Ian Dawson's Blog, page 25
February 28, 2021
The Road to Midnight House: An Author’s Journey – Part One
I learned a lot about the writing process while writing my first novel, The Field, but learned even more from writing Midnight House. Over the next several weeks, I want to share my writing process, the publishing process, and the marketing process to help you succeed in publishing your book as an indie author.
The Idea
While working on The Field, I initially had no intention of turning it into a series. After all, if I was going to publish the book myself, maybe one book was enough—something to check off my list of things I’ve always wanted to do.
And then, I let a few people read it.
It wasn’t the published version, but those who read it liked it and offered their notes. When I met Kathleen, who became my editor, she read it and encouraged me to turn it into a series.
So, I started to think about how I could do that, and a few years before The Field was a published novel, I began to work out possible story ideas for a second novel.
I knew that I wanted the characters to be older, but I was unsure of the second book’s storyline. But I wrote down several ideas. Like all brainstorming/pre-writing sessions, some of it was worth keeping, but most were ridiculous and would eventually be left in the dust.
The big question I had for myself was if I should continue the story from the first book or do a standalone with the characters doing something unrelated to the first story.
I wanted to do something with Kyle that was sports-related, which ended up happening, but Daniel at the early phases had no real place or direction in the story. He was a school newspaper reporter. He was in ASB. He was this, that, and the other thing, but he didn’t feel grounded in the story.
Early Development
That’s when I decided to dig deeper into the minds of my two main characters. Who were they before the events of The Field? How did those events change them not just externally but internally?
Doing a deep dive into who your characters are, what makes them tick, and how traumatic events can impact them going forward can help you shape more dimensional and grounded characters. So, as I sketched out Daniel and Kyle after the first book, I discovered things that would give Daniel and Kyle stronger story arcs in the second book and give the other characters material to work off of.
I had to decide how old they would be in the second book, which would inform what they were able to do and not do in terms of their ages, and I also started to brainstorm ideas for new characters they would encounter in their new story. I also had to decide who from the first novel would carry-over to book two and what they would be up to at that point.
Now that I started to flesh out character arcs, I developed story ideas that would be interesting and provide the needed elements of action-adventure that are key elements of the series. This is where things get fun for any writer since, at this stage, anything and everything is a possibility. I chose Redding locations where I felt different action pieces could take place and worked through various scenarios. Some over-the-top, some less so.
All the while, I’m thinking of how the main characters, other characters, the overall story, and these action moments will all come together in a clear and compelling narrative.
But I was nowhere near that stage yet.
Notes, Notes, and More Notes
Part of the early brainstorming and development process is writing down your ideas. All ideas. I have my Notes app on my phone filled with snippets of dialogue or scenes that I thought of while I was at work. A legal pad by my bed in case an idea strikes me at 3AM. And a file on my laptop for ideas so I can type furiously as the ideas flow.
I’m a writer that has a hard time just sitting and waiting for ideas to come. I usually am doing something when they hit me, so having a way to jot down ideas on the go is much better than saying to yourself, “This is a great idea. Can’t wait to get home and write it down!” (SPOILER ALERT: The idea will probably be gone by then.)
Dozens of Note app files. Lots of legal pad pages. More than one Word document (I started breaking ideas into separate files by character). Somewhere in all these places was a complete story. Now I had to start taking these ideas, these fragments, these notes, and crafting them into a narrative.
Next week, I’ll take you through the outline process and the first draft's early stages. See you then!
The Idea
While working on The Field, I initially had no intention of turning it into a series. After all, if I was going to publish the book myself, maybe one book was enough—something to check off my list of things I’ve always wanted to do.
And then, I let a few people read it.
It wasn’t the published version, but those who read it liked it and offered their notes. When I met Kathleen, who became my editor, she read it and encouraged me to turn it into a series.
So, I started to think about how I could do that, and a few years before The Field was a published novel, I began to work out possible story ideas for a second novel.
I knew that I wanted the characters to be older, but I was unsure of the second book’s storyline. But I wrote down several ideas. Like all brainstorming/pre-writing sessions, some of it was worth keeping, but most were ridiculous and would eventually be left in the dust.
The big question I had for myself was if I should continue the story from the first book or do a standalone with the characters doing something unrelated to the first story.
I wanted to do something with Kyle that was sports-related, which ended up happening, but Daniel at the early phases had no real place or direction in the story. He was a school newspaper reporter. He was in ASB. He was this, that, and the other thing, but he didn’t feel grounded in the story.
Early Development
That’s when I decided to dig deeper into the minds of my two main characters. Who were they before the events of The Field? How did those events change them not just externally but internally?
Doing a deep dive into who your characters are, what makes them tick, and how traumatic events can impact them going forward can help you shape more dimensional and grounded characters. So, as I sketched out Daniel and Kyle after the first book, I discovered things that would give Daniel and Kyle stronger story arcs in the second book and give the other characters material to work off of.
I had to decide how old they would be in the second book, which would inform what they were able to do and not do in terms of their ages, and I also started to brainstorm ideas for new characters they would encounter in their new story. I also had to decide who from the first novel would carry-over to book two and what they would be up to at that point.
Now that I started to flesh out character arcs, I developed story ideas that would be interesting and provide the needed elements of action-adventure that are key elements of the series. This is where things get fun for any writer since, at this stage, anything and everything is a possibility. I chose Redding locations where I felt different action pieces could take place and worked through various scenarios. Some over-the-top, some less so.
All the while, I’m thinking of how the main characters, other characters, the overall story, and these action moments will all come together in a clear and compelling narrative.
But I was nowhere near that stage yet.
Notes, Notes, and More Notes
Part of the early brainstorming and development process is writing down your ideas. All ideas. I have my Notes app on my phone filled with snippets of dialogue or scenes that I thought of while I was at work. A legal pad by my bed in case an idea strikes me at 3AM. And a file on my laptop for ideas so I can type furiously as the ideas flow.
I’m a writer that has a hard time just sitting and waiting for ideas to come. I usually am doing something when they hit me, so having a way to jot down ideas on the go is much better than saying to yourself, “This is a great idea. Can’t wait to get home and write it down!” (SPOILER ALERT: The idea will probably be gone by then.)
Dozens of Note app files. Lots of legal pad pages. More than one Word document (I started breaking ideas into separate files by character). Somewhere in all these places was a complete story. Now I had to start taking these ideas, these fragments, these notes, and crafting them into a narrative.
Next week, I’ll take you through the outline process and the first draft's early stages. See you then!
