Month: December 2024

By BookBaby author Scott McCormick Estimated reading time: 12 minutes Have you ever dreamt of crafting your own magical world … one where you can make the impossible possible and bring legendary heroes to life? Writing a fantasy novel offers you that thrilling opportunity, but it can also feel like an overwhelming task. How do you transform your vast ideas into a coherent, engaging story? Where do you start? In this guide, you will learn how to tackle the exciting challenge of writing a fantasy novel by breaking it down into five manageable phases. From planning your world, creating your characters, and crafting your plot all the way to self-publishing your book, these steps will guide you toward completing your own epic tale. Let’s embark on the journey together. Table of Contents: • Phase 1: Planning your fantasy story • Phase 2: Writing your fantasy novel • Phase 3: Overcoming common challenges in fantasy writing • Phase 4: Editing and revising your fantasy book • Phase 5: Publishing your fantasy novel • Conclusion: Start your fantasy writing journey Phase 1: Planning your fantasy story Before you begin writing, you need to have a solid plan. Fantasy novels often have complex worlds, characters, and plots, and getting that set up in the beginning will make the writing process smoother and more enjoyable. Developing your fantasy world Creating a unique, immersive world is one of the most-exciting parts of writing fantasy. This is where you decide what makes your world different from our own and you’ll set the stage for your characters’ adventures. Creating unique settings: When building a fantasy world, start by thinking about its physical environment. What does the landscape look like? Are there enchanted forests, floating islands, or sunless cities? How does the geography influence the way people live? Creating unique cultures: Next, dive into the cultures that inhabit your world. What are their traditions, beliefs, and social structures? For example, you might develop a society where magic is outlawed or a kingdom is ruled by powerful, ancient dragons. These cultural details will give your world depth and make it feel lived-in. Establishing rules of magic and fantasy elements: Magic is a key ingredient in many fantasy novels, but it must be handled carefully. The rules and limitations of magic in your world are essential to maintain consistency and avoid turning it into a convenient plot device. Think about the source of magic — can everyone access it, or is it restricted to a select few? What are the consequences of using magic? Establishing clear rules for your magic system, along with unique fantasy elements such as mythical creatures or ancient prophecies, will ensure that your world feels authentic and coherent. Crafting memorable characters Your characters are the heart of your story. They need to feel real and relatable, even if they’re battling monsters or casting spells. Strong character development will keep your readers emotionally invested in their journey. Building compelling protagonists: Start with your protagonist: Who are they, and what do they want? A compelling protagonist has both strengths and flaws, making them relatable and human. Whether they are a noble knight or a reluctant hero, their internal struggles should be as engaging as the external conflicts they face. Building compelling antagonists: Just as important is your antagonist. A well-crafted villain isn’t evil for the sake of being evil — they should have motivations that readers can understand, even if they don’t agree with them. A layered antagonist will challenge your protagonist in meaningful ways and add tension to the story. Developing character arcs and backstories: Readers want to see how your characters change through the course of your story. This is called character arc, and it gives your story gravitas. A strong character arc shows how your protagonist grows in response to the challenges they face. Whether they start as a timid apprentice and end as a fearless leader or overcome a personal flaw, this growth should feel earned. Establish backstories: Backstories are also critical in shaping who your characters are. What past experiences drive their motivations? Consider how these backstories can be revealed gradually throughout the plot, adding depth and intrigue. Plotting your story A gripping plot will keep your readers on the edge of their seats. While fantasy novels can have complex, multi-layered stories, it’s important to create a clear roadmap from beginning to end. Outline the major plot points: Start by outlining the key events that will drive your story forward. What is the inciting incident that sets your protagonist on their journey? What are the major conflicts and turning points they will encounter? How can you raise the stakes to keep your story interesting? Knowing these pivotal moments will give you a framework to build upon as you write. Balancing subplots and main plot: In addition to the main plot, fantasy novels often feature subplots that add depth to the story. These might involve secondary characters, political intrigue, or personal challenges your protagonist must face. It’s important to ensure that subplots complement the main narrative rather than distract from it. Ideally, they should intersect with the main plot to heighten the stakes. Create a satisfying conclusion: Your story should resolve all the plot threads and you should also wrap up all your character arcs. Did your protagonist achieve their goal? Did they grow as a person? The answer to either or both of these questions can be no — just make sure the end result is satisfying. Phase 2: Writing your fantasy novel Once you’ve planned out your world, characters, and plot, it’s time to put pen to paper. Writing your fantasy novel is about bringing your ideas to life in a way that captivates your readers. Setting the scene Fantasy novels require rich descriptions that transport readers into another world. Your goal is to create a vivid mental picture without overwhelming them with excessive detail. Descriptive writing techniques: Use all five senses to describe your settings. What does your character see,

