Presentation Skills For Introverts, Part II: Content

What to Include in Your Presentation (and how to best include it)

person discussing while standing in front of a large screen in front of people inside dim-lighted room
image from unsplash.com

If you’ve read my post on Presentation Skills, you may recall that people care more about how someone talks to you more than what they say (a UCLA study shows an audience judges 93% of a presentation on the speaker’s nonverbals–the how of your presentation). If that just made you clench, go back and reread that post to set your mind at ease. Even the most introverted of introverts can still successfully present, and I show you how.

If you have a presentation coming up and are ready to start tackling content (the what of your talk), I’ve got some kick-butt tips for you. Obviously I can’t tell you what facts to include or graphics to omit because I have no idea what topic you’re speaking about. But there are certain things all effective presentations have, and I’ll list what I think are most important–especially in the writer’s world.

I’m mostly imagining you at a writers conference or an author/ school visit. But these tips fit almost every scenario.

I’m assuming–nay, begging–you have an actual presentation ala PowerPoint or Canvas vs speaking from notes the whole time. You’re cute and all but no one wants to stare at your mug the whole time. (And c’mon introverts, do you really want people staring at nothing but you the entire time?)

Hmm, maybe you want to read this what part first, before you focus on that how. Your call.

The Classic Format:

I’m sure everyone has heard the standard old format “tell them what you’re going to tell them, tell them, then tell them what you told them.” Well honestly, it still works. It’s actually kind of magical. So I’m not going to spend time explaining that. Just know you don’t have to repeat yourself word for word or be formal about how exactly you outline, explain, and recap. It’s the best method to use, IMHO, so stick with it.

The Before You Start Part; Speaking Their Language:

You need to know your audience and cater the presentation to them, at their level. (Or should I say at the level they are, regardless of where you’d like them to be.) You wouldn’t create a presentation to teachers the same way you’d present to second graders. Choose graphics, words, phrases, and examples that speak their language. Think about how they will best respond to what you’re saying, and what techniques you think they are most likely to pay attention to (and therefore learn from).

The Before You Start Part; Thinking Visually:

think outside the box
image from Nikita Kachanovsky and unsplash
  1. Try to think visually. Where can you add a graphic, a photo, a colorful pie chart, do it. Audio clips, video clips.
  2. Think even more visually. Add show & tell items that you hold up or point to behind you. Any sort of prop. Books, stuffed animals, art work, flip charts.
  3. What if there was a part where you stopped and wrote on a whiteboard? What if you started drawing on it? Doing math?
  4. Can you introduce someone in the audience and have them stand up to wave hello?
  5. One note of caution: as mentioned in the Presentation Skills post I keep talking about, don’t pass anything around while you’re speaking. If people are looking at something in their hands, or distracted by the rumble of it getting passed around, it means they aren’t listening to you. Hold it up, then keep it up front and wait until you’re done to let people manhandle it. (And know it might get dirty, broken or stolen.)

Getting Down to Business; The Outline/Preview Part (Tell them what you’re gonna tell them):

It’s great to start out with a bang. A funny story, anecdote, fact. No need to stress over this, though, especially if you’re not funny or if humor doesn’t some easily for you. Many people default to a quote that summarizes the overall topic or feeling of the workshop. Simply google your topic and “quote” or “fact” (“bee facts” “quotes about bees”) and something useful is bound to come up. See “The Now-That-It’s-Written Part; Your Live Intro,” towards the bottom for more details on how to kick things off; it includes how to start your intro as well as what else to include.

Getting Down to Business; The Meat (Tell them)

  1. For every point you make, back it up with examples and data. You don’t need to have first-hand knowledge of everything. But it should all be factual.
  2. Have smooth transitions from one point to the next. Make it clear it’s a new section.
  3. Along the way, ask questions! People like knowing you care about their feelings or opinions. Have people raise their hands by saying “Show of hands [then raise your own hand], how many people have…?” It keeps things interactive (and keeps people on their toes if they know they might be put on the spot. But don’t put any one person on the spot, keep it a group Q). Questions that people can answer YES to are great because it gets buy-in and keeps them invested in what’s going on.

