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Nonfiction Writing Technique: Show Them the Real You

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Nonfiction writing requires that we be authentic. Webster’s dictionary defines authentic as “not false or imitation” and “true to one’s own personality, spirit, or character.” Webster makes it sound so simple. But if you’re like me, it took a long time to become the person I was created to be, to truly embrace my authentic self.

As a child, did you feel pressure to become the person an authority figure thought you should be? Did you feel accepted when you behaved and acted in ways that they approved? As an adult, did you realize that the person you present to the world wasn’t really you at all, but because of an underlying need to be accepted by others, you kept up the facade anyway? For a long time, that’s what I did. Living an authentic life was something I had to learn.

Your Audience Deserves the Real You

As a nonfiction book coach, I have the opportunity to work with people from all over the world. Whether their nonfiction writing is about a new method of cooking or how they overcame a painful childhood trauma, I always tell them the same thing: your audience deserves to know the real you.

Your personal story is one of the most important parts of your book. Some writers, particularly if they’re writing a business book, want to leave out this part and simply share their knowledge or instruct the audience. That would be a mistake.

Before you can tell your readers anything, you must earn the right to be heard. Nobody likes to be told what to do, especially if they don’t know anything about you. What makes you an authority on this subject? Why should they listen to you? Those are the questions you answer when you share your own story.

And your readers don’t want the whitewashed version of you. Share your high points and the deep canyons, the wins and the demoralizing losses, the beautiful and the ugly. You must be real and transparent. When you’re open and honest, you give the reader permission to be open and honest, too.

I’m not saying it’s easy. It takes a lot of courage to be this vulnerable. We all want to put our best foot forward to make a good impression. We like to hide the messes we’ve made, but sometimes the mess has become your message.

That’s what’s so effective about my Executive Group Coaching classes. You get to share your failures and foibles in a safe place, test out your message with others in the class, and gain strength from doing so—before you bare your skin to the world.

What about you? Are you ready to show people who you really are?  If you or someone you know wants to learn to how to write a nonfiction book, please contact us today!

 


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Nonfiction Writing Technique: 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 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 the 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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Nonfiction Writing Technique: Psychological Distance

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There’s a concept in writing called psychological distance, and good writers know how to use it.  For those of you who studied psychology, you may remember the construal level theory in social psychology, which classifies your thoughts as either abstract or concrete.

It’s a bit of a slippery concept and not that easy to define. It’s like trying to describe the word “intimacy.” Hard to pin down, but you know it when you feel it, don’t you?  Or better yet, you know it when you DON’T feel it.

If something feels very close to you, you tend to think about it in concrete terms. If something feels far, you usually think about it in a more abstract way. And that’s what we’re talking about here – whether something or someone in your writing feels close or far away.

Your readers must feel close enough to trust you. So how do you bring your readers close, how do you decrease the psychological distance between you and them? You simply make sure that your readers see the person or object in concrete terms.

Take strawberries, for example. If you had a bowl of fresh strawberries in front of you, you’d see their color, size and texture. You’d notice their ruby red flesh psychological distanceimprinted with tiny golden seeds, their bright green crown, and perhaps a stem. You might smell the sweetness of the ripe fruit and start salivating at the thought of eating one.

These are all concrete observations.

On the other hand, if you thought about strawberries in an abstract manner, you might picture a tiny part of the produce section of a massive grocery store, stacked with a few rows of something red in cardboard containers.   

To decrease psychological distance, you pull your reader in, you zoom in on your scene like a photographer would when staging a close-up shot.

Here are some tools you can use to decrease psychological distance:

  • Sensory language – use more than one sense in describing a scene
  • Use common language that doesn’t call attention to itself, mainly short, everyday words, and uncomplicated sentences
  • Showing the viewpoint character’s feelings (SHOW don’t tell)
  • Show the character react in a less-than-perfect, human way
    (eg s/he can get annoyed, feel cranky, act selfish… s/he’s not always a Hero, any more than real heroes are)
  • Use quick paced dialog. Dialog makes you feel part of the conversation and lets you get close enough to participate in the action

 

When you pull the reader in close and let them see the details, you have closed that psychological distance and will hold the reader’s rapt attention. In turn, they will want to keep reading!

