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How to Get Feedback on Your Book

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Early drafts of anything—novel, book proposal, screenplay, children’s book—are rarely ready for the prime-time of literary agents’ or editors’ in-boxes. For that reason, it’s advisable to get feedback on your work, to vet it and revise it before you send it out into the world for potential representation by a literary agent or potential sale to a book publisher.

For those going the self-publishing route, getting constructive reader feedback now can mean that your book appeals to more readers—or addresses more reader needs—when it’s out in the marketplace. So feedback is advisable for authors who are self-publishing, too.

1. Be appreciative of any feedback

The goal of getting feedback and revising your manuscript accordingly is to improve it before the pros or a broader audience sees it. Getting and acting on good feedback 

So, first, some reminders:

  • Reading and giving feedback takes valuable time—and being thoughtful about it takes even more time. Please appreciate your readers. Because all readers provide useful information.
  • Reading and giving feedback is meant to help. Take in all feedback—no matter what the message, no matter how it’s delivered—in a spirit of thankfulness. 

2. Remember: you want constructive, actionable notes

Writers whose friends and acquaintances read their work like to be told things like, “I really liked it!” or, even better, “I loved it!” (C’mon, admit it.)

“Liked” and “loved” are actually vague and subjective opinion and, while nice to hear, that’s actually not very useful to you right now.

What is useful—what you want—is for people to be thoughtful and constructive and honest enough to also tell you what’s not working in your novel. Notice I didn’t write “what’s wrong” —that, too, is subjective. The answers to the question “What’s not working for you?” is feedback you can use to improve your story.

3. Ask for / prompt for specific feedback

Tell your readers that you welcome their “like” and “love,” but you can really use some specifics about why they liked what they liked and loved what they loved. And what they did not.

Here are some prompts you might give readers before they read your work:

  • Did you have difficulty understanding anything?
  • Were you able to follow the plot or (for non-fiction), the flow of the information?
  • Did you stumble over anything?
  • Did you perceive any gaps in the narrative? Any places where you could’ve used more information?
  • Did you have difficulty getting beyond a certain plot point or passage? Where was that?
  • Did any passages strike you as slow-moving or boring?
  • What did you think about the characters?
  • Did any characters behave in a way that seemed “out-of-character,” as they’d behaved previously in the story?
Once you have the first draft down, get feedback and edit.
[www.simpsonsworld.com via @giphy]

There are many more questions you can ask, depending on the specifics of your book, but the general idea is to get your reader talking about what might ultimately need clarification.

4. Analyze the feedback 

Now you need to seriously examine the feedback you’ve been so generously given. Analysis takes some time and thought. 

When reviewing feedback, know that readers may not all be great at articulating what’s bothering them about When a reader says “I didn’t understand when,” “I was confused at the point…,” “What exactly was happening with…?” pay close attention.

If a person mentions to you any sort of dissatisfaction about a certain passage (or plot point or chapter or character) in any context, it indicates that there is a sticking point for that reader, something that bugs them.

If more than one person stumbles over that same passage—even if the exact feedback is slightly different or even conflicting—you have a plot (or tone or character or clarity or pacing…) problem you need to address. For example, “The part about the apocalypse seemed really long” and “I didn’t understand why the hero saved the villain during the apocalypse” points to the fact that your apocalypse needs work.

5. If you have to explain it, you really should change it…

When hearing feedback, some writers have a tendency to explain themselves and defend his/her writing or story or choices against the reader’s notes. (“I know it’s confusing but I want to keep the readers off balance,” “But the villain is meant to be a complex character,” “The scientific studies are conflicting…”)

Fight that urge. What you might be encountering is a disconnect between your writer’s vision and what the reader is experiencing. Solving for these disconnects is the whole purpose behind getting feedback — you want to ensure your own creative or informative vision makes it smoothly to the reader. 