Getting Down to Business; The Recap (Tell them what you’ve told them)

silver corded microphone in shallow focus photography
@kanereinholdtsen
  1. Remind them of all the main points you talked about, and bring at all home with a grand conclusion. “Now you know how to best prepare for your next presentation.”
  2. Leave them with a Call to Action. “I want everyone here today to give themselves a deadline to when they can start practicing their next presentation. I’ll give you 30 seconds to write it down.”

The Conclusion Part

  1. End with a bang. Another great place to have a quote, inspirational story, or joke. At a minimum, leave with a fun-but-relevant graphic on the screen that in large font includes your contact info, where you might be presenting in the near future, book titles/product info, and website. Keep it up until you walk out of the room.
  2. “Thank you for letting me be here today. I hope you learned more than you ever expected about presentations. My name is Bitsy Kemper. Thank you.” (Ideally there will be applause or at least some head nods.)
  3. “Any questions?”
green plant beside white desk
from @jdubs and unsplash

The After Part; Q&A

Yes, you should leave time for Q&A. Spend some time trying to predict what kinds of questions you’ll get so you can either a) go back and include that content in the presentation, or b) have answers ready so you’re not caught off guard.

You’ll still have people raising their hands afterwards, even if you don’t officially include a Q& section. You are the content expert and people will understandably want to pick your brain. Yeah, sure, there might be a few chomping at the bit to prove they know more than you, but keep your cool. Control the room.

  1. If questions were asked during the presentation that you are going to cover, do no answer the question. State “We will answer that in about two minutes.” Then move on.
  2. If questions were asked that you don’t cover, don’t answer them right then either. You are in control, remember. “I don’t cover that here, but let me write that down and we can go over it in Q&A after the talk.” Use a flipchart or whiteboard if avail so they know you are taking it seriously.
  3. Question that came out of left field? “That’s a great question but a little off topic for what we’re learning today. I can talk to you after for a little bit.” That’s it. Move right on to next slide, Q, or point.
  4. If someone challenges you or picks apart your facts/presentation, be gracious. They just want attention. You typically don’t have to challenge them back. “Thank you for your feedback. [pause] Anyone else with questions?” seems to be very effective. That lets them know they’ve been heard.
    • Have I mentioned “Control the room” enough? It’s your show. Not theirs. You have the mic. You get the last word. Just make sure it’s a kind one.

The Now-That-It’s-Written Part; Your Live Intro:

  1. Kick off your talk by pandering to the audience. It works Every. Time. You know how rock stars shout out “Hello Sacramento!” and the local crowd goes wild? The crowd feels seen. Special. As if this concert is only for them and hasn’t been done exactly like this on tour all 147 times earlier this past year. Do the same thing. Unless you’re not in Sacramento. Start with “Hello, Cherry Avenue Second Grade!” or “Good morning, writers and illustrators!” They will know you are there–for them and only them.
  2. Next, slowly and carefully state your name (don’t assume everyone knows you!) as well as the name of the session/workshop/talk or topic. “I’m Bitsy Kemper and this is Presentation Skills Part II: Content.” This allows an early and fast exit to anyone that is in the wrong room.
    • Start your slide presentation after you say your name and after the title of the talk. Don’t have it up before you talk, or the second you start talking. You want people to get used to focusing in on YOU, not watching the screen.
  3. Give a sentence or two on why YOU are the content expert and why you are uniquely qualified to be giving this presentation. Toss in a fun fact if you’d like. “I’ve been presenting professionally for years. You may have seen me on CNN or on one of my regular TV news segments in Sacramento, Portland, Phoenix, or Albuquerque, heard me on national radio, read my syndicated newspaper column, or seen me in any of literally hundreds of media outlets across the country. Maybe you’ve driven by me on the freeway and didn’t even know it!”
  4. Dive right in with “Today you are going to learn…” (see the important reason why you don’t lead with “Today I am going to talk about…” in DON’T #1 here)

