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de-cryptid · 3 years

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Behind the curtain.

I’ll cut to the chase and simply state outright who I believe, and am almost certain, is behind the social media presence of Simon Alkenmayer.

Kristina Meister.

Kristina deleted her blog yesterday as of posting so I can’t link directly to it for the posts I am going to discuss and showcase here. I will be providing links that preserve their existence, however, so you don’t have to take me at my word alone.

For context: In Simon's world (which is how I will refer to the unreality that is his existence and supposed life), Kristina was his editor for The Creature's Cookbook and also the foot-in-the-door that is the publishing industry. She pitched the autobiography on his behalf, bringing it to Tapas media.

They maintained a friendship, both outside of the internet and here on tumblr. However, one day a fire was set in Kristina's driveway, leading her to what can reasonably be described as hysteria.

Here is an archived link to her reaction.

TL;dr is that she believes @simonalkenmayerisdead to be the only person in the world who could have possibly made a connection between her and Simon (despite the fact they actively engaged with each other on multiple social medias, that and there are far more people on tumblr that know of Simon than his critics) and threatened a multitude of legal action.

Here, The Fool explains the issue with the accusations levied against him and his followers.

Reading the exchanges between Simon, The Fool, and Kristina is what made it clear to me that Simon is Kristina. A lot of those posts are long gone due to Kristina's blog deletion, and are otherwise far too tedious to hunt down on Simon's blog, but they are quite similar to that which is linked above.

You can probably tell there's a level of irrationality (an understatement honestly) in Kristina's posts regarding the fire and her general demeanour.

As she and Simon have each other's personal contact information, which she herself showed a screenshot of, I think it's strange for Simon to respond publicly in the way he did. She's clearly not in a good mental state to be online, discussing a traumatic event, throwing accusations, cussing at and threatening her dissenters.

He's a long-lived observer of humans, in his world, and instead of recognizing this to be the behaviour of someone who isn't in the right frame of mind to be speaking about their circumstances to a substantial audience of presumably a few ill-intentioned people, he endorses everything she says and encourages her to continue on her rants.

Is it not obvious that this isn't accomplishing anything but potentially harming her more? She's shown the suspect that their tactic succeeded. She revealed her vulnerabilities in regards to her child and marriage. Simon, as a friend and the supposed cause for all this, should know better than to further feed into the anonymous attacks on his associate and instead handle it on a personal level.

But that isn't what happened.

The only way for someone to respond in the manner Simon did is for them to be as equally emotionally involved and irrational as Kristina herself is, which is clear from the notes where Simon's loyal audience reacts in a similarly distressed and irrational voice.

That's human behaviour, not that of a people-eating centuries-old non-mammalian monster who has watched famine ravage civilizations, killed countless individuals, and adapted despite it all.

But moving on, as I'm sure that in and of itself isn't enough for some people.

Let's turn our attention to The Creatures Cookbook itself. It's framed as a diary, meaning it was written in real-time and built upon over years, not as an autobiography. This is suspect for reasons I'll discuss further on.

I'd like to begin with the book's publishing history. It was first in print thanks to Fuse Literary, as can be seen in this post from their website, then moved onto the Tapas app (where it remains to this day).

Simon himself says that his book is "out of print", which is why it's not available as a physical copy outside of second-hand nowadays. This is not exactly true; fuse literary dropped the book. He isn't being represented by them anymore. Tapas, which is more of a pulp app where anyone can publish most anything, is not just the new medium he selected dutifully to act out the experiment more effectively; it was a last resort for a book people simply weren't interested in.

The Fool explains this quite well here.

I'd also like to reiterate something touched upon in that linked post; Simon lied about meeting his publisher, either in 2014 in that incredibly descriptive post about his agent and their experience with Tapas, or to that anonymous asker. Why is this? If the original post was incorrect, or no longer what Simon wanted readers to believe, wouldn't it make more sense to delete it? That or he, likely, forgot what was originally said about his publisher and simply made up a response for the asker. His memory spans centuries, and clearly that experience was a vivid one, given his description, but he couldn't keep consistent on his public social media. I find this suspect for many reasons.

