Episódios
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Whenever you go to author blogs or hear interviews from your favorite author, the number one piece of advice is always to write every day. While it is good in theory, for an Indie Author, it doesn't always work that way. Starting a writing habit is extremely difficult. Life so easily gets in the way. So here are the 5 worst word count killers, and how to avoid them.
The Problem: Writer's Block
To tell you the honest truth, I'm not convinced that Writer's Block is actually a real thing. It's a term we all use, but I'm really only half convinced this might exist. What is this mysterious thing we blame for 90% of our problems not writing? Words are hard, I get that, but I really feel that what most people term "Writer's Block" they are using interchangeably with words we like a lot less. Words like "Procrastination" "Plot Holes" and "Lack of Motivation".
Don't get me wrong. I once put a novel on hold for two years because I didn't like a plot twist that had come up and couldn't figure out how to work with it. I woke up from a dead sleep one day, after two whole years not thinking about the novel at all, and voila! I suddenly knew exactly what was wrong and how to fix it, and that novel was back on track. Writer's block is a thing, and it does happen. However, if it hits you unaware, it's most likely because you haven't done enough planning.
The Fix: Brainstorming
First off, you need to come to terms with the fact that it might not be true Writer's Block that you're facing. If this is not the case, and there is no other underlying cause, then you could truly have a blockage that you need to work on.
The easiest way to get yourself out of a block is to brainstorm plots and ideas. The reason this works is that it forces you to confront what's really causing the block and to work out ways around it. There are a lot of different things that could help, no matter the situation.
A mind map is a graphical way to represent ideas and is a visual way to help structure your information. Using your character as the center bubble, branch out things about your character that motivates them, that they like or dislike, main concepts you're trying to portray, or even situations they might face. If you use the plot as the center bubble, you can line out important plot points that are the crux of your story, and branch out to scenes that you have which move each piece of that plot along.
You can also use writing prompts. There are thousands of prompts for every genre, and even vague ones for every genre. Pick one you like, and write them as if they are taking place with your character, within your story, or inside your world. Use the rules of your world to make it as likely an event as possible, and really explore the character and the situation they find themselves in.
I've even had success with rewriting the scene from the perspective of another character who is also in the scene. This forces you to reevaluate the importance of why these things are taking place and helps you to understand how each character is experiencing the same scene.
The Problem: Not Knowing Where to Go Next
Sometimes as authors we get so excited about a story or a scene that we jump straight into writing it, the words flowing freely out of our heads and onto the page, but then your inspiration flags in the middle of the scene. Maybe your characters have gotten themselves arrested without warning, or have taken your story off in an interesting direction that was different than you had thought it would be. No matter the cause, your character is now legitimately dropped into the middle of the ocean, and treading water with no direction or land in sight.
The Fix: Plan Ahead
Planning ahead is a great way of staying on top of your writing habits. If you're especially pleased with what you've written today, at the end of the writing session, scribble in a few more words into the end of the document about what you're thinking will happen next.
Another option is to spend about 5 minutes before bed writing in a journal or notebook about what you need to accomplish in the next day. Don't just say that you need to "write 500 words today." Think a bit about it, and ask yourself what your characters need to accomplish tomorrow. This way, you have something to write about even before you sit down. The main idea is that you are a little bit ahead of the game.
Finally, keep a scene or two in reserve, which are really clear in your head. All of us have pieces of the plot that are really clear, and pieces that are really blurry. You know, even before you write it, what has to happen in certain scenes, so most of the time you want to write them, and get them down on the page as fast as possible. But because these scenes are so clear in your head, it's unlikely that you'll forget them. Make a few notes on each scene, so that you don't lose your vision, but leave these scenes largely untouched. This way, if you are really stuck, or having a rough time putting words on the page, you can pull one of these brilliant scenes out and get to writing something right away with no word counts lost.
The Problem: Time Management
As an Indie Author, I actually have a day job that doesn't involve my writing. Because I work 40+ hours a week, I used to find it incredibly difficult to write even 300 words a day after I got home. I would get off work, sit at my desk, and the internet would immediately turn my brains to mush until I went to bed. Because I was exhausted and couldn't brain any longer, no words would get written.
I tried waking up an hour early like some writers do, getting some words in before I started my day. While this might work for some, I'm not a morning person, and I spend the first two hours of my day, going largely by autopilot until I have enough tea and moving around that I can finally wake up. This utterly failed for me.
The trouble was, I was thinking that in order to write anything at all, I'd have to sit down at my desk at home for an hour or two every day and work at writing, or spend my whole weekend cramming as many words onto a page as I could possibly manage. I mean, how could I call myself a writer if I wasn't as serious about writing as I was about my day job?
I've read tons of blogs that say you have to structure your writing time in some rigid, grid-like way. They say you have to pencil in appointments for your writing and then keep them. Well, that's a lovely sentiment, but again, that was something that sounded great to me on paper, but just didn't work in practice. One thing I came to understand was that it wasn't about me not being serious about writing. It wasn't about not having the time or not making time. For me, it was not utilizing the time that I already had.