 


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If You Want to Write a Good Book-Make Time To Read

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Writing is so much more than putting words on paper or typing them onto a screen. If you want to be a truly great writer, you’ll need to work at improving your craft through practice, research, and, of course, reading. You might think an online writing coach would only assign writing exercises as homework, but reading a book could just as easily be a worthwhile assignment.

Online writing coach recommends reading to improve writing

Make time to read

We are all busy and finding time to write can be difficult enough, but that doesn’t mean you should let your reading pile stack up. When you are feeling stressed and crunched for time, reading can actually be the key to re-centering yourself. Studies show that just thirty minutes of dedicated reading time will do more to reduce stress levels than more traditional methods such as going for a walk or having a calming cup of tea. Any online writing coach will tell you that writing while stressed rarely results in quality content. If your writing is starting to feel forced or you find yourself with a bad case of writer’s block, pick up a book and unwind a little.
Set aside 30 minutes of each day to read a good book. It can be during your lunch break, right before bed, or even first thing in the morning. It may seem impossible to squeeze 30 minutes of reading into your busy schedule, but if you want to improve as a writer, you need to make the time to read.

Active readers have more diverse styles and vocabularies

Who needs a thesaurus when you have a good book? When you read a book you are exposed to new words that you either comprehend through context or will perhaps be compelled to investigate further. Whether you make the conscious choice to absorb the words, chances are you will eventually incorporate them into your speech or writing.

Great writers read to see what works and what doesn’t work. A good online writing coach will stress the importance of exposing yourself to different voices and a variety of writing styles. Avid readers are constantly exposed to fresh voices and interesting subject matter that can open their minds up to new ideas which can be implemented in their own writing. A great book can influence your writing style, inspire you to try new things, and kick start your desire to write. If you do not continue to read new material, you will have a hard time improving your own writing skills.

Read outside of your genre

While it’s useful to read books within your own genre to get a sense of what other writers are doing, you should also diversify your reading list. Nonfiction writers do not have to stick to nonfiction books! In fact, reading novels can help cultivate creativity and even stir up memories of personal experiences. It’s very important to read books both for work and for pleasure. In fact, this Stanford study shows that a different area of the brain is activated when you read for leisure than when you read as if studying for an exam.

If you hire me as your online writing coach, I can guarantee you that I will recommend adding designated reading time into your daily schedule. Good readers make great writers, and I’m in the business of helping people become excellent writers!


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Create a crystallized message 2

Nonfiction Writing Technique: Crystallize

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writing-bookWhen writing nonfiction, there are three steps that come before you actually sit down to write that will strengthen and clarify your message.

1. What’s the Purpose?

An article is not the same as a blog, is not the same as a web page. Each end product has its own purpose, and before you begin writing, you need to know the purpose of the piece.

You probably have a general idea of what you want to write, and I challenge you to distill it down to a Purpose Statement before you start. Your Purpose Statement should say, “The purpose of this (blog/article/book/web copy/marketing message) is to ___________________.

Complete that sentence. Bear in mind that it’s one sentence, not a paragraph.

Example: The purpose of this article is to inspire others to create a larger legacy through their writing.

2. Who’s the Audience?

If you don’t know your audience, it’s like playing spin-the-bottle in the dark. Don’t you want to know who you’re going kiss before you pucker up? Likewise, you need to envision your audience. What you write isn’t for everyone; it’s for a specific slice of readers.

Picture your perfect reader. What are they looking for? What’s their age, demographic, marital status? Are they male or female, conservative or liberal? How do they identify themselves? Complete this sentence: The audience for this piece is ___________________.

Example: The audience for this article is entrepreneurs who want to create a larger legacy.

3. Why the Message?

Writers not only want to be read, they want to be remembered. If your content goes in their mind but doesn’t elicit a response, then you’ve wasted your time. It will be forgotten as quickly as it was read.

You must create some type of change in the reader. How will they be different as a result of what you wrote? What change, as slight as it may be, do you want to invoke in the reader? Do you want to move them to action? Give them hope? Make them smile? Consider the end result and write down how you want your readers to be affected.

