Writers in the Storm

by Lisa Norman

For years, authors have been told they must have a website.

And for years, most of us have built them using whatever tools we could figure out—WordPress, Wix, Squarespace, or, if we were really daring, something hand-coded. But as I wrote in "Disrupting Your Author Website" and "Trust in Technology: A Fairy Tale of Open Source", that process has been getting harder.

WordPress is an ever-changing beast. The tools we used to rely on are shifting beneath us. And keeping a website running is starting to feel like one more full-time job.

Now, BookBub has thrown its hat into the ring with Author Websites by BookBub, a beta platform designed to make the whole process easier.

So… is this the magic fix we’ve been waiting for?

Or just another option in an increasingly crowded landscape?

What Is BookBub’s Author Website Builder?

If you don’t know BookBub, they’re the powerhouse behind some of the biggest book promotions in the industry. Their daily deal emails introduce thousands of readers to new books, making them an essential tool for authors looking to reach a wider audience.

For years, they've put out articles on trends in author website designs. They know readers and they know writers. They specialize in connecting readers with writers they'll love.

Now, they’re expanding into author websites. Their new platform promises to give authors a simple, professional site—without the hassle of managing updates, plugins, or security.

At first glance, it looks great:

• Fast-loading pages (no need to worry about site speed)
• Easy setup (no wrestling with themes and plugins)
• Built-in book promotion features (because it’s BookBub, after all)

For an author who just wants a solid online presence without headaches, this could be a dream come true.

The platform costs about $10/month right now (with an early signup discount available). You can set up a site for free and see what you think. You'll have 30 days to decide if you want to pay for it or not.

A Case Study

My first test

As soon as I could, I created a simple site on this new platform. The setup took under 5 minutes and made it clear that these folks have built a tool designed to make authors' lives easier.

I've never seen a website setup this clean and easy to use.

What surprised me most was how beautiful the website was, and how easy it would be to maintain. If you have books out, BookBub will happily build your book pages for you, including going out and finding the buy links, because they already have tools for that.

Now understand: this is "beta" software, cutting edge new. Bleeding edge new. Like a shiny new pair of shoes that is going to get better as you break it in, some amazing features are still being developed. Expect more great things to come. But wow. I'm as impressed as I thought I would be.

Real world testing

My second test was to run through the setup with a couple of clients, especially some that were not comfortable with technology. Those who have worked with me for years know that I prize software that a client can control themself without needing a developer. And this is definitely in that category.

They have several templates available to choose from, but they take that process a step farther that I love. They ask which pages you want (blog, privacy policy, media kit, etc.) and based on your choices, they help you create those things. Authors can keep their site simple and lean or build it out. BookBub doesn't present authors with technical jargon. It gives them author jargon. No translation to Geek required.

Clients were surprised and excited by their new sites. Within a few minutes, they had sites that were more beautiful than their old WordPress websites. And even the most tech-phobic could see how to update style and create something unique and delightful.

The Tradeoffs: Convenience vs. Control

BookBub’s websites are part of their ecosystem. That means you don’t have full control over your site—it’s not self-hosted like a traditional WordPress site.

That’s fine for some authors. Maybe even ideal. But it raises a few questions:

• Who owns the data? If BookBub ever changes direction, will your site still be there?
• SEO and discoverability? From what I can see, these sites should rank well with search engines. I'm hoping that BookBub includes some sort of discoverability where they send their readers to writers that match well.
• Customization? Can authors truly make their sites their own, or will they all look the same? Those initial websites are beautiful, but I can see that they might start to look the same. The good news is that they've made them easy to customize without breaking things.

These are the same concerns I raised in my earlier posts about author websites. The industry is changing, and more platforms are stepping in to solve the problem of website maintenance—but often at the cost of flexibility. In the case of BookBub, it looks like they've created something that even tech-phobic authors can customize and make unique.

The tool is brand new. It lacks some functionality that I feel is needed, but they are eager for suggestions and definitely still developing the system. I've recommended that they add an import from WordPress functionality and it looks like maybe we'll have that soon.

How will the sites perform over time? I look forward to watching what they do next.

What This Means for Authors

I see two paths emerging.

1. Authors who want to be completely hands-off. If maintaining a website feels overwhelming, a managed solution like BookBub’s could be the perfect fit. You get an attractive, professional presence without having to deal with the tech.
2. Authors who want full control. If you care about owning your platform, you might find these managed solutions too limiting.

There’s no right answer—only what works best for you.

With WordPress, you need to handle your own security. BookBub makes that part of the service.