I'm an afternoon writer. Finding that out about myself really clued me into what I should be doing. I really encourage you to figure out when you naturally like to write, because that information is the single best piece of information for you to know about yourself as a writer. No matter what anyone says, for an Indie, I find that you can't force your writing into these neat little packets of time. Life happens. You're already busy enough. If you schedule these time packets, it just doesn't seem to always work out. So you miss more days with a rigid schedule than anything else.
The Fix: Restructure Your Writing Time
So what do you do? You do what you have to do. It's that simple. You write whenever you can. I can get in 600 words or so on my hour lunch break. Only have half an hour? Take ten minutes to scarf down some dinner leftovers and then get in as many words as you can.
I write on notebooks when I am waiting for a movie to start, or for a friend to meet me at a restaurant.
Do you have a commute to or from work? Use the time in commute. Instead of listening to the radio or something, I typically dictate my novels using apps on my phone when I am driving or can't otherwise use my hands.
I will even admit to putting my tablet in a plastic baggie so that I could take it with me into the shower and finish my word counts while I'm rinsing my hair one-handed. Let's be totally honest. You get a ton of good ideas while you're in the shower anyway, so why not?
The main point is that I identified all the tiny bits of downtime that I possibly could have during the day, and with the help of my handy-dandy notebook, or cell phone, or tablet, or whatever, I get words in every single day. And you have no idea how nice it is to come home from work and have my word count done, or nearly there already because I worked on it while I was on lunch at work. It's like finishing your homework while you're still at school.
The Problem: Motivation
For writers, doing the thing is so very hard. You're sitting there staring at your Work In Progress like "Wut R Werds!" Some days, you literally can't even. And you know what? That's okay. I'd venture to say that most people who become writers do so because we're introverts. And this is important to our writing life. I'll tell you why.
You may think that as an introvert, sitting in a room by yourself, pouring your heart and soul out into your story, is the best thing ever. I mean, why would we give up our lives like that to be by ourselves and in our own heads if not? But you are actually pouring your soul into your novel when you give it some of your precious time. Unlike an extrovert, who absorbs energy by being around other people, introverts make their own energy inside themselves. We give to others, and we put our energy into everything we do, totally exhausting ourselves in the process.
The Fix: Recharge Your Batteries
Recharging is an essential part of being not only an introvert but a writer. Sometimes, you really have to allow yourself some grace and take a few days off the writing gig. You can't give if your well is dry. This one is harder to give a definitive answer for since so much of how you recharge depends on you. Let me attempt at least to give you a few examples, and maybe you can think of some of your own as well.
One of the biggest things to recharge is to clear out anything that is causing a backlog in your life. Finish a book or a video game that you've been putting off. Clean the house. Give the dog a bath. Weed out the lawn and mow the grass. Whatever is bothering you, take a day or two off from writing to fix it.
Another idea involves exercising. Get yourself out of the chair, or out of the house and go do something active, whether it be hitting the gym, pounding the pavement, meditating, stretching, doing some yoga. Go to the park and take a turn on the swings. Go to the beach or the pool. Get up and dance. The main thing if this is your way to recharge is to move.
Sleep is also an obvious choice. Being exhausted and trying to force your way through a scene, a page, an outline, is never going to work. Get to sleep, even if it means going to bed an hour or two early for a few nights. Sleep is a super recuperative method for recharging, and it can help you out in other areas of your life too, so this is a must.
None of those things work for you? Listen to loud music. Take a long bubble bath. Hang out with friends once in a while. Take the time for you, and make sure that you are making recharging a high priority in your life so that you can always be in top form when you come to the page.
I can guarantee that the time spent away is not wasted. When I'm hanging out with friends, I'm thinking of my characters that I made based on these people right in front of me. When I'm out at the park, I'm thinking of how I would describe this place in my novel. I think about how this grove of trees in my world could be a secret hidden entrance to meeting fairies or mermaids at the beach. So much of my away time is spent thinking about my novels that by the time I come back to them I'm positively itching to write. Getting away from it all can bring you back to it in the best way.
The Problem: Procrastination
It's said that for a lot of us writers, you can always tell how well the writing is going by looking at the state of their house. While this is a funny statement, you can immediately see why it is so relevant. At the heart of this statement is the idea that when the writing isn't going well, you end up doing other things, namely, cleaning the house.
Here's an example. I've been off all day today, and it's taken me till nearly 3 PM to write this part of the post when I got out of bed before 10 AM with the set intention to finish it. What did I do instead? Ate breakfast, opened up the post, got on Facebook, looked at my word count spreadsheets, cleaned the kitchen, ate lunch, finished reading a book, looked at the post again, organized my desktop, threw out my broken printer, cleaned my office, did some research. I even considered building a bookshelf for my manga collection from scratch before sitting down to write this part of the post. Procrastination is honestly more detrimental to my word counts than any other reason.
The Fix: Figure Out the Why
There are tons of reasons we procrastinate, so the main thing to understand is that you need to identify the why behind it. Are you unsure how to proceed from where you are? Maybe you need to do some thinking and brainstorm more ideas. Have you lost steam? Go back to your earliest notes on the book, and see if your current writing matched the vision you had for it when you were truly inspired by the idea.
Figure out why you're procrastinating. There's always an underlying reason and address it directly. Why didn't I want to write this post today? Because writing prose is super easy, and I hit my word counts and then some each day I write a blog post. I knew that I would likely be finishing this post today, and didn't want to let it go because, if I'm being honest, I'm stuck in my current WIP and didn't want to go back to struggling to make my word counts.