Example: This article will inspire entrepreneurs to first crystallize and then expand their message.

Now pull the three components together into a single statement.

Example: The purpose of this article is to inspire entrepreneurs to first crystallize and then expand their message, so they can create a larger legacy.

Ready, set, write.

Now that you know your audience, you can write from their perspective, not yours. What do they want to know? What information are they seeking? What new message or perspective can you deliver? Compelling content always meets the need, and your job is to deliver what the audience is seeking.

To crystallize your message, include specific content that achieves the stated purpose, nothing else. Readers absorb focused content, and everything you write should drive toward that message, that audience, that purpose, and that result.

Go BIGGER!

If you want a bigger audience, you need a bigger platform. With a little tweaking, you can extend your message and deliver it through multiple venues, like writing a book or delivering workshops, speaking engagements, and online courses. This isn’t simply an opportunity for you; it’s a service to others. When you share what you’ve learned, what you’ve developed, and what you’ve overcome, you can change the life or direction of someone else. Someone is looking for what’s hidden inside you. Whether your message is about your business, lessons you’ve learned, or about how to connect on a soul-level with your dog, if you have a passionate solution, someone else needs it!

Your legacy is about the lives you touch and the change you create. When you share what you know, what you’ve learned, and what you’ve overcome, you can make a lasting impact that extends far beyond yourself.

What about you? Are you ready to take the next step and learn how to crystallize your message in your book? Contact us today and we can help you take the next step!


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Nonfiction Writing Technique: Show Me The Details

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I happen to reside in what is known as the “Show Me” state. When I first heard that slogan, I didn’t get it. Show me what? After a little research, I later found out the slogan was derived from Willard Duncan Vandiver, a Missouri Congressman, during a speech he gave in 1899. He said, “I come from a state that raises corn and cotton and cockleburs and Democrats, and frothy eloquence neither convinces nor satisfies me. I am from Missouri. You have got to show me” (Source).

In other words, Missourians are not gullible. Don’t just tell us. If you want us to believe, you need to show us the truth through facts and evidence.

It’s funny. My state’s slogan reminds me of one of the most basic directives in writing: Show, don’t tell! I’m certain you’ve heard that phrase before, so today I want to dive in and explore how to do that by using descriptive details in your writing.

Here’s a quote that I really love, because it sums up the difference between boring writing and really good writing:

sensory languageA couple of years ago, we wrote an article about the importance of sensory language. Sensory language is just what it sounds like – it’s the language of our five senses. When you use sensory language, you describe what you saw, felt, heard, tasted, and smelled.  You don’t write, “I was sad when my girlfriend left me.” You write, “When she told me she was leaving, she smiled as she whispered the words, ‘I’m leaving you.’ My throat clamped tight. I blinked hard, so I wouldn’t cry, but one hot tear fell and salted my upper lip.”

In this passage, you find four of the five senses: She told me–hearing; throat clamped tight and hot tear–feeling; she smiled–sight; she whispered–hearing; salted my upper lip–taste. The only sense not included is the sense of smell.

Sensory language punches up your writing and engages the reader. It breaks up the monotony and helps the reader to visualize the scene so they can experience it.

Sensory language IS the details.

When you add detail to your writing, you ARE like a painter.

Words are your paint, and you can use all the colors!

Writing in detail takes time, but not as much as you might think. There are a lot of resources for learning how to do this, but my favorite is the book Bird by Bird  by Anne Lamott. This is a classic in the world of writers and well worth having on your bookshelf. I want to share a couple of snippets from the book that have helped me in my own writing.

Anne Lamott encourages writers to look at their world in small sections, the size of a one-inch picture frame. “All I have to do is write down as much as I can see through a one-inch picture frame, she says. That sounds easy enough, doesn’t it?

And when you’re frenzied about how much you need to write, step back and look through that one-inch picture frame.

“All we’re going to do for now is to write a description of the river at sunrise, or the young child swimming in the pool at the club, or the first time the man sees the woman he will marry.”

That’s it. Construct the details of your book by looking through these small windows. And when you look through small windows, you see a lot more minutiae, like the curved crack etched in the sidewalk, or the one green pea that rolled under the table, or the rim of grease under his fingernails.