By BookBaby author Chris Huff Estimated reading time: 9 minutes Brainstorming ideas for a fantasy novel can really stimulate your imagination. A society of singing spoons declares war on other flatware! Or perhaps Mr. Bubble, cartoon spokesperson, travels back in time to Rome to unseat Caesar. But unlimited possibilities can also freeze the brain, so don’t worry if you’re feeling stuck! Here are a few ideas to spark creativity and your own ideas for a fantasy story. Some examples used are from TV/movies and other genres, but don’t let that throw you — it’s all storytelling. Part of what makes fantasy such an exciting genre is the ability to draw from many sources, the only limit being your own imagination. Table of Contents: • Classic fantasy tropes reimagined • Innovative world-building concepts • Fresh takes on fantasy creatures • Unconventional character archetypes • Intriguing plot devices • Fresh story themes • Finding inspiration for your fantasy story • Crafting unique fantasy worlds • Developing compelling characters • Plotting engaging storylines • Using writing prompts and exercises Classic fantasy tropes reimagined The reluctant hero The reluctant hero is a common trope featuring an every-person placed by circumstance into an extraordinary situation. This differs from an “antihero” in that reluctant heroes usually end up being real heroes. Famous examples include Bilbo Baggins and Luke Skywalker. When reimagining this well-used trope, consider the character’s motivations as a place where you can add your own touch. The more complex the motivations are, the more realistic your reluctant hero may seem. The hidden kingdom The trope of the hidden kingdom, a secret realm existing in parallel to the real world with its own magical rules, can be a great starting point when thinking of ideas for a fantasy novel. Examples include Harry Potter discovering the world of wizards and Sarah in Labyrinth wishing her baby half-brother to be taken by goblins only to find out goblins are actually real. The prophecy A prediction that drives the plot, the prophecy trope involves a chosen one like Paul Atreides in Dune or a fated event like Game Of Thrones’ “Winter is coming.” The malleability of prophecy means that it’s a good way to avoid clichés, even if the trope itself is common. What if the prophecy is actually wrong? There are many ways the prophecy device can engender ideas for a fantasy story. Innovative world-building concepts Floating islands Welcome to the world of the Jetsons, known as Cloud City in the Star Wars universe. Finding land too dreary for a setting? Put your action in the skies on floating islands, connected by portals, bridges, or aircrafts. Why did the people move off the ground in the first place? Many intriguing questions arise. Parallel worlds Whether it’s a neighbor planet like Vulcan (Star Trek) or a separate dimension like the Hell Dimension (Buffyverse), you’ll find many ideas for a fantasy novel in the intersection of planes of existence. Are the worlds cooperating or in conflict? How do you travel between them? Do the inhabitants of elsewhere look like us? Maybe it’s a mirror of our own reality like DC’s Bizarro World. Living cities What if the cities in your universe were actually alive? The buildings could communicate and even move around. This idea can be applied to anything that’s not, as in the TV show Farscape where a living spacecraft had complex emotions and actually gave birth. Fresh takes on fantasy creatures Shape shifters Going as far back in history as any trope, shapeshifting is a helpful device because a true shape shifter can turn into anything. Some shape shifters are static, like werewolves and vampires, but the transformation can still be used to dramatic effect. What if a shape shifter gets stuck and can’t change back? What if their powers are accidentally bestowed on someone else, someone not prepared? Sentient Plants “Feed me, Seymour,” says the Venus flytrap of Little Shop of Horrors. When seeking ideas for a fantasy novel, consider flora with intelligence and/or magical abilities. There are even recent scientific studies showing that plants may have consciousness. While fantasy is not sci-fi in that there are no requirements of scientific accuracy, one could use this information as a starting point to imagine what could happen. Elementals An elemental is a mythical being that corresponds to one of the classical elements: earth, water, air, and fire. They have been popular in literature since Paracelsus wrote about them in the 1500s. Used by everyone from Shakespeare to Stan Lee, elementals can add a familiar element to your book. Possibly the elemental is unhappy with their powers and would rather be human? Maybe they are too human and shunned by other elementals? However you approach it, dipping your toe in the elemental pool is bound to give you some ideas for a fantasy story. Unconventional character archetypes The reluctant villain For some villains, their evil actions have complex motivations and they flinch at the evil they seemingly “have” to do. Gaius Baltar in Battlestar Galactica and Draco Malfoy in Harry Potter are two examples. Giving your villain an origin story that even allows the reader to sympathize with them can go a long way into making your antagonists three-dimensional. The cursed hero Back to werewolves! A hero living under a bad sign or curse comes with a built-in dramatic arc: introduction (full moon), conflict (inner and outer), and method of resolution (silver bullet). Plenty of ideas for a fantasy novel in this trope! The outcast Outcasts in literature are on the fringe either by choice or by societal decree (punishment). Often they hold secret knowledge or power — “help me Obi-Wan Kenobi, you’re my only hope!” A common trope in Westerns, the outcast can be an antihero but does not have to be. Having an outcast wander into your story or be sought out will always add an air of mystery to the proceedings. Intriguing plot devices Time loops “Ok campers, rise and shine, and don’t forget

