In the emerging world of e-books, many consumers assume it is only logical that publishers are saving vast amounts by not having to print or distribute paper books, leaving room to pass along those savings to their customers.

What is the real story? Find out from this fascinating NY Times article: “Math of Publishing Meets The E-Book“.

Answer:

An author friend of mine and I were talking about the new fiction projects we both are working on. She commented that she wished she could jump into a new story as easily as I do, but that she often feels afraid to write.

Now, I don’t know all the reasons for her fears. But I do know that anxiety seems to be a fairly common experience among fiction writers. Contrary to my friend’s compliment, I also sometimes feel afraid or anxious about my writing. Here are some reasons why we writers may feel anxious or fearful about beginning a new fiction manuscript:

1. Writing a novel is a huge undertaking that may require months or years to finish. What if I get stuck and run out of energy? What if I lose interest half-way through? What if I can’t think of anything to write? What does that say of me, to fail in that way?
2. Writing a novel requires a lot of emotional energy. It may require the fiction writer to confront unpleasant memories or draw on painful experiences. Conversely, it might make the fiction writer face the reality that her real life doesn’t measure up to the fictional world she has created. Even if emotional pain isn’t involved, creating authentic character emotions requires a lot of energy and effort from the fiction writer. Sometimes we just don’t feel up to the task.
3. Writing a novel requires ongoing and daily commitment. It takes a good bite of time from your day. Many fiction writers feel overwhelmed at trying to fit one more task into their daily schedules.
4. Writing a novel may involve tasks that the fiction writer finds unpleasant, such as research, plotting, revisions, or even just the writing itself. Even though we writers love to write, sometimes we hate it, too.
5. Writing a novel and finishing it means that then we must either work on submitting it to editors or agents, or–if it is already under contract–going through the process of revision, and then promotion. This can be an intimidating process

The most effective way I’ve found to deal with these writing fears is to face them head-on. Reflect on how you are feeling. Why are you afraid or anxious? List out the reasons.

Next, write out the worst-case scenario for each fear. What is the worst that could happen if that fear comes true? What will the consequences be? Usually, when we do this, we see that what we fear really holds no true threat for us. This can help us overcome that fear or anxiety.

If we still fear failure or are struggling with anxiety, maybe it’s time to talk to a creativity coach. This is what I recommended to my friend, because I have benefited from it myself. A coach can help us deal with, and then move beyond, our writing fears or anxieties.

There’s no shame in feeling afraid to write–many fiction writers feel this way. But don’t let it keep you from doing what you love or reaching your fiction writing goals.

Is This The Most Exciting Time Ever For Book Lovers?

Imagine a 30-50 page document full of bits and pieces, a brainstorm here, an idea there, a few lines down maybe some links to some research sites. Add to it a stack of printed out character charts scribbled and crossed out as I kept changing my mind. And then throw in sticky notes, additional files, a few index cards, and a little notebook in my purse. A mess? Yes!

After redoing my protagonist’s Goal, Motivation, and Conflict THREE times because I kept losing it in the abyss that was my writing notes, I realized something had to be done–or else I was going to go crazy and end up curled in a corner gnawing my laptop and singing “Mary Had A Little Lamb.”

Power Structure To The Rescue:

Power Structure is a writing organization and planning program designed by published novelists and screen writers to help fiction writers structure their stories and keep their information organized and filed all in one place.

With Power Structure, I can create individual articles about my story premise, pitch, timeline, backstory, and any other foundational topic for the story that I need. Then I can choose a story structure (my favorite is the Heroine’s Journey–a template I designed myself based on the Hero’s Journey), and plot out my entire book, down to each scene, if I want.

There are detailed frameworks for every character, including their personality, back story, personal info, character arc, strengths, weaknesses, etc. And then I can pull those characters into the scene view and even color code the scene descriptions based on which character’s story line is affected.

The software is laid out in a graphic format, including virtual index cards for each scene that can be rearranged on screen. Or there is the gestalt view that allows me to view everything from the act structure all the way to an individual scene description all in one glance.

What I like best about it is that all of this is completely customizable. I can add, rename, delete, and create almost any space for any information I need. And then I save it all, and it’s there, in one tidy, well-organized file.

Even for people who hate outlining and prefer to write on the fly, it is a good program to use to keep track of what you’ve already done, what characters you just created, or what plot twist you just threw in. The program helps you analyze the conflict and tension levels scene-by-scene so you can see where the flat places are in your story.