February 24, 2021
Writer’s Workshop Wednesday: Neil Gaiman
With an impressive and extensive body of work covering novels, film, TV, comics, poetry, and theater, Neil Gaiman is as talented as he is prolific. Some of his notable works include the novel and TV series American Gods, the film Coraline, and his comic book series, Lucifer, which inspired the Fox/Netflix series of the same name. His comic book series, Sandman, is currently being adapted to the small screen.
Check out Gaiman’s dozens of other works here: https://www.neilgaiman.com/works/
Not only is Gaiman a fantastic wordsmith, but he also is an inspiring teacher when it comes to educating others about creativity and the writing process. His series of classes on MasterClass are highly recommended and one that I have viewed several times.
Check out the trailer for his MasterClass series below, along with some interviews he’s done over the years.
Enjoy!
Neil Gaiman MasterClass Preview
Neil Gaiman Interview #1
Neil Gaiman Interview #2
Neil Gaiman Interview #3
Neil Gaiman Interview #4
Neil Gaiman Interview #5
Neil Gaiman Interview #6
Check back next week for another great author!
Check out Gaiman’s dozens of other works here: https://www.neilgaiman.com/works/
Not only is Gaiman a fantastic wordsmith, but he also is an inspiring teacher when it comes to educating others about creativity and the writing process. His series of classes on MasterClass are highly recommended and one that I have viewed several times.
Check out the trailer for his MasterClass series below, along with some interviews he’s done over the years.
Enjoy!
Neil Gaiman MasterClass Preview
Neil Gaiman Interview #1
Neil Gaiman Interview #2
Neil Gaiman Interview #3
Neil Gaiman Interview #4
Neil Gaiman Interview #5
Neil Gaiman Interview #6
Check back next week for another great author!
February 21, 2021
Don’t be Afraid to Give Your Protagonist Negative Traits and Flaws
I recently came across this clip of Daisy Ridley being interviewed about her character Rey in the latest Star Wars trilogy, and I found her view interesting. Have a look:
Daisy Ridley Interview Clip
As a writer, I respectfully disagree with Ridley’s view on characters not needing flaws or faults and her perspective that Rey doesn’t have any. Why are character flaws and negative traits important even in a protagonist? Let’s talk about it.
Flaws and imperfections give a character depth and dimension. They humanize the character and create empathy or sympathy between the reader/viewer and the character. Flaws give the character something to overcome or cope with as they work through the narrative.
Just like in real life, there are external events we have to deal with, and at the same time, we have to work through any internal issues we may be facing. Sometimes the two can conflict, which can be frustrating in real life but makes excellent story material.
A perfect character is a BORING character. You want your characters to feel relatable, and negative traits are a great way to do that. This doesn’t mean they have to be evil or do illegal things. There is a wide range of emotions, traits, and flaws you can give a character that will help your reader see them as a person and not just a vessel through which a story is being told.
Think of some of your own personal traits that might be seen as unfavorable or even your own flaws. Do they make you a bad person? Probably not. How do you cope with them? How do you work through them daily? By incorporating internal struggles and flaws, you can add dimension to your characters.
Think of your favorite film, TV series, or book characters. Are they perfect? Probably not. Do they have flaws? More than likely, a lot of them. But even with these faults, flaws, and struggles, we identify with them, root for them, empathize with them and watch the character evolve as the story unfolds.
You know, that whole character arc thing. Pretty important.
Daisy Ridley’s proclamation that Rey has no flaws starts with the writing. If J.J. Abrams and Rian Johnson created a flawless character for Ridley to play, that’s an error in judgment on their part, not Ridley’s. She’s merely performing what’s on the page and interpreting it based on what the director – and Disney – wants.
Rey should have flaws, doubts, imperfections, and negative traits. It doesn’t make her a bad person; it doesn’t make her less likable. It HUMANIZES her, giving the audience someone to follow and root for.
These issues enable the character to have an arc, to strive toward being better as they traverse the obstacles thrown at them by the story. If you listen to the clip, Ridley lists several things that she feels people can overcome – “anger and jealousy” - and she’s right. They can. That’s called personal growth in real life. Or a character arc in a story.
Just like the characters in the original Star Wars trilogy.
If you look at the original trilogy, Luke, Leia, Han, and even Darth Vader all have negative traits and flaws, but they overcome them throughout the trilogy. We watch, and we have a vested interest in who they are and what will happen to them. Is it because they’re perfect, flawless humans? Quite the opposite.
So, as you create characters for your stories, remember that it’s okay to have them possess negative traits and have flaws. This gives them something to work on, something for the audience to identify with, and presents the reader/viewer with a dimensional character worth their time.
Apologies for the late post. I will be back to the earlier post time next Sunday!
Daisy Ridley Interview Clip
As a writer, I respectfully disagree with Ridley’s view on characters not needing flaws or faults and her perspective that Rey doesn’t have any. Why are character flaws and negative traits important even in a protagonist? Let’s talk about it.
Flaws and imperfections give a character depth and dimension. They humanize the character and create empathy or sympathy between the reader/viewer and the character. Flaws give the character something to overcome or cope with as they work through the narrative.
Just like in real life, there are external events we have to deal with, and at the same time, we have to work through any internal issues we may be facing. Sometimes the two can conflict, which can be frustrating in real life but makes excellent story material.
A perfect character is a BORING character. You want your characters to feel relatable, and negative traits are a great way to do that. This doesn’t mean they have to be evil or do illegal things. There is a wide range of emotions, traits, and flaws you can give a character that will help your reader see them as a person and not just a vessel through which a story is being told.
Think of some of your own personal traits that might be seen as unfavorable or even your own flaws. Do they make you a bad person? Probably not. How do you cope with them? How do you work through them daily? By incorporating internal struggles and flaws, you can add dimension to your characters.
Think of your favorite film, TV series, or book characters. Are they perfect? Probably not. Do they have flaws? More than likely, a lot of them. But even with these faults, flaws, and struggles, we identify with them, root for them, empathize with them and watch the character evolve as the story unfolds.
You know, that whole character arc thing. Pretty important.
Daisy Ridley’s proclamation that Rey has no flaws starts with the writing. If J.J. Abrams and Rian Johnson created a flawless character for Ridley to play, that’s an error in judgment on their part, not Ridley’s. She’s merely performing what’s on the page and interpreting it based on what the director – and Disney – wants.
Rey should have flaws, doubts, imperfections, and negative traits. It doesn’t make her a bad person; it doesn’t make her less likable. It HUMANIZES her, giving the audience someone to follow and root for.
These issues enable the character to have an arc, to strive toward being better as they traverse the obstacles thrown at them by the story. If you listen to the clip, Ridley lists several things that she feels people can overcome – “anger and jealousy” - and she’s right. They can. That’s called personal growth in real life. Or a character arc in a story.