Details make the difference, so show them to your readers!

Ready to get started? Sign up for an online writing class and get your book out!

 

 


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Nonfiction Writing Technique: Pacing

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This summer while you’re working on your book, it’s important to keep techniques like pacing top-of-mind. Never heard of the term? It’s OK! Keep reading to learn how mastering this format will make your readers eager for more and keep your book at the top of their mind!

The term PACING in literature refers to the rate at which your story progresses. Your job as a nonfiction writer is to move the story along without losing your audience. It’s important not to go too fast, and you certainly don’t want to go so slow that you bore them to death. When you understand how to control the pace of your story, you’ve grasped one of the most important skills in writing.  Keep the following in mind when you write, and you’ll be a master at story pacing in no time.

story pacing1. Length controls speed.

Short scenes and chapters, terse sentences, and snappy dialogue all contribute to a feeling of intensity and speed. This is probably the easiest way to control your pacing. As your story nears the tense scenes, make it a point to condense everything. Limit the length of your scenes to 500-800 words, cut your scenes short at important moments, and switch back and forth between points of view.

Fragments, sparse sentences, and short paragraphs quicken the pace. Crisp, punchy verbs, especially those with onomatopoeia (crash, lunge, sweep, scatter, ram, scavenge) also add to a quick pace. Invest in suggestive verbs to enliven descriptions, build action scenes, and milk the suspense.

Harsh consonant sounds such as those in words like claws, crash, kill, quake, and nag can push the reader ahead. Words with unpleasant associations can also ratchet up the speed: hiss, grunt, slither, smarmy, venomous, slaver, and wince. Energetic, active language is especially appropriate for building action scenes and suspense and for setting up drama and conflict.

A fast pace means you trim every sentence of unnecessary words. Eliminate prepositional phrases where you don’t need them: For example, “the walls of the cathedral” can be written as “the cathedral walls.” Finally, search your story for passive linking verbs and trade them in for active ones.

2. Vary Story Pacing

As important as the high-tension race-‘em-chase-‘em scenes are, it’s even more important to vary your pacing with slow, introspective scenes. Without the slow scenes, your characters and your readers won’t have a chance to catch their breaths. Even the most exciting scenes lose their intensity if they aren’t balanced with moments of deliberate quiet.

3. Pay Attention to Details to Build Momentum

In film, directors often show scenes in slow motion to indicate that something dramatic is happening or about to happen. One of the best ways writers can mimic this technique is to slow their own writing down by piling on the details. Let’s say one of your characters is shot. This is an important moment in the story, and you want the readers to feel its impact. You can do this when you take your time and describe every detail: the look on the gunman’s face as he fires, the recoil of the pistol, the flash of the barrel, the horror that chokes the victim, and finally the collision of the bullet.

4. Control Your Tell vs. Show Ratio

Although “showing” your audience the blow-by-blow details is key to engage the reader and make them feel the tension, sometimes the best way to hurtle them through a scene is to condense certain actions into “telling.” Perhaps you want to use that scene where your character is shot, but you don’t want to linger on it. You want to do a quick flyby, shock your readers, and plunge them into the action after the gunshot. Instead of taking the time to show the details, you can thrust the gunshot upon the reader simply by telling him/her that it happened.

5. Manipulate Sentence Structure

The mark of a professional writer is his ability to control the ebb and flow of his sentence structure. The most subtle way to influence your story pacing is through your sentence structure. The length of words, clauses, sentences, and paragraphs all contribute to the pacing.

Long=slow

Short=fast

When it’s time to write the intense scenes, cut back on the beautiful, long-winded passages and give it to your reader straight. Short sentences and snappy nouns and verbs convey urgency, whereas long, measured sentences offer moments of introspection and build-up.

To write like a professional, you must master the art of story pacing. This is critical to the success of your book. Once you perfect this writing technique, you will leave your readers eager for more. It takes practice, but the payoff is worth it in the end.

What about you? Do you need help writing a book? Have a manuscript but don’t know where to go from there? We can help. Contact us today to find out how

 


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Nonfiction Writing Techniques: 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 to efficiently 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.