The Now-That-It’s-Written Part; Handouts

  1. PEOPLE LOVE HANDOUTS. Please do yourself a favor and create something, anything. The audience will not only love you extra for it, but they’ve got a tangible piece of you they can take with them. It’s the best marketing tool!
  2. As with visuals, don’t pass them out while or even before you’re talking. It’s a distraction; people look ahead or read instead of listen. Let them know you have handouts and will be distributing afterward. It helps ensure people stay until the end 🙂
  3. Don’t include proprietary info or anything that would prevent someone from coming to your session next time. Give them just enough to remember what you were saying and how great you were; not the whole presentation.
  4. Make SURE you have enough for everybody. This is ESPECIALLY important at schools. Don’t give away 60 bookmarks and leave 42 kids without. If you realize you’re shorthanded, don’t sweat it. Mail 102 to the school afterward. This goes for anything when it comes to kids: HAVE ENOUGH FOR EVERYONE. I learned the hard way. After a school visit a kid asked me for my autograph. I said sure, and grabbed the one piece of letterhead I had handy. Big mistake. Another kid came running over. “Can I have your autograph?” I didn’t have any other paper. I tore off a piece of scrap paper from my school-visit contract, the only other paper I had. The first kid gloated. A third kid came running over. I tore a scrap of paper even smaller. Fourth kid. No paper left. I asked if he had any paper or notebook that I could sign. He did not. First kid gloating even more. Kids that were dismissed from the assembly started running back in and lining up. I had no paper. At all. Kids wanted autographs. “It’s not fair so-and-so got one.” The teacher Was. Not. Pleased. Lesson learned.

I promised you kick-butt tips on creating the content of your presentation and hope I delivered.

Let me know if you learned anything. If you use them. If you have other tips.

Now stop reading and start preparing. You’ve got lots to do. And you’re gonna do great.

Securing EIN vs SSN or TID for KDP. Wha? (NBD)

POD. KDP. EIN. SSN. TID. WTH? Ask NCPA.

image from blog.usejournal.com

Not everyone is comfortable sharing information online, even when it’s required.

If you’re self publishing and/or using Amazon’s Kindle Direct Publishing (KDP) to print your books on demand (POD), you will notice that you have to hand over your social security number (SSN) or TID (Taxpayer Identification Number) in order to set up an account and get started. You also need to hand over your bank account info so they can pay you royalties (lots, hopefully!). In the age of cyber and identity theft, many people are uncomfortable sharing that precious information — as well they should be. Our friends over at the Northern California Publishers and Authors (NCPA), have suggestions.

EID: You don’t have to use your SSN, actually. What do you mean? you may ask. I have to give them a legal identifying number or I can’t sign up. Well, instead of using your SSN when you sign up for your Amazon KDP account, there is an option to provide an EIN, or Employer Identification Number. Do it. Use your EIN instead of your SSN or TID! It’s that easy.

But I don’t have an EIN, you might say.

Then get one!

Many people assume that to get or have an EIN you have to run a business or at a minimum, hire employees (hence the Employer part of the acronym). But no, you don’t have to be or have either. As a writer, you are a business. Gasp! And get this — it’s free to get an EIN directly through the IRS, online. Double gasp! Tell me more! Click here for the direct link on how to secure an EIN. You *will* have to give your SSN or TIN to sign up (they need some way to track you, it is the government after all)–but you’ll be giving it directly to the IRS.

Sharon Darrow, president of NCPA, cautions, “DO NOT waste time and money going through a third party, because they often charge and can take longer because your application has to be submitted through the IRS.” She finds the EIN page “clear as mud,” but it’s not too bad for government work (wow, two government burns, nice, Kemper). The app should take about 15 minutes to complete. And, Ms. Darrow feels, is worth it. “Using the EIN not only protects your privacy, but makes you look a little more professional.”