Going back to Fuse Literary, we have articles that directly state Kristina is "writing as" Simon, which he has stated in the past was out of necessity to preserve his identity (which is somewhat contradictory, seeing as he claims that the government is aware of his species and him specifically, and also his aim is to convince people he does in fact exist).

Needless to say, a lot of little things just don't add up. Instead, they point to Kristina using Simon's character and presence as an outlet of sorts. He is an identity she assumes.

Here is another clue I stumbled upon, regarding Kristina's other writing endeavours.

Let's talk Cinderella Boy.

So Kristina is both a freelance editor (as Simon states she was for him) and a writer herself, with several published books. Easily her highest reviewed and most popular is called Cinderella Boy, a story about LGBTQ struggles from the perspective of a high school boy. I went through the reviews a while back and a lot were positive! But I noticed that many of those positive reviews were people who knew Kristina through Simon and already liked his character, his voice, his style.

And Cinderella Boy is very much the same.

I linked the Goodreads page above and recommend you go through reviews yourself to better understand what I mean, but below I will show one of the negative reviews that is... Very telling. (Click and swipe through, it's a long one)

And this wasn't the only person saying these sorts of things, either. Again, I recommend seeing for yourself. Here's another excerpt from a different review:

I want to focus in on the "70 year old philosophers" bit. The other review above said something similar about the overly deep and philosophical dialogue.

Sound familiar?

It appears Kristina's writing style happens to be that old-timey philosophically-bent verbose kind, highly reminiscent of Simon himself.

I found this rather funny. You'd think writing a modern YA would have a skilled writer attempting to make the character interactions more relatable and... Well, realistic.

It appears Kristina only has the one setting, however. And that happens to sound exactly the way Simon talks.

I will be going in-depth with the factual errors in Simon's historical assertions in the future, so I'll hold off on those for now, but a previous post of mine shows a clear miscalculation on the part of Simon's creator googling something and applying it to Simon's world, without realizing it was factually incorrect. You can see that here.

To conclude this very long post, I want to make it clear that I do not hate Kristina nor Simon, I am not posting this to harass either of them. I am only interested in making it clear that Simon is not an all-knowing cryptid and is not a reliable voice. Simon is a human creation and his readers should be aware of that. Seek real, professional help if you are looking for some advice. Do not think that an elaborate roleplay is an appropriate substitute.

#long post #simon alkenmayer #kristina meister

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creativitytoexplore · 4 years

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Everything Old Is New Again: An Interview With Co-Web Editor Adam Soto https://ift.tt/2WdSDbp

Writer and editor Adam Soto has long been a part of American Short Fiction‘s editorial team. As one of our assistant editors, he regularly read submission to the journal, wrote copious feedback for authors, and helped determine which stories would ultimately appear in our print edition. So, when we made the decision to bring on another web editor this spring, Adam was a natural choice for the role. This month, he joins our longtime web editor Erin McReynolds as our website’s co-editor, and together, they’ll determine which stories are published here at ASF Online. I recently emailed with Soto to ask about his work, his approach to editing, and his aspirations for the magazine.

—

Nate Brown: Adam, we’re so thrilled that after having served as an assistant editor with us for so long that you’re stepping up to the plate as a new web editor who’ll be working alongside web editor Erin McReynolds. While we know you around these parts—you’ve been a member of Austin’s literary community and of our team for years—I want to start by asking you about your own fiction writing. You’ve got a novel coming out next year. Can you tell us a bit about it?

Adam Soto: Joining ASF was one of the first things I did after coming to Austin, and it’s really been like being part of a family, so I’m really grateful for all the time I’ve had with organization, all the stories I’ve read through the years, and I’m really moved to have the opportunity to contribute more to what the journal is doing, which is something special.