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 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,” he said.

“It’s hard to give that up,” she said.

“I know, honey,” he said, “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 time, 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,” she said.

“What if we don’t look for a baby?” he said. “There are lots of children who need a loving home. Maybe we should think about rescuing a child, instead of searching for an infant.”

“One of the women in my support group showed me a picture of the orphans in Haiti,” she said. “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 – 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!

Ready to put this technique into your book? Contact us today and we can help you take the next step!


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Best Practices to Stay on Schedule When Writing a Book: Stick To Your Schedule and Clear Your Head

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Earlier this year I talked about the importance of blocking out your time when writing a book and even provided an example of my schedule in a block format. But what good is having a schedule if you don’t stick to it? When it’s time to start, don’t make one more phone call; turn off your phone. If you want coffee, have it on your desk when you sit down at your appointed time. Don’t play games with yourself. If you’re tired, then do it tired. If you’re frustrated, then do it frustrated. If you feel stuck, then do it while feeling stuck.

Having said that, there could be something that stands in your way. It’s your brain. For example, it’s time to write, and you know what you’re going to write. But you just got home after a long commute, or you were balancing your checkbook five minutes earlier, or you dropped your kids off at school after a hectic morning. Your brain can’t simply shift from chaos to creative; it needs time to transition.

You’ve probably heard a lot about writer’s block and that some writers claim they can’t write a word because of it. That’s bunk. There’s no such thing as writer’s block. It simply means that a writer isn’t writing, and the only way to correct that is to write.

Writers Block Strategy—Clear Your Head

You can write, and you can write at any time and any place. I even contend that you can write your book in fifteen-minute increments if all you have is the back of a napkin and a pen. Your biggest challenge isn’t finding time to write; it’s clearing your head to do it.

Here’s a little exercise that will help you do that. Read it through a couple of times and then give it a try. It’s a simple guided meditation.

Close your eyes.

Take a deep breath. Breathe in . . . and out, in . . . and out.

Keep your eyes closed.

Picture a paperclip.

Fasten it in your mind.

Look at it, feel it, regard it from all angles.

Now let the words that describe that paperclip explode in your mind. Shiny, smooth, cold. Continue to find words that describe the paperclip for thirty seconds. Exhaust your vocabulary.

You know that paperclip. You know it from all angles. You see it before you.

Keeping your eyes closed, remember your first kiss.

Feel it, smell it, taste it, love it, hate it, welcome it, resist it.

Your kiss, that kiss, you remember it don’t you?

Now open your eyes, and for the next five minutes, write—in detail—about that moment of your first kiss.

If you followed that guidance, in less than one minute you were able to clear your mind by putting all your focus on a simple, inanimate object. Then you switched your focus to something else that was memorable, and you were prepared to write.

This technique can work for you every time you sit down to write. You don’t have to limit your item to a paperclip; any simple item will do. I like screwdrivers, coffee mugs, picture frames, staplers—whatever. The trick is to fully visualize the item and let the descriptive words pop. Then, when I turn my attention to what I need to write, I’m no longer thinking about email, budgets, employees, or pets. I’m fully focused on my subject matter. Try this exercise next time you sit down and write and get ready for the creative juices to flow!

What about you? Are you ready to take that step and start writing your book and put these strategies into action? Contact us today and we can help you take the next step!

 


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Extended Value of Working With The Book Professor

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You got your story out of your head and onto paper. Your book is finally finished. Your finished book can now become the launchpad through which you deliver your message across multiple venues. When you follow our methodology to construct your book in chapter silos, you can take those chapters and repurpose them for articles, workshops, seminars, keynotes, online courses, video training, podcasts, etc. Exciting times!

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. Through our partnership with the prestigious Smith Publicity, we are proud to offer Book Marketing Services for all of our clients. That’s the extended value of working with The Book Professor!

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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How to Stay Organized When Writing a Book-Block Out Your Time

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Call me strange, but I dont exactly know what time is. I do know that Ive been a slave to it for much of my life. My life, like yours, is filled with so much: things I want to do, things I need to do, and a lot of things I dont really want to do but must. Theres always a race against the clock, which leaves me feeling scattered and torn, like a scarecrow with his stuffing pulled out. At the end of the day, there isnt much left, and whats left doesnt feel like me.