Uncomfortable with completing the form online? The bottom of the page has a form you can download to apply through the mail.

image from usbank

BANK ACCOUNT INFO: Kindle also requires your bank account. No, they aren’t being nosy, they need it in order to get you your moolah from book sales. Ms. Darrow has another suggestion that is “very simple and helpful for your tax records.” And I agree. “Set up a separate account for your writing business,” she says. “Even if you only have a handful of transactions a year, it protects your privacy and is more professional. Make sure you are getting an account with the bare minimum or no fees, and ask your banker if it’s connected to any of your other accounts in a way that an outsider could access. If you are especially worried, set up the writing account at a bank or credit union where you have no other accounts. This way, you can give the bank account information to Kindle with no worries.”

Image result for image thank you

Great advice. Thank you Ms. Darrow (https://www.sharonsdarrow.com) and NCPA (https://www.norcalpa.org/)!

Wasting Time Interviewing Wrong Agent?

Photo by Ryan Franco on Unsplash

I was presenting at a workshop where they held agent pitch appointments, also called Agent Meet & Greets. Several attendees ended up disgruntled. And they shouldn’t have been.

Let me take a step back.

Photo by Amy Hirschi on Unsplash

What’s an “agent meet and greet,” you may ask? At this one, attendees paid a certain amount of money for 10 glorious minutes of face time with any or all of the agents that were attending the one-day conference. Writers weren’t allowed to hand over their manuscript directly, but could:

  • ask about the agent (are you editorial–do you give feedback on manuscripts or do you only submit as is? how many clients are you actively subbing right now? what kinds of stories do you like and tend to submit: humor, sci fi, YA, etc)
  • ask about the agency (how long has it been around? where is it headquartered and is that where you are located? how many are in the office? [<–technically they should have already looked up that info but I digress] are you autonomous or does the Director play a strong role?)
  • ask about the industry (do you see many historical fictions these days? are picture books selling well?)

Mostly, though, (smart) writers were there to use the 10 minutes to talk about their manuscript and ask for feedback. If we’re going to call a spade a spade, mostly people were hoping that after discussing the manuscript, the agent would say “sounds interesting, send it my way, I’ll have a look.” They were there to pitch their story to the agent in hopes of getting representation. And that’s fair–nothing wrong with that. Agents know that coming in–in fact, that’s why there are there too! They are looking for new talent/work. Win win.

Photo by Green Chameleon on Unsplash

But as in every potential relationship, not all work out. Even when they were SURE this one would.

Several people lamented to me that their agent meetings “didn’t go well” because the agent didn’t like the manuscript, or didn’t ask for them to send it in. They felt they wasted their time and their money. But that’s not true!! That meeting still went well. In fact, it almost went better than if they asked for the entire manuscript to be sent in.

Almost.

Listen. If the agent wasn’t a fan of your submitted work/idea, or if you didn’t get the feels, THEN SHE ISN’T THE AGENT FOR YOU! You 100% still had a good meeting. How? You now know that agent isn’t for you. The last thing you want is someone not committed to you or work work, or a contract with someone you don’t get along with. An agent is someone you’re going to be working with for a long time–you want a good working relationship based on mutual trust and effort. If she isn’t into you or your work, it’s GREAT that she let you know (and I’m sure it was a gentle let down). It’s now a confirmed data point vs an unknown. 

This applies to interviewing almost anyone for anything–once you’ve said or heard no to/from that person, you are that much closer to saying yes to the right one. This “No thanks” was time well spent. In the case of the writing world, you aren’t getting your hopes up by emailing a proposal or query or manuscript to someone that on paper looked perfect only to wait six months to get a form rejection letter back. You already know this isn’t the agent. Seriously, that is good information. In other industries and situations, you can confidently say, “we avoided making a mistake by hiring that one.” It’s not idle effort. The important thing is that you’re getting yourself out there, seeking.

Photo by Japheth Mast on Unsplash

I once had a dream agent that I found out about, read all I could about her, practically memorized the agency website as well as her bio page, and followed on her on Twitter. She was hilarious. We had the same sense of humor. I KNEW we’d be a great match. I couldn’t wait to meet her at a conference. But once I met her in person…wow. Does. Not. Equal. We were sooo not a match. While she was a great agent for others, there was no way I wanted to work with her. And I never would have known for sure had I not met her in person. It was not a waste of time. It saved me time.