So, instead of getting defensive, get curious about what the reader is experiencing. Ask more questions, dig deeper. For example, you might ask:

  • “What exactly did you find confusing in that section? Was it confusing you want to know more about what’s going on? Or confusing like “This is too confusing to make me want to continue?”
  • Was it that you didn’t understand why the villain would help the hero? Or was it just that the writing wasn’t clear and you didn’t understand what was going on in that chapter in general? 
  • The scientific studies do show conflicting results — what didn’t you understand about the way I presented that?

Again, honor the time and effort it takes to read and give feedback by truly exploring it and taking it very seriously. 

6. … but you get to make your own artistic choices.

The goal is to resolve the readers’ sticking points in a way that satisfies and still honors your creative vision. Yes, doing so takes skill and craft and you’ll be working on that, too. 

Note that you might get suggestions: “You should make her kill the intruder, not just maim him.” “He should get set up on a double-date with her grandmother.” “It would be funnier if the character had Tourettes Syndrome.” Ultimately, of course, you’re the author—you can absolutely ignore specific suggestions or solutions even while you take seriously the reader’s impression or thought behind it. 

If you’re unable to figure out how to solve for a certain problem, ask for specific feedback about that section from another writer whose opinions you trust.

Paying attention to thoughtful feedback can help you better engage your first professional readers— agents or editors or others who are critical to your getting that book published.

7. Rewrite, rewrite, rewrite

Now… 

Rewrite, rewrite, rewrite. [via @giphy]

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Need a dose of professional book publishing advice? Check out the Resources & Quick Solutions for a sampling of how ContentMeant can help you move your book or your book marketing forward.

Mastering the Art of Book Marketing by… Julia Child

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Julia Child (August 15, 1912 – August 13, 2004) was a master of cookbook marketing and “offline” social media promotion. When I worked in-house for book publishers, I had the pleasure of working with Child herself and also on working on a biography of hers (Appetite for Life by Noel Riley Fitch). 

Child, the author of the seminal cookbook, Mastering the Art of French Cooking, worked hard on her a long road to publishing that first book. But it led to her becoming host of Public Television’s “The French Chef,” and she has been hailed as the first true television food personality. Her cookbooks and “how-to” shows brought a passion for cooking and food into millions of American homes and paved the way for the generations of TV chefs who came later.

Having worked with the author in her later years, I can attest to the fact that Child was a lifelong, tireless, exuberant, low-maintenance and good-natured advocate for her books.

Here are some overall book promotion lessons you can take from Julia Child:

1. Start with great content

The path to getting her first cookbook published was a long one — Mastering the Art of French Cooking took nearly a decade for Child and her co-authors (and her editor, Judith Jones) to develop.

Child created much of her own book promotion momentum by writing and producing high quality cookbook “content” to begin with. She had:

  • A strong vision for the cookbook
  • Impeccably tested recipes
  • Precisely written recipes and instruction
  • Engaging headnotes

2. Don’t rely solely on your book publisher for marketing & publicity

Mastering the Art of French Cooking was published on October 16, 1961. According to her memoir, My Life in France, Child’s publisher Knopf was doing some advertising for the book, but “… most of the promotion job fell to [Child and co-author Simone Beck].

Julia Child personally hit the book marketing hard [@juliachild via giphy]

3. Leverage all your “social media” networks

The Childs and Beck  “…decided to travel to places where we knew people who could put us up for the night and help arrange book signings, lectures and cooking demonstrations.”

Friends threw book parties and made an effort to help connect the new authors with “the fancy food types.” Through her “social networks” Child was introduced to established and respected food professionals like James Beard, Dion Lucas, Jacques Pepin, which helped create a “buzz” about the book among foodies.

4. Be prepared for anything… and be a good sport

Like any cookbook author worth her sea salt, Child and Beck were game for any and all opportunities and worked hard at their cooking demonstrations.

Child noted that the team often had to compensate for lack of organization on the part of the stores or organizations that were hosting their demonstrations.

Paul Child pitched in to do whatever was necessary — organizing, hauling, art directing, or washing dishes.

