Lane Diamond's Blog, page 6
December 10, 2013
Can Writers Make a Living as Authors?
THIS POST IS FOR WRITERS:
A recent article by Jeremy Greenfield in Forbes online asks, “How Much Money Do Self-Published Authors Make?” Well, it’s a fairly simple article that touches on the macro end of the issue, but really, there’s so much more to it.
The immediate point of his article seems to be that self-published (I’ll include the whole “Indie” category here, including emerging small press) authors do not make a living at their craft. However, if you read further, you discover that most authors – period – do not make a living at their craft, regardless of which route they’ve taken to publish.
The figure he presents for self-publishing is an annual median income (I’m assuming this is a “net” figure) of “under $5,000.” That would seem to be his Ah-hah! point – self-publishing is bad (After all, why else would he use the title he did?). However, he then goes on to say that traditionally published authors earn an annual median income of $5,000 to $9,999. Anyone “making a living” on that?
So the real point of his article is that few writers actually make a living as authors.
To which I say, “No surprise there.”
It’s actually always been that way in the publishing industry. A few superstars make gazillions of dollars, and the rest make a little on the side while continuing with their day job. Nothing new here.
What’s new is that more authors can actually take a shot at being in that elite group of authors who do make a nice living. In the past, writers were stuck playing the literary agent/traditional publisher lottery. Now, they have options. Furthermore, I would argue that if they really do it “the right way,” they improve their odds significantly.
THE RIGHT WAY
I sometimes get the feeling that writers get sick of me making this point: the reason most self-published authors fail (in the long run) is that they simply do not go about their business as proper professionals. Why do I think some are sick of that point? Emails like this one are a hint: “I’m so sick and tired of you saying that all self-published work is crap!” Okay, I’ve only received one such email, and just to be clear: I have NEVER said that. I’ve said that “most” self-published work is crap. 
One of the nice things about the new market opportunities for authors is that a lot more good work is making it into the marketplace, and into readers’ hands. A lot of talented folks are discovering that they don’t have to wait to win the traditional publishing lottery to become authors. One of the bad things about the new market opportunities for authors is that anyone can now publish last week’s grocery list – it’s cheap and relatively easy.
The result is a flooding of the market – more good stuff (Great!), but an absolute boatload of utter crap to go along with it.
This, of course, tends to drag down those “median” numbers that Mr. Greenfield cited in his Forbes article.
Yet consumers are not dummies. You might fool them for a short time, but in the end, if you publish crap, consumers will bail on you as if you were Typhoid Mary herself.
It’s actually pretty simple: those who write good stories, make a sincere effort to have it professionally edited, and who put up a professional cover as the face of that book – in short, those who invest in their business – can expect to improve their odds of ultimate success many fold. You’ll note I used the word “ultimate” in that last phrase. Why? Because it’s even rarer for an author to take off after just one book. Usually, an author must have three, four, even five books available before consumers really take note of them in a big way.
Success in this business is hard as hell; let’s just be honest about that. However, it’s not impossible – not by a long shot. If you’re dreaming the dream, then go about your business, do it the right way, and work toward that day when you can say that you defied the odds.
~~~~~~~~~~
October 8, 2013
“The Twisted Mosaic” Is Sure To Heat Things Up
If you’re on those oh-man-my-glasses-are-all-fogged-up, heavy-breathing readers, then this erotica series is going to make you all warm and fuzzy.
I know, because I edited the first installment of this series. But really, it wasn’t that bad – just about an 8-cold-shower editing job.
The series has already picked up a couple awards, and this special omnibus edition is an absolutely fantastic deal.
AVAILABLE HERE:
DESCRIPTION:
Dirty little secrets.
Talia indulges her sexual pleasures, turning her life into a twisted mess. Sleeping with Alex is dangerous and reckless, and she craves that excitement. Loving Will is comforting and safe, and she needs that stability. Why can’t she get everything she wants from one man?
All the wrong reasons.
Alex has everything he wants. He loves the power that comes with his job, and fooling around with his boss provides the illicit kink he needs. He’s in charge and trusts no one.
When Alex’s case forces them back together, Talia discovers she still craves both her former lovers. Can only one love her enough to satisfy her twisted desires and provide the stability she needs?
Love takes an unexpected twist.
Will loves Talia, and he’s willing to give up everything to be with her. Their future hinges on her answer to one simple question. But when he leaves his life behind to pursue her, he’s confronted with choices he didn’t expect.