Think of if this way: now you can get moving focusing on someone else to grow old with. The right someone else.

Photo by Rubén Bagüés on Unsplash

Getting Conference-Ready: 10 Conference Tips for the Introvert, Beginner, and Beginner Introvert

Whether you’re headed to your first conference or your fifth, you’re gonna want to plan ahead. Most writers are introverts, and panic at the thought of being in a room with strangers. Relax! You’re going to be fine. The children’s book industry is wonderfully welcoming and supportive. (I’ve attended and presented at conferences across the U.S., from local to international events, and never cease to be amazed at the kindness.) To help maximize your precious time, and all that coin you’ve already dropped on the event, here are some tips I’ve found most helpful:

image from luckylittlelearners

Conference tips:

  1. Have an overall goal in mind. This might change for every conference. Most people assume they are they are there to get published. But let’s not get ahead of ourselves. You’re not going to get a contract at the conference (seriously, toss that thought right now). Be realistic. Let’s assume you’re there to figure out how to get published. Try to break that down into measurable steps.
    • Maybe your goal for that one conference is to find an agent, or to find out how to get an agent, or simply bust out of your comfort zone. OK. Can you make it even more specific? If you’re looking for in an agent, for example, what qualities or skills are important to you? Figure that out before you go so you know what to look for in the agents that are there, and you’ll be able to better size up and decide if anyone there is right for you. No sense submitting to an agent you don’t want to work with, right? If you want to break out of your comfort zone, list out two or three specific actions–like initiate a conversation with two strangers, attend that awards banquet by yourself, and/or refuse to sit in your room doing email every night.
    • Center all your time/schedule decisions around that one overall goal. Attend only those sessions that fit your goal, for example. It will help you manage your time AND challenge yourself to achieve that specific goal. (Next conference you can attend the other sessions that sounded equally good–odds are you’ll have a difference goal by then.)
  2. Get ready to smile and say hey. I hate the slimy connotations of the word networking, but conferences are really about the people. Otherwise you’d stay at home. What I mean by that is don’t just focus on the workshop topics, look at who’s teaching them. Read their bios. Try to read the book of the keynote speaker and/or whoever you’re taking classes from beforehand, so you know their background and you’re not coming in cold. That’s how you feel like a insider! By doing your homework you’ll feel like you already have an edge. Odds are you’ll be eager to meet the presenters. When else will you have the chance to meet them, and see what they’re really like? You can take just about any class online these days, but meeting these professionals in person? That’s why you’re there.
  3. Have your “elevator pitch” ready! You’ll be using it throughout the conference, that is, if you’re taking the conference seriously and are out there meeting people. (Here’s a good primer to get yours shiny.)
  4. Pack with a theme in mind. Not as in 1800s or hippy, but something that is consistent. It not only helps make packing easier, but makes it much easier for people to find and remember you every day, as well as afterwards. “I’m the one in polka dots” or “I was the one with pink striped hair.” You won’t be in the same thing everyday but people will start to recognize you by how you dress.
  5. Get your class act together. Speaking of clothes…at writer’s conferences you don’t have to dress to impress, but c’mon, this isn’t your mom’s basement. Make an effort. Dress like you’re going out to eat, not like you just woke up. If you look like you’re taking this seriously–others will take you seriously too. (But skip the heels, ladies, that’s one fashion item that’s just silly at a conference.)
  6. A simple trick: stick business cards (people still use them!) in your badge holder, so they’re handy. Make sure your website and whatever social media handles/hashtags you use are included–if not, write them in with pen. Consider adding a QR code to your card that allows a cell phone to take people directly to your contact info, including your website URL, without them ever having to type a thing. https://www.youtube.com/watch?v=WS7jdYZomu0 tells you how to create a free vcard. https://blog.4colorprint.com/great-designs-for-business-card-layout-inspiration has ideas for unique looking biz cards. [Note: I have no affiliation with either of them whatsoever]
  7. You never know who you’ll be sitting next to so be nice to everyone you meet. Author and illustrator Debbie Ridpath Ohi has some great conference tips on “making the first move” – you need to suck it up and introduce yourself around! Remember the part abut people being the reason you’re there? [See more of Debbie’s advice, including charming comics about being an introvert, at her website here.] Since most of us will be attending the conference alone (even if we traveled with a friend), it can get nerve racking. Wracking even. Take some “survive attending a conference alone” tips from themuse.com here. [Again, no affiliation]
  8. Be open to learning. If you’ve attended a hundred conferences before and find yourself saying “I already know this” at every session/workshop, then you’re preventing yourself from learning anything new. I mean, if you already know everything, why are you there? (<— remind me of this one, ok? I’m always the one rolling my eyes saying I knew that, when, hmm, maybe I didn’t)
  9. Prepare ahead of time. Review the schedule. Figure out why the keynoters are keynoters and not session presenters. Plan your day(s). Choose your workshops carefully so it’s not a last-minute choice made in haste. (They need to support your goal, remember?)
  10. Speaking of preparing…if you’re a true beginner, and are looking for basic tips on writing your first children’s book so you don’t feel out of place at your first conference, check out a video I made for the beginning picture book writer. It’s fun. Really. https://bitsykemper.wordpress.com/2014/03/19/179/