How can you write a book proposal that will make a publisher want to buy your book? How can you write a successful non-fiction book that both interests you and attracts a lot of readers? How can you improve your communication in person and online? Charles Duhigg gives his thoughts. In the intro, HarperCollins CEO Brian Murray on audiobooks and AI [TechCrunch]; OpenAI’s 12 days including Sora and o1; Google Notebook LM expansion; How Creatives Might Survive and Thrive in a Post-Productivity World [Monica Leonelle]. Plus, How to Write Non-Fiction, Second Edition. Today’s show is sponsored by Draft2Digital, self-publishing with support, where you can get free formatting, free distribution to multiple stores, and a host of other benefits. Just go to www.draft2digital.com to get started. This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn  Charles Duhigg is a Pulitzer Prize winning journalist, a reporter at The New Yorker Magazine, and a multi-award-winning author whose book, The Power of Habit, spent three years on the New York Times list. His latest New York Times bestselling book is Supercommunicators: How to Unlock the Secret Language of Connection. You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights and the full transcript is below.  Show Notes How the writing process differs between books and magazines Balancing what readers want to read and what you want to write Research that comes before and after a book proposal Tips for conducting successful research interviews The process of organizing research for a nonfiction book Improving the art of written communication Dealing with the fear of miscommunication and judgement The importance of connection in communication You can find Charles at CharlesDuhigg.com. Transcript of Interview with Charles Duhigg Joanna: Charles Duhigg is a Pulitzer Prize winning journalist, a reporter at The New Yorker Magazine, and a multi-award-winning author whose book, The Power of Habit, spent three years on the New York Times list. His latest New York Times bestselling book is Supercommunicators: How to Unlock the Secret Language of Connection. Welcome to the show, Charles. Charles: Thank you for having me. This is such a treat. Joanna: I’m excited to talk to you. So first up— Why did you get into writing books when journalism has clearly been such a success for you? Charles: Well, it actually started when my wife was pregnant with our first child, and we didn’t have any money, and so I thought, okay, I’ll go write a book. Maybe that’ll give me enough money so that maybe we can find a decent place to live. My first book was The Power of Habit, about the science of habit formation, and it really came out of my own problems and questions. I wanted to figure out how to improve my habits, how to be able to lose weight and exercise more easily. The process of writing a book, I found, is such a total joy and also overwhelmingly hard. You get to get so deep into the material, you get to understand what’s going on. Not only what experts are telling you and what stories you ought to tell, but also you get to think about the ideas in really profound ways. So that just kind of became an addiction for me. I’ve really enjoyed writing books. Even though if you asked me in the middle of them, I would tell you it’s the worst thing I’ve ever done in my entire life. Joanna: Well, yes, all of us listening understand that. It is interesting because, I mean, there’s a lot of comparisons to your journalism. You interview a lot of people, and you include a lot of that. How is the process of these longer form books different to your journalism pieces? Charles: So it’s a little akin to writing magazine pieces, because oftentimes for the magazine piece, I’ll write 8,000 to 12,000 words, and each chapter of a book is about 7,500 to 9,500 words. So it’s not that far off. The difference is that when I’m writing a magazine piece, I can just write a magazine piece about whatever the topic is. I can write about AI, or I can write about politics. With a book, you’re writing the equivalent of, let’s say, eight to ten magazine pieces, but there has to be something that ties them together. There has to be an overarching argument or an overarching idea that every chapter reflects in a different way, and finding that idea can take a long time. The two hardest parts, I think, of writing a book are, first of all, deciding what topic to write on. Oftentimes, it takes me a year or two to really figure out a topic that I think is going to be interesting and that I think readers are going to think of as interesting. Then it oftentimes takes another year or six months to figure out what the overarching argument is. Oftentimes it’s not obvious from the reporting what that connective tissue is, but it’s my job to find it. Joanna: That’s really interesting that it takes you a year or two to figure out what you want to write. You mentioned there what you’re interested in, but also want the what the readers want. So what is that process? Because this is something we all struggle with. I write fiction as well, and much of my audience do. How do you find where those two things — what you want, and what the readers want — interconnect? Charles: I think a big part of it is you just have to indulge things and then be prepared for them not to be successes. So take Supercommunicators, my most recent book, which is about the science of communication. It originally started with me trying to figure out why some people were better listeners than others. I thought it was a book about listening, but the thing is, that as I talked about it with my editor

How can you build a scalable business around non-fiction books? How can you turn a book into multiple streams of income? How can you delegate in order to scale? Michael Bungay Stanier shares his thoughts. In the intro, Bookfunnel’s Universal Book Links, and How to Write Non-Fiction Second Edition; ALCS survey results of writers on AI, remuneration, transparency and choice; AI Translation is the Game-Changer’s Game-Changer [The New Publishing Standard] This podcast is sponsored by Kobo Writing Life, which helps authors self-publish and reach readers in global markets through the Kobo eco-system. You can also subscribe to the Kobo Writing Life podcast for interviews with successful indie authors. This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn  Michael Bungay Stanier is the bestselling author of five books, with a million copies sold, including The Coaching Habit, How to Begin, and How to Work with (Almost) Anyone. He’s also the founder of training and development company Box of Crayons, a podcaster, speaker, and coach. You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights and the full transcript is below.  