5. Capitalize on book publicity momentum

On October 18, 1961 Craig Claiborne gave the book a rave book review The New York Times (see “Great Content,” above). In tandem with Julia, her publisher Knopf’s publicity department leveraged that review and book buzz into any author’s dream of publicity hits, including appearances on The Today Show and articles in Life, Vogue, House and Garden and many more publications.

6. Take advantage of new book marketing platforms

One promotional appearance would prove to be life- and career-changing for the newly-minted cookbook author as the culmination of her hard work paid off in a rare opportunity.

Julia and Paul Child did not yet own a TV set when she was invited to do a publicity appearance on the Boston public television station WGBH to promote her new cookbook on a show called I’ve Been Reading. Not knowing what to expect, she worked hard like she always did and brought equipment with her and demonstrated a few proper cooking techniques—how to beat egg whites, how to make an omelette, and the like.

The appearance was so successful that the station ordered three experimental half-hours of a cooking show with Julia. Despite an inauspicious fire that burned down the WGBH studio just before taping, the show went on in a borrowed kitchen. The first three episodes—“The French Omelette,” “Coq au Vin” and “Souffles,” respectively, were popular enough with home cook/viewers for WGBH to continue the series.

While today, having one’s own television show is the most coveted of all media platforms and hard to break in for a cookbook author (or any author, for that matter), there are numerous internet and social media platforms available for the ambitious cookbook author or any author who would wisely emulate Julia Child. You can even make your own book promotional videos.

Julia Child… working hard, having fun! [@juliachild via giphy]

7. Live as Julia Child did: Have fun!

Perhaps the best lesson heed the piece of advice Child gave to her My Life In France readers about cooking, which can be applied to marketing, as well: 

“… learn from your mistakes, be fearless, and above all have fun!”

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Need a more book marketing advice or tactics—or other book publishing advice? Check out the Resources & Quick Solutions to learn about ContentMeant’s offerings for authors.

Disclosure: This post contains affiliate links relevant to the content. Purchases made through those links may result in good art karma for contributing to the financial health of creators, bookstores, etc., and to ContentMeant through a possible small commission — none of these at any extra cost to the purchaser.

Content Strategy in Action

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To show how content marketing works in the real world, here’s an example of content strategy in action from a large, global project I did for Samsung.

Strategy first, then content

Though Samsung sells its products through retailers — not directly to consumers — they wanted a way to engage consumers with their products across 70+ “regional” websites around the globe.

The solution was to develop content that would create a need for the product in the consumer’s view. But (as we marketing & strategy pros know), content strategy and marketing is NOT advertising, it is NOT an advertorial, it is NOT selling. It’s creating a relationship with the client, customer or reader. And nobody likes a relationship where the other party is constantly hitting them over the head with how great they are and to BUY, BUY, BUY. Content marketing is “show, don’t sell“.

I was brought into the project as the first person on the content team, to bring the project into the real world, to develop a couple of dozen initial examples of exactly what the project would look like, to refine them, and to help create templates of  how the project would look when globally scaled and executed by a larger team. 

Building the content strategy

After analysis and strategic thinking, it was determined that the content that accompanied  that would actually be product agnostic. It would be useful, in a friendly brand voice. 

For example:

  • An article on better sleep habits made a strong point about room temperature. Among the many sleep hints and tips, the piece mentioned that room temperature was important and some air conditioners could automatically adjust room temperature when someone is sleeping. The Samsung A/C units with this capability appeared next to the article. Those products got a huge boost in clicks/conversion rates.
  • The Samsung robotic vacuum cleaners (iRobot competitors) with the no-tangle pet hair brush when they were placed next to some tips for a cleaner home targeted to pet owners. 

For because we worked with lots of divisions and products, for each piece of content, we created a strategic brief — a sort of strategy outline before we proceeded, in order to nail down the main take-away of the article and how the helpful would link to the product without being salesy.  The brief included keywords, and other strategic SEO information. 