With WordPress, you'll be doing constant updates. BookBub has a team managing that for you.

With WordPress, you need to figure out what types of pages you want, and you can build exactly what you want. You may need a developer if you want something custom. With BookBub, they'll suggest common pages, provide styles that fit with your overall design, and then give you a sample based upon market research into author websites.

Those are just a few differences.

The Bigger Picture

I have to admit, I’m intrigued.

BookBub has the trust of authors, and if anyone can create a friction-free website builder that actually serves authors’ needs, it’s them.

But I also know that the internet is littered with the remains of once-great platforms that changed direction or shut down entirely. And I don’t like the idea of putting everything in one company’s hands.

So, what’s the verdict?

If you’re struggling to keep a website running and just need something easy (or a way to escape WordPress Drama), BookBub’s builder is worth a look.

BookBub's platform marks a shift in the author website conversation. We have more choices than ever—but that also means more decisions to make.

What do you think? Would you trust BookBub to handle your author website? Let’s chat in the comments.

About Lisa

Lisa Norman's passion has been writing since she could hold a pencil. While that is a cliché, she is unique in that her first novel was written on gum wrappers. As a young woman, she learned to program and discovered she has a talent for helping people and computers learn to work together and play nice. When she's not playing with her daughter, writing, or designing for the web, she can be found wandering the local beaches.

Lisa writes as Deleyna Marr and is the owner of No Stress Writing Academy. She also runs Heart Ally Books, LLC, an indie publishing firm.

Interested in learning more from Lisa? Sign up for her newsletter or check out her school, No Stress Writing Academy, where she teaches social media, organization, technical skills, and marketing for authors!

Top image by Deleyna via Midjourney.

by Jenny Hansen

It's hard to listen in a world like ours. Between phones and socials and the 24/7 television cycle, we live in a fairly overwhelming world. Yet so much value comes to us, and to our characters, if we all take the time to learn the true art of listening.

Listening was so important to me that I took a class on it last year. (The One Philosophy by Nancy Matthews.) It was illuminating on both a writing and a personal level.

What surprised me the most about this course.

While I had a lot of takeaways, the biggest were about listening. Did y’all know there are seven levels of listening? I sure didn’t!

Not only did I have NO idea that there were this many levels of listening, but I also realized my own listening skills needed a lot of work. Just studying the art of listening made an immediate impact on my own communications.

Several things became apparent in the very first week:

• My husband is a better listener than I am.
• My ADD plays a huge role in my listening abilities.
• Practice had immediate (and positive) results.

Once I shined a light on this area of my life, I began to pay more attention to speech patterns, verbal interactions, and my own listening abilities. For instance, I am a terrible listener when I'm tired.

The 7 Levels of Listening

In her class, Matthews talked about the 7 levels of listening, which I believe came from a book by Victor Pierau. Listening includes far more than hearing. There is also:

• Attention
• Attentiveness
• Comprehension
• Engagement
• Comprehension

It was embarrassing to realize that communication is far more complex than I’d ever considered. I'm a writer. I would have figured that knowledge was in my bones. (It wasn't.)

A Summary of the 7 Levels

Below is a breakdown of each level, just to put us all on the same page.

1. Not Listening (aka Ignoring)

Whether it’s due to distraction, preoccupation, or just being tuned out, this person is not receiving or processing any information whatsoever.

2. Pretend Listening (Passive Listening)

This listener is giving an illusion of attention – usually through nodding or saying “uh-huh” – but they are mentally disengaged.

I’ve seen this hundreds of times with busy moms. I’ve likely been that busy mom. Because it’s excruciatingly hard for an overly-busy brain to tune in for a 6 year-old’s five minute story that takes half an hour. (That magical ability is reserved for grandparents.)

3. Partly Listening (Selective Listening)

Your attention is divided. Bits and pieces come through, but it’s like listening to the radio where you only alert to whatever catches your interest. A listener is likely to misinterpret, or miss details altogether.

4. Focused Listening with Undivided Attention (Attentive Listening)

We’re halfway through and this is the first time a listener has been fully present. Concentrating. Focusing on the speaker’s words with no distractions.

This type of listening actively focuses on the message a speaker is communicating, but it is about absorbing, rather than responding. Pierau still considers this type of listening to be passive.

5. Interpretive Listening (Understanding Beyond Words)

A listener is looking for the meaning behind the words, and interpreting the speaker’s intent and emotions. They’re looking for context, tone, body language – all in an effort to discover the deeper meaning.

This is how a writer looks at language, but this isn’t how the everyday listener listens.