The novel is called This Weightless World, and it’s out on MCD/FSG fall 2021. It’s a sentimental sci-fi, a kind of Contact for misanthropic millennials. January 1, 2012, Earth detects an alien signal from a planet 75 lightyears away and a group of characters—a Chicago Public School teacher; one of his students, a musical prodigy; and his ex, a programmer who dumped him for a gig at Google—anticipate a major paradigm shift, an alternative to late stage capitalism, the neighborhood’s cycle of violence, an escape from their own personal guilt. I mean, aliens are supposed to be game changers, right? Habit, human nature, laziness, and fear, however, prove to be a greater obstacle than the 75 lightyears between us and them, and when the planet suddenly falls silent, leaving us alone in the universe once again, collapsing the distance between who we are and who we hope to be feels harder than ever. While the characters sort out their lives, our planet’s biological clock keeps ticking, our dependence on technology distorts our sense of reality, and our most vulnerable continue going mostly ignored. If all of that sounds too depressing, I should add that there are also loving pen-pal letters and lyrical dispatches from deep space woven throughout.

NB: It’s funny, Adam, but I remember you from back in your Iowa City days, when you and my wife, Thea, were MFA students at the Iowa Writers’ Workshop. Was this a project you were working on back then, or is the novel more recent than that? And how does the novel compare to the work you were writing then?

AS: I remember the two of you as well. I started the novel on January 1, 2012, so, right before the start of my last semester at Iowa. Marilynne Robinson was going to be teaching a novel workshop in the spring, we’d all been in a novella seminar with Peter Orner, so all of my friends had suddenly pivoted from writing short stories to writing novels, and I thought, I wanna get me some of that!

I was staying with my parents for the holidays, and I had a dream featuring an image and a wordless interpretation. I saw this fuchsia-colored planet and felt that not only I but the whole human race was being shunned and shamed by it, like the planet was Earth’s twin and we just weren’t going to be friends. With absolutely nothing else to go on, I set up my laptop in my parent’s kitchen, took a look around the room, and typed the first thing that came to mind. “So, this dude wakes up on Jan. 1, 2012…” Most of my work, up to that point, had focused on alienating readers. They were mainly plotless, kind of nihilistic, and tried really hard to redeem themselves with lots of catchy sentences. It had never occurred to me that I could cut back on my affect and keep alienation as subject matter. It took me three whole drafts (re-written, top to bottom) and four years to figure out what the story was about, three years working with my amazing agent, Marya Spence, to turn an 800+ page sprawling tome into an actual novel, and it’ll be another year and a half before my editor, Danny Vazquez, and the rest of the team at MCD/ FSG and I turn it over to the public.

NB: Did you have any particularly great workshops or instructors at Iowa? What ideas about writing have stuck with you? And for those considering an MFA program, do you have any advice on what they should expect to take away from the experience?

AS: My very first workshop there was with the late James Alan McPherson. He was so funny, sage, and generous, and my workshop group became my best friends. Peter Orner was also very inspiring. He taught me a lot about teaching and reading. Teaching and writing were the natural byproducts of reading and paying attention to others for Peter, and this has proven vital to me as a middle-school English teacher. Michelle Huneven, however, changed my life. The way I saw it, I was just this kid who got into this really nice writing program for one reason or another, but, somehow, Michelle took me seriously and told me to take myself seriously. There’s no shortage of people taking themselves seriously in MFA programs, so, I guess my advice is to expect to find something out about yourself. A lot of people find out they don’t like teaching; hell, some people find out they don’t like writing that much, at least not enough to spend the rest of their lives trying to get published. Either way, no matter your age, or where you’re coming from, you’ve got to let the MFA years be formative in some way.

Back in the day, there used to be this expectation that you could join a program and graduate with a book deal, or at least a “cushy” teaching gig that’d hold you off until you got a book deal, and because it was more of a rite of passage, these programs could get away with being deeply unfeeling. I felt nurtured and supported, but I know a lot of people who didn’t and who don’t. But I think if everyone comes in expecting more, and if everyone is willing to accept that that something more probably isn’t going to be more book deals—taking on publishing is a whole other nightmare—then I think a lot of the criticisms of MFA programs could be addressed, and not just by faculty and directors but by the student communities that hold them accountable. Because there’s no real promise for what you can expect, especially from program to program, until you start laying out those expectations. For starters, funding and diversity.

NB: In addition to writing, a big part of editorial work is reading submissions. What kind of work grabs you? What excites you? What do you love coming across in submissions?

AS: I like something that commits. Something that assures me that it wants to tell me something, even if it’s reluctant to, even if it fails to. Commitment is huge. To voice, a structural procedure, a deep study of character, a memory being pulled apart, a woolgathering.