No more secrets. No more lies. Old love? New love? Or do they have a third option?
September 28, 2013
What Does a Writing Coach Do?
THIS POST IS FOR WRITERS:
Every writing coach is the same, and each one is different. Wait… huh? Yep, all writing coaches seek to dig deep into a writer’s needs, to help them reach the point where they’re producing professional-grade material that’s worthy of a broad reading audience. However, each coach may have a unique mix of specialties and focus.
And so, as an author (or one who aspires to be an author), you should always analyze what your coach/editor has to offer, engage in a candid discussion BEFORE committing money, and perhaps get a sample analysis/edit of your writing. If a coach/editor balks at providing one, run. Run fast.
I’ve seen writing coaches advertise that they focus on content: plot, characterization, setting, etc, but that they don’t spend too much time on the “technical” aspects of writing, such as grammnar, strength of prose, structure, and so on. To me, that’s like saying to the new marine recruits at boot camp, “Okay, this is a gun. You use it to kill the enemy. Let’s move on.” …and then not showing them how the gun functions, how to break it down and clean it to keep it in good working order, and how to reassemble it.
My opinion: There are a million decent storytellers out there, but there are precious few “writers.”
Thus, my approach to coaching is to say that it makes no sense to try to separate the trees from the forest. Of course content is important, but if you can’t write professionally, yours will be just another amateur book. (I know… I’m such a hardass!)
Seriously, though, my approach has always been that if I can’t help you become the best writer/author you can be, then there’s really no sense in us working together. It’s not all about the money. If I can’t stand up and shout to the world, when you’re done and your book is available, “Hey, everyone, go buy this book, because it’s awesome!” …then we (meaning you and I together) haven’t done our job.
However, unlike as in the image above, you’re not a kid. You’re a professional (or soon will be), and you deserve the appropriate respect and consideration.
Want a touchy-feely-please-tell-me-how-wonderful-I-am support system? Yeah… I’m not your guy. Want someone who will tell it like it is, and work tirelessly to address every issue that affects your career? Then maybe I’m your guy. Don’t get me wrong: I try to keep it as upbeat and positive as I can, because I think that’s important, but not if it ever interferes with the end goal. Hey, I know we creative types can be a bit… er… touchy. *smiling* But sometimes, a little tough love is the best kind.
So what is my focus as a writing coach?
CONTENT: Yes, of course I address the essential elements of plot, characterization, setting, a proper climax, etc. However – and this often surprises people – it may not be the first thing we address. Let’s face it: if readers can’t find the forest through the trees, because the trees themselves (your prose) are impossible to navigate, then the forest (your story) becomes irrelevant. Thus, we may need to address at least some of that before we get too far into content.
GRAMMAR: Look, professionals know the rules, so if you’re going to be a pro, we need to address even this mundane stuff. Don’t break into a cold sweat about this. The truth is that if you have a good teacher, one who’s focused on your specific needs, you’ll learn it more easily than you think.
ESSENTIAL STRUCTURE: It’s not just which words you use to tell your story, but how you choose to place those words that will determine how well readers respond. Use structure to ramp-up the tension. It’s often critical to choose just that right place to break a sentence, or a paragraph, or a chapter. I’ve been told by readers that this is a particular strength of mine, and I’d like it to be a strength of yours by the time we’re done.
STYLE: This will be uniquely yours, as it is with every writer, and a Writing Coach’s job is to teach you how to enhance your writing while remaining true to who you are. We all grow, and learn, and progress… but we remain who we are. That’s important, yet you must be ready to grow as a writer, willing to say on occasion, “Well, that’s not the me I want to be. I want to be this me.”
PRIMARY COMMANDMENTS OF EFFECTIVE WRITING: The first two of these you’ve no doubt heard countless times before; the third, maybe not (since it is, I believe, a Lane Diamond construct): 1) Show, Don’t Tell; 2) Make Every Word Count; 3) Keep It Strong and Direct. What do each of those things really mean? Well, we’ll certainly talk about that if we work together.
CONVERT YOUR BAD HABITS INTO GOOD HABITS: All writers bring some mix of bad habits to their work. Those can vary greatly from one writer to the next, yet certain bad habits are more universal than others. Here are just some of those: 1) SOBs (State-of-being Verbs); 2) Passive Voice; 3) Infinite Verb Phrases (An Act without an Actor); 4) Wordiness; 5) Excessive Proper Nouns; 6) Awkward Dialogue Tags; 7) I-Bombs. There’s more, of course, and we’ll tackle each issue as we encounter it.