6. Interactive Listening (Responsive Engagement)

This is where a good conversation falls. The listener is actively engaged with the speaker – asking questions, giving feedback, clarifying what they heard. This kind of conversation is thoughtful on both sides.

7. Engaged Listening (Empathic and Transformational Listening)

This is where a great conversation falls. This is the highest level of listening, and should definitely be used for important scenes like those turning point conversations in your story,

This listener is deeply involved. They understand what the speaker is saying in terms of words and emotions. In turn, they are showing their own empathy and connection. They are tangibly demonstrating their commitment to the speaker’s words.

Note: For many people, this kind of conversation is exhausting.

They’d give this to their best friend, or the someone they valued beyond all others. But their co-worker would never get this kind of immersion.

Engaged listening has far-reaching benefits.

Engaged listening is relationship-building listening. Especially if you are writing emotional stories, these are conversations that make your reader believe in your characters’ emotions.

Why?

1. Trust. This is the #1 benefit of this kind of connection. These two people have given their all to each other, and that forms a bond.

2. Mutual understanding and connection. You see this with long-time friends or partners. They can practically finish each other’s sentences. They’re completely tuned in to one another and it shows in their conversations.

3. Intimacy. There is an intimacy that comes from this kind of deep connection. This kind of conversation gives a “safe space” for the speaker to share their true thoughts and feelings. It gives the speaker permission to be vulnerable.

Final Thought

I don't know whether I've properly expressed what an impact that class had on me.

I think about listening more. I try harder to be good at it. And it opened up all sorts of opportunities on the page -- from my characters' actual words, to body language, to the effect of differing listening skills on a relationship. It's been an enlightening (and humbling) journey.

Do you feel like you're a good listener? Is there a particular level of listening you like to write for your characters? Who is the best listener in your life? We'd love to hear about them down in the comments!

About Jenny

By day, Jenny Hansen provides brand storytelling, LinkedIn coaching, and copywriting for accountants and financial services firms. By night, she writes humor, memoir, women’s fiction, and short stories. After 20+ years as a corporate trainer, she’s delighted to sit down while she works.

Find Jenny here at Writers In the Storm, or online on Facebook or Instagram.

Top photo created in Canva.

by Lynette M. Burrows

Before you can improve your writing, you have to know where your story is strong and where you can strengthen it. That means understanding story structure and taking your book apart bit by bit, examining it, strengthening it, and reassembling it. It’s not fast, easy, or a guarantee of a bestseller. It is a thorough examination that will teach you a lot about your story and your writing process.

If you missed last month’s post on preparation, read Part One now. Got your manuscript and your reader’s review ready? 

Boil the Story Down to its Essential Parts 

There are as many ways to write a story as there are writers (and that’s a lot!). Snowflake method, Save the Cat, Seven-Act, Five-Act are all different ways to construct and interpret your story, but they all use the same basic parts.

So when we look at the story to see if it works, or it needs to be strengthened, the only universal way to examine the story is scene-by-scene checking for the progression of plot, the character arc, and story theme(s). 

We start with the story sentence. 

Refine Your Story Sentence

For those of you unfamiliar with the story sentence, read One Plotting Tool for All. You’ll need a story sentence to be your guide during the rest of the editing process, so take as much time as you need to create a workable one. (Note: I did not say perfect. It won’t be.)

If you wrote a story sentence before you began your current draft, good for you. Look at that sentence, then at the “reader’s review” you wrote last month. Does the story sentence still reflect the story you wrote? No worries if it doesn’t. If it does, fantastic. You’ll likely have less difficulty editing. 

Why do all this now? Consider it your train ticket. You want to take a trip to a specific location so you buy a ticket to that location. Your ticket tells you that is where you are going, but it isn’t a map. It doesn’t give you the specific routes you’ll take; it identifies where you start and the final destination. 

For the next step, you’ll need either index cards (paper or virtual) or, if you prefer, a spreadsheet. If you like visual cues, colored pens and or highlighters and a black marker can be useful as well.

What is a Scene?

Before you can analyze a scene, you need to have a definition of what a scene is.

According to Robert McKee in his excellent book, Story, “A scene is an action through conflict in more or less continuous time and space that turns the value-charged condition of a character’s life on at least one value with a perceptible significance.” Whew, that’s a mouthful, isn’t it? Can you analyze your story based on that? If you’ve read his entire book and understand what his terms are, you can. But to me, it’s a little high concept.