Just like the characters in the original Star Wars trilogy.
If you look at the original trilogy, Luke, Leia, Han, and even Darth Vader all have negative traits and flaws, but they overcome them throughout the trilogy. We watch, and we have a vested interest in who they are and what will happen to them. Is it because they’re perfect, flawless humans? Quite the opposite.
So, as you create characters for your stories, remember that it’s okay to have them possess negative traits and have flaws. This gives them something to work on, something for the audience to identify with, and presents the reader/viewer with a dimensional character worth their time.
Apologies for the late post. I will be back to the earlier post time next Sunday!
February 14, 2021
Tips for Indie Writers: Your Book’s Back Cover
Last week I discussed designing the front cover for your book. Today, let’s look at what should be on the back cover. Obviously, what you want on the back of your book and where it’s located on the back cover is entirely up to you, but these are just a few tips to get you started.
Do Your Homework
You more than likely own books, live near a bookstore or live near a library. And while the last two may not be currently open in your area – thanks to a current global pandemic – if you have a stash of books, you can do your homework just fine.
Just flip those paperbacks over and look at what’s present. Many hardcover books have dust jackets that may only have a large photo of the author or some image related to the book, but if you find one that has information about the book, use it as well.
Now, of those elements, which ones do you feel would best help to sell your book to a potential reader? Remember, you now have to mentally distance yourself from the creative side of the writing process and get into the writing process’s marketing side. Think of what’s on the back cover as a sales pitch to the potential reader. This is your opportunity to sell them on your story and get them to buy the book.
Let’s examine some of these elements.
The Blurb
Pretty much this a short description of what the story is about. Lay out the story’s basics, the characters, and the conflict in a couple hundred words or less. Your goal is to entice the reader to want to know more and purchase the book to read the full story.
If you’re like me and have a hard time not being wordy, write a synopsis of your story, then pare that down to the sentences that lay out the basics and will hook the reader into buying your book.
The Bio
If you want to include your bio on the back, this should also be basic information. If you want to add more detail, you can always have an “About the Author” page inside the book as well. But a few sentences about you can be useful on the back cover.
The Picture
I think it’s nice to have a photo of the author on the back cover. This should look somewhat professional since, again, you are selling yourself and your book. Have a friend or family member – hopefully, one of them takes decent pictures - take several photos of you in different locations and in different outfits. This way you’ll have choices when you sit down to decide.
It might be wise to even contact a local photographer and see how much they charge for an hour or so to take a few shots, so you get quality images for your book.
But, please, no selfies.
The Info
Make sure to include your book’s or author’s official website and social media. This is another way that people can find out more about you and your books.
The Reviews
How do authors get reviews on a book that’s not even out yet? Well, if they’re well-known, they have their agent or publisher send out advanced copies to critics to read and then use snippets of those initial reviews on the book.
But if you’re an indie author, you may not have that luxury. Luckily, there are pay services available where you can have people read and review your manuscript before publishing to get a few review quotes about your book to add to the back cover.
Using a legitimate review service adds credibility and gravitas to your writing, especially since these people don’t know you and can be objective in their opinions about your work.
Besides, putting “The greatest author EVER!” – Mom, on the back may come across as a tad hokey.
While you are using small snippets from these reviews on the back, the full reviews can be used on your website and social media to help promote the book.
Choose sections of each review with statements that sell. If you were to pick up this book, what words from those reviews would make you want to read it? Choose those, then make sure you attribute the quote to the reviewer and their outlet.
The UPC
If you plan to sell your book as a paperback and hope to get it into a store one day, having the UPC code on the back is a wise move. The publisher you are using will have a template for you to use to explain the dimensions of the UPC (example 1.5” x 2”).
Make sure you have a white box positioned wherever you want it on the back cover, with the specific dimensions given, so the UPC barcode can be added during printing.
Now What?
Once you are 100% locked into what you want on the back cover, all of this information should be given to your cover artist. Make sure you describe exactly where you want each element, then once you get a draft back, you can make alterations if needed.
Again, this is your product with your face and name on it. Make sure it sells you and your story in the most effective way possible.
And now, you should have a professional and sellable cover for your eBook and paperback.
Next week, we’ll explore some more writing tips. See you then!
Do Your Homework
You more than likely own books, live near a bookstore or live near a library. And while the last two may not be currently open in your area – thanks to a current global pandemic – if you have a stash of books, you can do your homework just fine.
Just flip those paperbacks over and look at what’s present. Many hardcover books have dust jackets that may only have a large photo of the author or some image related to the book, but if you find one that has information about the book, use it as well.
Now, of those elements, which ones do you feel would best help to sell your book to a potential reader? Remember, you now have to mentally distance yourself from the creative side of the writing process and get into the writing process’s marketing side. Think of what’s on the back cover as a sales pitch to the potential reader. This is your opportunity to sell them on your story and get them to buy the book.
Let’s examine some of these elements.
The Blurb
Pretty much this a short description of what the story is about. Lay out the story’s basics, the characters, and the conflict in a couple hundred words or less. Your goal is to entice the reader to want to know more and purchase the book to read the full story.
If you’re like me and have a hard time not being wordy, write a synopsis of your story, then pare that down to the sentences that lay out the basics and will hook the reader into buying your book.
The Bio
If you want to include your bio on the back, this should also be basic information. If you want to add more detail, you can always have an “About the Author” page inside the book as well. But a few sentences about you can be useful on the back cover.
The Picture
I think it’s nice to have a photo of the author on the back cover. This should look somewhat professional since, again, you are selling yourself and your book. Have a friend or family member – hopefully, one of them takes decent pictures - take several photos of you in different locations and in different outfits. This way you’ll have choices when you sit down to decide.
It might be wise to even contact a local photographer and see how much they charge for an hour or so to take a few shots, so you get quality images for your book.
But, please, no selfies.
The Info
Make sure to include your book’s or author’s official website and social media. This is another way that people can find out more about you and your books.
The Reviews
How do authors get reviews on a book that’s not even out yet? Well, if they’re well-known, they have their agent or publisher send out advanced copies to critics to read and then use snippets of those initial reviews on the book.
But if you’re an indie author, you may not have that luxury. Luckily, there are pay services available where you can have people read and review your manuscript before publishing to get a few review quotes about your book to add to the back cover.
Using a legitimate review service adds credibility and gravitas to your writing, especially since these people don’t know you and can be objective in their opinions about your work.
Besides, putting “The greatest author EVER!” – Mom, on the back may come across as a tad hokey.