So what is your next step?
If you think you’ll benefit from working with a coach, and you think, based on what you just read, that I may be able to help you, send me an email at Lane@LaneDiamond.com. Please put “Writing Coach Needed” in the Subject line.
I’ll arrange to to have a one-on-one talk with you (no charge), and I’ll look at your work to give you an idea of where our focus would need to be (no charge), and we’ll talk about the ultimate cost, of course, should we decide to move forward. I’ll be selective, and I typically only work with one student at a time, but even if I can’t help you right this minute, I may be able to get you on the calendar in the near term.
Here’s to your writing dreams becoming a reality!
What does a Writing Coach do?
THIS POST IS FOR WRITERS:
Every Writing Coach is the same, and each one is different. Wait… huh? Yep, all Writing Coaches seek to dig deep into a writer’s needs, to help them reach the point where they’re producing professional-grade material that’s worthy of a broad reading audience. However, each coach may have a unique mix of specialties and focus.
And so, as an author (or one who aspires to be an author), you should always analyze what your coach/editor has to offer, engage in a candid discussion BEFORE committing money, and perhaps get a sample analysis/edit of your writing. If a coach/editor balks at providing one, run. Run fast.
I’ve seen Writing Coaches advertise that they focus on content: plot, characterization, setting, etc, but that they don’t spend too much time on the “technical” aspects of writing, such as grammnar, strength of prose, structure, and so on. To me, that’s like saying to the new marine recruits at boot camp, “Okay, this is a gun. You use it to kill the enemy. Let’s move on.” …and then not showing them how the gun functions, how to break it down and clean it to keep it in good working order, and how to reassemble it.
My opinion: There are a million decent storytellers out there, but there are precious few “writers.”
Thus, my approach to coaching is to say that it makes no sense to try to separate the trees from the forest. Of course content is important, but if you can’t write professionally, yours will be just another amateur book. (I know… I’m such a hardass!)
Seriously, though, my approach has always been that if I can’t help you become the best writer/author you can be, then there’s really no sense in us working together. It’s not all about the money. If I can’t stand up and shout to the world, when you’re done and your book is available, “Hey, everyone, go buy this book, because it’s awesome!” …then we (meaning you and I together) haven’t done our job.
However, unlike as in the image above, you’re not a kid. You’re a professional (or soon will be), and you deserve the appropriate respect and consideration.
Want a touchy-feely-please-tell-me-how-wonderful-I-am support system? Yeah… I’m not your guy. Want someone who will tell it like it is, and work tirelessly to address every issue that affects your career? Then maybe I’m your guy. Don’t get me wrong: I try to keep it as upbeat and positive as I can, because I think that’s important, but not if it ever interferes with the end goal. Hey, I know we creative types can be a bit… er… touchy. *smiling* But sometimes, a little tough love is the best kind.
So what is my focus as a Writing Coach?
CONTENT: Yes, of course I address the essential elements of plot, characterization, setting, a proper climax, etc. However – and this often surprises people – it may not be the first thing we address. Let’s face it: if readers can’t find the forest through the trees, because the trees themselves (your prose) are impossible to navigate, then the forest (your story) becomes irrelevant. Thus, we may need to address at least some of that before we get too far into content.
GRAMMAR: Look, professionals know the rules, so if you’re going to be a pro, we need to address even this mundane stuff. Don’t break into a cold sweat about this. The truth is that if you have a good teacher, one who’s focused on your specific needs, you’ll learn it more easily than you think.
ESSENTIAL STRUCTURE: It’s not just which words you use to tell your story, but how you choose to place those words that will determine how well readers respond. Use structure to ramp-up the tension. It’s often critical to choose just that right place to break a sentence, or a paragraph, or a chapter. I’ve been told by readers that this is a particular strength of mine, and I’d like it to be a strength of yours by the time we’re done.
STYLE: This will be uniquely yours, as it is with every writer, and a Writing Coach’s job is to teach you how to enhance your writing while remaining true to who you are. We all grow, and learn, and progress… but we remain who we are. That’s important, yet you must be ready to grow as a writer, willing to say on occasion, “Well, that’s not the me I want to be. I want to be this me.”
