Writers in the Storm

By John Peragine

There has been quite the buzz about Kindle’s new offering- Kindle Vella. It has not launched quite yet. Insiders tell me it will be in June 2021. But, authors can start creating stories right now. So what is Vella, and why all the hubbub?

Vella allows you to create stories as a serial- that is, breaking them into episodes. While this is not a new concept Amazon Kindle has gamified it.

The Cover

One of the advantages of coming out with a series is that you can publish it quickly. The cover is no exception. You can use a simple picture that they display in a round porthole style. Nothing fancy, and you don’t need a designer to create it. You just upload, and you are done. The only drawback is that you only have one graphic for the whole series, and you cannot add any pictures to your story.

The Text

You have three choices for content. You can type the story directly into the box. You are limited to one font, but you have bold, italic, and underline options. The stories are read on Kindle devices, and so you could change the font as the reader. You can also cut and paste into the box as well. The third way is you can upload a .doc or .docx file. When I did this, I had to fix a couple of margins once it was uploaded. You can edit directly in the box.

Title

You create a title for the series, and then each episode has its own episode name. You also make a short description of your series. In addition, you are allowed seven story tags- these are searchable words and are very important for people to search and find your story. In addition, you can pick two categories (genres) for your story.

What I have found interesting is that each episode has its own ASIN number. So I anticipate that each episode will be searchable on Amazon- both as a series and as an individual episode. However, these stories do not have an ISBN, which makes sense as they are only digital and only available on Kindle.

Length

Each episode is 600-5,000 words. There doesn’t seem to be a maximum of episodes. They allow you to post content that is “not freely available elsewhere.” This means you can use already published work, but you can’t use work published elsewhere for free. Other than that, there are not too many rules concerning content. Every episode you create has to be approved by them, but it is not clear what they are looking for. I had one episode they would not publish without explanation. I changed the title of the episode, and it went through fine the next time.

Royalties

This is where it gets a little tricky, so bear with me. The first three episodes of your story are free. You make nothing on them because the reader pays nothing. This is to test out whether they like your story enough to continue.

Here is the breakdown. A reader buys tokens, and a token is worth 100 words. So, it would take 6 tokens to unlock a 600-word episode. As a writer, you make 50% of what the reader paid for the tokens. They have different packages of tokens. For instance, it costs $1.99 for 200 tokens. Another package costs 525 tokens for $4.99 (therefore a little less per token).

If your episode is 600 words and it costs 6 tokens, then you’d make .03. My thought is to publish smaller episodes for the first three episodes and maximize the size of the episodes after that. The other thing is to work toward having many readers to maximize your return.

Breaking the Fourth Wall

One of the exciting aspects of Vella is the ability to add the author’s notes at the end of the episode. I can explain the characters, my thoughts, and the process for writing that particular episode. It allows me to speak directly to the reader.

Feedback from Readers

I am glad there is no star system or written feedback. (At least that is my understanding. If it is on Amazon’s catalog, I am not sure whether they will be able to leave a rating). The new system is a thumbs up for the episodes you enjoy. At the end of the week, a reader is given a “fave” crown that they can assign to their favorite serial. The stories with the most crowns for the week are featured as the top stories. This is a step away from the current rating.

I have my first serial ready to launch and plan on writing more before Vella launches. In part 3 of this series, I will talk about my favorite techniques for writing episodes and how to engage and keep readers coming back for more.

What are your thoughts about Vella? Is it something you are willing to try?

About John

John Peragine has published 14 books and ghostwritten more than 100 others. He is a contributor for HuffPost, Reuters, and The Today Show. He covered the John Edwards trial exclusively for Bloomberg News and The New York Times. He has written for Wine Enthusiast, Grapevine Magazine, Realtor.com, WineMaker magazine, and Writer's Digest.

John began writing professionally in 2007, after working 13 years in social work and as the piccolo player for the Western Piedmont Symphony for over 25 years. Peragine is a member of the American Society of Journalists and Authors. You can learn more about his books at JohnPeragineBooks.com. 

His newest book, Max and the Spice Thieves, was released on April 20, 2021. Click here for a free first chapter. 