Once you have the why of it figured out, you can begin to make your writing a priority again. I understand that I don't want to go back to being stuck in a fictional world, but I can also see that it is incredibly important to get my characters unstuck again. Only I can do that.
You can think of your task list as a number of rocks, in many shapes and sizes. The biggest rocks are your most important or closest deadline tasks, whereas the smaller rocks represent the lesser tasks that aren't due for a while or aren't as important. Sure, you can fill a jar with small rocks, but there will be no room for big rocks if you do. You need to put the big rocks, the important rocks, in first, and then fill the rest of the day with little rocks in between. Make it a priority to work on your writing every day, and you will feel way better about your writing career.
What do you think? What's the worst word count killer for you, and how do you get back to writing? Let me know in the comments!
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Hello Lovelies,
Today we’re diving into a fascinating topic that’s transforming the publishing world: The Future of Print-On-Demand Services. Print-on-Demand (POD) has revolutionized how authors get their books into readers' hands, allowing self-published authors to produce physical copies without having to worry about large upfront costs or unsold inventory. But like all technology, it’s constantly evolving.
In this post, we’ll look at the latest advancements in print-on-demand technology, discuss the environmental impact, and offer some guidance on how to choose the right print-on-demand services for your self-publishing needs.
Advancements in Print-On-Demand Technology
Print-on-Demand technology has come a long way since its early days. Previously, self-published authors had to navigate long production times, limited printing options, and high costs, but modern advancements in POD have changed the game.
Here’s what’s new in the world of POD:
1. Higher Quality Printing
One of the most notable advancements in POD is the significant improvement in print quality. Today’s print-on-demand services offer high-resolution printing, better paper options, and even premium features like hardcovers, matte finishes, and full-color printing for illustrations or photo-heavy books. These enhancements help indie authors compete with traditionally published books in terms of appearance and feel.
2. Faster Turnaround Times
Gone are the days when print-on-demand meant waiting weeks for a single proof copy. Thanks to advancements in printing technology, authors can now receive their printed books in just a matter of days. Some services even offer next-day printing for faster distribution, which is a huge plus for authors aiming to meet deadlines or launch dates.
3. Global Distribution Made Easy
In the past, distributing books worldwide was a logistical nightmare for indie authors. But POD services have now made it easy to print and ship books directly to readers across the globe. Services like Amazon KDP, IngramSpark, and Lulu provide wide-reaching distribution networks that help authors reach international markets without the hassle of managing inventory.
4. Customization and Personalization
Another exciting advancement in POD is the ability to personalize each book. Authors can offer limited editions, include special inserts, or even customize the content for specific readers or events. This makes it easier to build deeper connections with your audience and create unique products for book signings, launches, or giveaways.
The Environmental Impact of Print-On-Demand
The environmental impact of publishing has long been a topic of concern, particularly when it comes to traditional print runs, where large quantities of unsold books often end up in landfills. Print-on-Demand services offer a more eco-friendly solution by producing books only when they’re ordered, reducing waste and minimizing the need for warehousing.
However, while POD has several eco-friendly benefits, there are still environmental factors to consider:
1. Reduction in Overproduction
With print-on-demand, books are printed in response to actual orders rather than in bulk, which significantly reduces the risk of overproduction. This leads to fewer unsold books and reduces the overall waste that occurs in traditional publishing, where unsold inventory may eventually be destroyed.
2. Lower Carbon Footprint
Because books are printed close to their point of purchase, POD eliminates the need for large-scale shipping and warehousing, which helps reduce carbon emissions. For instance, if a reader in Europe orders your book, it’s likely printed at a local facility, cutting down on international shipping distances.
3. Energy and Resource Usage
Though POD reduces waste, it's important to consider the energy and resources used during the printing process. Digital printers used in POD services consume energy, and there’s ongoing debate about whether POD’s frequent small print runs are more or less efficient than traditional bulk printing in terms of overall resource use.
Choosing the Right Print-On-Demand Service
With so many print-on-demand services available, how do you decide which one is the best fit for your self-publishing journey? The answer depends on several factors, including your budget, distribution needs, and book type.
Here are a few considerations when choosing the right POD service:
1. Book Type and Print Quality
If your book relies heavily on images, such as a children’s book or a photo-heavy non-fiction title, you’ll want to prioritize services that offer high-quality color printing. Platforms like IngramSpark and Blurb are known for their high-quality prints, while KDP (Amazon’s POD service) is great for novels or books that don’t require full-color illustrations.
2. Global Distribution
If reaching an international audience is important to you, choose a POD service that offers global distribution. Amazon KDP is a popular choice because it integrates directly with Amazon’s marketplace, but services like IngramSpark and Lulu also provide international reach through their extensive distribution networks.
3. Pricing and Royalties
When selecting a POD service, it’s essential to understand the cost structure. Different services charge various fees for printing, distribution, and listing. Some platforms may have lower upfront fees but take a larger cut of your royalties, while others require setup costs but offer higher payouts. Consider your long-term goals and do the math before making a decision.