The articles were translated into eight languages and used worldwide. Of course, to appropriately bring eyeballs to the excellent content… 

Create strategically to amplify the content

In addition to creating a vast library, for each of the articles, the team members created strategic  marketing campaigns for the content by creating marketing “modules” — text and graphics with links that teased and invited visitors to the content from other areas of the site. We also created teaser Facebook and Twitter posts some strategically designed to engage users, others to inform users, etc. 

In that way, we had the strategic social media program “at the ready” to deploy when an article was finally approved and posted.

These assets were added to the masterlist of available content and to the content calendar for reuse at appropriate promotional periods.

Success metrics

[by @tonybabel via giphy]

This strategically-developed, informational and product agnostic content created more consumer engagement than even Samsung’s video content (my NDA doesn’t allow me to share the actual figures).

But because the success metrics were so compelling, the initial content strategy turned into a 3+ year engagement (for my client as well as for me and an  team of writers).

Yes, this content marketing will work for you

Like many of my clients, Samsung is a huge corporation. But substitute “blog post” for “article” and the principles are the same for any-sized effort. 

Create informative, useful, interesting, substantial and high-quality posts related to what your service or product is and “socialize” it – spread the word via social media (making sure you use hashtags). Use inline links to keep people engaged with your site.

And you keep doing it.

[@kimmyschmidt via giphy] 

Do you need a content marketing strategy?

ContentMeant can help. Read more and feel free to get in touch.

How to Craft a Better Book Title

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A great book title is one of the first marketing tools in the publishing toolbox. Crafting an effective book title — one that entices as many readers as possible to the book — can be as complex as any other product naming task. The goal is to pull people in with the title — and ultimately, to sell more books. 

And while book title generator tools may be able to spit out some great brainstorming ideas,  the truth is there’s no automated substitute for the process. It takes a human touch to know and understand who the potential readers for the book are, what value the book is providing them, and how to communicate that value in just a few words of title and subtitle.

How to create a book title: the basics

Titling a book was a big subject for me when I was running TheBalanceCareers Book Publishing Site. Here are a two articles I wrote for on how to develop a great title…

A book naming process case study

Taken from my time at a cookbook publisher, here’s an example of how a publishing team of editors and marketing folks and the author’s team turned a just-OK book title into a powerful title and subtitle combination that greatly expanded the potential market for the book.

So… a book proposal came into the house with a title that basically relayed its subject matter: Kosher Vegetarian Cooking, by Gil Marks. It was a collection of — you guessed it — vegetarian cooking for those who also keep kosher, from a variety of traditional sources. 

Does the title address the main market for the book?

Now, this is a straightforward book title that certainly speaks to its market — that is, people who:

  1. Don’t eat meat (a good sized book market these days) and
  2. Keep kosher (a much more limited market)

The intersection of kosher vegetarians felt like a limited market. The original book title spoke to kosher vegetarian cookbook buyers, but it almost felt like it was excluding others and limited the market. 

How to expand  the market reach? It would be hard with the existing title.

Would a great subtitle help? 

An explanatory or engaging subtitle might help, but it wouldn’t solve the whole problem.

Consider a subtitle like: “Great meatless dishes anyone can enjoy”. It still wouldn’t quite have the marketing “oomph” to overcome the majority of non-vegetarian, non-kosher cookbook buyers’ impression that “This book isn’t for me.”

What title could broaden the readers who might also enjoy the book?

With the goal of expanding the market, those involved with the book’s development dug deep into the text and the philosophies behind the book and brainstormed and did market research into the competition (see “human touch” above). 

A quote from the Bible was pulled out of the text:

“A land of wheat and barley, of grape vines and fig trees and pomegranates; a land of olive trees and honey . . . you shall eat and be satisfied.”?—Deut. 8:8-10

Deconstructed, some of the thinking that went into the titling process:

  • Wheat and barley sound… a little too “whole grain cookbook”
  • “Fig trees and pomegranates” was a combination perhaps a little too purely exotic to go wide — in addition, pomegranates were were having “a foodie moment”, which meant maybe the title might not age as well into the backlist.

