Writers in the Storm

by Amy M. Reade

Do you remember the last piece of swag you received from an author?

It’s not a rhetorical question. I’m really curious.

Was it a business card? A bookmark? A postcard trumpeting the author’s newest release? A sticker? A pair of cat socks?

I’ve garnered my fair share of such things at events ranging from book conferences to craft fairs to school bazaars. And though I hate to admit it, a lot of those items end up lost in the black hole of my desk drawer, or under a seat in my car, or even (inadvertently) thrown out. It’s not that I don’t want to support those authors. I want to read their books and attend their events, but there’s only so much stuff I can accumulate before I go bananas.

I’ve just concluded the last of about a dozen in-person summer events, and swag is on my mind. I’ve been giving out business cards with my personal tagline (if you’re curious, it’s “Mysteries You’ll Love to Reade” because, with my last name, how can it not be?), and people enthusiastically tuck them into their bags or their pockets.

I wonder, though, how many of those business cards end up in someone’s trash. I’m guessing a whole lot. People think it’s great during the heady moment of learning about my work, then whatever’s at the next table captivates them and my business card ends up in a pile of giveaways destined for a landfill.

Which brings me to two conclusions about swag, which I'll get to in a moment. First, let's cover some of the basics for writers who may be new to this:

What is swag?

Swag is merchandise or promotional items that businesses typically give away. Your brand is usually front and center on the items.

What is your brand?

That's a discussion beyond the scope of this post, but there are tons of places online where you can find answers to that question.

Popular swag items (and I’m talking specifically about authors here)

Bookmarks, stickers, pens, pencils, business cards, sticky notes, pins, candy, etc. There are lots more, but these are the ones I see most often.

Do you really need swag?

That is a personal decision. For some authors, a business card may be all they need to hand out to readers. Others may feel that swag increases the likelihood of future sales and consider it an investment.

Okay, we've covered the basics. Now on to my conclusions.

1. Your swag should tell a story.

What makes great swag?

Great swag accomplishes one thing: when a reader sees it, they think of your books. This means swag has to reflect your brand.

And how does swag reflect your brand when you're an author?

By telling a story.

We're storytellers, right? And our readers are hungry for stories, right? Then what better way to introduce your brand than by creating swag that becomes an extension of the reader's experience, instead of being simply another throwaway piece of advertising?

The possibilities for swag that tells a story are endless if you think outside the Vistaprint business card box.

Your swag can be an extension of a story you’ve already written, or it can tell a new story of its own, one of that entices a reader to want to find out more about your books. Or …

• Do you write thrillers?
  • How about a dossier on the villain?
  • Or a redacted transcription of an interview with them?
• Romance? How about a map of the town where the lovers meet?
• Sci-fi? You could load one or two exclusive short stories onto a flash drive.
• Fantasy?
  • You could create a Mad Libs-style activity that lets your fans overlay their words on your story.
  • It could be online or a physical item.
• Cozy mysteries? Recipe cards with recipes from your books are almost a no-brainer. And people love them.
• People also go nuts for stickers. How about one that copies a line from a beloved character?

Keep brainstorming. You'll come up with terrific ideas, I'm sure. The point is to make your swag work for you.

Now, I hear you. Creating swag like this is time-consuming and will probably cost more than the pennies you spend for business cards or pencils.

You're right. And that brings me to my second conclusion.

2. Consider selling your swag rather than giving it away.

This is a controversial one and I understand the arguments against it. But I ultimately come down on the side of charging for swag (and I don't mean charging for business cards. I mean charging for the stuff you really work to create).

There are a couple reasons for this.

First, most of us operate on tight margins when it comes to selling books at in-person events.

There's often a table fee. Getting to and from the venue typically carries some cost, perhaps as high as a hotel stay or meals on the road. Even the humble business card costs money—money that you don't want people to throw away the minute they get home and unload their purchases. And don't forget, your time is worth something, too.