Let’s try another definition. According to Donald Mass in Writing the Breakout Novel, “A well-constructed scene has a mini-arc of its own: a beginning, rise and climax or reversal at the end.” That’s pretty good as far as the structure of a scene. But how do you put that together or take it apart?

The above definitions are all well and good, but Dwight V. Swain supplied my favorite definition of a scene in Techniques of the Selling Writer. His definition is, “A scene is a unit of conflict, of struggle, lived through by character and reader. It’s a blow-by-blow of somebody’s time-unified effort to attain an immediate goal despite face-to-face opposition.” I would only add that a scene ends with a change–the character attains his goal (or not) or gains information which propels him into the next scene. In other words, a scene consists of a viewpoint character attempting to achieve an immediate goal in direct opposition to someone or something, and that effort results in a change. Now that’s a definition I can sink my teeth into.

Analyze Your Scenes

Finally, it’s time to analyze your scenes. 

You will make an entry for each scene on a separate card (spreadsheet users, design your spreadsheet accordingly.)

For every scene in your book, identify:

• Who is the point of view (POV) character? Whose head are we in?
• The protagonist’s story goal
• The viewpoint character’s immediate goal 
• Who or what opposes that goal?
• What is the Opposition’s goal?
• Who else is present?
• The setting (where the scene takes place).
• The time elapsed since the reader last saw this POV character.
• The time this scene takes place. This might be simple, like a season or a day of the week or a nonspecific time of day (morning, evening etc.). It can be as specific as including the month-day-and-year, day of the week, and time of day. 
• The weather.
• Duration. Your best estimate for how long it takes for this scene to play out.
• The mood or feeling at the beginning of the scene.
• The mood or feeling at the end of the scene.
• Action. The action(s) the POV character took. (Entered the antagonist’s lair, searched for the letter, made a date with the love interest, avoided the love interest, etc.)
• Scene Result. Did the character accomplish her goal? Gain information? 
• Is she closer or farther from the story goal?
• What did the character decide to do next?

Your card or spreadsheet will look something like this:

Depending on your genre and specific story, you may want to include a list of character’s clothing, story clues, misdirections, motifs, symbols, or other things you need to track for continuity. 

Again, fix nothing. Don’t write on your manuscript. You are only looking for what parts are present at this point.

It’s a slow, sometimes painful process. But trust me, it will identify weakness and strengths. It will inspire your muse to strengthen your story. If ideas on how to fix your story come to you, make notes and file them for later use.

When you finish making an entry for each scene in your story, it’s time to use those cards to make some lists.

Lists of Characters

I prefer to do this part on the computer so I can have the program sort the names alphabetically. Do what works best for you. 

I try to make my list of character names as I write my novels. But after the draft is complete, I go through my scene cards to double check. Inevitably, I have missed at least a character or two. 

You’ll need a list of every character by name. To this list, add any character you have given a name and appears in your story. 

For each character, create a catalog of that character’s details.

• name 
• age
• gender
• Physical Appearance
• Traits (kind, selfish, sarcastic, etc.)
• Speech patterns (phrases particular to this one character)
• Relationship to protagonist and/or antagonist
  • If this character is a major character, also list her wants, needs, wounds or flaws
• Story role (protagonist, antagonist, mentor, spear carrier, etc.)
• Life role (parents, friends, co-worker, mayor, librarian, etc.)
• Total number of scenes this character appears in as well as a list of those scenes by number.

Modify this list specific to your genre and story needs. When you’ve finished, set it aside for now and start the next list. 

List of Settings

Now you’ll list every setting you use in the story. If everything takes place in a single house, then your settings will be each room in which a scene takes place. 

For each setting, include things like

• The physical environment. (Landscape, weather, architecture, altitude, furniture types & placement, colors, patterns, etc.)
• Story function. (Foreshadowing, reinforcing story stakes, hints of the past, etc.)
• Social context (culture, class, technology, religious meanings, etc.)
• Sensory details. (Sight, sound, smell, taste, touch.)
• Significance of this location. Is it the home of the POV character or the antagonist? A place of work? Neutral ground? The crime scene? 
• Cardinal directions (you may not use these in your story, but you can help keep your reader oriented if you know them.)
• Atmosphere. What general feeling does this location create? (Mystery, tension, cozy, etc.)
• Obvious threats or dangers
• Hidden threats or dangers.
• Total number of scenes that take place in this location.

Add or eliminate details as they relate to your story. When you finish, set this list aside as well. 

List of Themes, Motifs, and Symbols

First, let’s be clear on what each of these narrative devices is.

A theme is an idea or subject you, the author, want to explore. 