PRIMARY COMMANDMENTS OF EFFECTIVE WRITING: The first two of these you’ve no doubt heard countless times before; the third, maybe not (since it is, I believe, a Lane Diamond construct): 1) Show, Don’t Tell; 2) Make Every Word Count; 3) Keep It Strong and Direct. What do each of those things really mean? Well, we’ll certainly talk about that if we work together.
CONVERT YOUR BAD HABITS INTO GOOD HABITS: All writers bring some mix of bad habits to their work. Those can vary greatly from one writer to the next, yet certain bad habits are more universal than others. Here are just some of those: 1) SOBs (State-of-being Verbs); 2) Passive Voice; 3) Infinite Verb Phrases (An Act without an Actor); 4) Wordiness; 5) Excessive Proper Nouns; 6) Awkward Dialogue Tags; 7) I-Bombs. There’s more, of course, and we’ll tackle each issue as we encounter it.
So what is your next step?
If you think you’ll benefit from working with a coach, and you think, based on what you just read, that I may be able to help you, send me an email at Lane@LaneDiamond.com. Please put “Writing Coach Needed” in the Subject line.
I’ll arrange to to have a one-on-one talk with you (no charge), and I’ll look at your work to give you an idea of where our focus would need to be (no charge), and we’ll talk about the ultimate cost, of course, should we decide to move forward. I’ll be selective, and I typically only work with one student at a time, but even if I can’t help you right this minute, I may be able to get you on the calendar in the near term.
Here’s to your writing dreams becoming a reality!
~~~~~~~~~~
September 19, 2013
eBooks vs. Print Books – The Continuing Debate
THIS POST IS FOR WRITERS and READERS:
The debate over whether eBooks will eventually dominate the market, relegating print books to a niche market serving primarily hardcore bibliophiles, and perhaps parents to read with their kids, is settled in my mind. I no longer believe it’s a question of if it will happen, merely when.
The “Star-Trekification” of America, and the world, is well underway. There’s no turning back from technology; it pushes or pulls us, depending on our stance.
However, the full industry transition is by no means complete, as the infographic below shows. This was produced by Greg Vang of Coupon Audit, and it contains some interesting snippets of data. Enjoy.
This Infographic is produced by Coupon Audit and Lane Diamond.
Copy/Paste the coding below if you’d like to share this infographic.
This Infographic is produced by Coupon Audit and Lane Diamond.
~~~~~~~~~~
September 14, 2013
Writing Coach for Hire: Lane Diamond
THIS POST IS FOR WRITERS:
Are you looking for a Writing Coach? Do you need someone to provide highly-customized, one-on-one training? Do you need help with plot development, creating great characters, ramping up the power and efficacy of your prose, where to find resources to help you advance your writing career, formatting and uploading files as a self-published author, building a social media presence? All of the above?
I can help. To learn more, please visit this page: http://lanediamond.com/writing-coach/
~~~~~~~~~~
August 29, 2013
Some Big News
THIS POST IS FOR READERS:
First of all, you can get (just through Friday, August 30th) the eBook of Forgive Me, Alex
(English version) at Amazon for JUST $0.99. Grab it quick!
Now for the big news: my work is coming available in Spanish language editions, translated by the talented Ana Popielnicki of Evolved Publishing. Forgive Me, Alex and Paradox – A Short Story are both available now in Spanish Editions at Amazon and at Smashwords. They will soon be available at Apple iTunes, Barnes and Noble, Kobo, Sony, and most major eBook retailers. So if you’re a Spanish speaker/reader, please enjoy! Or if you have friends who would enjoy these Spanish editions, please spread the word.
Available now at Amazon
and Smashwords.
Evolved Publishing nos lleva en un recorrido íntimo dentro de la mente de un asesino, y del hombre decidido a acabar con ese asesino, en esta historia de justicia y venganza, del mal y la redención, de terror y valentía, de amor y pérdida.
Dos personalidades, dos estilos, dos objetivos, dos métodos – una sola oscuridad.
Available now at Amazon
and Smashwords.
Evolved Publishing nos presenta un corto y rápido viaje al espacio con “Paradoja” de Lane Diamond. Con menos de 2,700 palabras, es la distracción breve perfecta para escapar del trajín diario.
Ted se ofreció de voluntario para la misión porque, después de todo, era no más que un viaje de rutina a Marte. ¿Qué podía salir mal?