Swag gives us an opportunity to make back some of the money we lay out to attend these events. There are plenty of times a potential new reader will walk by and not feel comfortable making the leap to a $15 book, but for five bucks they might buy that flash drive with the sci-fi short stories to check out your writing style.

The cost of swag is a lower barrier to entry, and if your swag is working for you, it can entice that reader to go online and click "Buy now!" for the first book in your series. Or part with their email to join your newsletter.

A second reason I advocate the sale of swag is more psychological.

What's a reader going to value more—a business card handed out by a stranger, or something they've shelled out actual money for? I know what I value more. People place greater value on things they've sacrificed for. Or in other words, they'll value swag they've paid for more than swag they've been given.

And swag doesn't have to be expensive. In fact, it works better when it's not. A few dollars should be sufficient. The point isn't to make a huge profit, though profit is always nice. The point is to remind readers who you are and what your brand stands for: great storytelling.

So, let's review.

Instead of treating swag as advertising that's more likely than not going to be thrown out, treat it as part of the reader's experience, as an extension of the fictional world you've created. Show how an object can give them a glimpse of storytelling magic. Make them want more.

And consider charging for it. The things people pay for are the things that generally hold the most value for them (and yes, I know the most valuable things aren't things, but we're talking about physical stuff here).

If you work hard to design creative swag that tells a story, maybe you shouldn't just give it away.

Tell me, what's the best swag you've ever seen?

* * * * * *

Amy M. Reade is the USA Today and Wall Street Journal bestselling author of cozy, historical, and Gothic mysteries that'll keep you up past your bedtime.

They're Mysteries You'll Love to Reade.  

You can find out more and follow her on social media by visiting her website at www.amymreade.com.

by Michelle Barker

Beats are such small moments in a novel that it’s tempting to think of them as inconsequential and not worth our careful attention. I’m talking about dialogue beats (not screenwriting beats, which are something else altogether), those moments around a conversation where a character might put down their glass or notice the setting sun.

And yet, if used effectively, beats can be story-changers, not only in filling out a scene but also in developing character. More often than not, however, we settle for something generic and allow our characters to sigh, laugh, nod, and shrug their shoulders.

Generic beats are like dandelions: if you don’t root them out, they’re liable to take over an entire story. We rely on them because they’re easy. We know the dialogue needs a dramatic moment, a pause, something, so why not let our characters smile their way through dinner? The trouble is, generic beats do nothing to develop character. Yes, they’re easy, but they’re also ineffective.

If you actually count the number of times your characters smile, laugh, nod, etc. you might be in for a shock. This will likely be the moment when you accept there’s a problem and it must be tackled. So, you turn to bodily betrayals instead—sweating palms, racing hearts, upset stomachs. Marginally better, but these come with a built-in problem: sooner or later (probably sooner), you’re going to run out of body parts. Your poor character’s heart will race so many times, the reader will be certain a coronary is imminent.

But there are other ways to handle beats

How about details of setting? It’s important to keep one foot in the physical world in your scenes, and your setting should be dynamic. It should be chosen for a reason and that reason should impact whatever is happening in the scene.

Beats are a perfect opportunity to take care of that.

• Is the room getting warmer?
• Is something burning in the kitchen?
• What’s that smell?

Any of these details can be used to amplify tension in a scene.

You can also use beats for interior monologue.

• How does your character react when on a first date her companion spills red wine all over the table?
• What is she really thinking when she says it’s fine that he’s just stained her expensive new dress?
• What does she think of that beard?
• And what’s with all the aftershave?

Add a third thing

This is perhaps the most effective way to lift your beats out of the generic. If there’s a conversation that your characters must have, don’t let them just sit there and talk. Triangulate the dialogue. Add a third thing. In other words, give them something to do while they’re talking, something that needs to be accomplished as the conversation proceeds.

As with setting, you’ll want to choose wisely. Eating and drinking can work, but what if you push harder?

Back to that first date: instead of a restaurant, what if you put them at a fire pit on the beach?

Mr. Aftershave has been single for a long time, and this is his big chance to impress a special someone. While he chats to her about his job (probably exaggerating), he’s going to light a campfire.

