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NEW Book Marketing Services from The Book Professor!

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You got your story out of your head and onto paper. Your book is finally finished. But how will people know that your book is available? How will they find YOUR book amongst the masses? Writing your book is the first hurdle; getting others to notice it is the next!

Well, look no further. We are excited to announce our NEW partnership with the prestigious Smith Publicity to offer Book Marketing Services for all of our clients!

Get Attention for Your Book and Impact Sales

Learn one-on-one from book industry experts—on your schedule, and tailored to your genre and level of expertise—specific and actionable techniques to drive awareness to your book and author platform. Marketing your book can be overwhelming. These services are designed to take away the fear and put in the fun.

How It Works

Social Media Consultation Service Offerings-$325 each

Our packages are completely customized to your skill level and needs. For example, if you’re a social media beginner, one of our experts will work with you to create your platform from scratch and teach you the basic rules of engagement. If you are already well-versed on a social media platform, but would like to execute better, our advanced experts will custom-craft a plan to work with you to optimize your existing site, incorporate your book into your postings (without offending followers), decipher analytics, and/or understand potential advertising options.

Before your call, you complete an author questionnaire that gives your consultant time to research and tailor ideas specific to your book, genre, and goals. You will also receive educational handouts or “homework” before the call(s) to help ensure your session(s) are as jam-packed as possible. At the end of the service, you receive handouts to help you continue developing ideas and techniques.

If you or someone you know is interested in marketing their book, reach out to us and we will help make it happen!

 

 

 

 


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writing tips

Nonfiction Writer Tool: Setting

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The time and place of the action in a literary work is called the SETTING.

In literature, the setting consists of where the story takes place, as well as the time period. It is  critical to establish a setting in your story and its scenes, so that the reader can visualize it. Remember when we talked about grounding your reader and answering the journalistic questions who, what, when, where, why, and how? The when and the where are questions of time and place – and they comprise the setting. If your readers don’t know when or where the story or scene is happening, they will be lost.

Setting is, essentially, the context in which a story occurs. You know how a picture has a foreground and a background? So does a story. The main characters and their actions form the foreground. The time and place of the events and the social environment that surround these events form the background, or the setting. People exist in a particular time and place. Where we live may contribute not only to our personality, but also to our values, attitudes, and even our problems. In short, the setting can have great impact on the people in your story and what they do. 

Setting is often a critical element in a story. Can you imagine The Grapes of Wrath set anywhere but in the Dust Bowl era of California? The Scarlet Letter set anywhere but Puritan New England? The Help set anywhere but the south in the 1960s? The Hunger Games set anywhere but a dystopian future? 

Setting: Developing Time and Place

Time and place = where it happened and when. These two elements are the bedrock of your story and must be developed in order to establish and maintain credibility. It wouldn’t make any sense to write about current-day cosmetic procedures in the 1800’s or sending urgent messages by telegram in the 21st century. 

Eudora Welty once said, “Every story would be another story, and unrecognizable, if it took up its characters and plot and happened somewhere else.”

Four Types of Time

There are actually four kinds of time, and each one has a distinct role. They are clock time, calendar time, seasonal time and historical time. 

Clock time can be used to provide suspense or create certain moods or feelings. Think of the pressure of a looming deadline or the girl who sits by the phone, waiting for him to call.  

Calendar time grounds us in the day, month, year, and even a particular day of the week or time of the month. Calendar time can provide an understanding of what takes place in your writing. For example, if you’re in accounting and mention April 15th , Americans will know understand the pressures of tax time.  Others associate meaning with Friday the 13th, or July 4. In the UK Boxing Day is significant and in France, Bastille Day. 

Seasonal time, of course, refers to the four seasons, but winter in Minneapolis is a different setting from winter in Key West, Florida. And since they’re in a different hemisphere, January in Sydney, Australia is nothing like January in New York. Most of us have different lifestyles in different seasons, and even if you life in a moderate climate, it is still dark by 6:00 in December and light until after 9:00 in June.  You don’t snow ski in Vail in July, nor do you water ski in January in Missouri.

Historical time probably has the most impact on setting and can establish a psychological or sociological understanding of behaviors and attitudes. “Time” in this sense refers to specific moments in history. People communicate differently depending on the time in which they live. Americans in the 1950s, overall, communicate differently than Americans in the 2000s. Not that they necessarily speak a different language, but these two groups of people have different assumptions about the world and how to communicate based on the era in which they live. Think of the politically correct language that has replaced the pre-civil rights language from years past, and you get the point. Historical time affects the religious, mental, moral, social, and emotional climate of the setting.

Place 

Now about place. Place can include the geographical location, which can range from an entire country to a single room. I used to love to introduce my university students to the classic fiction story “Metamorphosis” by Franz Kafka, which pretty much takes place in one bedroom, where Gregor, the main character literally turns into a bug. It’s one of the most riveting pieces of literature I’ve ever read, and most of it’s contained within those four walls. 

When writing about a specific location, you might include the physical aspects of the environment. What did it look like, sound like, etc. For example, a subway station has its unique sights and sounds, as does a church. 