And the winning book title is… 

After many meetings and much deliberation, the title was determined to be: Olive Trees and Honey: A Treasury of Vegetarian Recipes from Jewish Communities Around the World.

Instead of limiting the book market, this evocative and lovely cookbook title brings to mind luscious ingredients. The subtitle provides an explanation and honors the cultural and religious heritage of the contents while it suggests the communal importance food and the promises of delicious recipes. Even the word “treasury” suggests value.

This delicious book title would bring the book to a much broader audience, like: 

  • People who eat olives and honey — ingredients that are in wide usage and that have shown no signs of abating in popularity in the past few thousand years.
  • The larger Jewish community that doesn’t keep kosher.
  • Cookbook lovers of all kinds who are interested in recipe collections.
  • People interested in world food history.
  • And, of course, kosher vegetarians.

Olive Trees and Honey: A Treasury of Vegetarian Recipes from Jewish Communities Around the World went on to win a James Beard Foundation Cookbook Award and to become a IACP Cookbook Award finalist.

Would Kosher Vegetarian Cooking have done the same?

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Need a quick hit of book publishing advice about your title—or anything else? Check out the Book Strategy Quickie for a robust sampling of ContentMeant’s expertise—at a reasonable price—focused on moving your work or your marketing forward.

Content Marketing as… Party Conversation?

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Content marketing is the “show don’t sell” of promotion, based on communication of useful information and mutual discovery.

For your prospect: Is this service or author’s work right for me?

For you, the service provider or author: Am I targeting the right audience?

I like to think of content marketing as beginning like a party conversation, one that helps create more meaningful relationships.

Content marketing is “show, don’t sell.”

One common beginner content marketing mistake is to assume a “sales pitch” is “content.” This is not only incorrect but can actually be harmful to the content marketing effort.

Here’s what I mean:

Imagine you’re at a friend huge bash of a party and a friend of the host, Georgina, accosts you with, “Hey, I know you have a dog. Did you know I take dog portraits?”

Georgina shoves her card at you, “Give me your information. It’s time for holiday dog photos. I’ll text you tomorrow and follow up. We can set up an appointment.”

Now, Georgina might be the most brilliant pet photographer that ever snapped a pooch but chances are, after that interaction, in the future you’ll be ducking behind the ficus tree to avoid her.

How the conversation should happen

Imagine you’re at the same party, petting the host’s dog Rufus. Georgina approaches you and comments on the delicious hors d’oeuvres as Rufus tries to grab them. You mention your own dog’s fondness for table scraps and Georgina says, “My dog, too. I can manage other people’s dogs when I take their portraits, but…”

Oh? Dog portraits?

“Yes, in fact” — she points — “I took those pictures of Rufus, there. Here’s my card — if you’re planning on taking pictures of your dog for holiday cards, have hints on my website about how to take great pet photos.” Georgina then tells a funny anecdote about her latest client, a French bulldog …

You don’t need a pet portrait but…

… now you have a rapport with Georgina, you’ve seen examples of her work. You go to her website — cute pet portraits! And there’s a picture of Rufus! You sign up for her newsletter, you take her up on that bit of free professional pet photo advice on the website… it’s harder than it looks.

And then your cousin calls and tells you she’s just adopted two pedigree pugs from the same litter and she’s going to try to pimp them out as twin pug clothing models and they need a portfolio…

And you mention Georgina and forward her the latest newsletter …

Content marketing translation

The big bash is the content-marketing universe — at first, it seems overwhelming and amorphous.

But content marketing customer behavior (akin to your obvious fondness for dogs in the party example) sends signals. By interacting and engaging and using hashtags, people reveal their interests, their likes and dislikes.

Social media casts a wide net. In order to get the most out of it, you need to “listen” and interact and learn as well as “put out” your message.

An email lead nurturing campaign creates a relationship where there is meant to be one. This warms potential clients up to your services, warms readers up to your voice. It helps everyone get to know each other (the regular content selection and reader clicks reveal insights) and what you’re offering. The campaign also leads people to…

Your all-important website gives deeper information about product and service offerings — and gives all potential clients “social proof” —  examples of work and client testimonials — which (like Georgina’s IRL portrait of Rufus), gives an idea of your pricing and reveals whether vendor and client are a fit.