Show Notes Michael’s publishing journey and why he likes the control of hybrid publishing Creating a business ecosystem beyond the book — multiple streams of income Tips for successfully delegating in your author business and improving professional relationships The challenges of creating a premium print journal How journaling can help you figure out what you really want You can find Michael at MBS.works or BoxofCrayons.com. You can get the journal at DoSomethingJournal.com. Transript of Interview with Michael Bungay Stanier Joanna: Michael Bungay Stanier is the bestselling author of five books, with a million copies sold, including The Coaching Habit, How to Begin, and How to Work with (Almost) Anyone. He’s also the founder of training and development company Box of Crayons, a podcaster, speaker, and coach. Welcome to the show, Michael. Michael: Jo, I’m so happy to be here. It was earlier this year that you and I were hanging out in a field together, and this is warmer and less damp, amongst other things. Joanna: Yes, indeed. We were at The DO Lectures in Wales, which we’re going to come back to. First up— Tell us a bit more about you and how you got into writing and publishing. Michael: Well, the seed was planted by having a grandmother who was a writer. So my dad’s mum lived in Oxford, England, and she wrote columns for the local newspaper, kind of gossip columns. Her pen name was Culex, which is Latin for mosquito, which I love. She also wrote kids’ books, and memoirs, and plays, and radio scripts. She was a really prolific writer. So I think that was probably the early seed, along with my dad being a great storyteller. He would tell stories at night of Sir Michael. I was meeting Sir Nigel, Sir Angus, my two brothers, and we’d head off and have adventures. So this idea of loving stories and loving writing, I think was planted pretty early on. I found in university and in my first careers after university, I would inevitably end up writing the newsletter. In university, I was part of the law newspaper and the English department newspaper. Writing and writing and writing has just been part of the practice for a long time. Which, as you know, is all part of putting in your 10,000 hours, finding your voice, learning how to write a sentence. Starting off copying other people’s styles and then trying to find your own style emerging from that. The first time an actual book idea showed up in my head, and this turned into an actual book that I published called Get Unstuck & Get Going. I had this idea that I thought about coaching, which was a profession I just started in. I was like, you know, there’s a way of doing this that can be more efficient than actually having a coach. I had this idea of like the kids’ flip books, where you have like a ballerina’s head and a scuba diver’s body and a soccer player’s legs, and you kind of combine them into these kind of different combinations. I had this idea that you could create a book with different questions. So you’d bring a problem to the book, and you’d open it and randomly generate some questions, and voila, you’d have a self-directed coaching practice. So I had this idea, and wrote some stuff up, and went and made some prototypes. Then I honestly just couldn’t figure out how to publish it because no publisher wanted this, and self-publishing felt impossible. So I kind of put it in a drawer, until my cousin Robert went, “You know that book you were telling me about, this kind of self-coaching book? I noticed you’re not doing it, and I was telling my boss about it, and he thought he his company could do it.” I was like, “Wait, no, what? Ah!” So that was kind of the catalyst to me getting a first book published. After that —  I just realized that writing books and producing books and getting them out in the world is one of the best expressions of the way I try and serve the world. Joanna: I love that, and it’s a really interesting story. Just give us a sense of the timeline because you said there that self-publishing would be difficult. I mean, self-publishing that kind of book would be difficult. You’ve got five books now with, I presume, different publishers or self-publishing. Tell us a bit about that publishing journey and the timeline. Michael: So, let’s see. Get Unstuck & Get Going would have been around about 2006, so before Amazon and others kind of made self-publishing a regular book normal. Then I self-published another book called Find Your Great Work, and did a print run of like a couple of thousand copies. I was super excited

How can we write from the perspective of others while still respecting different cultures? How can a children’s book author make money from bulk sales? How is self-publishing in South Africa different? With Ashling McCarthy. In the intro, Spotify for Authors and Katie Cross on self-narration and email marketing; How do I know when to leave my publisher? [Katy Loftus]; and Claude Styles. Today’s show is sponsored by FindawayVoices by Spotify, the platform for independent authors who want to unlock the world’s largest audiobook platforms. Take your audiobook everywhere to earn everywhere with Findaway Voices by Spotify. Go to findawayvoices.com/penn to publish your next audiobook project. This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn  Ashling McCarthy is a South African author and artist, as well as an anthropologist, graphic designer, and non-profit founder. Her latest book is Down at Jika Jika Tavern, in The Poacher’s Moon Crime Series. You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights and the full transcript is below.  Show Notes How Ashling’s background in anthropology helps in writing books How research can help us write from other perspectives The importance of empathy when writing “the other” Debunking South African stereotypes and tips for visitors The book ecosystem in South Africa Difficulties of selling direct in different countries Marketing your book to schools and creating teaching opportunities Find out more about Ashling at AshlingMcCarthy.co.za. Transcript of Interview with Ashling McCarthy Joanna: Ashling McCarthy is a South African author and artist, as well as an anthropologist, graphic designer, and non-profit founder. Her latest book is Down at Jika Jika Tavern, in The Poacher’s Moon Crime Series. So welcome to the show, Ashling. Ashling: Hi, Joanna. Thanks so much. I’m really looking forward to it. Joanna: Yes, great. So first up— Tell us a bit more about you and how you got into writing and publishing. Ashling: Well, writing and publishing has come quite late to me. It wasn’t something that I’d ever actually intended on doing. I started off as a graphic designer in South Africa and did a bit of work in the UK, then came home when I was completely homesick. I got into a really interesting craft development program for people who had a three-year qualification in design, and we would be working with women who lived in rural communities in an area called KwaZulu-Natal, where I live. As long as you had a three-year design qualification, they’d match you up with women in rural areas who were very skilled at craft. The idea was that then we would work together to match those skills to create high-end product. So it was really that experience that allowed me to see South Africa in a very different light, and I went on to become an anthropologist and a nonprofit founder. So that took a good probably 