I’ve been using Power Structure for over a year now, and I’m very pleased with how easy it is to learn and how well it has functioned. I even switched from a PC to a Mac, and the program made the switch perfectly. I called customer service to make sure it would be okay, and I spoke with a real person who was kind and helpful.

If there’s one feature I wish it had, it would be the ability to import photos or other files or videos into the Power Structure file. I like to find stock photos that look like my characters, or photos or videos of the story’s setting. Even documents and PDF files of various research sites would be great. If we could upload these supporting files into Power Structure, it would be a completely self-contained file of all the material for my book.

But I can manage keeping track of photos. I highly recommend Power Structure to any writer who wants to become more organized. Check out the Power Structure website here.

Meredith’s Answer:

I would strongly recommend NOT putting your home phone/address on it. You don’t want to compromise your privacy that way. People are sometimes weird about writers–especially once you get published, you’re sort of a semi-celebrity once people realize you are a published author. You want to protect your private information.

If you’re giving out cards to editors or agents, your email address will be plenty for them to contact you, and your mailing address should be on every page of your book proposals anyway, so you don’t need to put it on the card.

A picture is fine, but only if it’s a professional-looking publicity type photo. No snapshots. Otherwise, keep it simple and just have your name and website and email address on it.

I would also recommend spending the money to have it professionally printed. I use gotprint.com and love it. You can even have it designed for you or choose a design off the website. It really is so much nicer looking than printing it yourself.

Good luck!

Meredith’s Answer:

I think the best thing we all can do for the editors and agents at a conference is to treat them with respect and compassion. Too often, in our enthusiasm, we treat them like prey that we hunt down for our own success.

They are people, and as much as we all want something from them, I really believe that we should see them as valuable human beings first. We shouldn’t use them for our own advancement.

So what this means for a conference setting is that we need to stop and think before we pounce. What is the setting? An elevator is a transition place between the public spaces of a conference and the private spaces of other parts of the hotel. So these folks may be half-way to “off duty.” The publishing professional may be worn out or simply tired of so much human contact. So the best way to treat them is the way you’d treat any other person you have compassion on. Do they look like they want to talk? If so, ask them how their day is going. Be others-centered and not focused on your own wants or needs. If they don’t look like they want to talk, then leave them alone.

A lot of times, if you reach out and show that you can see who they are beyond the tag that says “agent” or “editor,” they will often respond in kind and ask YOU about what you write. This is when that elevator pitch comes in useful. But keep it low key–most of the time they are asking you out of politeness only and are hoping you don’t go crazy on them.

The term “elevator pitch” doesn’t necessarily mean it’s to be used specifically in places like elevators or on the way to the lobby or in other semi-off-duty places. It actually means being able to explain your story in the amount of time it takes for an elevator to go from one stop to the next.

I think if you want to approach an editor or agent between workshops or after a meal, it’s usually okay, but you have to really pay attention to what else is going on for that person. You don’t want to put them in a position where they have to be rude to you because they’re about to be late for a workshop. If it looks like they do have a minute, say, “Do you have a few minutes sometime when I could meet with you?” They will either say yes, and you can work out a good time. Or they will say no, in which case, thank them and be gracious. Or they might say “No, but let’s talk right now.” THAT’s when you give them the “elevator” pitch. That way, you’ve been assertive, but without being pushy or walking all over them. You’ve given them space to say no, and they’ll appreciate that.

The thing is, whether or not they want to hear more or want to meet with you or whatever, a key to this whole publishing experience is relationship. Maybe you won’t get to do a full pitch, but I guarantee if you are kind to the faculty and pub professionals you meet, if you take an interest in them because they are valuable human beings, you will reap the reward of expanding your network and your friendships in the publishing world. And eventually, this might lead to the opportunity to pitch your book.

Even if it doesn’t though, what has more significance in the long run–a book contract or a friendship? (I know you already know the answer, but it makes a great closing question!)

Want to learn more about how to get the most out of a writers conference? Take a look at the Writers Conference Survival Guide!

There are different tastes and reader opinions about first person. Some readers love it, some hate it, some don’t care either way.

For writers, the key is in whether you have the ability to make the story work well in first person, and whether or not your personal writing voice fits well in first person. Sometimes newer writers are encouraged to work in third person until they are more skillful, but it really comes down to execution of it. If you have a writing voice and strong skills that can carry a first person POV, there’s nothing to say you can’t or shouldn’t do it. You’ll have some people who will love it, and other people who won’t.

But that’s the case for everything we write. So it’s really a very personal, story-specific choice. Be free, and give it a try if you want.