En lo más profundo, lo más oscuro del espacio, es preciso llenar el vacío, la soledad, la nada. ¿Tenemos los seres humanos la “capacidad psicológica” para embarcarnos en largos viajes espaciales? Si no, es posible que terminemos como Ted.
~~~~~~~~~~
August 26, 2013
I Give My Highest Recommendation To “Hannah’s Voice”
THIS POST IS FOR READERS:
I’ll start with this quick note to followers of my blog: Since I write, when I actually manage to find the time, for both readers and writers, I’ll start each post as I do above, with an indication of who its intended audience is. And now… on to the post.
~~~~~
Like all authors, I started out, and was driven to the craft, as a reader. I so loved books that I wanted to be one of those who provided them to others. Well, I now do so in two ways: 1) I’m an author, and; 2) I’m a publisher (Evolved Publishing). I shall speak now as the second.
Occasionally, I’ve been fortunate to “discover” some great works by some truly talented authors. Well, in fairness, the authors discovered Evolved Publishing (EP), and I was simply lucky enough to have been given the opportunity to bring them onto the team. I’ll probably be blogging about some of those specific authors, and their works, in coming weeks. For now, I want to speak about one particular book, because you can now get it while it’s on sale.
Hannah’s Voice by Robb Grindstaff
[This portion is re-posted from the EP blog.]
It’s no wonder Mr. Grindstaff’s book has garnered an average rating at Amazon of 4.9 Stars (30 5-star, 4 4-star, and nothing lower). Simply put, Hannah’s Voice is one of those stories, featuring an extraordinary character in Hannah Cross, that will likely remain with you long after you’ve finished it. Indeed, like me, you may be itching to read it again not long after completing it the first time.
When Robb first submitted his manuscript to us, I was buried under so much work that I was a bit burned out, and the submissions were a big part of what were wearing me down. I’d recently rejected about 49 out of 50 submissions, and I was becoming disheartened. I waded into Hannah’s Voice frustrated and jaded, thinking, ‘Let’s see how long it takes me to reject this one.’ Imagine my delight as I read page after page without even realizing that I was already 25 pages in before thinking, ‘Holy cats, this is fantastic!’
And I’d barely scratched the surface, for Hannah’s Voice did what every great book does: it started out strong, and got better with each page… right up to the end. When I finished it, my first thought when seeking to describe it was, ‘You know what? This reminds me quite a bit of A Prayer for Owen Meany.’ That great book by John Irving has long been one of my favorites, and Hannah’s Voice stands right alongside it. The stories share certain thematic qualities, and they both feature characters that are uniquely intriguing (and of course, solid writing).
Having not yet lost my mind, I moved quickly to bring Robb onto the Evolved Publishing team, and to get Hannah’s Voice into our catalog. And I’m so happy to share with readers this great book, about which I am (obviously) unabashedly enthusiastic. I simply can’t recommend it strongly enough. You will love it; of that, I have no doubt.
Hannah’s Voice is on sale for 3 days only!
You can pick up your eBook copy of this amazing story for just $0.99 (SAVE $3.00), but only through Wednesday, August 28th. If ever you were going to try a new author, this is the time.
Sale price available only at Amazon
and at Barnes and Noble.
~~~~~
August 22, 2013
Fans of “Silence of the Lambs” are sure to love “Forgive Me, Alex.”
August 20, 2013
Even Minor Characters Are Critical
As an author, you shouldn’t pass up too many opportunities to heighten the reading experience for your loyal fans – to tug at their emotions. If you really want to keep them glued to the page, give them something to sink their hearts and souls into as often as possible.
One of the places where many writers fail to achieve this is in their portrayal of minor characters. Indeed, I would almost argue that the word “minor” is inappropriate, as every single character should be critical to the advancement of the story, or they should not be at all.
When I wrote my psychological thriller, Forgive Me, Alex, I needed to incorporate some murder victims. After all, one cannot have a serial killer without some serial killees. (Hey, I think I just made up a word!) In truth, these characters’ sole raison d’etre was to advance the character of the serial killer, and the ultimate conflict between protagonist and antagonist. Yet why would readers even care about these “minor” characters, or invest themselves in the gruesome acts of a serial killer, if I gave them no reason to do so?
They wouldn’t, of course.
So I needed to provide enough details about even these “minor” characters to elicit some empathy on the part of readers. It was important to keep it short and sweet, yet to provide some reason for readers even to care about the character.
