Writers in the Storm

 Piper Bayard

Writers have only two motives—we write to say something, or we write to be heard. One is all about us. The other is all about the reader. In a perfect world, good writers combine both the desire to convey information and the desire to serve the reader by “speaking the readers’ language,” giving the readers what they seek, and making the material easy for them to absorb.

In this mission, we must remember that even before our words, the reader sees the page. If the page is not inviting and suited to the information being conveyed, the reader will go no further. We will have satisfied our own desire to speak, but we will not have satisfied our readers’ desire to hear. This is especially true in expository writing.

I can hear you now . . . Wait! Expository writing? But I’m a fiction writer. What does that mean to me?

Notice who writes these non-fiction posts? We fiction writers inevitably write some form of non-fiction, whether it is our own biographies, blog posts, or freelance articles for popular web sites. Some few, like my writing partner and I, write both fiction and non-fiction books. The fact is that almost every fiction writer will write a non-fiction post for the internet at some point in their career.

What the Reader Sees

The first thing a reader sees of any non-fiction post is the overall page. It’s important to design a page that invites readers to linger long enough to glean the information that is on it. Several factors play into this design.

• Colors
• Content Density
• Font
• Pitch
• Titles
• Paragraph length
• Article length

Readers may or may not have short attention spans, but they definitely are busy people. If information isn’t easy to look at and sort through, they simply won’t bother. Add to that the fact that many people read internet posts on their mobile devices, which have their own restrictions on page presentation. That means now more than ever before in history, we writers must construct our visual delivery of information mindfully in order to serve our readers.

Colors

The internet gives us unlimited design capacity, and with that comes colors...Woot! Woot! Right?...Not necessarily.

Bright colors are like sex and violence. If they are essential to the "story," that's one thing. However, if the colors are only the product of our daydreams or an attempt to mask a lack of substance, they are gratuitous.

Nothing gratuitous serves our readers. Let me show you why.

 

That being said, dark colors on a white background make nice accents for titles, lists, links, or sentences that we want to emphasize, such as this one.

Content Density

The reader is busy; the page shouldn't be. If a page is too busy, it will visually overwhelm readers. Readers will not sort through a barrage of visuals to find the information they want. They will click out and move on. That means simple text arrangements are more efficient than complicated ones, and accent pictures are better than collages for everyone except professional photographers.

Font

Use basic, visually friendly fonts such as Helvetica, Times New Roman, or other standard fonts. SIMPLE variations, such as Comic Sans MS or an unadorned script, are also easy on the eyes. However, stay away from more elaborate variations.

Pitch

Pitch is the size of the print. Vary it with titles to make them stand out. This will break up the page and help the reader hone in on what matters to them. However, keep in mind that pitch variations can also be like sex and violence, as in they do not serve the reader if they are gratuitous.

Titles

Titles help our readers quickly locate what is most important to them. They also serve to break up large blocks of information into smaller focuses that are both easily digested and visually friendly.

Paragraph Structure

We've all been there...English 101. Five sentence topic paragraph with an opening, three supporting points, and a thesis statement. Then on to three paragraphs, each with a topic sentence, three supporting sentences, and a conclusion, followed by a conclusion paragraph with a topic sentence, three supporting sentences, and the grand finale that is usually a simple restatement of the original thesis statement. This structure is one of the most difficult things for non-fiction writers to take to the next level. Do we need a theme or thesis for every non-fiction piece we write? Absolutely. We should retain the English 101 element of focus that is the basis of all good non-fiction writing. However, what we must abandon is the five-sentence/five-paragraph structure if we are to convey information to the modern internet reader. For the modern digital reader, we need to condense our points. We live in a sound bite world where even our president converses in 140 characters or less. While five sentences or more are necessary to make a point at times, if we are able to make that same point in two or three sentences, that's okay. No one will be looking for the rest of the paragraph.

Which brings me to another reason why it's okay to take liberties with the English 101 Bible...

Paragraph Length

Long paragraphs cause readers to throw mobile devices against the wall. Example A above. Wasn't that annoying? Did anyone really read every word before skipping to this part? If you did, was it a chore? I'll consider my point made.

Article Length

Article length should be adjusted for the audience. If the audience is medical students, we can count on readers with longer attention spans. However, if the audience is the average Facebook or Twitter surfer, they are more likely to read and pass on articles of 500 words or less.

The topic will also help determine the appropriate article length. If the topic is a recipe for lemonade, the article should be short and sweet...so to speak. If the topic is an aspect of national security, like the posts my writing partner and I publish, 500 words would leave more questions with the reader than answers. As a loose rule, 1000 words is about all most readers can tolerate from one internet article, and then only if the article is full of substance.

Bottom Line

Keep in mind the audience and the topic and give the reader every opportunity to glean the information as efficiently as possible. By doing that, we can not only say our piece, but we can be heard, as well.

What keeps your attention on a page? What are your pet peeves? What ways do you make reading easier for your audience?