By Janice Hardy (@Janice_Hardy)

Get your protagonist up off the couch and into the story.

When I was six, I wrote a series called Dog City that followed the adventures of a team of dog archaeologists as they searched for a lost city of, you guessed it, dogs. It was all of four books, bound in aged cardboard from the backs of legal pads, and custom illustrated.

Laugh all you want, but that series had a more proactive protagonist than the “real novel” I wrote twenty years later.

Those industrious little puppers had goals—to find that lost city and fetch a rare magical item that would save the world from evil dinosaurs (it really should have been mailmen, right?). My “real novel” had a protagonist who was being manipulated by gods for a variety of reasons, and there was a prophecy she didn’t want to be a part of, and some romance, and an evil sorcerer, and a curse…you get the picture.

Even written in crayon, the dog story was better because it had a protagonist actively trying to achieve a goal and resolve a problem, and not just a protagonist who only acted when something else forced her to. My six-year-old self knew what the story was about and who was driving that story. My older self did not.

That’s the difference between a proactive and a reactive character, and why some novels flatline even though the scenes are filled with exciting problems.

If your protagonist isn’t making the story happen, then why are they the protagonist?

A protagonist who sits around waiting for things to happen or just goes along for the ride when things do happen, isn’t doing anything to help advance the story. It might seem like it because they’re in the middle of everything, but if you took them out and put any other character in there, would things still unfold the same way?

With a reactive protagonist, the answer is often “Yes,” because the plot is happening to them, not because of them. They’re not making any decisions that only they could make, based on motivations unique to them. Anyone faced with X problem would make Y choice, because the author set it up that way so Z would happen. The character is irrelevant to how the plot turns out.

5 Ways to Have Your Protagonist Create the Plot

(and not just follow directions...)

1. Give the Protagonist a Goal that Matters to Them

The struggle to achieve a series of goals is what creates a novel’s plot. In every scene, the protagonist should want something (a goal connected to a problem) and work to get that goal. To be clear, avoiding something is also a goal, such as “try not to get killed” or “not getting emotionally hurt again.” Maybe they want to find something, or tell someone something, or create something, or escape something, etc. Your potential goals are limitless; they just need to be something the protagonist wants.

The second part is why they want it. It’s the why that really makes a protagonist proactive, because their actions stem from personal motivations to see the problem resolved. Without those motivations, the protagonist is just doing what plot tells them to.

2. Make the Protagonist Part of the Action

If you took your protagonist out of a scene, would the event in the scene still occur? Would it change how the scene unfolded? If not, that’s a red flag your protagonist isn’t adding anything to the scene, and plot is happening regardless of what they do.

A proactive protagonist is part of the action, even if they’re reacting to and trying to deal with something that’s just happened. They might fail, or make the wrong decision, but they’re not simply sitting off to the side observing or waiting for others to act or tell then what to do.

3. Make the Protagonist Influence What’s Happening

A proactive protagonist tries to direct how scenes turn out. Their decisions to act—or not act—have consequences on how the plot unfolds. They might screw it up, or things might go horribly wrong, but they’re trying to make a change through their actions. It’s that motivation to make a difference, or cause a change that matters.  

If your protagonist’s actions have no effect on the outcome of a scene, or the major events of the plot, there’s a good chance they’re not doing enough in the story to cause the story to happen.

4. Give the Protagonist Specific Expectations that Drive the Story

A protagonist who goes somewhere “to see what happens” with no expectations of what that might be is a sneaky type of reactive protagonist. It seems as though they’re being proactive since they have a goal, but they’re not actually trying to do anything. They’re simply waiting for the answer to fall out of the story and into their lap. And that usually happens, because the plot says they need to discover that answer in that scene for the plot to work. But there’s nothing specific that causes them to go where they need to go or do what they need to do.

The protagonist thinks, “Gee, I have no idea what to do next, so let’s go to the crime scene and see what happens.” And when they do, they randomly walk about and conveniently find a clue they didn’t even know they were looking for (this holds true for any genre, even those without crime scenes).