While you are using small snippets from these reviews on the back, the full reviews can be used on your website and social media to help promote the book.
Choose sections of each review with statements that sell. If you were to pick up this book, what words from those reviews would make you want to read it? Choose those, then make sure you attribute the quote to the reviewer and their outlet.
The UPC
If you plan to sell your book as a paperback and hope to get it into a store one day, having the UPC code on the back is a wise move. The publisher you are using will have a template for you to use to explain the dimensions of the UPC (example 1.5” x 2”).
Make sure you have a white box positioned wherever you want it on the back cover, with the specific dimensions given, so the UPC barcode can be added during printing.
Now What?
Once you are 100% locked into what you want on the back cover, all of this information should be given to your cover artist. Make sure you describe exactly where you want each element, then once you get a draft back, you can make alterations if needed.
Again, this is your product with your face and name on it. Make sure it sells you and your story in the most effective way possible.
And now, you should have a professional and sellable cover for your eBook and paperback.
Next week, we’ll explore some more writing tips. See you then!
February 10, 2021
Writer’s Workshop Wednesday: Michael Crichton
Jurassic Park. Disclosure. Rising Sun. The Andromeda Strain. Congo. The Lost World: Jurassic Park. Next. These are just a few of the many novels author Michael Crichton has written. Along with fictional books, Crichton has written several non-fiction works, created the TV series ER, and wrote the screenplays for Jurassic Park, Twister, and other films.
He was a brilliant and prolific writer. In 1993, he had the number one film (Jurassic Park), number one series (ER), and number one bestseller (Disclosure) in the nation. His passion for technology, science, and politics resonates in each of his works.
Sadly, Crichton passed away in 2008, but works and influence on pop culture will always be felt.
Below are some great interviews Crichton did over the years talking about his work and his process. I am aware that Charlie Rose is on the outs in society right now, but most interviews Crichton did in the 90s were on his show.
Despite his presence, I hope you enjoy them.
Michael Crichton Interview #1
Michael Crichton Interview #2
Michael Crichton Interview #3
Michael Crichton Interview #4
Michael Crichton Interview #5
Michael Crichton Interview #6
Check back next week for another great author!
He was a brilliant and prolific writer. In 1993, he had the number one film (Jurassic Park), number one series (ER), and number one bestseller (Disclosure) in the nation. His passion for technology, science, and politics resonates in each of his works.
Sadly, Crichton passed away in 2008, but works and influence on pop culture will always be felt.
Below are some great interviews Crichton did over the years talking about his work and his process. I am aware that Charlie Rose is on the outs in society right now, but most interviews Crichton did in the 90s were on his show.
Despite his presence, I hope you enjoy them.
Michael Crichton Interview #1
Michael Crichton Interview #2
Michael Crichton Interview #3
Michael Crichton Interview #4
Michael Crichton Interview #5
Michael Crichton Interview #6
Check back next week for another great author!
February 7, 2021
Tips for Indie Writers: Finding and Creating Your Book’s Cover
As the old cliched saying goes: You can’t judge a book by its cover. However, if you’re an indie author, it’s vitally important that your book’s cover is what you want and how you want your work represented either as an eBook or a published work. As a writer who has gone through the cover art process twice, I wanted to give you some advice you can use to make sure your book’s cover delivers what you need it to.
Do Your Homework
There are a wide range of cover artists that do book covers for indie authors. You can do a Google search, find them on social media, or even ask an author whose cover you liked. Depending on what you’re looking for and your budget, you can find a cover artist to meet your needs.
Maybe you’re looking for a cover with actual costumed people, or perhaps a humorous drawing of your characters. Maybe you want something simple, or something more involved. Whatever your needs, you can find someone who can do it for you.
Along with this, you also want to keep pricing in mind as you begin your search. Some artists have separate pricing for eBook and print covers, and some offer a package deal for both. If the prices aren’t listed on their site, don’t hesitate to contact them and ask.
It’s also important to find out the average turnaround time from when you send your ideas to when you get a version of the final product. If you’re in a time crunch and the turnaround is three months, you may want to look for someone who can meet your schedule constraints and still deliver what you want.
Be Specific in What You Want
Once you find the cover artist you like, nail down the pricing, and have a basic timeline set, it’s time to figure out what you want on your cover. At this point, you should have some basic ideas of what you want the cover to look like, especially as you were working on the manuscript. As you think about the cover, what images or moments from your book would capture and convey the book’s essence and genre?
Think of your cover as a simplified movie poster. You have the title of the book, your name, and now an image that draws potential readers in to hopefully purchase and read your book.
Once you’ve narrowed it down, decide on one that really feels like a great representation of the story. Now, write down what you want the image to look like. If the artist states you can send reference images, find images that will help get your vision across to them.
Much like with your story, you are creating a picture with words translated into an image by the artist.
Quick example:
- A lake illuminated by moonlight.
- It’s a clear night; stars are in the sky.
- In the background, we can see the shoreline; pine trees line the shore.
- A rowboat sits in the center of the cover in the calm lake.
- A body floats near the rowboat.
- On the top of the cover is the title: The Laketown Murders
- On the bottom is the author’s name: Bob Smithenwesson.
The key is to give the artist detailed info to work with, but not to overwhelm them. And if they need more information or detail, they’ll ask.
Allow for Adjustments and Modifications
Have you ever read a book then seen the movie version and said, “That’s not what I had pictured at all.” Sometimes this can happen during the first go-around of designing your cover. And it’s okay.
Now you have a version of the cover that the cover artist interpreted based on what you supplied. Not what you were looking for? No problem. Ask for adjustments and modifications. Again, be specific about these.
This is the fun part since now you have a visual representation of your book’s cover right in front of you. It’s definitely an adrenaline rush to see your name and title on a book cover!
Continue to work with and communicate with the artist until the cover is exactly what you’re looking for. This goes for the back cover of the print version as well (we’ll talk a little about that next week).
If you are happy with your collaboration, make sure you tell the cover artist you are satisfied with their work (you may return to them in the future for another cover). Don’t just right, “Yeah, that works,” say, “Yes! That’s perfect! Thanks so much!” A little appreciation can go a long way.
Once you are satisfied, they will email you an invoice for their services. PAY THEM IMMEDIATELY. They are a part of your indie book team now, and you want to make sure that you treat all members like you would want to be paid…on time.
Remember, Your Name is on the Cover
This cover represents you. While you should thank the cover artist and include their website in your acknowledgments, it is your name that people will see on the cover. Ensure that it represents you and your story in a way that you are proud of and confident in marketing and promoting.
