Writers in the Storm

by Julie Cantrell

The standard advice given to writers is to brand yourself. Find a genre, and stick with it. This strategy has proven successful for many contemporary authors such as Danielle Steel and Mary Higgins Clark, but even Jane Austen had perfected the practice years earlier, and Agatha Christie used it to pen mysteries that ranked her in the sales zone with Shakespeare and the Bible!

So why have I chosen to go against the gold standard of good advice and cross genres? I admit, it’s probably because I have no business sense, but it’s also because I love to learn new things and to challenge myself creatively. 

Let the Muse Take the Wheel

When I sit down to write a story, I don’t think about sales numbers or marketing strategies. I don’t even think about publishing it. Instead, I open myself to the creative flow and let the words find their way through me to the page. It’s not as hokey pokey as it sounds, but it isa beautiful, powerful, and spiritual process that helps me tap into something bigger than myself. 

My first book was written with my daughter in my lap. Together, we wrote a simple story, searching online for stock photos to attach to each page. We printed the “book,” and stapled it together. In time, that handmade picture book was shared with her friends and their mothers, until it found its way to an agent and then to a publisher. Zonderkidz produced a two-book series, God is with Me through the Day; God is with Me through the Night. And before I knew it, I’d become a children’s book author.

I’d never planned to publish that book, and I hadn’t planned to publisher another. But life said, “Let’s do this!” So I sat down to write a novel, just to see if I had one in me. I’d always been an avid reader, and like most readers I thought maybe I had a story to tell too. I gave myself three months, from 3-5 a.m. Monday-Friday, and that’s how I wrote my first draft of Into the Free. 

Again, I never planned to publish, and I didn’t tell anyone I was writing it. But the characters wouldn’t stop pestering me. I reached out to that old agent friend who’d landed my children’s book deal. Thanks to the fates and a brave publisher willing to take a risk on an unknown, I became a novelist. 

From Children’s Books to Historical Novels to Contemporary Novels and MORE!

When that novel proved successful, I was fortunate to write a sequel, When Mountains Move. So with two historical novels under my belt, I suppose I should have stuck in that arena where my readership was strong and loyal. But the creative powers had to shake things up again with my third novel, taking me into the contemporary genre where I stayed for both The Feathered Boneand Perennials.  

That too would have been a cozy place to perch, but life said, “Let’s not get too comfy, Julie.” Next thing I knew, I was being asked to write a creative nonfiction work, so now I’m excited to be launching Crescendo next week (July 16, Harper Collins). It’s my very first collaborative work and an inspirational story that brings me to yet another group of readers.

At least that’s what the marketing folks would tell you. Truth is, many of my readers have followed me from the start. Sure, some prefer one genre or the other. Some like the romance flair of When Mountains Move while others prefer the literary tone of Into the Free. Some dig the gritty edginess to The Feathered Bone while others enjoy the lighter themes in Perennials. Heck, my books even crossover from faith-based to secular audiences and from adult to YA. I just can’t find a box that fits me. And I think most of my readers can relate. I’m hoping these same readers will enjoy reading Crescendo too!

Magic in the Mix

Perhaps I’ve taken these chances because I’m also a reader who likes to mix things up a bit. When I find an author I enjoy reading, I love to see her try new things. Sometimes she wins. Sometimes she loses. But JK Rowling, Barbara Kingsolver, Jeannette Walls, and others will tell you, they just wanted to take on a new challenge, learn new things, and write what was being given to them by the universe.

I guess I tend to write like I read… a little bit of this, a little bit of that. And while it may not be the smartest business strategy, it certainly satisfies my creative curiosity. And for that, I’m a very happy girl.

PRO AUTHOR BRAND

• Gain creative freedom
• Reach diverse readerships
• Tackle new artistic challenges
• Work with authors of different genres
• Offer readers fresh material that isn’t formulaic
• Test your limits and expand as you grow

CON AUTHOR BRAND

• Limited by brand expectations
• Readership limited to that specific market
• May grow bored in time with themes/genre
• Author circles may be limited to those in your niche
• Work may eventually feel predictable to readers
• You may outgrow your own brand in time

Let’s Discuss!

1. What genre do you prefer to read? 
2. As a writer, do you tend to stay in that genre or do you like to test the boundaries? 
3. What’s one way you’ve taken a risk as a writer? (whether on brand or off)
4. If you veer from your main branding, do you use a pen name?
5. What writers can you suggest as examples of those who have broken brand successfully? 

About Julie

Julie Cantrell is an award-winning New York Times and USA TODAY bestselling author, editor, and TEDx speaker. Her first work of creative nonfiction, Crescendo, releases July 16.

Learn more at www.juliecantrell.com.

Orly Konig

Show of hands – who’s looked at social media posts from favorite authors and coveted (no, that’s not one of the c words … keep reading) that author’s success? And since we all know how real those social media posts are, I’m going to share with you my C-tips.

Creativity.