Regular email newsletters keep your clients or audiences in touch. This includes both you reaching out to them – and you getting insights on the backend to gauge their interest level.

Search-engine optimized blog posts keep the conversation fresh, keeps you “discoverable” by search engines.

A targeted content marketing strategy helps efficiently and effectively create and deploy the above-mentioned tools — social media posts, blog posts, newsletters and lead nurturing sequences are at the tip of the content-berg. Other content delivery methods include video, podcasts — even live events, etc. — each has their own unique capabilities and advantages, which need to be geared to the audiences you want to reach.

A strategy will help turn casual “party conversations” into deeper client and audience relationships.

Do you need a content marketing strategy?

A ContentMeant content marketing strategy can help focus and augment whatever resources you currently have with a plan that will maximize the efficiency of your staff’s or your own efforts.

Get in touch to learn more.

photo credit: AnnMarie Spinella

Writing Habits of the Pros

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So many elements of the writer’s life are filled with uncertainty — not the least of which is the writers schedule. There is no “9 to 5”, no universally  prescribed hours — and every writer has different hours of peak productivity, different temptations keeping them from the keyboard.

I myself occasionally find myself joining the ranks of the #5amwriters on Twitter – not always at 5am in my own Eastern time zone 😉 And always with large quantities of caffeine.

Because I struggle to stick to a consistent writing practice, I’m always curious about how other writers structure their days, how they are able to log hours at the keyboard, how they manage to get to the finish line.

Here’s a list of some of my writerly heroes and the habits, tips and wisdom that enable/d them to move their creative projects forward.

Steven Pressfield – fight Resistance

From one of my favorite creative life gurus, Steven Pressfield, comes the nugget that informs all others: “The battle must be fought every day.” Pressfield is the author of the seminal  The War of Art: Break Through the Blocks and Win Your Inner Creative Battles, which refers to the life distractions that prevent one from applying butt to chair as Resistance. As those forces are legion, for a writer to be successful, they must be reckoned with and overcome every single day.

Jerry Seinfeld – “Don’t break the chain.”

As I sometimes write humor, this advice from the iconic Seinfeld (via Lifehacker) has stuck with me — it doesn’t require a set schedule, only an “unbroken” mindset. 

According to this master of his comedy domain, “The way to be a better comic was to create better jokes and the way to create better jokes was to write every day.” To facilitate that, Seinfeld suggests (bullets mine) …

  • “Get a big wall calendar that has a whole year on one page and hang it on the wall where you can see it.
  • Every day you write, put a big red X over that day.
  • After a few days you’ll have a chain. Just keep at it and the chain will grow longer every day.
  • You’ll like seeing that chain, especially when you get a few weeks under your belt.
  • Your only job next is to not break the chain.
  • DON’T BREAK THE CHAIN.”
Your only job next is to not break the chain. (from Seinfeld via Giphy)

Erma Bombeck – set disciplined hours

My earliest years were influenced by reading Bombeck’s hugely popular syndicated humor column “At Wit’s End” in our newspaper. According to her bio, “at the height of her popularity, 900 newspapers syndicated her column to an audience of 30 million people.” As the best-selling author of numerous books, she was also a frequent guest on many television talk shows.

Bombeck reported that she wrote from 8:00 – 11:30 a.m. and 1:30-5:00 p.m. “five, six, seven days a week. I don’t see how I can do any less… If you’re a professional writer, you write.

“You write whether you feel like it, you write whether you’ve got an idea, you write whether it’s Pulitzer Prize material. You just do it, that’s it. Discipline is what we’re all about…

“Writing has to be a priority—there comes a time when you have to stop talking and start doing.”