4. Author Control
Some print-on-demand services offer more control than others when it comes to pricing, file formats, and distribution. If you want complete control over your book’s pricing and global availability, a platform like IngramSpark might be the best option. However, if you prefer a streamlined process with easy setup, Amazon KDP could be more appealing.
5. Customer Support
Don’t underestimate the importance of excellent customer service, especially if you’re new to self-publishing or managing print-on-demand. Look for platforms that offer responsive customer support and resources like templates, design tools, and how-to guides.
Final Thoughts
Print-on-demand services have made it easier than ever for authors to self-publish physical books without the need for large upfront investments or unsold inventory. As the technology continues to evolve, it’s opening up new possibilities for authors to create high-quality books, reduce their environmental footprint, and reach readers across the globe.
By choosing the right print-on-demand service and taking advantage of the latest advancements, you can streamline your self-publishing journey and focus on what you do best—writing!
Discussion Questions
* Have you used print-on-demand services for your books? What was your experience like?
* How do you think advancements in POD technology have impacted the self-publishing industry?
* Do you believe print-on-demand is an environmentally sustainable solution for publishing? Why or why not?
* What factors are most important to you when choosing a print-on-demand service (e.g., quality, cost, distribution)?
* How do you think print-on-demand services will continue to evolve over the next few years?
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Estão a faltar episódios?
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There is a formula for writing novels. Many of them, in fact. You can look up tons of them on the internet. One that particularly comes to mind is the “Hero’s Journey.” In 12 easy steps, we see the normal person gets thrown into an alternate reality, struggles and must cope with this new state of reality, and then after many ups and downs, finally overcomes the problems with the new reality and triumphs to become a hero.
Academia especially enjoys this idea of writing using a formula. We write our term papers all the same. It’s easy! You must have an introduction, a thesis statement, at least three proofs of your thesis, a conclusion and an outgoing sentiment, and just like that, your term paper is written!
If I’m coming off as sarcastic about this, it’s because I am. I don’t much like using formulas in my fiction writing. I think it’s important to understand the basics of fiction writing for your genre. You can look at a formula to see how it should be structured, and to give you clues about what needs to be included in the plot in order to craft a complete novel. If you’re stuck, looking at a formula might give you ideas on what should be included next. In fact, formulas are often incredibly useful for addressing plot holes before they become actual holes in your story, or trying to figure out your novel’s pacing, because you do need to know what your characters are building up to, and how to get them there.
However, using a formula as a strict measuring tool is also a dangerous thing, and has its downsides as well. One of them, right off the top of my head, is predictability. We’ve all been there. You hear a song on the radio that you’ve never heard before, but within a few lines, you already pretty much know what the singer is going to say next, or how the chord will progress. Or maybe you’re reading a popular book, and you think to yourself early on about what is likely going to happen to a character, and then several pages or chapters later, it does, and you’re like, “Yep, I called it.” If you use a formula to the letter, what you will sometimes find is that your readers will also be able to predict your novel. It’s like every episode of Scooby Doo, where you just know who the criminal is long before “those meddling kids” come along to expose them. It takes all the fun out of it.
Formulas get overdone, to the point where anybody can predict how it will play out. What I enjoy reading are books where I’m twenty pages from the end and I still don’t know how this will ever wrap itself up, but then it does. It’s a miracle! I enjoy books where unexpected things happen constantly, or are irregular enough that I don’t notice. When your reader notices that your books, chapters, or pacing is placed just so, they become predictable, and the reader will lose interest.
Another thing that is bad about using formulas is that it takes a lot of the creativity out of the project. Have you ever had an idea for a scene or a bit of dialogue that was just genius, but you weren’t really sure where to put it? Well, if you’re using a formula, I have bad news for you. You won’t have room for it anywhere, even if it’s entirely relevant. Yep, sorry, if it can’t be written into your already tight plot schedule, you can kiss it goodbye.
Don’t get me wrong. A lot of your scenes are going to get cut anyway if they don’t further your characters or plot. I’ve deleted entire chapters that I liked but served no real purpose. The problem is, when you use a formula, there are scenes that absolutely have to be in your work, whether you like them or not, and everything else is usually considered filler. So there goes that adorable love scene, that witty bit of dialogue, that awesome fight you just choreographed in your head. Do your characters sometimes look down their noses at you and decide to go off in their own direction? Well too bad. You better keep them on the path you’ve chosen, not the one they want to be on.
This is getting a little wordy, but the main point is, while it is really useful to know how novels are written, and see how plot points get filled out, using a formula can sometimes take the fun and creativity right out of writing your novel, making it crappy to have to write.
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Hello Lovelies,
Let’s dive into something that’s shaking up the world of self-publishing: Interactive Storytelling Platforms! In this digital age, traditional storytelling is evolving, and many authors are exploring interactive and immersive experiences to engage readers in new and exciting ways. Platforms like Twine, Episode, and Choice of Games are revolutionizing how stories are told, putting the power of narrative choice into the hands of the reader.
In today’s post, we’ll explore the rise of interactive storytelling platforms, discuss how they can impact reader engagement, and highlight how self-published authors can leverage these platforms to enhance their work.
What Are Interactive Storytelling Platforms?