All the best to all of you, and may your muses be generous.

*     *     *     *    

ABOUT PIPER

Piper Bayard is an author, a recovering attorney, and the managing editor of the Social In Worldwide network. Her writing partner, Jay Holmes, is an anonymous senior member of the intelligence community and a field veteran from the Cold War through the current Global War on Terror. Together, they are the bestselling authors of the international spy thriller, THE SPY BRIDE. You can find Piper at BayardandHolmes.com.

Susan Spann

The explosion of independent publishing houses in the U.S. and abroad makes it vital for authors to investigate publishers carefully before signing a contract. While even diligent research can't ensure you’ll avoid every possible problem, here are some questions to ask before you accept a traditional publishing deal:

1. Does the Contract Require You (the Author) to Pay for Anything?

If the  answer is "yes," this is not a traditional publishing house, and probably not a deal you should sign. Traditional deals don’t require the author to pay for anything, either out of pocket or by allowing the publisher to recoup expenses before calculating the author’s royalty share.*

This applies not only to publishing costs but also to marketing – legitimate publishers don’t require authors to pay the publisher or an affiliated firm for marketing services.

Traditional publishers also don’t require the author to purchase any finished books. (Most allow you to do so, but a traditional deal never involves a mandatory purchase.)

*Note: some “hybrid” presses offer authors a cost-sharing arrangement under which the author has more control and receives a higher share of the profits; however, this is not a “traditional” deal—have an agent or lawyer review any hybrid contract before you sign.

2. Does the Publisher Make Any Claims About Success, Sales, or Reviews?

No legitimate publisher can or will promise any author success (financial or otherwise). Any publisher that promises you sales (or good reviews) is not a legitimate publishing house. Also, beware of publishers whose websites contain statements like: "Make extra income writing books!" or "Become a bestseller with us!"

Run, don't walk, in the opposite direction.

3. How Long Has the Publisher Been in Business?

This isn’t necessarily a deal-breaker, but it's an important point to consider. The longer a publisher has been in business, and the more books it produces, the better you can evaluate the publisher's history of contract compliance, distribution, sales, and successfully published works.

It's OK to take a chance on a newer publisher if you choose...but only if all of the other factors align with industry standards. Also, be aware that working with newer publishers is a risk, because publishing houses have high failure rates (among other reasons). Make sure your contract contains appropriate protections and termination rights.

4. How Much Publishing Experience Do the Publisher’s Owner & Editors Have?

Many independent publishers open with great intentions, but little or no experience in traditional publishing, sales, and distribution. This creates enormous risk for the publisher and the author. Before signing with any publisher, ask about the owner and editors’ industry experience. Remember: inexperienced publishers often have more difficulty negotiating contracts and complying with legal obligations--not from malice, but because they don't have experience running a traditional publishing house.

5. What is the Publisher’s Reputation in the Industry?

Never, ever sign with a publishing house unless you've researched both the house and the publisher/editor with industry watchdogs like Publisher's Marketplace, Writer Beware, and Preditors and Editors. Pay attention to what you see, and don't sign with any publisher unless you can confirm its legitimacy with industry watchdog sites.

Also, talk with 2-3 of the publisher’s other authors before you sign. If the authors won't speak with you honestly (or tell you the contract won't let them talk), move on.

You and your work deserve a press that gets glowing reviews from authors and the industry. Don’t settle for less.

6. Have You Seen the Publisher's Other Books?

Go to a bookstore (or Amazon) and find the books the publisher produces. Hold them—or look at them on an e-reader if the publisher is a digital-only press. Consider the font, the production value, the covers, and ask yourself: will I be proud if my book comes out like this? If not … you have your answer.

7. How Are the Publisher's Books Distributed? Where Are They Sold?

Many small presses don't have elaborate distribution arrangements. They may or may not have books on bookstore shelves. Find out where the publisher's books are sold, and use that information to evaluate whether the press can support your work the way you want it to. There is no “right” answer, incidentally. Distribution is a business decision every author has the right—and the obligation—to make individually.

8. How Many Books Does the Publisher Release Each Year?

Generally speaking, the more books a publisher releases annually, the fewer resources the publisher has to dedicate to each individual book. Moreover, many publishers give the lion's share of their time and resources to A-list titles by authors who already have a substantial following. That said, the answer to this question is not a deal breaker. It’s simply another business point for authors to evaluate.

9. Does Anything Else Seem...Odd?

Trust your instincts. They're better than you think. If anything seems "off" about the publisher, remember: you're better off with no publishing deal than signing a deal you later regret.

10. Has an Agent or Attorney Reviewed Your Contract?

Navy regulations don't allow a compromised captain on the bridge...and every author is compromised when it comes to evaluating his or her own publishing deal. Consult a lawyer or an agent before you sign, especially if you're not fluent in legalese.

I can't promise these tips will save you from a deal you regret, or protect you against every predatory or inexperienced publisher. That said, they will at least give you a start in evaluating a publishing offer or deal.