Once it’s published, it becomes a product. You and the book are the faces of the product, and the cover is the packaging that entices readers to buy and see what amazing goodies are inside.
Do your research, be specific in what you want, make changes when necessary, and you’ll have a great book cover to be proud of!
Start Early
If you have a draft or two done of your manuscript and have an idea for your cover, take the leap and start the design process early. It’s a fun way to create a sense of immediacy and give your manuscript a professional face. Then you can have it as the wallpaper on your computer as a reminder of what you’re working toward: a published book!
Next week, we’ll talk about the back of your printed book and a few other pre-publishing tips. See you next week.
Do Your Homework
There are a wide range of cover artists that do book covers for indie authors. You can do a Google search, find them on social media, or even ask an author whose cover you liked. Depending on what you’re looking for and your budget, you can find a cover artist to meet your needs.
Maybe you’re looking for a cover with actual costumed people, or perhaps a humorous drawing of your characters. Maybe you want something simple, or something more involved. Whatever your needs, you can find someone who can do it for you.
Along with this, you also want to keep pricing in mind as you begin your search. Some artists have separate pricing for eBook and print covers, and some offer a package deal for both. If the prices aren’t listed on their site, don’t hesitate to contact them and ask.
It’s also important to find out the average turnaround time from when you send your ideas to when you get a version of the final product. If you’re in a time crunch and the turnaround is three months, you may want to look for someone who can meet your schedule constraints and still deliver what you want.
Be Specific in What You Want
Once you find the cover artist you like, nail down the pricing, and have a basic timeline set, it’s time to figure out what you want on your cover. At this point, you should have some basic ideas of what you want the cover to look like, especially as you were working on the manuscript. As you think about the cover, what images or moments from your book would capture and convey the book’s essence and genre?
Think of your cover as a simplified movie poster. You have the title of the book, your name, and now an image that draws potential readers in to hopefully purchase and read your book.
Once you’ve narrowed it down, decide on one that really feels like a great representation of the story. Now, write down what you want the image to look like. If the artist states you can send reference images, find images that will help get your vision across to them.
Much like with your story, you are creating a picture with words translated into an image by the artist.
Quick example:
- A lake illuminated by moonlight.
- It’s a clear night; stars are in the sky.
- In the background, we can see the shoreline; pine trees line the shore.
- A rowboat sits in the center of the cover in the calm lake.
- A body floats near the rowboat.
- On the top of the cover is the title: The Laketown Murders
- On the bottom is the author’s name: Bob Smithenwesson.
The key is to give the artist detailed info to work with, but not to overwhelm them. And if they need more information or detail, they’ll ask.
Allow for Adjustments and Modifications
Have you ever read a book then seen the movie version and said, “That’s not what I had pictured at all.” Sometimes this can happen during the first go-around of designing your cover. And it’s okay.
Now you have a version of the cover that the cover artist interpreted based on what you supplied. Not what you were looking for? No problem. Ask for adjustments and modifications. Again, be specific about these.
This is the fun part since now you have a visual representation of your book’s cover right in front of you. It’s definitely an adrenaline rush to see your name and title on a book cover!
Continue to work with and communicate with the artist until the cover is exactly what you’re looking for. This goes for the back cover of the print version as well (we’ll talk a little about that next week).
If you are happy with your collaboration, make sure you tell the cover artist you are satisfied with their work (you may return to them in the future for another cover). Don’t just right, “Yeah, that works,” say, “Yes! That’s perfect! Thanks so much!” A little appreciation can go a long way.
Once you are satisfied, they will email you an invoice for their services. PAY THEM IMMEDIATELY. They are a part of your indie book team now, and you want to make sure that you treat all members like you would want to be paid…on time.
Remember, Your Name is on the Cover
This cover represents you. While you should thank the cover artist and include their website in your acknowledgments, it is your name that people will see on the cover. Ensure that it represents you and your story in a way that you are proud of and confident in marketing and promoting.
Once it’s published, it becomes a product. You and the book are the faces of the product, and the cover is the packaging that entices readers to buy and see what amazing goodies are inside.
Do your research, be specific in what you want, make changes when necessary, and you’ll have a great book cover to be proud of!
Start Early
If you have a draft or two done of your manuscript and have an idea for your cover, take the leap and start the design process early. It’s a fun way to create a sense of immediacy and give your manuscript a professional face. Then you can have it as the wallpaper on your computer as a reminder of what you’re working toward: a published book!
Next week, we’ll talk about the back of your printed book and a few other pre-publishing tips. See you next week.
February 3, 2021
Writer’s Workshop Wednesday: Barack Obama
While most people know him as the 44th President of the United States, Barack Obama is also an author. The former President has written four books about his life and views on politics and social issues. His first book, Dreams of My Father, was published in 1995. Since then, Obama has written The Audacity of Hope (2006), Of Thee I Sing: A Letter to My Daughters (2010), and his latest book about his time as President, A Promised Land (2020).
I read A Promised Land last year and highly recommend it to anyone interested in politics’ inner-workings. I’m excited to read the second volume when it comes out later this year.
Below are some great videos I found that give insight into Obama’s writing process and his thoughts while recording the audiobook for A Promised Land. I also included a couple great interviews where he discusses his writing process and other aspects of his life.
Enjoy!
Barack Obama describes his experience writing A Promised Land
Barack Obama on Recording the Audiobook for A Promised Land
Barack Obama talks about his new memoir 'A Promised Land' | The Washington Post
Stephen Curry and Barack Obama Take To Instagram Live to Discuss A Promised Land
Check back next Wednesday for another author!
I read A Promised Land last year and highly recommend it to anyone interested in politics’ inner-workings. I’m excited to read the second volume when it comes out later this year.
Below are some great videos I found that give insight into Obama’s writing process and his thoughts while recording the audiobook for A Promised Land. I also included a couple great interviews where he discusses his writing process and other aspects of his life.
Enjoy!
Barack Obama describes his experience writing A Promised Land
Barack Obama on Recording the Audiobook for A Promised Land
Barack Obama talks about his new memoir 'A Promised Land' | The Washington Post
Stephen Curry and Barack Obama Take To Instagram Live to Discuss A Promised Land
Check back next Wednesday for another author!
January 31, 2021
When You’re Writing, Don’t Be Afraid to Act It Out
To the casual observer, writing can appear to be a low-energy, even passive activity. But we as writers know that this is not the case. While our fingers may be the only thing moving externally, our minds are alive and active with ideas, thoughts, dialogue, and description that help bring our story to life on paper.