Interactive storytelling platforms allow authors to craft stories where readers can make choices that directly impact the narrative. Unlike traditional books, which have a linear progression, interactive stories often branch out into multiple pathways, allowing readers to experience different outcomes based on their decisions. These stories can take many forms, such as text-based adventures, visual novels, or even gamified experiences.
Platforms like Twine (a free platform for creating choose-your-own-adventure-style games), Episode (a platform with illustrated, interactive stories), and Choice of Games (a publisher of text-based interactive novels) have become popular avenues for both indie authors and professional writers to create immersive, interactive stories.
The Rise of Interactive Storytelling: A New Frontier for Authors
Over the last few years, the demand for more interactive content has been on the rise. With audiences increasingly drawn to video games, virtual reality, and other forms of media that allow them to participate actively, it’s no surprise that storytelling is following suit. Interactive storytelling platforms have become a powerful way to blend narrative with interactivity, providing a more engaging experience than passive consumption.
Key Platforms for Interactive Storytelling
* Twine: Twine is a free and open-source tool that allows writers to create non-linear, interactive stories. It's highly customizable, making it a favorite for authors who want full control over the design and narrative structure of their work.
* Episode: A mobile storytelling platform known for its episodic, illustrated, and interactive stories. Readers can make decisions for the characters, which impacts the story’s progression. Episode is especially popular in romance and drama genres.
* Choice of Games: This platform is home to text-based interactive novels, where players read the story and make choices that affect the outcome. The platform has a dedicated fan base, especially for genres like fantasy, sci-fi, and historical fiction.
* Radish Fiction: Radish allows authors to serialize their stories and include interactive elements like character customization or decision-based plots. It’s also a great platform for those who want to monetize their writing via microtransactions.
* StoryNexus: A web-based platform that allows users to create complex, branching storylines in a card-based format. StoryNexus emphasizes game mechanics in storytelling, making it ideal for more experimental authors.
Why Interactive Storytelling Engages Readers
Interactive storytelling changes the dynamic between the reader and the story. Instead of passively reading, the audience is now a participant, making decisions that shape the narrative. This level of involvement heightens reader investment and encourages deeper engagement with the material.
Here’s why interactive storytelling boosts reader engagement:
1. Personalized Experiences
Readers love stories they can personalize. In interactive storytelling, the choices they make feel like their own, which allows them to feel more connected to the characters and the plot. When readers can influence how the story unfolds, they’re more likely to stay engaged for longer periods and even return to explore different outcomes.
2. Replayability
One of the unique aspects of interactive storytelling is that it offers high replayability. Readers can go back to the beginning and make different choices to see alternate storylines. This not only increases reader satisfaction but also provides authors with multiple opportunities to showcase different aspects of their world-building.
3. Increased Emotional Investment
Interactive stories often involve moral or emotional decisions, which makes readers feel more personally invested. The ability to steer the narrative heightens the stakes for the reader. They’re no longer just spectators—they are co-creators of the story.
4. Community Building
Interactive storytelling platforms often encourage readers to share their outcomes with others, leading to discussions, theories, and even fan communities. By fostering a sense of community, these platforms help build a loyal fanbase that authors can continually engage with.
How Self-Published Authors Can Leverage Interactive Platforms
So, how can self-published authors harness the power of these platforms to enhance their work and broaden their audience?
1. Experiment with Non-Traditional Formats
One of the biggest advantages of interactive storytelling platforms is the freedom they give authors to play with narrative structure. Don’t be afraid to break away from the traditional three-act structure. Explore branching narratives, multi-layered plots, and different endings. These platforms give you the creative liberty to experiment and redefine the storytelling experience.
2. Reach New Audiences
Interactive storytelling attracts a different kind of audience—one that might not typically be interested in traditional books but loves the interactive elements found in games or digital media. By tapping into these platforms, self-published authors can reach new readers and gain exposure in a fast-growing market.
3. Build a Loyal Following
Interactive platforms often have a built-in community of users who are eager for new content. Engaging with this audience through interactive storytelling can help you grow a dedicated following. Because of the replayability of interactive stories, readers may return multiple times, each time more deeply connected to your work.
4. Monetization Opportunities
Some interactive platforms, such as Radish Fiction and Episode, offer opportunities for authors to monetize their stories. Through microtransactions, premium content, or in-game purchases, authors can earn revenue from their interactive stories. This opens up additional income streams beyond traditional book sales.
5. Promote Existing Work
Interactive storytelling platforms can be a fantastic way to promote your other self-published books. By creating a free interactive story based on your existing world or characters, you can draw readers into your universe and pique their interest in your main works.
Final Thoughts
Interactive storytelling platforms represent an exciting new frontier for authors who want to break away from traditional narratives and offer their readers a unique, immersive experience. Whether you're writing a choose-your-own-adventure-style story or a visual novel, these platforms allow you to engage with readers in a more dynamic, personal way.
Are you ready to explore interactive storytelling in your self-publishing journey? Which platform or format excites you the most?
Discussion Questions
* Have you ever experimented with interactive storytelling in your own work? If so, what challenges did you face?
* What genres do you think lend themselves best to interactive storytelling platforms?
* How do you think interactive storytelling could affect reader engagement compared to traditional books?
* What interactive storytelling platforms would you be most interested in exploring as a self-published author?