I joke about lotion-ing up so you’re not remembered as the hand shaker with the rough skin. But bottom line: do your homework. And get ready to smile. You’re going to have a great time!

He’s following me, isn’t he?



Do you Want to Write For Hire? Take This Quiz to Decide

workforhireagreementredquestionmark

You may have wondered if Work For Hire is right for you. If you’re considering writing in the children’s book industry, I’ve created a quiz that might help. It’s based on my personal experiences as well as several colleagues I interviewed. [To give you some perspective on collective experience that I’m drawing from: I’ve written 16 kidlit titles for hire so far; picture books, chapter books, and YA–most of them as part of an existing series where the other titles were written by several other people. The fellow writers I talked to have authored close to 100 for-hire titles total.] We’ve all written for different editors and publishers, on different topics, in different genres, with different parameters. Every contract was in some way unique. But generally speaking, Work For Hire has similarities that differ from traditional publishing.

It’s not for everyone.

Is it for you?

First, a definition. “Writing for Hire” means a contract from a publisher or third party—usually from an outline, writing samples, or pitch—to write a book as assigned. For them. It

—might have pre-established characters and settings

—might be ghostwritten under someone else’s name

—might include a “tie-in” or “media-related” connection to an existing product, entity or trademark, such as a movie, comic book, game (typically referred to as intellectual property rights, or i/p)

Lawyers define it as “an exception to the general rule that the person who creates the work owns the copyright. If a work is made by an employee within the scope of their employment or if it was a specially commissioned contribution…it may be a work-for-hire. The employer or hiring party is considered to be the author and thus the copyright owner. A work-for-hire agreement must be signed by both parties before the creation of the commissioned work.” (emphasis mine)

Sometimes you work directly for a publisher. Sometimes you work for a middleman, called a book packager or book producer, who in turn works for the publisher. The book or series might be your idea, but is more likely their in-house idea that they are hiring out for–usually part of a series such as early readers featuring popular TV characters like Spongebob or a history series for K-3rd grade.

Bottom line is: you write it, they own it.

Quiz time:

  • Do you prefer innovation over purely-from-scratch invention? (More like, say, creating a collage than painting)
  • Can you work with a pre-existing format, one you didn’t create?
  • Can you write in someone else’s voice, and/or match the general tone/voice and target age range of an existing series?
  • Are you okay handing over your work and having someone else do whatever they want to before going to print–even though it (probably) has your name on it?Do you take direction well? (See earlier reference to pre-existing format and matching voice)
  • Are you good at research, note taking, keeping files of resources and interviews?
  • Can you handle rewrites without arguing? (See all of the above)
  • Are you good with deadlines–possibly short ones? (Typically in the six-eight month range, start to finish)
  • Can you handle someone else telling you exactly what needs to be done, then possibly changing gears midstream?
  • Are you okay getting a flat fee, with no royalties? (Note: there is a chance you’ll come out ahead this way. Slim chance, sure, but a chance.)
  • Are you okay with the fact that even though it has YOUR name on it, the contents and everything about it may not have been your preference or decision?

