My recent writing focuses on grief, loss and recovery. Last weekend I autographed books at a national bereavement conference in Minneapolis-St. Paul. The traffic in the bookstore was constant, at times, loaded. Speakers' books, consisting of numerous of mine, were displayed on a special table.
Now develop up a profile of them. What makes them a good target for your books? Why would they wish to read a book like you are believing of? Learn whatever you can about them. For that matter get to the point of providing your target reader a name.
Life experience counts. One attendee walked up to me and stated, "You should not be writing books about loss unless you've lost a child." She was shocked when I stated my daughter died in 2007 and I was a bereaved moms and dad. Clearly, individuals who concerned this conference wished to talk with authors who had remained in the grief trenches.
Ron: Self-publishing gives you the liberty and control. It also offers you a remarkable monetary advantage. A book in print expenses about $2-3 per copy (after the initial editorial and production expenses.) It's worth a LOT more in their eyes-- it's the most reputable organization card/brochure you can picture when you OFFER a book to a client. They NEVER toss it away, and if you sign it for them, it's a treasure.
Bird by Bird by Anne Lamott. Amusing, irreverent and useful, Lamott hammers house a point that all writers come to grips with - your initial draft is going to be scrap (though she uses a more descriptive term), so simply overcome it. In fact, the very best authors worldwide compose lousy initial drafts. That is the composing procedure. Once we accept that even Don DeLillo and Toni Morrison write lousy initial drafts and we undoubtedly will do the same, the game changes quite considerably. Just sit down and compose and do not sweat the result. Develop the raw products. The modifying and remanufacturing comes later. Lamott is filled with lots of good guidance related to this core message. Inspect it out and enjoy your composing enhance as you find out to focus on the procedure instead of the instant output.
The first answer is to summarize the chapter. So far in the chapter, you've been making an argument or presenting facts that support an argument. So what are the essential facts? Why are they important?
The next question is, "For how long can you compose?" Lots of full-time authors invest half their day composing and half the day on other jobs. This permits them Must-read books to compose continually without losing time changing jobs. Others compose in a burst over 3 or 4 days and after that take some time off to recover. However, you need to decide on your own just how much time you can invest.