* How do you think self-published authors can balance interactivity with traditional narrative elements?
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Want an example of how the Save the Cat Beat Sheet is used? Let's go over one of my favorite movies of all time, Big Hero 6!
Opening Image: The film opens with the sprawling city of Sanfransokyo, a city that resembles San Francisco blended with Tokyo and other Japanese culture.
Set-Up: Hiro Hamada spends his time building homemade robots to fight in illegal underground rings. Not only is Hiro smart, he is clever. He tricks everyone into thinking that he is just a clueless kid, and he wins us over as he defeats the current champion in a robot fight. He is threatened for the win, but his older brother Tadashi comes to his rescue.
Theme Stated: Tadashi scolds Hiro for his actions, noting that while he is brilliant, he needs to use his brains to help people. Hiro appears to be content wasting his life and talents away. Unless Hiro decides to do something with his intelligence, he will never make the mark he is capable of. Hiro will have to learn how to use his intelligence to face impossible odds, relying on his friends to help him persevere.
Set-Up (continued): After arriving home, Hiro is greeted by his Aunt Cass, who has raised the two boys after their parents had died. Hiro asks Tadashi to take him to another illegal robot fight. To Hiro’s surprise, Tadashi agrees, but instead takes him to his university, which Hiro calls “Nerd School.” Honey Lemon spends her time concocting chemical combinations. Go Go Tomago experiments with speed, building a cycle that uses magnetic wheels to eliminate friction. Wasabi has designed lasers that can slice through anything, while Fred is simply a friend who hangs around due to his interest in science (and comic books).
Tadashi shows Hiro his project, an inflatable robotic healthcare nurse named Baymax. Baymax is guided by a chip Tadashi made, and he even seems to have a personality. Hiro meets the esteemed Professor Callaghan, Tadashi’s mentor. All of this intelligence in one room excites Hiro and invigorates him, and he wants to apply to the university.
Catalyst: To get into “Nerd School,” Hiro must invent something to show off at the university’s exhibition, his ticket to earning a personal invitation to attend as a student.
Debate: Hiro must decide what to invent. He struggles with creating something that will amaze Callaghan and those in attendance, and his brother encourages him to look at things from a different angle.
He works tirelessly, filling container after container with his inventions until his makeshift lab in his garage is full. On the day of the exhibition, he arrives, nervous, as he prepares to unveil his creation. But will it be enough to garner him an invitation?
As the time comes to present, Hiro takes to the stage. Using a headband that functions on his brainwaves, Hiro unveils his invention: microbots that swarm and can form whatever he thinks of. The invention clearly amazes the crowd, as well as Tadashi’s friends and Professor Callaghan. They quickly accept Hiro into their fold as one of them.
As the evening ends and Hiro heads home with Tadashi, the exhibition hall erupts into flames. Tadashi runs back in to save his mentor, but an explosion rips through the building, killing Tadashi.
Break into Two: After the funeral, Hiro sits in sadness. While getting up, he stubs his toe, and Baymax inflates and scans him, attending to his “injury.”
B Story: Hiro is at first annoyed by Baymax, especially when Baymax notes Hiro’s sad emotional state. However, it is through his relationship with Baymax and Tadashi’s friends that Hiro will learn the meaning of friendship, sacrifice, and perseverance.
Fun and Games: Hiro hears something under his bed and finds a stray microbot wiggling around. He assumes it is malfunctioning, but Baymax notes that it is probably trying to get somewhere. Nonchalantly, Hiro tells Baymax to find out why. Of course, Baymax obeys the command and walks out into the street. Realizing his mistake, Hiro hurries after him, fully entering the antithesis of his world. Now, he will encounter science being used for evil rather than for good, and he will truly need to put his intelligence to the test.
Baymax locates where the one microbot was leading: an abandoned factory. Hiro and Baymax enter, finding that someone has stolen his microbot design and has been reproducing them. He realizes that his microbot was just trying to join the swarm as it was programmed to do. No sooner does he figure this out than the swarm begins to attack him, guided by a mysterious man in a Kabuki mask.
Hiro and Baymax escape, and when the police do not take him seriously, Hiro decides to upgrade Baymax, using a 3D printer to make armor for him and uploading a chip of his design, one that gives Baymax fighting abilities. With the super strength provided by Baymax’s metal skeleton, Hiro is confident that he will be able to take down the man in the mask.
Baymax, however, is more concerned with Hiro’s emotional well-being at the loss of Tadashi. Referring to his programming, he notes that one method for overcoming sadness is spending time with others, and he calls Tadashi’s friends. Meanwhile, Hiro uses the lone microbot in his possession to find the man in the mask. The microbot leads him to a dock, and the Kabuki man emerges from the water, rising on a pillar formed by the swarm. Hiro tries to fight him using Baymax, but it is clear that he is out of his league. Just in time, his friends from the lab arrive, having been called by Baymax. They drive through the city, barely escaping the villain, until their van plunges into the river.
Midpoint: The man in the mask assumes they are dead and leaves. However, Baymax inflates and carries them to safety. Drenched and freezing, Hiro and his friends go to the only safe place they know: Fred’s house. Though he seems to be a bit odd, it turns out that Fred’s family is extremely wealthy. This wealth will come in handy for the team soon. Also, Baymax notes that he had scanned the villain, as his programming requires him to scan every individual he comes in contact with. This gives the team an advantage, as they can use the medical records to learn the individual’s identity. This appears to be a victory for the team, but it is a false victory, as the stakes have raised and evil is tightening its grip.