But there’s more to it than that. We may find significance in the location where the action occurs, but there are also nonphysical characteristics, as well as physical. And the nonphysical environment can vary from geographic location to geographic location within the same time era. Think of cultural influences such as education, social standing, economic class, and religious beliefs. These certainly vary from location to location. Education is different in Harlem in 2017 than it is in Long Island. It’s different in Catholic schools versus public schools within the same city. There are distinct differences in social standing in India today because of their caste system, in the same year, in the same city. 

Writing tip: Setting

A person’s dialogue, statements, and behavior can reveal their place in society, as well as their geographic location.

 So how do you use time and space to write an effective setting? Quite simply, you use words. Setting is created by language. 

Writing your story involves more than just describing the setting. Using psychological cues from the characters, writers can embed time and place in actions and events, at the same time revealing motivation and goals. The details should be carefully chosen to reflect the character’s inner values, thoughts, and feelings. 

Regarding time:

  • In what period of time does the story or scene take place? 
  • Are there any historical events that affect the characters? 
  • How long does it take for the action to occur? 
  • What clues can you as the author give for the passage of time? 
  • Is the passage of time important to the story? 
  • Does the slow or fast passage of time help to understand the character’s actions and thoughts? 

Regarding place: 

  • Where does the action take place?
  • In what planet, country, locale?
  • What does it look like, sound like, feel like? 
  • Is there a dominant impression of the setting? 
  • Is the geographical location important? 

Setting is, essentially, the context in which a scene or story occurs, and includes the time, the place, and the social environment. It is important to establish a setting in your story, so that the reader can visualize and participate in it.

Just a little more food for thought as you write!


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Writer’s Tip: Point of View

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Point of View refers to the perspective from which a story is being told. It answers the question: Who is telling the story?

This is important because who is telling the story has a lot to do with what gets told. Let’s take take a look at the three different points of view and how you might use them in your writing.  They are first person, second person, and third person.

First Person Point of View

This is similar to a toddler’s vocabulary – I, me, mine, me, me, me, me ME!

When you tell a story using the pronouns I or we, you’re using first person point of view. Some think that this is the most intimate perspective and is the friendliest towards the reader. When a story is told in first person, the reader can feel like you’re their friend and that you’re confiding in them.

That’s what we aspire to, isn’t it?

 We certainly strive for intimacy with the reader, but using first person point-of-view can give rise to a couple of problems:

1.  You talk about yourself so much that you sound like a narcissist

2.  You fall prey to telling the reader everything instead of showing them

For example: “ I did this and then I did that, and then I went here, and then I bought that, and now it’s mine, and this was my problem… blah, blah, blah. Whopoint of view wants to hear that?

 Well I don’t and neither do your readers. Your readers want to hear your story, but if you take that approach, you’ll lose them for sure. Your job is to deliver your audience to the purpose of your book, and if they get sick of you halfway through, you’ll never accomplish that. 

 It’s actually simple to fix that. You don’t tell the reader what happened or what you did, you show them! Write your story in scenes where the reader sees what you saw, hears what you heard, smells what you smelled, and then feels what you felt. The reader experiences your emotion and becomes bonded to you through that shared experience.

Second Person Point of View

This POV uses the pronouns you, your, and yours.

The second person point of view addresses the reader and makes direct comments to them. This point of view is rare, but when it’s used, the reader snaps to attention because the writer is speaking directly to them.

Here’s an example: “If you are planning a low-budget wedding, then use paper products at the reception.”

OR

 “If you’re like me and are tired of struggling to make ends meet, then sell everything you haven’t used in the past year and pocket the cash.”

Before you get all excited about speaking directly to your readers and capturing their attention, let me offer a word of caution. Whenever you tell someone what to do, it can sound rather preachy, like you know it all and the reader knows nothing. No one likes to be told what to do, and not many appreciate the “you should” approach.

It’s far easier to influence the reader by showing them what you did. When you tell them what to do, it can cause them to resist you and your message. Respect your readers. Every time they turn the page, they make a choice to either continue with you or to drop off the path. Lead them along the path, and they will follow. Force them and they may jump ship.

Third Person Point of View

The third person point-of-view is a he said/she said narrative, and the associated pronouns are he, she, and they. The story is still being told from the perspective of an outsider looking at the action. This point-of-view is for when the story isn’t about you.

If you’re writing a biography about Abraham Lincoln, you might write something like this:

 “When he was twelve years old, Lincoln was growing into what would eventually become his long, lanky frame.”

In third person, You would use the pronoun “he.” If you wrote the same passage in first person, it wouldn’t make any sense. In first person, it would say “When I was twelve years old, I was growing into what would eventually become my long, lanky frame.”  That wouldn’t make sense if you were writing a biography about Lincoln.

If you’re writing your own story, it doesn’t make any sense to write it in third person. But if you’re telling a story about someone else, then third person is appropriate.

Pick and Stick

The trick is to pick a point of view and stick with it, which is challenging for many new writers. If you’re writing in first person, stick with first person, if you’re writing in second person, stick with second person, etc.