But sometimes, even in that state of inner active creativity, we can get a little stuck. Maybe a sequence isn’t coming together as effectively on the page as you want, or there’s an element missing from the dialogue or action.
When this happens, get out of that chair and work through the scene. As a writer, you are the creator, director, actor, and stunt coordinator of everything in your story. It is your job to do whatever you can to get the story right. And if you have to workshop it in your living room like a play, that’s 100% acceptable.
Here are some ways to do it.
Get On Your Feet and Move
Clip from I Love Lucy
As Lucy Ricardo (Lucille Ball) demonstrates in this clip from I Love Lucy, working through the emotion, the conflict, and the drama of a scene as you write can help you create more realistic dialogue and scenes.
Reading your dialogue aloud can also be a great benefit to ensure that the characters speak like human beings and not as literary characters on a page (unless that’s the style you are aiming for).
If you have someone to assist you, you can improvise a scene you’re having issues with and work out what problems you may be having. Often as writers, we internalize too often. Getting your story’s words and situations into an external space can help you see them from a better perspective and make more substantial story choices.
Make a Model
Perhaps your story has a big fight sequence or chase that involves several characters and would be complicated to stage at home. Legos, action figures, water bottles, or even cups can be used to create a mock version of your characters (I suggest labeling the characters so they don’t get mixed up while your working). You can use boxes or other objects to create the setting, then position your characters accordingly during the sequence.
In doing so, you can now visually see how things would work, where the character would be positioned throughout the sequence, and how best to end the sequence given your parameters.
Seeing clear visuals can also help you see any problems, so you fix them before writing out the entire sequence.
Hollywood does this all the time with big sequences using animatics. While their aim is to save money on costly reshoots, your aim is to save time on headache-inducing rewrites.
Use Name Cards and Drawings
Another method can be used for even bigger sequences like a giant battle or even a murder mystery with a dinner party. In this exercise, you write the names of all the characters on separate index cards, then use poster board or another large piece of paper to map out what the room or battlefield will look like. Then you can move the “characters” around and see where they are in relation to other characters and locations.
In doing so, you can see if there is logic in who is conversing with who, helping who, and fighting who depending on where they are in the diagram.
This exercise was done by the writers of Pirates of the Caribbean: At World’s End for the final battle involving three pirate ships, three crews of pirates, and the main cast. As they were writing, they used the diagrams to see where characters started when the sequence began and how to effectively move them from ship to ship throughout the battle.
As you can see from the movement of characters in the clip below, this would have been very useful in the writer's room!
Pirates 3 Clip
With all three, I recommend filming and talking through each exercise so you don’t forget any details that may change or pop into your head while you’re working. Once it’s done, and on the page, you can delete the footage, and no one has to know what great lengths you went through to make that big sequence work.
Happy Acting, and Happy Writing!
But sometimes, even in that state of inner active creativity, we can get a little stuck. Maybe a sequence isn’t coming together as effectively on the page as you want, or there’s an element missing from the dialogue or action.
When this happens, get out of that chair and work through the scene. As a writer, you are the creator, director, actor, and stunt coordinator of everything in your story. It is your job to do whatever you can to get the story right. And if you have to workshop it in your living room like a play, that’s 100% acceptable.
Here are some ways to do it.
Get On Your Feet and Move
Clip from I Love Lucy
As Lucy Ricardo (Lucille Ball) demonstrates in this clip from I Love Lucy, working through the emotion, the conflict, and the drama of a scene as you write can help you create more realistic dialogue and scenes.
Reading your dialogue aloud can also be a great benefit to ensure that the characters speak like human beings and not as literary characters on a page (unless that’s the style you are aiming for).
If you have someone to assist you, you can improvise a scene you’re having issues with and work out what problems you may be having. Often as writers, we internalize too often. Getting your story’s words and situations into an external space can help you see them from a better perspective and make more substantial story choices.
Make a Model
Perhaps your story has a big fight sequence or chase that involves several characters and would be complicated to stage at home. Legos, action figures, water bottles, or even cups can be used to create a mock version of your characters (I suggest labeling the characters so they don’t get mixed up while your working). You can use boxes or other objects to create the setting, then position your characters accordingly during the sequence.
In doing so, you can now visually see how things would work, where the character would be positioned throughout the sequence, and how best to end the sequence given your parameters.
Seeing clear visuals can also help you see any problems, so you fix them before writing out the entire sequence.
Hollywood does this all the time with big sequences using animatics. While their aim is to save money on costly reshoots, your aim is to save time on headache-inducing rewrites.
Use Name Cards and Drawings
Another method can be used for even bigger sequences like a giant battle or even a murder mystery with a dinner party. In this exercise, you write the names of all the characters on separate index cards, then use poster board or another large piece of paper to map out what the room or battlefield will look like. Then you can move the “characters” around and see where they are in relation to other characters and locations.
In doing so, you can see if there is logic in who is conversing with who, helping who, and fighting who depending on where they are in the diagram.
This exercise was done by the writers of Pirates of the Caribbean: At World’s End for the final battle involving three pirate ships, three crews of pirates, and the main cast. As they were writing, they used the diagrams to see where characters started when the sequence began and how to effectively move them from ship to ship throughout the battle.
As you can see from the movement of characters in the clip below, this would have been very useful in the writer's room!
Pirates 3 Clip
With all three, I recommend filming and talking through each exercise so you don’t forget any details that may change or pop into your head while you’re working. Once it’s done, and on the page, you can delete the footage, and no one has to know what great lengths you went through to make that big sequence work.
Happy Acting, and Happy Writing!
January 24, 2021
Pre-Writing: A Writer’s Best Friend
You’ve finally done it! You’ve come up with a great story idea, and you’re ready to start writing your amazing story. Or are you? I’m sure you’ve heard stories about the writer who has started a novel or screenplay but lost steam and tossed what they did have in a drawer, never to be looked at again. I, too, have had an idea and just started into it with no real direction, only to see the idea fizzle out quicker than it popped into my head.
But it doesn’t have to be this way.
Behold the fun and excitement of pre-writing! While the word may bring back memories of writing those dreaded 500-word essays for your high school English class, pre-writing can positively affect your creative work. It can also help you create a useful road map to get to your final destination: the end of your story.
So, let’s talk about some of the ways you can pre-write your way to a completed draft of your next novel, play, screenplay, short story, or other written work.
Brainstorming
Once you’ve established your story idea, maybe even have a few characters and plot points in mind, it’s time to take your mind on a trip. Sit down with a pad and pen and start writing down ideas for your story. It doesn’t matter if they are good ideas, ridiculous ideas, crazy ideas, or even ideas you think are stupid. Write them down. Every idea has a purpose until it’s no longer needed once you begin to craft your story.