We’ve all heard that there are no unique stories to be told, that it’s only our personal spin that makes a version of the story stand out. Our super-power as writers is to see the magic in the ordinary. A headline or inanimate object or a person in the grocery store line can trigger an avalanche of story ideas.

A couple of years ago, my son and I took an ice cream making class/tour at a local boutique ice cream maker’s factory. At one point while listening to the owner explain the process, I realized I was watching a character in the book I was working on. The character in the book is male and looks nothing like her, but I’d been struggling to who he was and what he did. I can’t tell you what it was about her that triggered the connection, but standing in front of me, waxing poetic about cream was the missing piece of my book.

Last year, while driving from Maryland to Ohio for a climbing competition, I was staring out the window (no I wasn’t driving), daydreaming (okay, trying to distract myself from the speedometer) when I caught sight of two signs—one for an artisan village and another for a lake-side rental community of tiny houses. Four hours later when we arrived at our hotel, I had the premise for my work-in-progress.

I don’t recommend eye-balling strangers or standing on the side of a highway and staring at road signs, but I do suggest keeping your eyes and mind open to everything around you. Creativity is taking a kernel of an idea and transforming it into a world with living, breathing people; a world that readers want to disappear into.

Coffee.  

My trigger for writing is coffee. Anytime I sit to write, I have to have a mug next to me.

Don’t worry, I’m not trying to convert anyone (but if you’re interested, I can recommend a few amazing micro-roasters J ). For some, the trigger can be a diet Coke or tea or lighting a candle or whatever flips the switch on your brain from sloth mode to writer mode.

When I worked as an editor and then in the corporate world, my colleagues knew that when the big mug came out and I shut my office door, it was the equivalent of a do-not-disturb sign. I’ve never believed that writing happens when the mood strikes. Writing is my work. Writing happens when I sit at my computer. That giant mug next to me is the do-not-disturb sign to the brain squirrels (now if I could only teach those squirrels how to read that sign! And make coffee!!!).

Confidence.

This is a fun one and one I feel particularly well equipped to talk about because, my friends, I have the confidence of a chipmunk in an open field with hawks circling overhead.

When I first started writing fiction, it wasn’t with publishing in mind. I was looking for a creative outlet, nothing more. I didn’t even show my work to anyone for the longest time. But once the decision was made to pursue writing as a career, this little chipmunk had to strap on a helmet and tackle the gauntlet – critique partners, agents, editors, readers. And because I had extra confidence to toss about, I helped launch a writing association and started a side-gig as a book coach.  

Want to see the helmet now? It looks like a golf ball. But here’s the thing, I’m still out there dodging the hawks. No, my writing style isn’t for everyone. And no, my critique/coaching style isn’t for everyone either. But it is for some and those people are the ones who help motivate me to keep moving.

Control.

Another fun one. I have a wee problem with control. I need it. So yeah, making writing my career choice may not have been the smartest move. Then again, we don’t have control over everything in life either, do we? 

I’ve learned to focus on what I can control – write the best book possible, surround myself with writing buddies who are positive and supportive, retreat to my writing cave and disconnect from social media when I need an emotional break.

As for the things I can’t control – reviews, rejections, everyone else’s perfect lives on social media – I shrug off as much as possible. And on the days when my shrugger is broken, I refocus on something positive (or take a kick-boxing class).

Cats.

Actually, cat memes or dog memes or squirrel memes or whatever entertains you when your brain starts spinning and spitting out nonsense words. Because, let’s face it, we can’t write all the time and – hold the judgement – social media can be amazing for inspiration (don’t believe me? Check out this post.)

I could have also used another C word here: crochet. The yarn projects are a fabulous way for me to work through plot problems or story frustrations. That whole “busy fingers, quiet brain” thing really does work. Whether it’s yarn or painting or exercising or baking or gardening or whatever releases your brain cells from the tight grip of creating and allows them to roam and relax, embrace it.

What are some of your tips and tricks for maintaining your sanity (stop laughing!!!) with your writing?   

About Orly

After years in the corporate world (most of it in the space industry), Orly Konig took a leap into the creative world of fiction. She is the founding president of the Women’s Fiction Writers Association and an active member of the Tall Poppy Writers. When she’s not taking pictures of her cats or chauffeuring her son around, she’s helping writers as a book coach and working on her next novel.

She is the author of The Distance Home and Carousel Beach . Find her online at www.orlykonig.com.

Janice Hardy

Readers may not judge a book by its cover, but they will judge it by its opening scene.

An opening scene has but one job—to establish the story and convince readers to read the next scene. That’s a lot to ask of a single scene, but it’s not as difficult as it sounds. Readers aren’t expecting the entire book in that opening, just enough to capture their attention and let them know the story is going to worth their time.

Here are three things you can do to ensure those readers stick around.

1. Pose a Question Readers Want to See Answered

No matter what kind of book it is, there’s a story question that needs to be answered by the end. In a romance, it’s “How will these two people fall in love?”. In a mystery, it’s “Whodunnit?” Thrillers make you wonder “How will the heroes save the day?”