If your protagonist spends a lot of time “hoping to find a clue” about what to do next, try giving them a more concrete plan to work with. Give them expectations of what they specifically hope to find, or a specific reason they’re doing whatever it is they’re doing. “Let’s search his office and see what we find” is weak and reactive, while “Let’s search his office to find evidence he was at the bar last Saturday when the murder occurred” is proactive. There’s a specific goal.

5. Let the Protagonist Make Decisions that Affect Where the Plot Goes

Proactive protagonists make decisions that affect the plot, even if they have lousy options to choose from. Having to make a choice forces the protagonist to act, and that action moves the plot and story forward. If your protagonist rarely chooses the next step, or the choices aren’t really a choice (because there’s only one real option), you might have a protagonist who isn’t taking control of the plot.

If the answer on what to do next is obvious or feels forced, readers won’t wonder what will happen—they can see it, and see what’s coming a mile away (which is usually boring). If it makes no sense at all, readers won’t understand how the protagonist got from Point A to Point B. But when readers aren’t sure how a decision will change the story, and want to know where a choice might lead, they become curious to see what happens next. That keeps them reading and enjoying the story.

A protagonist who’s driving the plot creates a more compelling plot, because the questions they have and the answers they seek will also be things the reader wants to know.

Showing what the protagonist wants, why they want it, and what’s in the way of getting it not only creates the plot, but generates unpredictability and uncertainty for readers, which piques their curiosity. That keeps them invested in the story.  

A proactive protagonist doesn’t have to be in control all the time, but even when things are out of control, they’re still trying to get something done. They may just be puppers in pith helmets digging in the sand, but make sure events are happening because of what your protagonist does. 

How proactive is your current protagonist? Did you think of any new ways to have them steer the plot while you were reading? Do you have any story problems you want to discuss? Please share them down in the comments!

About Janice

Janice Hardy is the award-winning author and founder of the popular writing site Fiction University, where she helps writers improve their craft and navigate the crazy world of publishing. Not only does she write about writing, she teaches workshops across the country, and her blog has been recognized as a Top Writing Blog by Writer’s Digest. She also spins tales of adventure for both teens and adults, and firmly believes that doing terrible things to her characters makes them more interesting (in a good way). She loves talking with writers and readers, and encourages questions of all types—even the weird ones.

Find out more about writing at www.Fiction-University.com, or visit her author’s site at www.JaniceHardy.com. Subscribe to her newsletter to stay updated on future books, workshops, and events and receive her book, 25 Ways to Strengthen Your Writing Right Now, free.

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By Miffie Seideman

When people find out I’m training for another Ironman triathlon, they usually ask me why I would spend countless hours working towards a single goal that I might not even win (or finish?).

Wait until they find out I’m a writer!

Honestly, though, triathlon is a wonderful sport. It’s full of very supportive, if not competitive, people from all walks of life. It’s also extremely demanding physically, mentally, and emotionally.

Yes, but writing and triathlon training are polar opposites!

Well, actually, I’ve come to recognize strong parallels between lessons learned in triathlon training and
my writing health- particularly over the last year. Hopefully, these insights will help you, too!

Shift Efficiently

Some inexperienced cyclists use the big gears when climbing hills. These gears make you go really fast on flat roads, but make it extremely hard to climb a hill without exhausting leg muscles and putting excessive force on knee joints. Usually, these cyclists get slower and slower going up the hill, pushing harder against the big gears to make any progress. Some cyclists think it’s a sign of weakness to shift to the specially designed hill-climbing gears. These “granny gears” make pedaling hills easier.

Watch good hill climbers and you’ll see them shift to hill gears while cranking up steep inclines, saving their legs (and knees) for the rest of the ride.

How is this like writing, exactly?

When writers force themselves to keep up with rigid writing schedules, despite other life stresses, and don’t listen to their mind or body, they’re pedaling up that hill in the big gears. They risk emotional exhaustion, brain fatigue, and burn-out. After long, hard days filled with chores and work, I’ve sat at my computer, trying to force words onto the page to hit a daily word count. I finally realized how exhausting it was and how much joy it took away from writing. So, I’ve switched gears. Now I work on story scenes over a whole week and find I can better maintain my excitement for writing.