If most answers are Yeses, you might be on the right track.

If most questions made you clench, well, relax. Before you get too nervous, know that the publisher isn’t out to screw you. They don’t want to mess up your work on purpose. Their goal–like yours–is to get the best possible product in the hands of their customer/reader; but the main caveat is it’s usually the best product possible created in the shortest amount of time. You might disagree on what the best product ultimately looks/reads like. (It doesn’t matter though. They have final say. On everything.) Just know they really do have the best interest of the customer in mind. They want to sell books! This is their business! They fully understand a crappy book won’t sell as well as a well-written one. They don’t want to put their reputation on the line for shoddy quality. They have your back; their name is on the cover, too.

There are feel-good questions to ask yourself about Work For Hire too:

  • Would you like a shorter time to market? (That is–getting your book on the shelf faster? Most WFH is on the shelf within a year, vs up to potentially 2 to 5 or even 7 years later going the traditional route.)
  • Would you like getting paid in a timely manner? (Many pay half the fee upon acceptance of contract and the other half upon submission/completion of the work)
  • If the project is cancelled, would you still like to get paid some of the contracted amount? (Make sure you’ve got a “kill fee” in your contract!)
  • Do you like direct feedback on how to make your assigned work better?
  • Do you like taking an idea and running with it? (Assuming you are okay when they need to rein you back in)
  • Do you like a clean set of rules, with a detailed schedule, giving you less time to goof off online and on social media? [Maybe that’s just me, lol]
  • Do you like being in control of which projects you agree to and which you decline? (It’s always okay to say no thanks)
  • Do you like researching and choosing which publishers and packagers you work with?
  • Do you like having a built-in opportunity to work with the same WFH people again? (Assuming you’re not a jerk to work with…)
  • Do you like learning about new topics you may have never considered writing about?

And most importantly:

  • Do you want to get published?!

If you took this quiz and are a yes (wo)man, then Writing For Hire is for you! Give it a try!

How to go about finding Writing For Hire opportunities will be the topic of my next blog… Hint: it takes just as much effort as pitching your current manuscripts! But worth it.

If you’ve had experiences similar or in contrast to these Quiz questions, tell me about in in the comments. I love hearing anecdotal WFH stories.

Shopping at IKEA

Image result for image ikea warehouse

I dreamt that I was in IKEA, looking for a replacement piece for something from my kid’s room. I look all over the warehouse, up and down every aisle. You know how big that place is! Had people helping, looking part numbers up on the computer, nothing. Two hours. I’m out of options, on the ground floor near the register, when I decide to look a little closer, turn it upside down…and… It’s a Lego piece.

Isn’t that how writing is sometimes? You exhaust every option trying to figure out a story arc or plot point or character tic, get nowhere, only to one day–usually in the middle of the night when you have no pen and paper nearby–look at it from a different angle, and realize all this time you’ve been shopping at IKEA for a Lego piece.

Image result for image blank lego face

Sometimes the hardest thing to do is STEP AWAY. We think we need to WORK THRU IT. We can do this. MARCH ON. We got this. MAKE IT WORK, DANG IT. We won’t be defeated!

And yet, by powering on, we might be getting in our own way. We are so focused on fixing the problem–the FIX–that we aren’t examining THE PROBLEM. We aren’t holding it in our hands, placing it up to the light, looking at it from different angles. If our eyes are only set on the finish line, we can’t see the road we’re on, or we forget WHY we’re on the road in the first place. And we’ll stumble and fall and make all kinds of messes, not to mention waste all that time (ours as well as other people’s).

So how about this: the next time you’re struggling with something, set it down. Don’t think about it.