The more readers care, the greater their emotional experience while glued to your book. And so, when I needed to set up a character for no other reason than to kill her off, to make her a victim of my nasty antagonist, here’s how I did it:
~~~~~
The gentle breeze and mild temperature made a walk in the park the perfect distraction for Lindsey Merkham, but she chose the cemetery in lieu of the park. She did so because the cemetery sat conveniently at the corner of North Main Street and Cary Road, across the street from her apartment.
It contained several crisscrossing paths perfect for continuous power walking, her preferred method of exercise and, judging by her slender build, an effective one. She normally exercised right after work and before dinner, when she wasn’t too weighed-down or too lazy for her walks.
On this night, she was out late.
Lindsey stood five-feet-six-inches tall, with short, bright red-orange hair, and a figure that more resembled a young boy than an adult woman. The unfortunate birthmark on her right cheek, and the ski jump at the end of her nose, further heightened her insecurities.
Men rarely lined up at her doorstep.
Thus, she chose to take a late walk through the cemetery, a perfectly reasonable way to kill another uneventful Friday night. She’d snuggle later with her loyal kitty, Puffer, and read a good book.
~~~~~
Did I draw on some clichés there? Sure. With little time in which to build reader empathy, I needed to use proven, time-tested methods. While I typically recommend against dropping clichés into a manuscript, this is one of those rare instances where it might actually be useful.
The key is to give readers a reason to care in as short a segment as possible (after all, this is a “minor” character).
As the scene progresses, and the serial killer attacks, I insert a line here, a thought there, from Lindsey, further building on what I established in those six short paragraphs. The intensity builds, right along with our empathy/sympathy for Lindsey, right up until that penultimate moment when she must, alas, meet her demise. I give readers a little something to sink their teeth into – a reason to care for, to feel sorry for, even to shed a tear for, this “minor” character.
Thus, readers engage in a scene that might otherwise just seem gratuitously graphic. Real life situations require real life characters. If you fail to bring even a “minor” victim into the light of reality, you give readers no reason to care, no reason to invest their selves emotionally in a scene that’s important to the overall story.
RECOMMENDATION
Create a character list that includes every single character in your book. I use Microsoft Excel because it’s easily sorted (I do so alphabetically by character name). You want some key details listed for each character.
Column A: Character Name – Be sure not to create any two names that are close in alliteration. Every name should sound unique, so as to prevent reader confusion. This is particularly critical with “minor” characters. So don’t have a Harry, Larry, and Barry, for example. The potential for readers to get lost is too great. Name them Harry, Ben, and Steve, and readers will have an easier time keeping them separate.
Column B: Character Role – List the character’s primary role in the story. Using my own book as an example, I used Protagonist, Antagonist, Protagonist’s Girlfriend in 1978, FBI Agent in charge of investigation, Algonquin Chief of Police, etc.
Column C: Character Relationships – If your characters interact in a key way throughout your story, list those relationships here. As an example, for my protagonist Tony Hooper, I listed: Alex Hooper’s big brother; Diana Gregario’s boyfriend; Frank Willow’s surrogate grandson; and a few more.
Column D: Character Speech Mannerisms – If your characters have a unique voice – and I hope they do – list here some of the things that make their voices unique. Whenever possible, draw clear distinctions between characters to help readers subconsciously, and automatically, identify a character/narrator. As an example, I listed that Tony Hooper, the protagonist, always said “perhaps,” and never “maybe.” I listed that Mitchell Norton, the antagonist, always said “maybe,” and never “perhaps.” It’s subtle, but with about ten other key differences in voice, I was able to provide readers a series of instantaneous “triggers” to identify these characters. I also gave them certain favorite phrases. For example, Mitchell Norton likes to throw around, “Fuck a rubber duck!” Obviously, I did not allow any other character to use that phrase; it was all Mitchell’s.
Column E: Misc. Character Identifiers – Place here whatever strikes your fancy. It can be anything from their physical descriptions to their socio-political views, from the clothes they wear to the foods they eat, from their favorite TV show to the music they prefer to listen to, etc. The keys are to keep them: A) Unique; B) Relevant; C) Something you can use to heighten readers’ emotional involvement with that character, when appropriate.
AND OF COURSE….
Be sure to provide your beta reader(s) and editor(s) this list, when it’s their turn to review your work.
~~~~~