Erma Bombeck knew what she was talking about. (The Simpsons via Giphy)

Discipline likely kept her productive during her appearance schedule (something to aspire to, no?). The writer’s spirit lives on in the biannual Erma Bombeck Writers’ Conference at the University of Dayton in Ohio, her alma mater. 

Anne Lamott – write shitty first drafts

Many writers are already familiar with the amazing Bird by Bird: Some Instructions on Writing and Life.  Lamott’s writer dad, Kenneth Lamott, wrote every day from 5:30 to ~7:30am; made breakfast & read the paper, then wrote for the rest of the morning – she passes down the advice re: writing (bullets mine):

  • “Do it every day for awhile.
  • Do it as you would scales on the piano.
  • Do it by prearrangement with yourself.
  • Do it as a debt of honor.
  • And make a commitment to finishing things.”

But for those who sometimes have trouble getting started because of perfectionism or other psych-the-writer-self-out headgames, my favorite piece of advice from Lamott is  “… write really, really shitty first drafts.”

Stephen J. Cannell – rewrite + always finish

You get nothing from an unfinished project, and you learn nothing! Finish everything you start!

Stephen J. Cannell

The late, and very prolific television writer/producer worked on and/or created some of the most iconic procedural crime shows — Columbo, Ironsides, The Rockford Files, to name a few.

This man had dyslexia folks, and wrote 5:00 – 11:00 a.m. nearly every day and purportedly felt guilty not writing even while acting, or vacationing, etc. These from him:

  • “It is very important to write at the same time every day, two hours at the minimum.
  • Keep going and your talent will grow, but you have to be at the keyboard for that to happen.
  • Give yourself permission to be bad [aka “shitty first drafts redux”] — rewriting is part of the process.”
(NBC Universal TV via Giphy)

But the most interesting piece of advice Cannell emphatically gave is…

“Choose your projects carefully (something you love, something that will work), but NO QUITTING! You get nothing from an unfinished project, and you learn nothing! Finish everything you start!”

When we hit a bump and are tempted to gravitate towards the “shiny object” of a new and (for the moment) easier project, Cannell’s words are worth taking to the keyboard. 

Ellen Sandler – create your writer’s identity

The television writer,  TV consultant/coach and author of The TV Writer’s Workbook: A Creative Approach To Television Scripts, echoes much of what others have said, but reinforces some important points. She writes (not necessarily in this order):

“YOU HAVE TO WRITE. A LOT…

“Develop the muscles to write even when you have a lot of other demands on you… Writing, if you are a writer, is as much a part of your life as eating.

Write something even if you’re tired. Write even if you don’t really want to. Write instead of watching TV, answering emails, watching YouTube, twittering, shopping online for discount cosmetics… You develop the discipline to write when you can’t.”

“Most importantly: Be willing to WRITE BADLY…

Write when you have nothing to say; write until you find something to say. By writing all the time, you create your writer’s identity.

In a couple of months…you’ll have something finished. Once you’ve written something, you have to write something else… and something else.

“There is no other way.”

Save the cat… oh, wait. That’s advice for something else. But while we’re looking at Isaac Asimov’s I, Robot… (20th Century Fox, via Giphy)

Isaac Asimov – send it out + persist

“You must keep sending work out; you must never let a manuscript do nothing but eat its head off in a drawer.”

Isaac Asimov

For those who write and write but show the words only under duress or maybe not at all, iconic science fiction author Asimov has this advice:

“You must keep sending work out; you must never let a manuscript do nothing but eat its head off in a drawer. 
You send that work out again and again, while you’re 
working on another one.

“If you have talent, you will receive some measure of success – but only if you persist.”

Jane Austen – write on

There is comfort in the fact that the writer’s struggles are not new, so take a page from the playbook of “the greatest novelist in the English language.” More than two hundred years ago Jane Austen learned that she, like Steven Pressfield after her, had to fight Resistance. She wrote in a letter to her sister Cassandra:

“I am not at all in a humor for writing; I must write on till I am.”

Jane Austen
When I’m not in a humor for writing, I find that caffeine helps.
(from BBC Pride & Prejudice via Giphy)

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