If a reader got as far as reading the opening scene, the general question of the genre or story type already intrigues them, so all you need to do is capitalize on that. Why should a reader want to see your couple fall in love? What makes this mystery a better read than someone else’s? What’s going to thrill in this thriller? Essentially, “Where is this story going?”

Many opening scenes that fail to grab readers don’t offer a question to suggest where the plot is going to go. They explain the situation, describe the characters, dump a lot of backstory, or show them existing in their world without anything really going on.

No questions. Nothing to wonder about. No sense of a plot or story unfolding.

A strong opening scene creates an interesting situation where something is left unanswered. It lets readers know the plot is moving forward and there’s something to pursue. They want to know what comes next, because you’ve clearly shown that there is indeed a “next,” and so far, it looks pretty cool.

A good example here is Jay Asher’s, 13 Reasons Why. A box of cassette tapes is delivered to Clay. On the first tape is Hannah, a girl at school (and Clay’s crush) who just killed herself. She says the reason why is on the tapes, and if you’re listening, you’re one of the reasons.

“Why did Hannah kill herself?” makes readers want to know, same as the boy who received the tapes. You know the story will answer that, and other questions as well.

Show readers the story is going somewhere, and that it’ll be worth their time to find out where.

2. Catch Readers Off Guard with Something Unexpected

I’ve bought books based on an unusual opening line or page alone, so don’t underestimate the power of the unexpected.

Defying expectations from the start lets readers know this won’t be the same old story they’ve read before (even if they love those stories). This one offers something new, a different view or angle, or even a fresh twist to a classic plot.

Things unexpected also suggests that the book will be full of surprises to keep readers guessing, and have a plot that isn’t predictable. They’ll pay more attention to what’s happening in every scene, because they’ll never know what twist or unusual detail might come next.

Even unexpected language or turns of phrase can catch a reader’s attention. Unusual pairings of words, an odd comment made at the right time, a wry way of viewing the world can all create a sense that this story isn’t relying on clichés or tropes, but offers a unique voice and perspective.

A fun example here is Susan Elizabeth Phillip’s Natural Born Charmer. It opens with a woman in a beaver costume on the side of the road, and the man who stops to see if she needs help. “You got a gun?” the woman asks. “Not with me.” “Then I got no use for you.”

It’s quirky, it’s unexpected, and it makes you want to know exactly how this situation came to be. But it also lets you know that this is a romance that won’t be boring.

Predictable is boring, so piquing curiosity right from the start promises readers this novel will surprise them.

3. Give Readers a Reason to Care

Not caring is a major reason for putting down a book, and it’s easy to lose readers in an opening scene. They haven’t read enough of the book yet to know why these characters are wonderful, or why this problem is fascinating, or how this puzzle is a brain bender.

All they know, is they read a bunch of “stuff” they didn’t give a hoot about.

Which is both harsh and hard, I know. This is the aspect most difficult for writers to pull off, because it’s ambiguous what “a reason to care” is. Every reader is different, and what appeals to one won’t to another.

In most cases, showing a character with likable or compelling traits makes them care. We like nice people, or people in situations we know are hard, or those in trouble we can relate to.

Maybe show the protagonist caring about or helping others, or have them display a likable trait, such as a clever wit or self-deprecating manner. Make readers laugh and you can hook them every time.

If the character isn’t likable (and not every protagonist is), show what makes them fascinating, or fearsome, or downright creepy. 

It doesn’t matter what readers care about, as long as something in the opening scene makes them decide this book is worth reading.

In Jennifer Crusie’s Anyone But You, the story opens with the recently divorced Nina at the pound looking for a puppy. What she finds, is Fred, an old, morose basset hound on his final day. He’s the last thing she needs, but she can’t leave him to die, so she adopts and brings him home.

Saving a depressed dog on his last day is enough to make anyone likable, but Nina’s wit and charm and her instant love for Fred make her a character to root for.

Once readers make an emotional investment in the story, they’ll stay to see how it turns out.

How you open that novel determines whether or not your reader keeps reading. Any one of these can hook a reader and pull them into the book, but if you can do all three, you’ll increase your odds of hitting opening scene jackpot.

What are some of your favorite openings? What about them grabbed you?

Janice Hardy is the award-winning author of the teen fantasy trilogy The Healing Wars, including The Shifter, Blue Fire, and Darkfall from Balzer+Bray/Harper Collins. She also writes the Grace Harper urban fantasy series for adults under the name, J.T. Hardy. When she's not writing fiction, she runs the popular writing site Fiction University, and has written multiple books on writing, including Understanding Show, Don't Tell (And Really Getting It), Plotting Your Novel: Ideas and Structure, and the Revising Your Novel: First Draft to Finished Draft series. Sign up for her newsletter and receive 25 Ways to Strengthen Your Writing Right Now free.

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