15 years of my life and writing a book kind of came out of running the nonprofit. We’re an education nonprofit, and we work with rural schools. So children who go to really poorly resourced schools in rural communities in in South Africa. I wanted to write a book for the young women in our communities who didn’t have any examples of themselves in books. We would get lots of donations from overseas companies for books, but there was nothing that reflected their lives, their experiences. So I thought, oh, maybe I’ll start to write a book that kind of reflects that. So Down at Jika Jika Tavern is actually the first book in The Poacher’s Moon Crime Series. I, last year, published the second book, The Leopard in the Lala. How that came about, in terms of writing a crime series versus an educational kid’s book, was that my family was very involved in a game farm with wildlife. Just one day I was thinking about the fact that so many people who live on the outskirts of these game farms have no access to them. So the only chance of them seeing a rhino or an elephant or any other kind of game is from the other side of the fence, and I kind of wondered what that would feel like. So I started to write a story that would bring that to light. It was during our time on the game farm it was the height of rhino poaching, and we had six rhinos poached over a period of time. I really started to get a feel for what the book would be about because there were so many interesting incidences that took place. So for example, a traditional healer was arrested on the neighboring game farm for being involved in rhino poaching. I wanted to understand better, why would somebody who effectively has a calling to do good, why would they be involved in such a heinous crime? We just had so many little interesting things happen that I was able to then weave these real life stories into fiction to better understand why people become involved in rhino poaching and wildlife crime. Joanna: Yes, because being an anthropologist, I mean, obviously that means you’re interested in people and what different people do. Talk about what the job of an anthropologist is and how much you use from your career in the books. What are some of the interesting anthropological things you weave in? I mean, you mentioned the traditional healer. Like, what are the other things? Ashling: So I must say, anthropology plays a really big part in my writing. I studied Anthro, got a master’s degree in HIV/AIDS and orphan care, and really it was looking at what kind of cultural practices lead to people becoming infected and affected by HIV. It was really those experiences of understanding how culture can have such a huge impact on the way people respond to certain things. So now in my books, I mean, obviously, as a South African, we have 11, in

By BookBaby author Brian Jud Many poets believe selling their poetry is as hard as, well … selling poetry. But if you look beyond the bookstore, you can find many sales opportunities. This article provides ideas and examples of potential segments that could be lucrative for you. This information is meant to get you started and give poets some hope that their craft can be profitable. Table of Contents: • Target readers • Where will you sell it? Explore options: • How will you promote it? Discover the ways. Target readers A basic tenet for selling anything is to first know your target market. No one can market to everybody, so consider the 5Ws to describe people who could buy your poetry: Who is the typical reader you had in mind? Where do they shop? When do they buy poetry? What do they buy? Why do they buy? Figuring this out can also help in your product development. For example, if you are writing poetry for seniors, you might consider publishing a large-print version. Write a one-sentence description of your content and how your target readers will benefit from it. Use this sentence as a format: My poetry helps__________ who want ________ get_________. For example, your sentence could be, “My poetry helps children who want to be entertained have more fun from having their parents read to them.” If seniors are a target segment, your sentence could be, “My poetry helps older adults who want to enjoy their golden years by reading and discussing enjoyable poetry in groups of friends.” Given your descriptions above, what specific things must you do to reach your objectives? It is helpful to group these activities under two major topics: 1) where you will sell it, and 2) how you will promote it. The sections below include examples to help you get started. Your own actions will vary according to your content and target readers. Where will you sell it? Explore options: Now that you know where your readers shop, that is where you want to have your poetry for sale. Examples of retail outlets for poetry could include chain bookstores (religious or otherwise) that sell poetry. Do your readers travel? If so, seek distribution through airport stores for a relaxing read mid-flight. Do they shop in supermarkets? Then have your books there. The same concept applies to discount stores, gift shops, and parks. Examples of non-retail opportunities include schools, associations, and libraries. These prospects require direct selling since there are no distribution partners (except for libraries) that sell books to non-retail buyers. The Academy of American Poets provides several unique opportunities and benefits for businesses and corporations. Weddings, christenings, and retirements are historically good markets for poetry. Conduct an Internet search to find people who plan these events and contact them to use your poetry as a premium or to resell it. For example, the Association of Wedding Planners lists its members, and you can offer to customize poetry for their clients. Sell your poems to greeting card companies. Many companies that will pay you to write for their greeting cards. Join an association to network with other poets, speak at their conferences and peruse their list of resources. Examples include the Alberta Cowboy Poetry Association and the National Association for Poetry Therapy. Several U.S. states also have their own poetry associations. What other organizations could use your poetry to help it members or use as a fundraiser? Members of the National Institute of Relationship Enhancement and the American Association for Marriage and Family Therapy might use your poetry as a membership premium or to resell to members. Discover the library dedicated exclusively to poetry: the Poetry Foundation Library. See all their ways to advertise