NB: Our web exclusive stories have long been capped at 2,000 words (though this is changing), and I’m wondering what you think the short form—whatever you may call them: flash fiction, micro fiction, short-shorts—offer that longer works do not? What are the advantages of really short work?

AS: Whenever I get a new album, I always start with listening to the longest song. With short story collections, I always start with the shortest story. This is something I’ve done forever. Whatever they’re called, I’ve always been attracted to these brief things, and, over the years, reading them, writing them, I’ve come to appreciate their different intended effects. You read one of Babel’s Red Cavalry Stories and the story’s length isn’t really the first thing you notice. Similar to your feelings after a shorty by Chekhov, you’re struck by the wholeness of the experience, the funny asymmetry, the dropped details—as in the details the writer does and does not drop. Compare that to a sprint by Thomas Bernhard, one of Lydia Davis’s illuminating punchlines, or a haunting by Peter Orner, and I think you get a mixture of dedications to singular things, which is rare in our Wikipedic, FOMA world. And the fact that that one thing can be so many different things—grief’s manipulation of time, light’s impression on a memory, an anecdote, extensive alliteration—is really a gift. Such dedication taken to greater lengths is often awkward or dull until it ventures into the obsessive and becomes genius again.

NB: Are there writers whose stories you find yourself returning to over time? If so, who are those folks, and which stories do you think demand re-reading?

AS: Mavis Gallant, constantly, and especially her early and long story “The Cost of Living.” I love that long story for its failure to commit, for dragging out what it means to say for pages and pages, for pretty much being a 36-page novel. Leonard Michaels’s Nachman stories and his list story “In the Fifties.” Anything from Joy Williams’s Escapes, but especially “White” over and over again. Andrey Platonov’s “The Motherland of Electricity” (it teaches you how to build a generator), James Alan McPherson’s “The Silver Bullet,” and, more recently, Sara Majka’s “Saint Andrews Hotel,” “Especially Heinous” by Carmen Maria Machado, and Brandon Taylor’s ASF story, “As Though That Were Love.”

NB: Jesus, there’s so much good work in there. That Brandon Taylor story has really stayed with me. I taught it at Johns Hopkins last semester, and it made a couple of students (and me) cry. Taylor has so much to say about loneliness and the unbridgeable spaces that exist between people, even those who are dear friends. Come to think of it, the Williams, McPherson, and Majka stories you mention are sort of about that, too. Would you say that the tension between isolation and collectivity, between personal spaces and social spaces are of interest to you? Based on what you’ve said about your own novel, that seems central in that work, too.

AS: Yes, definitely, definitely, the isolated and the collective, isolated collectives, and, now that we’re all getting a taste, the collectively isolated. And that tension, too, I think you’re right, between the singular and the collective, I’ve always been fascinated by where it pops up, how places and moments of intimacy can leave us feeling so isolated, how fractured our alliances and coalitions can be, how hard it is to come together behind a common goal. But most of all, over the years I’ve become obsessed with characters who, against their better judgment, still seek community, and I’m really attracted to the tensions that arise when those seekers interrogate their intentions or test the authenticity of their communities. One of the unique features of our world today is our ability to not only witness but quantifiably measure the efforts being made by ourselves and others as we vie for each other’s communion—it’s something both beautiful and grotesque. And that reality really takes the characters in TWW for a ride, from pulling them out of their recessional depression to overloading them with worldly concerns to leaving them feel completely isolated.

NB: American Short Fiction has been around since 1991. Why do you think that journals like ours—large and small, from all parts of the country and the world—abide? What role do you think we play in the broader literary culture, and has that role changed over time?

AS: Like the few healthy corners of the internet, lit journals are places for spaceless communities, folks looking for a common thing; in our case, a certain flavor of fiction. With every issue, you’re excited to share in the discovery of someone new, eager to read someone familiar, and happy to sustain the practice of an old art form. And before the internet, and now through the internet, lit journals have always offered deeply reflective but also relatively immediate reactions to the worlds we live in, which is something I’m excited to play a part in as a web editor. As a utility, we broaden the spectrum of representation in culture, and although our nets require wider and wider casting, what we discover here increases the expectations we have for other literary institutions, as well as the world at large.