I assume that you’re a busy professional and you’re not looking for extra things to do. Life is busy enough with work, but when you layer on the more important things like faith and family, there’s no wiggle room, no gaps where you can sneak in a major project like writing your book. And yet it’s something you want to do. You want to make a difference.

You actually have the time to do the things you want to do like write your book if you learn to organize your time.

Time Blocking

I use a method for organizing my time called time blocking. Time blocking is exactly what it sounds like. It’s organizing your time in blocks so you can be most efficient—not just in your writing but in everything you do. It requires you to look at all your responsibilities and organize them into specific blocks of time so you can accomplish everything on your plate.

After you organize your calendar in time blocks, you must enforce it. This takes discipline, but it’s very effective once you get the hang of it.  Here’s my calendar as an example:


When I was first introduced to time blocking, I thought, Good grief! I’m going to have to get up at 5:00 every morning to get everything done! I don’t suggest that your weeks be as long as mine are but, on the other hand, if they need to be while you’re writing your book, then so be it.

Notice how I block my time. You can see that I devote blocks of time to my tasks—not just fifteen minutes here and there. I organize my time so I fully complete one thing before moving to the next.

Take a look at the blocks called content. I often say that books don’t write themselves—and guess what? The classes and workshops I teach don’t write themselves either. I have to schedule time to plan, write, deliver, and produce my classes and presentations. So I figured out how much time I needed per week to do that writing and allocated it across the week in specific blocks.

While I’m working on content, I’m not answering the phone—it’s turned off. And I’m not checking email. I close it so it doesn’t ding me to death. And I’m not futzing around online, either. I’m writing content, and that’s the only thing I’m doing. I don’t believe in multitasking.

I can hear you say, “Well, of course, you can block off time to write. That’s your business.” And you’re right! But if I want to take care of myself physically, emotionally, and spiritually, I have to start my days at five in the morning to get in that extra activity. Do you think I want to get up that early? I really don’t. But taking care of the other parts of my life is a priority, so that’s what I do.

To write your first draft, block five hours each week for sixteen weeks. That’s four months to your first draft! When you keep your eye on the prize, writing your book suddenly seems more doable.

 

What about you? Now that you have the tools to block out your time, what’s stopping you from writing your book? Contact us today and we can help you take the next step!

 

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The Book Professor Mission: Tell Your Story-Solve a Problem

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May I share my philosophy as owner of The Book Professor with you? There are so many problems in our world, so many confounding issues, that we don’t even know how to name them anymore, much less solve them. But we do know what doesn’t work. Top-down solutions from government and other institutions don’t solve these problems. In fact, in many cases, they make them worse and spawn further problems, don’t they?

Don’t despair. I firmly believe that our problems – every one of them – can be solved.The answers are trapped inside of people like you, and when you simply share your experiences and what you’ve learned, what you know, what you’ve discovered, or what you’ve developed, you can actually change lives, save lives, and transform society.  

Two Things People Cannot Live Without: Hope and Help

People need real hope, not some platitude that says, “what doesn’t kill you makes you stronger.” You can offer real hope when you tell your story and show others what you’ve been through and how you came out on the other side, how you endured your trials and survived them – changed, but also whole.

People also need real help, not empty counsel that says, “this, too, shall pass.” If anything, that makes you feel even more isolated and less understood. Real help is when you show others the steps you took to get from where you were to where you are now. It gives them something concrete to model, so they can walk through their own situation.

People like YOU who have the answers, and other people, in some cases, are literally dying as they wait for your answers. At The Book Professor, we’re just the hallway that can connect you.

Be The Solution

The time is now. What do you know, what have you learned, what have you overcome, or what have you developed that will help others? We help people write high-impact nonfiction books that will change lives, save lives, or transform society. We’re already eight months into 2018, and 2019 is just around the corner. Imagine if we had 219 solutions in 2019 to some of the worlds biggest problems!

 

What about you? Will you be one of the 219 solution finders?  If you or someone you know is ready to tell your story and solve a problem, please contact us today and we can help you take the next step?

 


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