Bad Guys Close In: Hiro has a plan to determine the identity of the masked man. If he can upgrade Baymax to scan the whole city at once, they can learn the villain’s identity. Using the resources at his disposal, Hiro upgrades not only Baymax, but each member of the team. Focusing on the invention each team member has created as seen in the Set-Up, Hiro gives them their own super abilities. Honey Lemon now has a lot of chemicals at her disposal, allowing her to create whatever the moment calls for. Go Go is fitted with a suit and wheels that allow her to move and to attack quickly. Wasabi gears up with gloves that can project laser blades from his hands, and Fred gets his ultimate dream: a monster suit that allows him to leap high and breathe flames.
Baymax gets new armor along with the ability to fly. Hiro rides along with him, using super-powered magnets to hold on. After an initial test of their abilities, Hiro and Baymax fly high, resting on top of one of the city’s many balloons. Baymax scans everyone at once, ultimately finding the villain’s lair: an island off the coast.
The team arrives at the island and finds the remnants of what looks like a scientific experiment. Furthermore, a video screen shows an image of Alistair Krei, and the team rewinds it, surprised at what they see. In the video, Krei conducted an experiment using teleporters and a test pilot, but when he was warned of abnormal readings, he continued anyway. Something went wrong, and the pilot was lost. Hiro and the team believe that Krei is the one who stole the microbots after showing great interest in them.
When the man in the mask confronts them, the team uses their abilities to stop him, but it is not as easy as they had hoped. Eventually, they remove his mask and the neurotransmitter, and it is revealed that Professor Callaghan is the villain.
Enraged that his brother died trying to save Callaghan, Hiro takes Baymax’s nurse chip out, leaving only the one Hiro programmed. He tosses the nurse chip away, ordering Baymax to destroy Callaghan, and Baymax obeys, throwing everyone aside in his mad fury. Honey Lemon scrambles to find and insert the chip back into Baymax and does so, barely saving Callaghan’s life.
All Is Lost: Callaghan takes back the neurotransmitter and escapes. All Is Lost for Hiro as he is overcome by his anger and grief. The whiff of death is in the air as he realizes that his brother died for nothing, and now the villain has gotten away. Hiro also faces the whiff of death as he realizes that he almost allowed himself to cause the death of someone else, giving in to his anger rather than thinking rationally as his brother would have wanted.
Dark Night of the Soul: As Baymax, now back to normal, flies home with Hiro, Hiro attempts to remove the nurse chip again. He wants his revenge, but Baymax will not open the compartment, asking if killing Callaghan will make him feel better. Hiro realizes that it will not, and Baymax projects a set of videos Tadashi made. The videos show him programming Baymax despite the difficulties he initially had, yet he persevered. As Tadashi tells Baymax, “I’m not giving up on you,” it seems like he is speaking directly to Hiro.
Arriving to find Hiro, Honey Lemon and the team show him something they had found: the video reveals that the test pilot was Callaghan’s daughter, and he was present at the experiment. Just like Hiro, Callaghan wanted revenge. Hiro knows what he must do, taking what he has learned from both worlds: he must rely on his brains to stop Callaghan, not brawn and force, the synthesis of both worlds.
Break into Three: Realizing that Callaghan will try to get revenge on Krei, the team goes to stop him at a public event.
Finale: Callaghan uses the microbots to bring the teleporters to Krei’s company, trying to take away everything Krei has built. Hiro and his friends try to stop him, but the microbots are too powerful. Hiro notices that he can use the portal to break the microbots away from the swarm, rendering Callaghan powerless. He has used his intelligence to solve the problem, and the plan works, defeating Callaghan.
However, the portal is about to explode, and Baymax scans the portal, finding signs of life inside. Callaghan’s daughter is alive, but in a state of hypersleep. Hiro and Baymax enter it, finding her and rescuing her. Baymax is damaged, and he will not be able to leave with Hiro, but notes that his rocket-powered hand can propel them to safety. Digging down deep, Hiro learns to let go and tells Baymax that he is “satisfied with his service,” allowing Baymax to deactivate.
Back in Tadashi’s lab, Hiro stares sadly at Baymax’s gloved fist when something catches his eye. Inside his palm, Baymax has placed his personality chip. Finding another of Tadashi’s prototypes, Hiro inserts the chip, bringing Baymax back.
Final Image: Now complete, Hiro and his friends have become a superhero team, the Big Hero 6. Just as his brother had admonished him, Hiro has learned what it takes to persevere and to use his intelligence—and his heart—to serve and to help others.
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Ever heard of Save the Cat? Ever wonder who the cat even is, and why it needs saving?
The Blake Snyder Beat Sheet breaks down three-act screenplay structure into 15 bite-size, manageable sections called beats, each with a specific goal for your overall story. Below is an explanation of each beat. The page numbers are not strict, they are approximations of where the beats should occur in a 110 page screenplay.