Or rather, he’s going to try.

Imagine the beats now. The wood is a little damp, the fire won’t catch, and he’s trying so hard not to lose his cool, but soon frustration sets in and tension rises. In situations like this, you can do a lot with the contrast between what’s happening in the scene versus the conversation taking place around it.

If Mr. Aftershave works in human resources and prides himself on his ability to stay calm under pressure but can’t hold it together while trying to light the fire, your material will do a ton of character work for you. Best of all, it will show rather than tell who this person is—as well as revealing who the other person is by how they react.

Examine your passages of dialogue

See if there are scenes where you can enhance the conversation by adding some action or paying more attention to the action that’s already occurring.

• Are your characters in a car while they’re having their conversation?
• How does the driver react to being stuck in traffic?
• What do they do if someone cuts them off?
• Is there an exceptionally annoying song playing on the radio—or one that brings back unwanted memories?
• Are your characters in a kitchen?
• How does your protagonist load the dishwasher if he’s angry at his partner?

Try to choose action that has a high possibility of failure, or something that promises to make at least one person look awkward or ridiculous.

The nice thing with beats is how subtle they can be. You’re not stopping the story to give us these details. You’re slipping them in seamlessly so that the reader barely notices them. Beats allow for sprinkling—as opposed to dumping. Giving long descriptions or explanations about a character usually requires stopping the story and thereby pulling the reader out of the fictional dream. Beats, if used efficiently, keep the story moving.

In conclusion

Your reader wants to get to know your characters and draw conclusions about who they are based on how they behave. If all they’re doing is blinking and sighing, we get no insight into their personality. But characters who behave badly or don’t say what they really mean, characters who get frustrated or angry—well, that’s interesting. Show me more!

How do you handle dialogue beats? What do you use beats for in your stories?

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About Michelle

Michelle Barker is a novelist, poet, and senior editor with The Darling Axe. With David Griffin Brown, she has co-authored three books on writing: Immersion and Emotion: The Two Pillars of Storytelling, Story Skeleton: The Classics, and Fake Query Letters by Dead Authors. She is also the author of three novels, including The House of One Thousand Eyes (Annick Press) which won numerous awards and was on Kirkus’s list of best YA historical fiction of 2018, as well as a picture book, A Year of Borrowed Men (Pajama Press), which was a finalist for the TD Canadian Children’s Literature Award. Her collection of poetry called Chef will be published in 2027 by Caitlin Press. Michelle holds an MFA in creative writing from UBC, teaches regularly at conferences and through the Federation of BC Writers, and lives in Vancouver, Canada.

Top Image by Gerd Altmann from Pixabay

by Ellen Buikema

Sometimes taking a walk on the wild side, stepping outside the writing norms, can lead to great results. Here’s why ignoring writing rules can lead to interesting works.

First, Know the Rules Before You Break Them

The main elements are:

• Clarity and Coherence: Ideas are easy to understand and flow logically.
• Grammar and Syntax: Sentences and punctuation are used correctly.
• Structure: Have a clear introduction, body, and conclusion.
• Tone: Use a tone that your readers expect based upon the story’s purpose.

Reasons to Break Those Rules

Breaking the Norms for Effect

Breaking writing norms is best done as a deliberate choice to strengthen the power of your writing. Consider a personal narrative. Using unusual sentence structures can mirror an experience, especially for chaotic exploits.

How to Break the Rules

Very short sentences give a feeling of urgency. “I said stop!” So does using an action verb before the subject instead of the more common Subject, verb, object.  “Watch out for those buzzy, candy-filled kids!”

Think about the reason you’re writing and what you want to get across. If straying from norms serves a purpose, it’s worth trying.

Engaging and Distinctive Voice

A unique voice can make your writing shine. When you stick to the norms, your writing won’t stand out. Breaking the rules to create a distinctive style that allows your readers to relate on a personal level. For example, blog posts can benefit from a conversational, more personal tone that doesn’t strictly follow formal writing rules.