Do you feel like your creativity is drained? Are you cranking uphill in the big gears? Maybe it’s time to shift.

Even if you have to shift into granny gears once in a while, setting realistic, long-term goals is extremely important. In triathlon, that means signing up for a race. Many triathletes live, eat, and breathe triathlon, always focusing on the next race, that next personal record. When racing isn’t possible, like for all of 2020, training for months with no end goal can lead to apathy, mental exhaustion, depression, and a loss of identity as an athlete.

Goal Setting

The same way triathletes identify psychologically with being triathletes, writers identify as writers. Writing and editing endlessly, without direction, can eventually feel futile with a negative impact on creativity, excitement about the craft, and sense of identity as an author.

So…sign up for a (writing) race!

It doesn’t have to be an overwhelming goal. No one signs up for Iron distance races all the time. In fact, those that do often get burned-out or injured (some permanently).

Identify something your daily or weekly writing process can culminate towards. Start simple: pick a date to swap chapters with another author. Or expand horizons by planning to be ready for a short story writing contest, a pitch contest, a writer’s conference, or an online seminar.

Just pick something! And be prepared to use those granny gears, if you need to.

Get Some Exercise

Triathlon training is great exercise. Rotating through three different sports helps avoid injuries, while building a healthy heart and body. I also find I do my best creative thinking on bike rides. There’s something about just getting away from life’s chores and pedaling off into the sunset that helps my characters come to life. I always come back mentally refreshed.

This makes sense according to a study in the British Journal of Sports Medicine, which showed exercise enhances mood and creativity.

But you’ll be glad to know you don’t have to swim, bike, and run for hours to get a positive effect. According to the study, just 25 minutes of aerobic exercise can elevate mood and enhance creativity. Some artistic circles use this approach to overcome mental creativity blocks.

There are days when I would much rather curl up on the couch after work. But I have learned that just a few minutes after I get into the pool or on that jog, my attitude gets much better and I return with more emotional energy, ready to tackle my story.

Walk it off! Next time you have writer’s block, maybe a simple 25-minute walk will have you dashing back to that manuscript!

Rest and Recovery

One of the most important lessons triathletes learn is about recovery. You can imagine how training too much in three separate sports each week can lead to physical exhaustion and risk overuse injury. And the sheer competitiveness of triathletes can be at odds with the idea of resting.

Lately, recovery has become accepted as mainstream and is now considered part of training. Recovery ranges from naps after workouts (my favorite!) to fancy compression boots and specialized nutrition. In addition, triathletes watch for signs of overtraining, such as high resting heart rates and apathy toward workouts. Without adequate recovery, athletes are bound, sooner or later, to get injured.

Reset heart, soul, and mind!

Writers are subject to overuse syndrome, too. Instead of pulled muscles, we can suffer writer’s block, mental exhaustion, loss of interest in writing, and creative stagnation. According to Ferris Jabr in Scientific American, taking breaks can help us recharge, refocus, and be more creative.

Learn to watch for your own signs of overuse and know when to take that break. Feel free to pick something that causes you the most mental relaxation and regeneration. Anything will do, from a walk in the woods to a night off from writing, an afternoon of Tai Chi to sitting by a babbling brook skipping rocks. And keep in mind, you may need a couple of days to refresh, not just one brief break.

This is your permission to stop and smell the roses.

Cheers to you and your happy writing (health)!

I’d love to hear tips on how you manage your writing health! Are you involved in a sport or physical activity that has positively impacted your writing? Have you learned to shift gears?

* * * * * *

About Miffie

Miffie Seideman has been a pharmacist for over 30 years, with a passion for helping others. As a published non-fiction author, her articles have appeared in several professional pharmacy journals. When not training for a race, her writing projects include a (soon to be announced) writer’s handbook and a fantasy adventure that started as “What if Romeo and Juliet didn’t live happily ever after they died?” An avid triathlete, she spends countless hours training in the arid deserts of Arizona, devising new plots.

Miffie can be found hanging around her blog onwemerrilystumble.com examining the intersection of triathlon and writing and on Twitter @MiffieSeideman…you know…tweeting.

Above Image by Melk Hagelslag from Pixabay