poetry, as well as podcasts, awards, events, exhibitions, grants and much more. How will you promote it? Discover the ways. There are many public-relations activities that can reach people in your target markets as frequently and inexpensively as possible. Most media exposure is free, so you can get maximum coverage on a limited budget. Write a one-page press release, focusing on what makes you and your poetry unique, enjoyable, relaxing, and/or important. Begin it with a simple statement or question (your hook) that will get the attention of the reader. Your hook is the key concept that makes you or your poetry unique and beneficial to your audience. Write letters to the editor or submit informative articles to magazines or newsletters. Which newspapers does your target buyer read? Could they review your poetry, write about it, or publish your articles about writing poetry? Which magazines could review or write about your book? Where you could you send articles? Branch out! Who could review your book? How about American Poetry Review, Critical Poetry Review Magazine, and/or Poetry International? Get in touch with them. Which competitions would be right for your poetry? Look into opportunities for poetry contests in your state here. Contact appropriate retail outlets tell them you are willing to conduct an in-store event or poetry reading. Embrace social media. Create an author page on Facebook where you can highlight your current and future work. Also, set up an account on X to build your image as an expert, or on LinkedIn to network with like-minded people and prospects. Jacqueline Suskin, a poet writing in Readers Digest says, “For the past four years I’ve performed a public project that consists of exchanging on-demand poetry composed for a donation.” There are endless ways to market your self-published poetry to the world. It does take time, thought, and creativity to get the word out, but the results will be worth it in the long run. Consider this article a starting point as you continue to brainstorm on where and how to market your poetry. Search for options that pertain to your specific genre of poetry and you will soon learn that rhyme does pay. And if you need help getting the word out through book advertising, printed books, and more,

By BookBaby author Chris Huff Estimated reading time: 7 minutes If your readers have made it to the end of your nonfiction book, you must have done something right! But how do you keep them satisfied and coming back for the next book? One key lies in having a compelling and well-thought-out conclusion. A strong conclusion will drive home your main message, present a tidy summary of your points, and tell the readers specifically what they should be taking away from your thesis and presentation. Here are three suggestions for how to end a nonfiction book to give your readers the best experience possible. Table of Contents: • Crafting a strong conclusion • Encouraging reader action • Planning the final chapter • Maintaining the book’s tone and style • Ready to publish your nonfiction book? Crafting a strong conclusion Importance of revisiting main ideas When learning how to end a nonfiction book, one important way to reinforce your message is by revisiting the main themes you’ve been reiterating throughout. According to research, people tend to forget three out of four things they learn if they have no reinforcement. As you outline your nonfiction book, plan a strong conclusion. Your job in your conclusion is to repeat and reinforce! Don’t just retype your introduction word-for-word, however; using different language to restate your main message and secondary themes. You can also add in details not shared in the introduction that were shared in the chapters between. Hammering away at your main points in your conclusion will ultimately make your book more memorable. Offering unique insight or takeaways The repetition of the main themes will lead them to remember your message — but what will that message be? Cassandra Sterling from the Writers’ Cooperative says, “Readers are selfish. They only read something if they think they’ll get something out of it.” Keeping this in mind, it’s crucial to be 110% clear about what you want readers to take away from your book — a new viewpoint on their lives, a plan for change, more insight into a current problem, or something similar. The message should be specific and unique to you and your story or the subject of your book if it’s a more global subject and less personal. Whichever it is, tell readers what you’ve learned and what you want them to have learned in your conclusion. Being concise and clear will go a long way in connecting to them! Leaving a lasting impact Ultimately, your impact on readers will be determined by how much you can connect your message to their needs and the problems they need to solve. There’s no hucksterism involved here; slick sales talk and a flashy image might sell one book, but to inspire people to change their lives, transform their ways of thinking, and purchase all the products and books from your sales funnel, your message will need to be authentic, need-focused, and problem-solving. Like any one-on-one sale, it’s not the actual sale that matters ultimately — it’s the relationship. Cultivate trust with your readers by driving your message home in a well-written conclusion which ties the book together in a neat package and delivers it to them in digestible form. Encouraging reader action Call to action (CTA) The call to action (CTA) is the first thing you’d like the reader to do after finishing and putting the book down, and it’s an important part in the process of knowing how to end a nonfiction book. This is not the time for a sales pitch! You have spent the entire book earning the trust of your readers, so now is not the time to blow it with the literary equivalent of clickbait. Assume readers have enough intelligence to form their own opinion about whether to explore your work further. The CTA should be something they can do to improve their own lives and apply what they’ve learned from your book. Highlight actions they can take to integrate the lessons of the book into those lives. If the topic of your book does lend itself to direct the readers to a landing page on a website, make sure the information provided on the website is new information and not a regurgitation of all the info in the book, and especially in your conclusion. However, make it something that is additive and not crucial, as you don’t want readers thinking: “Why isn’t this in in the book?” Deliver authentic value and you will build