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Hello Lovelies,
Welcome back! Today, we’re diving into an exciting topic: Collaborative Publishing Projects. While self-publishing is often a solo journey, many authors have found great success through collaboration. Whether it’s co-authoring a book, teaming up with editors or illustrators, or even working with other indie authors to cross-promote each other’s work, collaborative projects offer a range of unique benefits that can elevate your publishing journey to the next level.
In this episode, we’ll highlight successful collaborative projects, explore the benefits of co-authoring and resource sharing, and offer tips for managing collaborations and handling potential conflicts.
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Hello Lovelies,
Today, we’re diving into the inspiring success stories of self-published authors from all walks of life and genres. Self-publishing is no longer just an alternative to traditional publishing—it’s a thriving industry that has paved the way for countless authors to find their voices and their readers, all while maintaining creative control over their work.
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Last week we talked about the cool plotting method that I found by author Sarah Cannon of Heart Breathings. Her entire plotting method can be found over on YouTube, starting with this video. I again want to highly recommend checking her out and subscribing to her channel! Go buy all her books. Leave her comments and reviews. I binge read the book in her series which she gives as an example to see how it all came together, and actually ended up loving the book.
Now, if you are familiar with the three act formula, the Save the Cat beatsheet, and character arcs, this may seem familiar to you. However, this is a different way of putting them all together that really made it click in my brain for one of the stories I’ve had on a backburner for ages.
Sarah goes through the method step-by-step for her own book, Deep Dark Secrets. I'm summarizing how it works here, so there are obviously spoilers. I absolutely want you to go watch her video series for yourself and buy her books if you want to learn more.
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The world of book publishing has evolved dramatically, and one of the most exciting changes is the rise of virtual book launch events. These online events have opened up new possibilities for authors to connect with readers, celebrate their new releases, and generate buzz without geographical limitations. Today, we'll explore how to plan and execute a successful virtual book launch event.
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I'm back this week with another plotting method that I just learned and totally love. This one is from author Sarah Cannon of Heart Breathings and her entire plotting method can be found over on YouTube, starting with this video. So I highly recommend checking her out and subscribing to her channel! Go buy all her books. Leave her comments and reviews. I binge read the book in her series which she gives as an example to see how it all came together, and actually ended up loving the book.
Now, if you are familiar with the three act formula, the Save the Cat beatsheet, and character arcs, this may seem familiar to you. However, this is a different way of putting them all together that really made it click in my brain for one of the stories I've had on a backburner for ages. So let's go through what this method looks like, step-by-step.
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Crafting an effective book description is crucial for capturing the interest of potential readers and turning casual browsers into buyers. Your book description is often the first impression readers get of your book, and it's essential to make it compelling and engaging. Today, we'll explore the key elements of creating a book description that sells.
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Hello, lovelies. Today I'm posting something extra special! Last time we talked about the Snowflake Method, what it is, and how to use it. Now, I want to give you an in-depth view of the Snowflake Method in action, and to demonstrate, I am using a book I'm currently in the process of writing, my very own Middle Grade Science Fiction Novel, code name Multiverse Story.
A few notes before we get into it this week's. This is for an earlier version of this novel, and many of the plots have changed. Spoilers are entirely possible, but I'm not going to point each one out. I am also going to focus on the main character of the first book, Emma, for simplicity's sake, otherwise, this is going to be a very long piece of parchment. With that in mind, let's continue.
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Building a mailing list from scratch can seem daunting, but it's one of the most powerful tools an author can have. Your mailing list allows you to connect directly with readers, promote your work, and build a loyal fanbase. Today, we'll walk you through the steps to create and grow a mailing list from the ground up.
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This time around I'm talking about plot methods. I've talked about plot and wHY you NEEd it before, and my question when I have someone convince me to try something is always, okay, but HOW?
Originally created by Randy Ingermanson, the Snowflake Method teaches you to start really small, and work your way deeper. You'll switch between character development and plot development at each step, which means no matter where you're starting from, you'll always have to work through both aspects of Story.
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Writing a book is a dream many hold dear, but the cost of publishing can be daunting. Fear not! Self-publishing on a budget is entirely feasible with a bit of savvy planning and resourcefulness. Today, we're diving into some practical strategies for getting your book out into the world without breaking the bank.
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Hello lovelies! This week I am going over the Master Plot Formula Case study. If you aren't familiar with this method, you can read more about it in this post, but to summarize, Lester Dent was born in the early part of the 1900's and wrote 159 Doc Savage novels using this formula he created to do so.
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In today's episode, we're diving deep into the mysterious world of Amazon algorithms. If you're a self-published author looking to maximize your book's visibility and sales, understanding how Amazon's algorithms work is essential. Let's explore the secrets of Amazon's algorithms and how you can master them to elevate your self-publishing game.
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Have you ever heard of the Master Plot Formula? Lester Dent was born in the early part of the 1900's and wrote 159 Doc Savage novels using this formula he created to do so.
Meant for 6000 word stories divided into four equal parts, Dent's formula can also be expanded to use in full novels.
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Today, we’re diving into an essential topic for aspiring and seasoned authors alike: self-publishing platforms. With so many options out there, it can be overwhelming to decide which platform best suits your needs. Fear not, because we're here to break down the pros and cons, discuss costs and services, and explore the unique benefits of some of the most popular self-publishing platforms.
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