If you shift the point of view, it confuses the reader and dilutes your message, which is a common mistake that new writers make. Learn this technique and you’ll keep your readers engaged!

 

 

 

 

 

 


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Writing Tip: Conflate

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Do you know that word – Conflate? Conflate means to combine or blend things, to fuse them into a single entity.  It’s a helpful nonfiction technique where you merge several events or conversations or relationships and present it as one single event or conversation or relationship. It allows you efficiently to cover a span of time without boring your reader to death with the blow-by-blow details when all they really need are the pertinent points.

Spare Your Readers the Unnecessary Details

Let’s say, for example, that you had umpteen conversations with your spouse about adopting a child over the course of two years. In the first conversation, you might have talked about the possibility of adoption. And you talked about that for a number of months. Then you moved on to where you could adopt a child and had numerous discussions about foreign vs. domestic adoption, older child vs. infant adoption, same race vs. other race adoption. These conversations took another several months. Finally, after two years, you made the decision to pursue a foreign adoption of an older child.

Do you need to drag your readers through all those conversations and decision points?  Maybe and maybe not. It depends upon the purpose of your book. Let’s conflate writing tipssay your book is about helping a foreign-born child assimilate into a family and culture that doesn’t look anything like them, and how to be your child’s advocate to overcome the unique obstacles they will face.

Does the reader really care about the two years you spent discussing adoption, or do they want to get to the purpose? My guess is they want the meat of your message, not your method of arrival.

So how do you handle those two years of discussion? Conflate it! Use Dialog to convey all the pertinent information, and boil it down to a couple of conversations. Here’s how you might approach it:

“I think it’s time we face the truth. We probably aren’t going to give birth our own child, but maybe we’re not supposed to.”

“It’s hard to give that up.”

“I know, honey, but we’re not getting any younger. What if we changed course while we still can? We’re not too old to adopt. I know the process takes awhile, who knows how long? If we want to have a child, I think we ought to consider this. To move in a new direction.”

“I don’t know. Maybe you’re right. It’s practically impossible to find a baby here, so I don’t know if that would be any better.”

“What if we aren’t looking for a baby? There are a lot of children who need a loving home, maybe we should think about rescuing a child, not searching for an infant.”

“One of the women in my support group showed me a picture of the orphans in Haiti. They gathered them  together after those earthquakes, but there aren’t enough adults to take care of them. One little girl – she looked about seven years old – she had the brightest eyes, but her smile, it wasn’t right. Like she knew she had to smile for the picture, but only her mouth moved. She looked really, really sad.”

You can CONFLATE two years of the backstory of how this couple decided on a foreign adoption into a single conversation, and move the action forward.

Tell Your Story Like One of the Great Storytellers

Here’s another example of conflating. Let’s say you are a teacher, and you have had numerous students with a mild form of autism. Your book is about the socialization of the classroom, and over time, you’ve learned how to help these special needs students open up and relate to their classmates. Why not illustrate that through the eyes of ONE child, not four dozen children? Why not show the experience through a single set of eyes, give that child a representative name, and use a single character to demonstrate your teaching methods?

Does this seem dishonest to you? Insincere maybe? Well, if it does, then consider this. All the great teachers were story-tellers. Jesus, Aesop, Buddha, Indian Tribal Chiefs. They taught their people valuable lessons by telling stories. Were the characters in the stories real or did they conflate a number of people or people types into one representative character?

You tell me. Who was the Good Samaritan? Who was the Prodigal Son? Does it matter? Did you learn anything about human nature through Aesop’s fables, even though the characters were animals? Are the lessons any less valuable because you can’t attach them to a specific person?

When you conflate, you tighten your writing and move your story forward. It takes practice, but your story is worth it!

 


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Featured Author: David J.P. Fisher author, become an author, write a book, feature author, self publishing, book coach, nonfiction, non fiction, nonfiction writing, nonfiction book coach

Sought-after speaker publishes business book

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Tips to writing good copy

I am so proud of how far my client, David J.P. Fisher, has come! Not only has he published his book Networking in the 21st Century: Why Your Networking Sucks and What to do About it, he has also been able to author various versions of the book tailored specifically for LinkedIn, millennials, and within your company.

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Featured Author - Helen Gennari had her book launch party for her first book, From The Heart of An Abandoned Daughter author, become an author, write a book, feature author, self publishing, book coach, nonfiction, non fiction, nonfiction writing, nonfiction book coach, helen gennari, book launch, book launch party, book marketing

Helen Gennari publishes inspirational survival story

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Helen Gennari is this month's Featured Author that recently celebrated with her book launch party for From The Heart of an Abandoned Daughter

Gennari’s autobiography launch party benefitted shelter for battered women

At the end of October my sweet friend and client, Helen Gennari, had a fabulous book launch party for her first book, From the Heart of an Abandoned Daughter: My Personal Journey Through Family Violence and Beyond, which benefitted Woman’s Place in St. Louis, a shelter for battered women. It has been wonderful to see her share her story about growing up with and surviving family violence and her desire to help others that struggle with similar situations.

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