a real audience; this means focusing on helping people over the short-term gains of selling something. Remember: it’s all about the relationship! Resources and further reading In the 1947 movie Miracle on 34th St., the Macy’s Santa (secretly the real Santa Claus) sent customers to other stores, including the top competitor of Macy’s — Gimbels — to make sure children got exactly what they wanted for Christmas. This is a great example of the spirit of reader encouragement that will help build your audience. Direct them to resources and other books on similar topics that will help them achieve their ultimate goals. Some authors may have a workbook that accompanies their book; promoting this here is fine, but keeping the focus on what can help the reader most is the top priority. You might want to add these resources as a list after the text of the conclusion, or, if you have brief commentary, they can be discussed as part of the concluding chapter or paragraphs. Personal reflection and author’s note While adding brand new information is not the right way to end a nonfiction book, it is a good practice to tell new anecdotes or add new personal reflection at the end. If you can tie this into repetition of your main themes and points, so much the better! Additional personal connection will help make the end of your book memorable; people remember stories longer than facts. An author’s note thanking everybody who made your book possible is a nice touch at

How can you manage the competing priorities of an author career? How can you deal with the demons we all have to wrestle with along the way? Tiffany Yates Martin talks about the role of intuition in decision-making, the challenges of feedback and rejection, and the importance of reclaiming creativity during difficult times. In the intro, Amazon Music Unlimited will now include a free audiobook a month [The Verge]; When to pivot or quit [Self-Publishing Advice]; Thoughts on sunk cost fallacy, and how do you know when things are ending? Are they spiraling up, or down?, Quit: The Power of Knowing When To Walk Away by Annie Duke. Plus, HarperCollins AI licensing deal [The Verge; The Authors Guild]; and Seahenge is out everywhere, as well as at my store, JFPennBooks.com. Today’s show is sponsored by Draft2Digital, self-publishing with support, where you can get free formatting, free distribution to multiple stores, and a host of other benefits. Just go to www.draft2digital.com to get started. This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn  Tiffany Yates Martin is an editor, speaker, and teacher with over 30 years in the publishing industry. She writes contemporary women’s fiction as Phoebe Fox, and her latest non-fiction book is The Intuitive Author: How to Grow & Sustain a Happier Writing Career. You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights and the full transcript is below.  Show Notes Overcoming the “writer demons” Setting priorities to help manage overwhelm Honing into your intuition in relation to your author career Distinguishing intuition from hype or peer pressure Defining goals that are within your control Staying resilient when dealing with feedback and rejection Reclaiming your creative spark in difficult times You can find Tiffany Yates Martin at FoxPrintEditorial.com. Transcript of Interview with Tiffany Yates Martin Joanna: Tiffany Yates Martin is an editor, speaker, and teacher with over 30 years in the publishing industry. She writes contemporary women’s fiction as Phoebe Fox, and her latest non-fiction book is The Intuitive Author: How to Grow & Sustain a Happier Writing Career. So welcome back to the show, Tiffany. Tiffany: Thanks for having me again, Joanna. Joanna: So we talked about your background when you were last on the show in April 2022, so today we’re going to jump straight into the book. Why did you write this book? What problems did you see in the author community that led you to want to write about happiness and sustainability? Tiffany: I know, it’s kind of a departure for me. I’ve spent all these years as an editor working on hard skills, craft skills, and teaching about that. Then I was actually in the middle of writing what was to have been the follow up book to my first, Intuitive Editing, which was a deep dive into character development. I just kept writing and thinking and talking about these other ideas because I was hearing from a lot of authors that they were feeling overwhelmed by all the changes and the constantly evolving publishing environment. I think it’s a fortunate time to be an author because I think we have the opportunity to have more control and autonomy over our careers. We have more avenues than ever before. Publishing has become democratized, but that also brings with it a lot of overwhelm. I was hearing a lot of discouragement, so I started in my blog, where I used to focus a lot on hard skills, I started writing more about this stuff. I just wanted to try to help authors based on what I was hearing and seeing, and they got huge response. So the character book just kept balking at me, and I finally realized that one of the things I kept talking about in my blog posts was to pay attention to your motivation, to what you want out of your career. That’s the part that we really have control over, is what our day to day life looks like as authors. So I decided to follow my own advice and turn my attentions to the book that really wanted to be written right now, that I felt like authors probably need more than ever. Joanna: I think that’s so important, as much as I’m sure your character book will be amazing if you do do it. I think this is something I felt very much last year, which is the more prescriptive—you call it hard skills there—the prescriptive, “do this, do that.” I mean character development, there’s a lot of books on that. Your take would have been different.  Also similar, my last nonfiction book, Writing the Shadow, it’s like the personal stuff, the mindset stuff, the lifestyle stuff, all of that actually is something that AI and the machines can’t share. I mean, they can share it, but it’s not their experience, whereas it is actually our experience. So I agree, I think that’s so important. Just on that overwhelm and the changes that are going on, what are some of the things that people are saying to you? Because I think that will resonate with people listening as well. Tiffany: I was startled by how many—particularly in traditional publishing—how many authors were feeling discouraged by what seems to be trends in the industry. I’m a fan of any kind of publishing path that fits an author, so I’m not slamming on traditional publishing, but advances do seem to be going down, in general. There is a fascination with the debut author. So if you’re not that shiny new thing, I think that it feels as if traditional publishing doesn’t help an author build a following and a career over the span of their career in a way that it used to focus on. So it’s like, come on, make a big splash with your book, or else they’re moving on without you. As a result of that, a lot of authors—I just talked to one yesterday—are being