Go for a walk. Nietzsche said “All truly great thoughts are conceived by walking.” A Stanford University study confirmed it. Walking boosts the creative formation of ideas, both in real time and shortly after (“Give Your Ideas Some Legs: The Positive Effect of Walking on Creative Thinking” by Marily Oppezzo and Daniel L. Schwartz, American Psychological Association, 2014). Neuroscientists say exercise, even mild forms like a walk around the block, releases dopamine, which helps us feel relaxed and all around in a better mood. That makes the chances of having great ideas more likely. Ditto for taking a shower, hopping on a bike, or going for a drive.

Work on something else. Set your work down for a while. Literally place it in a file and don’t plan to look at it for two months. OK, fine, six weeks. What’s the rush? Ben Baldwin, who created a company that helps predict who will succeed at which job and why, points to the benefits of freeing your mind for a bit. “The subconscious mind runs in the background, silently affecting the outcome of many thoughts. So, take a break and smell the flowers, because while you’re out doing that, your mind may very well solve the problem that you are trying to solve or spark a solution to a problem you hadn’t considered before,” he said in a WSJ article packed with advice from entrepreneurs about creating ideas.

Force connections. Just for fun, force your main character to do something, well, out of character. Place them in a situation they shouldn’t be in, in a predicament they would hate, or trapped in a room with the person they dislike the most. Writer’s Digest suggests “forcing your character into a corner,” among other creative tips. See what happens. You don’t have to keep the scene, but you may find a side of the character you didn’t notice before. Maybe there is a descriptive part of the location–a balcony or city–that you can keep and use elsewhere. Even if you use none of it, you’ve forced your own creative brain out of its comfort zone. Odds are, your brain needed that push!

The point is, when faced with a challenge, the answer isn’t always to power through. Sometime it’s better to let go, just for a little while, to get a better look at the situation. Maybe you’ve been barking up the wrong tree.

Don’t waste your time at IKEA when what you really need is a Lego piece.

Author Platform: Maximizing Social Media

Social Media

slick image from jsums.edu

Last post we defined Author Platforms. So tell me, what is an Author Platform, do you remember? It’s how you show your unique qualities that “brand” you as a writer or artist…with the ultimate goal of leading to book sales. It’s a long term goal, not a RIGHT NOW CLICK HERE goal. No one likes the CLICK HERE RIGHT NOW guy, amiright?

Social media is one of the main ways you create your brand. Since most of your readers will never meet you in person, it’s how most of your readers get to know you. This post is gonna look at ways to maximize social media so you can give yourself the best platform. We’ll talk through some real examples, screenshotted below.

If you need to take a step back and get a basic primer on Twitter, check out https://bitsykemper.wordpress.com/2014/07/15/twitter-101-the-basics-for-writers/

General social media tips to support your Author Platform:

  1. Be you, all the time.
  2. Have fun! Every tweet/post doesn’t have to have something to do with writing or illustrating, but each one should still reflect who you are and what you stand for. Remember the part about the real you needing to shine through?
  3. Sorry to say this, but people are people. And by that, I mean selfish. I’m not judging. It’s fact. We are always asking ourselves WIIFM? As in, What’s In It For Me? No one has time, and we make decisions in a snap. You need to do whatever you can to convince me, quickly, that what you have to say will benefit me. And then come through. So don’t just tell me your book trailer is finished and give me a link. Tell me what the trailer is about, what I’ll see, why it’s worth watching. I need to know WIIFM or I’m not going to click. Even if I like you. I just don’t have time.
  4. Other people are selfish–but you need to be giving. Stop talking about how great your product is. Let us figure that out on our own. Your book really should be able to speak for itself…or at least let others do the talking. A tweet like”Another great review, my work is profiled yet again! Click to see the latest url.2937y5/iji…” gives me no incentive to click. It’s blatant bragging. But what about “What an honor to be included in this roundup, check out the other Best 2016 Reads by Buzzfeed at url.8724r34r/…” or “Thanks for the kind review, Donna, it was nice being your guest blogger this month. I bet no one can guess how many puppies were harmed in the making of that video! [link to Donna’s website].” Do you see the difference? One is “Look at me!!” Another–the preferred method–is “There’s something in this for you, have a look.” You want to be of service. Your book or link or review just happens to be one way to help. [See #6, below.] Continue reading