Adam Soto is a co-web editor at American Short Fiction. He holds an MFA from the Iowa Writers’ Workshop and is a former Michener-Copernicus Foundation fellow. He lives with his wife in Austin, TX, where he is a teacher and a musician. His debut novel, This Weightless World, is forthcoming from MCD/ FSG fall 2021.

#American Short Fiction

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theattainer · 4 years

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Online Marketing Through Trial & Error

https://chuckbartok.com/wp-content/uploads/2019/11/Carmen2-e1574695310247.jpg

http://theattainer.com/online-marketing-through-trial-error/

Online Marketing Through Trial & Error

The following is a guest post from the very talented author, Carmen Baca. Although her focus is on the marketing of books, the principles are relevant to all venues

Online Marketing through Trial & Error

In the three years, I’ve been an author, I’ve figured out a few marketing strategies that work for me, not for all, mind you. While I queried publishers, I wrote to twelve famous authors for advice about marketing due to my being a New Mexico Hispanic and because our culture is underrepresented in literature. The consensus of the five who graciously replied was that exposure is what I needed for acquiring readers and generating sales. So that’s what I did.

Carmen Baca, brilliant author from New Mexico

PRE-PROMOTING PRIOR TO BOOK RELEASE

I created a website, a blog site, got on Twitter, LinkedIn, and Instagram and started experimenting without knowing what I was doing. All those failed to lure readers, by the way, all except FB. This is where my readers were engaging with me and follower numbers rising, so I concentrated on it. And because of my ignorance, I started promoting fifteen months before my book published because I didn’t know my first publisher would take so long. However, that act of ignorance worked (and still works) to my benefit. I told everyone about my book for so long and used so many short excerpts and photos that the week the book released, it sold out on Amazon and in my local bookstore four times. I still promote my works months in advance.

FACEBOOK

A couple of reasons why Facebook works for me has to do with the genre and reader demographics. That’s probably why it doesn’t work for all authors. I don’t write a genre that’s common: I write regionalistic literature. This means I appeal to a certain region and to people who want to know more about the region. The subject matter I include is due to my culture being a large contributor to my novels and short stories.

The reader demographics are women my age or older. The majority of the reader population have only FB, no other social media accounts, so there’s no way else to reach them. However, because so many of them won’t do online shopping, they can’t leave reviews on websites. They do leave reviews on my page though. They also prefer buying the books from me, signed and with custom-made bookmarks. I sell hundreds of books from my page, but it does nothing for Amazon ranking based on sales and reviews. So my books will never reach a high rank (the first one about the Brotherhood got to #32 once; I about fainted). That one has the best sales record and the most reviews. So anyway, that’s why FB works for me but doesn’t work for all authors.

Best day to post on FB—Wednesday at 11 a.m. and 1 p.m.

Worst day—Sunday

ONLINE VISIBILITY

As for my other platforms, every once in a while I update my website and post on LinkedIn, which I don’t understand how to use at all. I tweeted till I was even more confused about Twitter, and I post once in a while on my Flipboard Magazines and in my Pinterest author collections about my books. This is what I discovered about other means to gain online visibility.

Bookseller sites—that’s the first step in getting online visibility. Once you publish, your books are going to be on a few websites, maybe more, so that is where the exposure begins. Google yourself to see how many you’re on and fill in your author information on such sites like Amazon and Goodreads. See how you can use those to your advantage. Some authors create ads. I haven’t done that.

Short Publications—publish short pieces in online literary magazines. I’ve gotten works published in over twenty different magazines, blogs, and anthologies over the past two years. When new readers appreciate my short works, they sometimes follow the links to buy my books, so online publishing does acquire new readers and generates sales. (Again, maybe it’s my genre—no guarantee this will work for others). So, say twelve bookseller sites plus the twenty-four more, that gives me thirty-six websites I’ve gotten in a little over two years. With my website, blog site, all those social media platforms, that gives me another five at least. Forty-one, more or less, websites—that’s how many I’m on right now.