By BookBaby author BookBaby When you stop and think about it, books are actually pretty amazing. We have knowledge, emotion, imagination and creativity all condensed in a portable, easy-to-carry and (hopefully) compact guide. With self-publishing opportunities and Print On Demand services turning more and more people into published authors, though, standing out on bookshelves just got a lot more challenging. That’s where custom book sleeves or dust jackets come in. Custom book sleeves (also known as dust jackets) not only protect your book, but also give it a high-class, premium look that sets it apart from the competition. In this article, we’ll take a closer look at why you’ll want to make custom book sleeves a part of your book design and how to get started. Table of Contents: • Why add a custom book sleeve? • Using your custom book sleeve as a marketing tool • Getting started with your own custom book sleeve Why add a custom book sleeve? Custom book sleeves have the potential to be an author’s “secret sauce.” Given that traditional marketing channels, like email, can quickly become saturated, authors naturally want a unique way to stand out. The custom book sleeve is a surprisingly interesting and highly effective marketing tool that lets them do just that. Ordinarily, book sleeves were solely an extra layer of protection. We know you love your books and take good care of them, but also that life happens. Custom book sleeves help guard against ordinary wear and tear affecting the book. At the same time, here we have a fascinating canvas that’s wide open and ripe for opportunity. Vibrant illustrations, insightful designs, boundless creativity … the custom book sleeve can be as attractive as the book itself! Using your custom book sleeve as a marketing tool So how can you market your book with a custom book sleeve or dust jacket? First, think of it as an extension of your book cover. Oftentimes, authors tailor limited-edition sleeves with the launch of their book. A sleeve is an additional layer that tells the reader: “this book is something special.” Even for self-published authors, custom book sleeves can become collector’s items. It’s a great way to build up your fandom and stand out on bookshelves. Remember, people aren’t just buying a book: They’re buying your vision, your inspiration and your creativity. Here are several other ways you can put custom book sleeves to work as your 24/7 marketing vehicle: Create an immersive reading experience Imagine a reader opening your book to find not just the printed words, but a beautiful, aesthetically matching design. A custom designed book sleeve creates the kind of immersive reading experience that readers can’t get enough of. A custom book sleeve is, in a sense, like an extension of the book itself. Build brand awareness and loyalty As a self-published author, it’s crucial that you build up your author brand. A custom book sleeve gives you the chance to create a unifying identity around your book or series. By using similar brand colors, fonts, symbols, or design styles, you start to create a look that readers will come to know you by. Plus, limited-edition book sleeves for book launches or other special events have the potential to become collector’s items in and of themselves. This kind of unique offer creates a sense of excitement and urgency. Readers want to grab a copy of a limited-edition item, all while building buzz around the book launch itself. Boost social media engagement Custom book sleeves are incredibly shareable on Instagram, Facebook, and specialized book communities like Bookstagram and BookTok. Authors can encourage readers to share photos of their books in the custom sleeves, creating user-generated content that works like word-of-mouth marketing. Encourage pre-orders Custom book sleeves are a great pre-order bonus or a reward for early purchasers. Many authors use this strategy to give readers an extra exclusive perk. With a limited-edition custom sleeve, the book then becomes more than just a purchase — it becomes part of a shared experience with other readers. This strategy works great to boost pre-order numbers, which in turn increases rankings on platforms like Amazon. Done right, it may even catapult you onto the coveted bestseller list! Cross-promotional options Custom book sleeves open up great opportunities for cross-promotion with other businesses as well. Imagine collaborating with book subscription boxes or marketing your book on social media. How many people would showcase a fantasy novel designed to look like a witch’s grimoire or a mystery novel designed to look like a detective’s notebook? Creating community Readers love to feel like they’re a part of something bigger. Custom book sleeves give them that shared experience, making them feel more connected with the author. When they see other readers posting about their matching book sleeves or showing off the book at events, it creates a sense of belonging and loyalty. You can even create custom book sleeves for members of your book street team, supporters, or other special groups. Turn your readers into brand ambassadors! Getting started with your own custom book sleeve If you’re ready to take the next steps in getting your own custom book sleeve, it has never been easier thanks to BookBaby! Custom book sleeves or dust jackets are so much more than accessories. They’re a dynamic marketing tool that can build on the reader experience and create a stronger, closer-knit community. It’s also a great way to build a brand and something you’ll definitely want to make a part of your marketing strategy. From book printing to design and marketing, BookBaby is your one-stop book printing and promotion hub. Let our professional graphic designers, printers, and marketing experts guide you as you take your first or next steps in the journey to becoming a self-published author. Download our free guides for authors today to learn more about all of the ways we can work together. There’s never been a better time to publish and launch your book than right now —