The same with characters, too. Who are they? Write mini-bios and descriptions for them. What are their relationships to each other and the story? Remember that none of this is set in stone, and you can cross-out, use arrows, or do other notations as you begin to build the story and characters.
Your goal here is to get the ideas out of your head and onto paper. Even in this crude form, you can begin to visually see your ideas in words on the page. You can also draw diagrams and maps if that helps you to work on different aspects of the story or characters.
This should be a fun activity where you play around with different ideas and concepts. Don’t commit or reject any ideas 100% at this point. You only have one goal here: to flesh the story and its characters out on paper.
Why is this useful? I’ve found that if I’m working on a story in my head and not writing things down, I tend to either forget the idea I had or repeat it in my head and cannot move on to another aspect of the story. Getting it down and out – for the record, so to speak – allows your brain not to stress about forgetting the idea and frees up your brain for more ideas to flow in.
Keep a Notepad Handy
Getting the story out of your head, as I said above, frees your mind to create more. And your creative brain has no set schedule. Ideas can come at any time, so it’s a good idea to have a notepad handy at your bedside or even a Notes file on your phone. Then, when snippets of dialogue, description, or other creative thoughts pop into your head, you have a handy place to jot them down.
Check out my article called The 3AM Idea for more on this topic.
Fun Fact: Larry David (Seinfeld, Curb Your Enthusiasm) carries a pocket notebook with him all the time!
Active Procrastination/Research
We all tend to procrastinate, whether it’s with writing or other tasks. We’re human. But, what if you took that procrastination and made it work for you and your writing?
If you’re writing historical fiction, you could find a documentary about that period on YouTube and learn about it while hanging out on the couch.
In fact, most topics in your story probably have a video about them on YouTube. If you’re going to be scrolling through and looking for videos anyway, you might as well watch a few videos that will help with your story.
Think about the topics, themes, character traits, activities, or locations in your story. Now, look up that particular item on YouTube. Watch a few videos and see if you can glean some new information that can help enhance an aspect of your story or gives you a new perspective.
This is especially helpful if you want to have your story in a real location that you cannot easily travel to due to the current world situation. You can find videos about most countries, cities, and regions worldwide and use that to inform your work.
You can then add these new ideas to your brainstorm notes, and make sure to bookmark or save the videos that effectively helped with your research.
And you didn’t even have to get off the couch to work on your writing today!
Outlines/Beat Sheets/Treatments
Our pre-writing objective is to get the story out in a coherent form that can then be used as an essential guide to writing the actual novel, script, etc. Knowing the beginning, middle, end, and the main plot points or story beats along the way can save you a lot of time and headaches once you sit down to begin your initial draft.
A basic outline or beat sheet (used for TV and film) can help you flesh out your story’s overall arc from start to finish with a few sentences per the significant plot points throughout the story. This gives you a bird’s-eye view of where things will go and how the story will progress. You must know where the story will go. If you are unsure, the reader will definitely not know, either.
It’s important to note that it is much easier to change an outline or beat sheet than to change sections of an entire manuscript (I know this from experience). Changing the story arc in this format will enable you to explore where the story could lead without the hassle of thousands of words being affected by your choices.
A more detailed version of the outline and beat sheet is the treatment (mainly used for screenplays). This is a detailed scene-by-scene breakdown of the story. Again, like the other two, it’s much easier to cut or re-write sections of a treatment than it is to do significant changes to the screenplay draft.
Take your time to craft the story here and reap the benefits later on once the drafting begins.
You can use one or all of these methods as you work through the early stages of creative development in your writing project. The key is to have it down and ready to access so when you do start to write, you know where you’re going.
Taking this time now will definitely save you a big headache in the future. And will keep your files and drawers free of unfinished projects!
But it doesn’t have to be this way.
Behold the fun and excitement of pre-writing! While the word may bring back memories of writing those dreaded 500-word essays for your high school English class, pre-writing can positively affect your creative work. It can also help you create a useful road map to get to your final destination: the end of your story.
So, let’s talk about some of the ways you can pre-write your way to a completed draft of your next novel, play, screenplay, short story, or other written work.
Brainstorming
Once you’ve established your story idea, maybe even have a few characters and plot points in mind, it’s time to take your mind on a trip. Sit down with a pad and pen and start writing down ideas for your story. It doesn’t matter if they are good ideas, ridiculous ideas, crazy ideas, or even ideas you think are stupid. Write them down. Every idea has a purpose until it’s no longer needed once you begin to craft your story.
The same with characters, too. Who are they? Write mini-bios and descriptions for them. What are their relationships to each other and the story? Remember that none of this is set in stone, and you can cross-out, use arrows, or do other notations as you begin to build the story and characters.
Your goal here is to get the ideas out of your head and onto paper. Even in this crude form, you can begin to visually see your ideas in words on the page. You can also draw diagrams and maps if that helps you to work on different aspects of the story or characters.
This should be a fun activity where you play around with different ideas and concepts. Don’t commit or reject any ideas 100% at this point. You only have one goal here: to flesh the story and its characters out on paper.
Why is this useful? I’ve found that if I’m working on a story in my head and not writing things down, I tend to either forget the idea I had or repeat it in my head and cannot move on to another aspect of the story. Getting it down and out – for the record, so to speak – allows your brain not to stress about forgetting the idea and frees up your brain for more ideas to flow in.
Keep a Notepad Handy
Getting the story out of your head, as I said above, frees your mind to create more. And your creative brain has no set schedule. Ideas can come at any time, so it’s a good idea to have a notepad handy at your bedside or even a Notes file on your phone. Then, when snippets of dialogue, description, or other creative thoughts pop into your head, you have a handy place to jot them down.
Check out my article called The 3AM Idea for more on this topic.
Fun Fact: Larry David (Seinfeld, Curb Your Enthusiasm) carries a pocket notebook with him all the time!
Active Procrastination/Research
We all tend to procrastinate, whether it’s with writing or other tasks. We’re human. But, what if you took that procrastination and made it work for you and your writing?
If you’re writing historical fiction, you could find a documentary about that period on YouTube and learn about it while hanging out on the couch.
In fact, most topics in your story probably have a video about them on YouTube. If you’re going to be scrolling through and looking for videos anyway, you might as well watch a few videos that will help with your story.
Think about the topics, themes, character traits, activities, or locations in your story. Now, look up that particular item on YouTube. Watch a few videos and see if you can glean some new information that can help enhance an aspect of your story or gives you a new perspective.
