
  • Hone your craft and keep revising your manuscript. Learn through classes, webinars, conference sessions, reading about craft, working with various types of editors, and using beta readers. Each time you think your novel is done, learn more and then see if you want to revise again.
  • Read everything in and around your genre and sub-genre. If like me, you don’t have good comparable titles, read as many possibilities as you can. I have recently categorized them on a shelf in my library. Know exactly where your book fits and, therefore, who your readers are.

A Word About Publishing

signpost with two arrows pointing "this way" and "that way" with a daffodil

This seems to be the current state of publishing, based on what I’ve gleaned from fellow authors and agents at conferences:

  • A handful of books/authors are discovered and cherished and published as they are, and are allowed to change the industry. Most authors, though, have to write what already sells to get published traditionally.*
  • In addition, since most publishers require authors to have an agent, the author must either write what appeals to a certain agent or find an agent who already likes what the author writes (or who thinks it will sell).

So there it is. I’d love to hear any universal truths you’ve discovered or questions you are mulling over.


*Please note: I’m not saying anyone has to write what already sells. Just that it seems to be what it takes to be traditionlly published.

cartoon silhouettes of people with various hairstyles

Some Tips on Character

Last month I participated in a workshop on character led by Barbara Claypole White. Here are some of the tips that helped me.

Deep Characters Take Work

Barbara’s books are known for their deep characters—her goal is to have each character’s voice so distinct that the reader will know who is talking even if she uses no dialog tags!

Barbara shared several exercises she goes through to get to know her characters and allow them to develop in her mind. For example, she asks herself questions, like “What scares me about you?” She explores the character’s backstory, which may or may not make it into the book. She interviews characters to get to know them. She creates character notes and boards to refer to. She comes at each character from many angles: What is their body language? What flaws do they have? What contradictions? Personality types? Voice?

She advised the class to cherrypick the techniques that seemed useful, since her method is hers and will differ from other writer’s.

My first reaction to all of the ideas was, Oh God! This is so much extra work! I have to spend time writing out an interview with my character, and I can’t even use the writing in the text? No, thank you!

But as I’m continuously learning, the craft of writing is much more than the simple first layer of thinking out a plot and putting it onto the paper. Maybe I felt rushed because I was participating in NaNoWriMo at the time, or because I feel so eager to have a fiction book published. But I want my first fiction book to be good, too!

The Low Hanging Fruit Tips

So, I started with the tips that seemed most manageable to me, applying them to the novel I was writing for NaNoWriMo. Even before I left the class, the tips had generated some new ideas—ideas I could add to my draft.

My two main characters are Cailin (a nerdy art history student who lacks self-confidence when it comes to dating) and Anders (the heir to an estate who doesn’t trust himself to know when a woman really likes him, and not his money). Here are some of the tips I used:

  • What is each character’s greatest fear? Cailin: opening up to love someone. Anders: disappointing his grandfather, who left the estate in his hands.
  • What is each character’s contradiction? Anders is a famous, wealthy bachelor who appears regularly on magazine covers, but he finds public attention tiring and likes to spend time at home alone, reading. Cailin is studious, careful, and rule-abiding, but when she sees that Anders needs help, she ventures into uncomfortable situations.
  • Think about a negative quality of a character and a time it became a positive. I thought about Anders being a workaholic as he manages his family estate, and his brother who likes to drink and party, and this led me to a scene with them as boys, where Anders drinks with his brother and has fun, but is ashamed when their grandfather catches them. This leads to a schism between the brothers. (So, I didn’t complete the exercise, but I did discover a new development.)
  • Make lists of themed words for your characters. For example, Cailin is an art history student. As she and Anders drive through a city, she is likely to notice the architecture. Anders likes gardening. He is likely to notice the trees along the street or the flowers in planters outside a restaurant.
  • The concept of third-level emotions and digging deeper to find them. For example, Cailin’s creepy art history colleague hits on her in their study room. She is repulsed by him and turns him down, and eventually he goes away—for now. How does she feel?
    -She feels unhappy because she has to tolerate his advances.
    -She feels angry at him for hitting on her at work, which she knows is inappropriate.
    -She feels frustrated with herself that she doesn’t know how to turn him down assertively.
    -She feels angry at herself for not trying to turn him down assertively, which might be uncomfortable.
    -She feels angry at herself for being a coward.

Amid all this consideration of my characters, random truths popped out. Like I had Anders focused on estate security as a teen, but his character would be more interested in managing the gardens. But he overachieves and wants to impress his grandfather, so he works all over. It felt like the exercises were loosening things up in my brain, allowing the characters’ truths to escape.

Do I Want to Do All This?

One exercise bugged me: the “fresh smile” exercise. Barbara had us write sentences to replace a simple “he smiled” with a more complex image. For example, “he gave her the honey-I-swallowed-the-canary smile.” Classmates read sentences aloud. A lot of them were similes, which made me not sure I liked them. Things like, “His smile twitched like a dying fish.” “His smile faded like a closing scene.” (I just made those up.) It felt like middle school writing class. I thought, isn’t it nice to just read, “He smiled”?

But now, rereading the notes from the class, some of the examples do seem good. Maybe this can be done well or it can be done too much or badly. Maybe “His smile faded faster than the end of an eighties rock song” would be more specific and illustrative. (Or maybe it doesn’t work at all.)

Given how productive the two-hour class was, I think there is value in going through Barbara’s tips and spending time developing my characters. Now that the rush of writing for NaNoWriMo is over, this time spent seems less like a waste and more like part of the craft of writing.