How to Break the Rules

Write as if you are having a conversation with a friend. Use colloquialisms, contractions, and a relaxed voice to make your writing feel real and keep your readers engaged.

“For years, I’ve kept my two worlds separate.

There’s Jenny, the fiction writer, lover of craft, believer in the power of story. And there’s Jen, the Storyselling Sherpa, who helps businesses articulate their difference so they can build trust and increase revenue.

I’ve never really blended the two.

But in 2023, while spending long hours in a chemo chair, wondering whether I’d get through to the other side, something became very clear: Life is too short to do work you don’t believe in.”  —  Jenny Hansen

Enhanced Emotional Impact

Now and then, breaking the rules can boost the emotional impact of your writing. You can create a sense of urgency by using unconventional formats or grammar. For instance, using sentence fragments or varied punctuation can control rhythm, understanding of the sentences, heighten emotions, and add tension more effectively than following traditional rules for writing.

How to Break the Rules

Use short, impactful sentences for suspense and a sense of urgency. Play with punctuation to create drama or rhythm. “For sale: Baby shoes. Never worn.”  —  Earnest Hemingway

Genre Shifts

Readers have different expectations, depending on the genre. For instance, a reader of romance novels expects a happy ending.

What’s considered a norm in one genre might be uncommon in another. Fantasy and science fiction genres often alter the rules with the creation of imaginative worlds and invented languages.

How to Break the Rules

As part of research, read several genre-specific stories to get a feel for what the authors composed. See if their methods/ideas are a good fit for your narrative, regardless of traditional writing rules.

J.R.R. Tolkien, who’s Elvish is my favorite invented language, is said to have developed languages for fun. This interesting article is about the topic of inventing fictional languages.

Innovative Perspectives

Rule breaking can change your paradigm, leading to new perspectives and fresh ideas. Nontraditional approaches might unlock creative problem-solving.

How to Break the Rules

Challenge existing perspectives. Experiment with different viewpoints, even if they are very different from established norms.

The Improbability of Love, by Hannah Rothschild, is told from the viewpoint of a painting.

Reader Engagement

Writing outside of the norm can make readers curious. Readers may be more interested in a story that invites them to engage in new ways, making the reading experience memorable.

How to Break the Rules

Weave interactive elements into your writing. Create a narrative that encourages readers to think and engage with the story’s content. Try interactive narratives in your story. Have alternate endings.

Here are 20 classic novels that almost had different endings.

An interesting story with many possible alternatives is Pretty Little Mistakes by Heather McElhatton, with more than 150 possible endings.

Unleash Creativity

Letting go of rigid rules allows for more creativity. For example, Naked Lunch by William S. Burroughs, with a nonlinear and disjointed narrative, reflecting the protagonist's addiction and fragmented consciousness. And Mark Z. Danielson's House of Leaves by Michael Seidlinger who’s novel is known for its unusual layout.

Varied:

• Words per page
• Text direction, sometimes sideways
• Pages filled with footnotes

 All reflecting the confusing, labyrinth-like nature of the house.

How to Break the Rules

Try experimenting with non-linear storytelling. Let thoughts and ideas flow in a stream-of-consciousness fashion even if it means ignoring standard grammar rules.

Final Thoughts

Writing norms and conventions have their place, however breaking the rules can lead to great results. Defying traditional rules can set up new and different possibilities for your writing.

Get feedback from your Beta readers on how the broken rule sounds. That can help determine if you’ve found your writing voice.

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About Ellen

Author, speaker, and former teacher, Ellen L. Buikema has written Parenting ... A Work in Progress, non-fiction for parents, and The Adventures of Charlie Chameleon chapter book series with stories encouraging the development of empathy—sprinkling humor wherever possible. Her Works in Progress are The Hobo Code, YA historical fiction and The Crystal Key, MG Magical Realism/ Sci-Fi, a glaze of time travel.

Find her at https://ellenbuikema.com or on Amazon.

Top Image by Gerd Altmann from Pixabay