Media connections—this started for me because of my first book, traditionally published. My publisher arranged for a small book tour, so I was contacted by the influencers first—members of the media, newspaper and magazine editors and reviewers. Through Facebook, supporters of the arts, gallery owners, other authors, and book clubs found me and now promote on my behalf. Again, this is most likely due to my genre. However, because of those online magazines I publish in, I made some wonderful and far-reaching influencer connections on my own, and not only in my state. One editor promotes my books in issues of his magazine based in California, and a few others do similar promoting in other locations.

Author Websites—there are websites where we can list ourselves and our works: Goodreads, Hometown Reads, Penstra, Robin Reads, and many more. When you post to any social media platform, tag them with their handles, and they’ll sometimes retweet or share your works. Two neighboring states’ magazine editors, radio talk show hosts, and even a newspaper follow and share my posts to their readers, just because they found me on social media.

Above all, find social media platforms where you can connect with your fans and communicate with them daily. They love that they can talk to a “real author.”

TWITTER

I’d probably still be avoiding Twitter and stagnating at 190 followers but for a kind author who took me under his wing and tutored me in Twitter and tweeting.

Following the tutorial below, some of which I learned from my friend and some of which I discovered through more experimentation, I followed these steps to go from 190 to over 4,600 in four months. If you keep reading, I’ll explain how important the number of followers is on Twitter.

A visitor to your profile who is interested will take the time to click on your tweet and see what you’ve included in the accompanying imagery. Check out other authors’ and writers’ profiles to get an idea of how yours should look. I replace mine once in a while with NM scenery or with my books. When acquiring followers, be sure to check their profiles for “writer” of some sort. (I got three messages from men seeking friends. I changed my profile bio to married and grandmother to decrease the chances of someone looking for something I didn’t want to give.)

Go to the search bar and type in #writingcommunity. Start there. You’ll find plenty of tweets. Respond to those tweets—as many as you can. Tweet something like this—“new to Twitter and seeking followers. #Amwriting #mystery #novel (or whatever, but use the hashtags which attract more writers/readers).”

Participate in #FF (Follow Fridays) #WriterLifts, and #TwitterTrains when you can, especially as you’re building your following. When you see those hashtags, join in the train of followers by following them, liking, RT (retweeting), and commenting a thank you for the opportunity to get more readers. Engage. Don’t tweet with a comment though (something about algorithms).

Try to keep up with new followers and say thank you for the follow when you can. Use #writingcommunity in your tweets. Use your own hashtags as applicable to you. Use your hashtags in your tweet; for example, “I #amwriting #regionalistim & #magicrealism.

My #shortstory went live today.”

You get the idea.

Remember to keep an important tweet pinned for easy retweets and change it after it gets a few tweets, maybe 7-10. I like to keep my tweets rather than delete them after they no longer apply because I’ve noticed when a follower takes an interest in me, he/she will go back and see my tweets and like them, so I figure the engagement by leaving them there serves a purpose too. Some writers delete the tweets after they served their purpose.

Before you know it, you’ll have hundreds of other authors following you. Doing those three steps, I noticed an immediate increase in followers, and every time I tweet or respond to a tweet, I get more followers every day.

I like to tag specific influencers like magazine editors or radio talk show hosts who promote for me. They retweet my tweets to their followers, and word gets out for sales. I use @KRTN or whatever to get the attention of influencers; find your influencer handles and use those you want to attract. (Natalie Morales of NBC-Today, liked one of my tweets once). Just keep your @handles to a bare minimum and alternate with different tweets. You don’t want to become a pest.

One writer who took me under his wing is now promoting my books to his 79K followers. Think about it—those you follow have hundreds of thousands of followers combined, and those get retweeted and seen by that guy’s followers and so on. The reach is incredible—doesn’t measure up with Facebook at all. On FB I can reach up to 30K in nine countries, but on Twitter, I can reach well over that. Let me share an experience—I participated in Twitter pitch mad on Thursday, September 5, 2019. My pitch to agents was retweeted by 108 followers (can you imagine how many people that reached?). Because of the exposure, my pitch attracted 1 agent and 2 publishers. Don’t discount Twitter; learn to make it work for you.

The following is a guide to creating tweets others will want to engage in and possibly retweet, which is what you want to generate all those thousands of eyes who will read or scroll past.