This is especially helpful if you want to have your story in a real location that you cannot easily travel to due to the current world situation. You can find videos about most countries, cities, and regions worldwide and use that to inform your work.
You can then add these new ideas to your brainstorm notes, and make sure to bookmark or save the videos that effectively helped with your research.
And you didn’t even have to get off the couch to work on your writing today!
Outlines/Beat Sheets/Treatments
Our pre-writing objective is to get the story out in a coherent form that can then be used as an essential guide to writing the actual novel, script, etc. Knowing the beginning, middle, end, and the main plot points or story beats along the way can save you a lot of time and headaches once you sit down to begin your initial draft.
A basic outline or beat sheet (used for TV and film) can help you flesh out your story’s overall arc from start to finish with a few sentences per the significant plot points throughout the story. This gives you a bird’s-eye view of where things will go and how the story will progress. You must know where the story will go. If you are unsure, the reader will definitely not know, either.
It’s important to note that it is much easier to change an outline or beat sheet than to change sections of an entire manuscript (I know this from experience). Changing the story arc in this format will enable you to explore where the story could lead without the hassle of thousands of words being affected by your choices.
A more detailed version of the outline and beat sheet is the treatment (mainly used for screenplays). This is a detailed scene-by-scene breakdown of the story. Again, like the other two, it’s much easier to cut or re-write sections of a treatment than it is to do significant changes to the screenplay draft.
Take your time to craft the story here and reap the benefits later on once the drafting begins.
You can use one or all of these methods as you work through the early stages of creative development in your writing project. The key is to have it down and ready to access so when you do start to write, you know where you’re going.
Taking this time now will definitely save you a big headache in the future. And will keep your files and drawers free of unfinished projects!
January 17, 2021
The Myth of the “Aspiring” Artist
I like to watch interviews with writers, actors, and other people in the arts. I find them fascinating and very educational. One of the things I find interesting is when they have a Q&A with the audience after their initial interview or talk. At the end, there’s usually an audience member who says, “I’m an aspiring writer” or “I’m an aspiring actor/actress.” This has always been a curiosity to me.
The word “aspire” or “aspiring,” according to the Merriam-Webster Dictionary, means “desiring and working to achieve a particular goal: having aspirations to attain a specified profession, position, etc.” I would like to change the thinking about labeling oneself as an “aspiring artist” and show you that the act of creating is not, in fact, what you are aspiring to achieve.
Are You Doing It?
If you are writing, acting, painting, sculpting, writing music, or pursuing any other endeavor, you have moved out of the aspirational category and are now actively doing that particular activity. If you’re aspiring to write, why? What’s preventing you from taking those steps toward writing a story, a poem, a play, or a song?
Nothing.
When we put the word “aspiring” in front of the creative activity we wish to do, there’s the perception that it lends importance to what we want to do. I don’t believe it does. If you can do it, don’t dream about doing it, do it. If you are doing it, you no longer aspire to do the activity because you are actually doing it.
Working Toward an Artistic Goal
If you have mapped out plans to write a novel or a play, are working on an album, or are working on writing and shooting a short film, these are goals within the creative realm you inhabit. But, again, you are working toward these goals, not just thinking or hoping for them to happen on their own.
What You Really Might Want…
The truth is that we don’t aspire to be a writer, an actor/actress, a painter, or a musician. Our aspiration lies beyond that. It lies in our aspirations for success, money, and the ability to quit our day jobs and create full time. This is what we want. This is what we aspire toward.
But this should be secondary in your overarching aspirational plan. Why?
Putting in the time, work, effort, energy, sweat, tears, frustration, excitement, and other emotions that come with creating makes you better at the art you are doing. Your drive to create should be your focus when you’re starting out.
Art should be your motivation, not money or fame.
Success is a byproduct of all the time you’ve spent honing your craft on your own, at home, for free. It’s these thousands of hours of hard work that can eventually get you to where you aspire to be.
But you have to do the work.
Final Thoughts
Aspiring toward something positive involving your art is excellent, but it should be something you can’t quickly achieve in the present. You can write right now. You can paint right now. You can be creative right now. It’s the steps after the hard work of creation are done that we aspire to: the published novel, the produced play, the award-winning poem.
Everyone dreams of some level of success. But the first step to getting there is to stop dreaming about it and start doing it.
You can do it!
See you next week!
Definition source: https://www.merriam-webster.com/dictionary/aspiring
The word “aspire” or “aspiring,” according to the Merriam-Webster Dictionary, means “desiring and working to achieve a particular goal: having aspirations to attain a specified profession, position, etc.” I would like to change the thinking about labeling oneself as an “aspiring artist” and show you that the act of creating is not, in fact, what you are aspiring to achieve.
Are You Doing It?
If you are writing, acting, painting, sculpting, writing music, or pursuing any other endeavor, you have moved out of the aspirational category and are now actively doing that particular activity. If you’re aspiring to write, why? What’s preventing you from taking those steps toward writing a story, a poem, a play, or a song?
Nothing.
When we put the word “aspiring” in front of the creative activity we wish to do, there’s the perception that it lends importance to what we want to do. I don’t believe it does. If you can do it, don’t dream about doing it, do it. If you are doing it, you no longer aspire to do the activity because you are actually doing it.
Working Toward an Artistic Goal
If you have mapped out plans to write a novel or a play, are working on an album, or are working on writing and shooting a short film, these are goals within the creative realm you inhabit. But, again, you are working toward these goals, not just thinking or hoping for them to happen on their own.
What You Really Might Want…
The truth is that we don’t aspire to be a writer, an actor/actress, a painter, or a musician. Our aspiration lies beyond that. It lies in our aspirations for success, money, and the ability to quit our day jobs and create full time. This is what we want. This is what we aspire toward.
But this should be secondary in your overarching aspirational plan. Why?
Putting in the time, work, effort, energy, sweat, tears, frustration, excitement, and other emotions that come with creating makes you better at the art you are doing. Your drive to create should be your focus when you’re starting out.
Art should be your motivation, not money or fame.
Success is a byproduct of all the time you’ve spent honing your craft on your own, at home, for free. It’s these thousands of hours of hard work that can eventually get you to where you aspire to be.
But you have to do the work.
Final Thoughts
Aspiring toward something positive involving your art is excellent, but it should be something you can’t quickly achieve in the present. You can write right now. You can paint right now. You can be creative right now. It’s the steps after the hard work of creation are done that we aspire to: the published novel, the produced play, the award-winning poem.
Everyone dreams of some level of success. But the first step to getting there is to stop dreaming about it and start doing it.
You can do it!
See you next week!
Definition source: https://www.merriam-webster.com/dictionary/aspiring