*Disclaimer: This post does not constitute legal advice or create an attorney-client relationship between the author and any person. It is intended for educational purposes only. The author does not represent or warrant that this post contains all information required to protect you when choosing a publishing house, escaping a swarm of killer bees, or trying to avoid a shambling horde of zombie lawyers. Your experience, legal rights, and candy

Have you ever run into a 'run don't walk' publisher who fit the above description?

Do you have any publishing law questions for me?

*     *    *     *     *

About Susan

Susan Spann is a California transactional attorney whose practice focuses on publishing law and business, and is also the author of the Hiro Hattori (Shinobi) mysteries, featuring ninja detective Hiro Hattori and Portuguese Jesuit Father Mateo. Her fourth novel, THE NINJA’S DAUGHTER, released from Seventh Street Books in August 2016. Susan was the Rocky Mountain Fiction Writers’ 2015 Writer of the Year, and when not writing or practicing law, she raises seahorses and rare corals in her marine aquarium.

Find her online at http://www.SusanSpann.com, on Twitter (@SusanSpann), and on Facebook (/SusanSpannBooks).

Revisions have always been my favorite part of the writing process. That’s when my geek side takes over and I color code scenes and lay them out and analyze story threads and add the details that pull everything together. A control freak’s happy place.

When the editorial letter for book 2 came in I was giddy. I ordered new sticky notes in fun colors. I bought a batch of yellow note pads (I edit long hand) and a box of purple pens to go with the purple binders I’ve been using for this story. Then I printed out all 300 pages. I. Was. Ready!

I rocked chapter one and two. Blew through the first 100 pages even with quite a bit of rewriting. The story was coming together.

And then something wicked happened … I lost my confidence. For every change I made, I second guessed the entire manuscript. I worked on one page for an entire week. Five days on one stinking page. I wrote two paragraphs, deleted four. Wrote one paragraph, flipped through 60 pages to quiet a nag and ended up rewriting an entire chapter.

The voices in my head said I’d broken the book. Ruined the story. I was doomed.

So I did what I always do … I got feedback. And the feedback fed my crisis – loved it vs. nope, not working. We’ve all been there, right? But I’ve always been able to weed out the bits and pieces that felt right and move on.

Except this time. I was doo-doo-doomed!

In a fit of desperation, I whined to a writing friend that I was about to make s’mores on the manuscript bonfire. Her advice: “Trust your gut. You didn’t get where you are on accident. You know better than you think you do!” My response: *laugh-crying because scroll back through the previous two paragraphs*

My gut was as fickle as my creativity. And it wasn’t just with writing. I’ve been very busy triple guessing everything. And I do mean everything. Parenting decisions? Yup. Life choices? Of course. What to cook for dinner? Oh dear lord, I’ve got nothing!

Triple guessing is second nature to me. And I’ve had plenty of “this is crap” moments when it came to my writing. But I always managed to write myself back into a happy spot.  

Except this time. What was different? Pretty much everything, actually. That’s helpful, right? Revising on contract, major personal life upsets, a very unsettled political climate, to name a few. My gut was curled up in a corner hugging a stuffed animal, pretending to be in a sunny, remote vacation spot. And as much as I wanted to join my gut in that alternate reality, life and deadlines weren’t going away.

I reread my friend’s advice over and over – “You know better than you think you do!” Maybe she was just blowing hot air up my flannel pjs, but I needed to latch on to something positive so why not this?

First I had to quiet the doubts and there was only one way of doing that … unplug. An awesome writer’s retreat in a soul-refilling location – yeah that. Nope, not that. I unplugged from social media, logged out of email, turned off all news notifications, waved my family off for the day, and spent the next few hours going through my editor’s notes and the manuscript.

And there it was – the story I wanted to tell. Without the distractions of external and internal noise, the story found its way back to the surface.

This is where I give you the lessons-learned and lay out the handy-dandy take away. I wish I could. I wish I could say that I’ve learned what not to do or what to do better in the future. But the truth is, I’ll have another “this is crap, I’m doomed” crisis with the next manuscript or the one after that. Because we’re writers and we do these things to ourselves.

Doubts will always color our manuscripts. Feedback will always be mixed. Every story will have moments of brilliance and hours of despair. When those moments hit, I’ll be looking at this sign and listening to my gut …  

What gets you through those times?

*      *     *     *     *

About Orly

Orly Konig is an escapee from the corporate world, where she spent roughly sixteen (cough) years working in the space industry. Now she spends her days chatting up imaginary friends, drinking entirely too much coffee, and negotiating writing space around two over-fed cats. She is a co-founder and past president of the Women’s Fiction Writers Association, and a member of the Tall Poppy Writers. She is rep’d by Marlene Stringer, Stringer Literary Agency LLC.

Orly’s debut, The Distance Home, will be released by Forge on May 2, 2017.

You can find her on on Facebook, on Instagram, on Goodreads, or on her website, www.orlykonig.com.