Use your pronouns—each tweet should be written with the following in mind:

The first few lines are a headline. If it isn’t catchy, people will scroll past it.

Each tweet should be written to be viewed singularly and not collectively.

However, a tweet should be written to be viewed singularly as it will appear in other people’s timelines and in future search results.

All of my tweets clearly indicate “My story…” and while we may view this as egotistical, remember these tweets are viewed singularly. You’re telling them you achieved some goal, you’re not lauding someone else. Like the query or the book pitch, a tweet has to hook a reader’s attention or he’ll keep scrolling. My friend also cautioned me that when posting images (like I do when promoting a book or short story), don’t bother with text on the photo; it doesn’t get seen. (I do this anyway).

Best day to post on Twitter—Monday-Thursday 1:00 p.m.-3:00 p.m.

Worst day—Friday-Sunday

Carmen

My writing skills in both English and Spanish enable me to write with true storytelling talent (I’ve been told). My experiences growing up amongst los Hermanos Penitentes, traditions, and folklore permit me to tell the story of my father’s entrance into the secret society of the Penitente Brotherhood. Living on the land left to us by my father, my husband and I enjoy a peaceful county life in northern New Mexico with our furry friends. Visit me on Facebook and Twitter

What do you think?

#All #Money

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char27martin · 7 years

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7 Things I’ve Learned So Far, by Margaret Greenberg

“7 Things I’ve Learned So Far” (this installment written by Margaret Greenberg, co-author of PROFIT FROM THE POSITIVE) is a recurring column where writers at any stage of their career can talk about writing advice and instruction, as well as how they got their literary agent—by sharing seven things they’ve learned along their writing journey that they wish they knew at the beginning.

1. You Don’t Have to Go It Alone

You’ve probably heard nightmares about collaborating with other authors. What you may not know is that collaborating on a book can be an enriching experience like it was for my co-author, Senia Maymin, and me. Why? Because we have complementary strengths. She was good at doing the research; I was good at translating it. She was good at looking at the book structure holistically; I was good at breaking the structure into smaller chunks. Her best writing time was in the evenings; mine was in the morning. We both agreed to a weekly afternoon conference call (we are in two different time zones) to check-in on progress and scope out our work for the next week. Before you ask just anyone to collaborate with you, be sure to talk about how you will work together. I also recommend that you each complete a strengths assessment, such as StrengthsFinder, so you have a language to talk about your similarities and differences. The added bonus of having a co-author? Whenever doubt crept in for one of us, the other would play coach to get her co-author back on track. Grit, perseverance, stick-to-itiveness—whatever you want to call it—is needed to see a challenging project through to completion, but moral support is the balloon that lifts your spirits along the way.

Margaret H. Greenberg is a certified executive coach and the co-author of the best seller Profit from the Positive: Proven Leadership Strategies to Boost Productivity and Transform Your Business (McGraw-Hill Professional, 2013) which has been translated into Chinese, Japanese and Korean. Last year her book was developed into a Certificate Program, which is rated among the top 11 positive psychology courses you can take online. She delivers keynotes and workshops at Google and other companies, associations, and universities around the world. She holds a Bachelor of Arts from the University of Hartford, and a Masters of Applied Positive Psychology from the University of Pennsylvania She also co-authors the Positive Work column for Live Happy Magazine, and is a regular contributor on LinkedIn. Follow her on Twitter @ProfitBook.

2. Just Write

Although I had published a dozen or so articles, I knew nothing about writing a book. Some people would buy a book about writing a book (do you know there are over 900 of them on Amazon?) before embarking on such an endeavor. Instead, I took the sage advice of my dear friend and author, Gina Greenlee, who said, “Just start writing and keep writing until you find your voice.”

Senia and I wrote. And wrote. And then wrote some more. Then we had an opportunity to show a sample chapter to someone in the publishing industry who told us, “thanks, but no thanks,” informing us that the material had already been covered in other positive psychology books. Rather than ruminating over the rejection (OK, we did for a little bit), we realized that he was right—the positive psychology slant had been covered before. But we were not aiming to write a positive psychology book. We were aiming to write a business leadership book. That was a nice AHA moment and gave us the psychological kick in the pants we needed to keep writing.