A symbol is often a concrete object but can be a person, place, sound, situation, action, or phrase appears once and has an impact at that specific time in the story. These have many functions. They can tell us more about the character, the place, the past, or the situation.

A motif is a symbol (a thing, place, sound, situation, action, or phrase) that repeats (naturally) within the text. The most effective motifs relate to your theme. 

Ideally, you’ll have 2-3, maybe 4 related themes. If you’re trying to do more than four, consider sharpening your focus.

A more poetic or visual style of writing may have many symbols within the story.

Motifs need to be handled more judiciously. Too many can spoil the impact of the strongest ones. 

With all this in mind, list your themes, symbols, and motifs that are currently present in the draft of your novel. Then set this aside.

Next Steps

You’ve identified the major parts of your story. I’ll bet you found one or two surprises in your lists and cards so far. Maybe it was something you thought you wrote, or maybe it’s something you barely sketched out. Those are good things to know. Now it’s time to analyze.

Analyzing Your Plot

Label Your Scene Cards

Take out your scene cards and follow the plot. In a colored pen or highlighter, label the scenes that are the turning points of your story. If you need a refresher on plot points, read A Powerful Plot Point is a Strategy for a Successful Story or 7 Plot Structures for Pantsers. In another color of pen or marker, label the scenes where your antagonist or opposing force makes a strong appearance (sometimes called a pinch point.)

If you have a large open space that can hold all your scene cards at once, use it. If not, use the space you have and put out cards in sections. Look at the action. 

Is there opposition in every scene? Yes. I said every scene. It doesn’t have to be major opposition or even opposition from the primary antagonist. However, the opposition must impede the protagonist’s way to her goal either by a minor diversion, a partial obstruction of her path, or an outright block of the path she’s on at the moment. If a scene presents that has no opposition, mark that card with a bold black ø (the null sign).

Analyze the Action

Mark any card where the only action is to get the characters from point A to point B as TRAVEL in big black letters. 

Look at the pattern of the actions of each scene. Is it like stair steps building higher and higher tension? Do the stakes get higher and more costly with each scene? Do the consequences of the POV’s actions get worse and worse for her? Does the action make sense? Are there missing steps? Are there setbacks? Does one character win all the time or lose all the time? Or is it more like a see-saw?

Does your protagonist have a reaction and decision after every scene? This is often called the scene’s sequel. Sometimes the reaction can be a simple gesture and decision. Other times, the obstacle or event calls for a more detailed reaction.

Finally, do your story sentence and the plot you’ve got match up? If they don’t, think about which story you really want to tell. Revise your story sentence if you need to. You’ll be coming back to it again later. 

Got ideas on how to fix any issues you find? Make notes on the back sides of your scene cards. 

More on Revising Your Novel Next Month

If you’re experiencing the same feelings of overwhelm and despair I did on my first attempt, take a deep breath. Don’t give up yet. Don’t decide yet if the work you’d have to do to fix this story is a higher price than you want to pay. For now, keep reminding yourself it’s all fixable. The words and ideas had to get down on paper before you could get this far. 

Next month we’ll analyze your characters and settings. Once that’s finished, most of you will move on to the “fixing” phase.  I’ll also share how I’ve modified this process over time to make me a more efficient and better writer. 

Some of you will decide not to go forward with your project. Others of you may have a more complex novel that requires another level or two of analysis. All of you will have learned more about your writing and putting together a stronger story based on what you learn about yourself in these steps.

If you're comfortable with sharing, tell us what problems you have discovered in your plot. Or tell us what your process is for evaluating your novel.

About Lynette

Lynette M. Burrows is an author, blogger, creativity advocate, and Yorkie wrangler. She survived moving seventeen times between kindergarten and her high school graduation. Her stories weave her experiences into speculative fiction stories that balance character growth with thrilling action and social themes. 

Her Fellowship Dystopia series is an alternate history dystopian tale of a young woman of privilege who faces losing control of her life. Her desperation to avoid her fate turns into a determination to fight tyranny. Even if she must fight her own family. Even if she dies at the hands of the Angels of Death. Book One,My Soul to Keep, and Book Two, If I Should Die, are available at your favorite online book seller. Book Three, And When I Wake, will be published in 2025.

When Lynette’s not writing she avoids housework and plays with her two yorkies. They live in Dorothy’s home state of Kansas. You can follow Lynette on her website or her Facebook page. But you’ll always be up-to-date if you sign up for her newsletter. 

Photos by Lynette M. Burrows

Final image by Gerd Altmann from Pixabay