3. Same Time, Same Place

According to Columbia researcher Dr. Peter Gollwitzer, you are nearly twice as likely to accomplish your work if you decide in advance when and where you will do it. I am a big believer and practitioner of creating writing habits. Start by setting aside just 15 minutes, once a week, but try to choose the same day of the week, the same time, and the same place. Over time you will get so into your writing that minutes will turn into hours. Find out more about Gollwitzer’s study and my writing habits in Chapter 1: The Productive Leader in Profit from the Positive.

4. Create a Writing Ritual

As excited as you might be about writing your book, sometimes you just don’t feel like writing. There is always something you could do instead such as throw in a load of laundry, call a friend, or read a GLA blog post. Instead of succumbing to other temptations or distractions, create a writing ritual. For me it is putting on my writing clothes—comfy cotton pants and a comfy t-shirt. No shoes. In her bestselling book, Better Than Before: Mastering the Habits to Our Everyday Lives, habits guru Gretchen Rubin writes about how we sabotage ourselves with tomorrow logic—“I’ll start _____ tomorrow.” You can insert just about anything you want to start, including writing a book. Quit sabotaging yourself and start working on your book today.

5. Write With Your Specific Audience In Mind

After many months of writing we sent a couple of chapters out to a handful of readers—not positive psychology academics, but our target audience: business leaders at companies large and small. Feedback started trickling in—some good, some not so good. Then it occurred to us that we had had it all backwards. We had started with the positive psychology research and looked at where it applies to the business world. Wrong! We needed to start with the challenges business leaders face and then offer positive psychology as one of the solutions.

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6. Know When Almost Good Enough is Good Enough

For four years we kept writing and getting more reader feedback. In the meantime, life happened. My eldest daughter graduated from college, my youngest from high school, and my consulting and coaching practice was at full tilt. My co-author had her life changes, too, including having her first baby and completing her Ph.D at Stanford. Finding time to work on our book became more and more of a challenge. As we wrote there was always more research or another angle we uncovered. We came to a point when we realized we could continue adding more content or we could try to get the book published as is. After much discussion we decided to do just that and save the additional content for our next book.

7. Embrace Rejections; They are Part of the Process

We finally submitted our book proposal, chapter summaries, and sample chapter to our agent, Jill Marsal of Marsal Lyon Literary Agency, just after Labor Day—no irony there. We heard back from a handful of publishers within a week. The bad news? They were all rejections.

I’ll never forget where I was when we started getting email pings from our agent. I was in the car with my husband and sister-in-law touring Virginia wine country. “We have an interested publisher!” read the first email. Then four more well known publishers expressed interest. What we didn’t know about the publishing business is that once one publisher expresses interest, many of the others who had originally expressed a “thanks but no thanks”, suddenly want to take another look. Finally, one publisher put an offer on the table. That was our agent’s cue to inform the others. Did they want to make an offer, too? The next six days were like a ping pong match, back and forth between the publishers and our agent. We decided to go with McGraw-Hill and we are so happy we did. Despite all the deadlines, proof pages, and the myriad of administrivia it takes to publish a book, our brilliant agent and dedicated team of professionals at McGraw-Hill continue to be a joy to work with.

Bonus! 8. Embrace Ignorance and Confidence

After submitting the full manuscript to our publisher (there is nothing quite so invigorating as hitting the “Send” button), we spent the next six months combing over page proofs, learning about the publishing business and marketing, and securing endorsements. As Mark Twain once wrote: “To succeed in life, you need two things: ignorance and confidence.” We didn’t know what we didn’t know about the publishing world, but what we did know is that we had thirty-one evidenced-based tools that we felt compelled to share with the business world; and that my friend has made all the difference in the world.

(*Portions of this article were first published on LinkedIn.)

If you’re an agent looking to update your information or an author interested in contributing to the GLA blog or the next edition of the book, contact Writer’s Digest Books Managing Editor Cris Freese at [email protected].

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from Writing Editor Blogs – WritersDigest.com http://www.writersdigest.com/editor-blogs/guide-to-literary-agents/7-things-ive-learned-so-far/7-things-margaret-greenberg

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