Lisa Tener

Book Writing Coach

Secrets of Good Writing

Ayurveda for Writers: Know Your Dosha and Become a Better Writer

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When I first began working with Frederieke Couvee, it was clear to me that she possessed valuable expertise as an Ayurvedic practitioner, and I was struck by the interesting perspective she brought to personal relationships in light of one’s Ayurvedic temperament. As with most writers, I identified a few challenges she needed to address with new skills in order to write a book as compelling as its potential. Here’s what happened…

Working with Frederieke on Revision

Lisa Tener author and book coachHere are the main challenges I identified:

#1 She is Dutch. English is not her native language, although she speaks it rather fluently. Many times some revision was needed to sound “right” to a native English speaker.

#2 The opening story started with generalizations. I suggested starting at a specific time and place—a real scene—to bring it to life for readers. I suggested a few possible starting scenes. Like many aspiring authors, she needed to learn how to bring a story to life with specific details and examples—showing, rather than telling, as the saying goes.

#3 Structure challenged her—the awkward structure of many sentences, which often made the writing stilted; the structure of paragraphs, sections, etc. The earlier chapter tended to go off on tangents, sometimes becoming too detailed or even confusing.

#4 Passive voice was making the writing devoid of energy (yes, my passive voice here is intentional!). I taught Frederieke how to bring vitality to the writing by employing verbs that offer specificity.

#5 Unnecessary words also slowed things down and took away from the impact. Easy enough to fix.

#6 Likewise, repetition interfered with flow, as did a nonlinear approach to describing a brief scene.

#7 Sometimes a lesson jumped and the how, what, or why was missing.

I edited her Introduction and then her first chapter a couple of times and saw significant improvements in the second round.

When she sent me Chapter 2, it blew me away!

  • The stories drew me in completely. I felt as if I were truly getting to know her and it felt as satisfying as reading a well-written novel!
  • As I read the informational parts of the chapter, I found myself enjoying insights into my own constitutional makeup and how it affected my relationships and challenges, including my relationship with my writing! I was able to apply these insights right away!
  • The structure held together well and the amount of information was just right.
  • Concepts were clearly explained and easy to integrate and apply.

From Novice to Writer in Three Chapters

What struck me was that this was a chapter I had not yet edited. Frederieke had become a whole new class of writer just by studying my edits for two chapters and using my self-editing guide, which I had sent her at the outset.

Sure, there was room for improvement: I offered multiple revision suggestions on each page, but generally these were modest edits, suggesting a word or phrase that might fit better, or a more succinct or elegant way of saying something. The bones of excellent writing were there in the first round of editing (well, it was the first round of editing for me, more on that shortly). I felt confident that, with the revisions I proposed, the chapter would be ready for a proofreader next!

As you may have guessed, Frederieke did not send me her chapter after a rough first draft. She used everything I taught her in my earlier edits to edit her own work. She also used my self-editing guide comprehensively, enabling her to complete multiple rounds of editing on her own, build writing skills, and save money by reducing the need for multiple rounds of an editor’s work. She mentioned she’d revised twenty rounds (!) before sending me her chapter.

To witness a writer become that empowered is exciting. I went around with a smile on my face all morning, thinking about Frederieke‘s growth as a writer.

Ayurveda for Writers: Balancing Doshas for Better Writing

As I read Frederieke‘s chapter on the Doshas, a little lightbulb lit up above my head! I could see how most of the challenges I mentioned earlier were related to a Vata imbalance.

Here are my ideas of what might support your writing, based on your dosha (constitution). I’ve run them by Frederieke to make sure I’m on track.

Vata Writers

Vata dosha, or constitution, can be intuitive and easily inspired. Vata people are often creative. All great for writing.

How about the weaknesses of vata? As I read about the constitution of vata (which is both F’s dosha and mine), it struck me that Frederieke‘s writing originally had an overabundance of vata: vata can be ungrounded and all over the place, lacking the structure your writing needs. Many of the qigong and other mindful movement practices I teach in Breathe. Write. Breathe. can help someone with vata to be a more grounded, organized, clear and well-structured writer.

For example:

  • Book coach meditating
    Meditating with the Earth Breath

    Learn Natural Stance and imagine growing roots from the soles of your feet deep into the earth.

  • Try Qigong Shaking for grounding and relaxing (Vata can be a bit anxious or in our heads).
  • Mindfulness practices can help you focus your attention and also become a better observer, an important skill for writers.
  • The Earth Breath (in through the nose and out through the nose), which I learned in Polarity classes, is also helpful. This is another practice I share in Breathe. Write. Breathe.

I asked Frederieke if she had any advice for those with Vata dosha. Frederieke suggested: “Vata needs containment and thrives within a supportive system. So your editing work acts like a great Vata remedy, so much thanks to you :-)” Well, I didn’t ask her to say that, but it makes sense! I, too, hire an editor for my books!

Tips for Pitta Writers

I did a bit of research on the pitta dosha. According to Erin Casperson, from the Kripalu Yoga website, pitta can come with “intensity and a strong, penetrating nature.” I imagine this makes for deep writing, poetry, and emotional depth. Casperson also states, “When pitta is in balance, it fosters qualities like courage, leadership, steady digestion, love, and luminosity.” Nice!

How about when pitta is out of balance? Casperson suggests eating cool foods, practicing a loving-kindness meditation, walking barefoot outside “in the dewy grass at dawn.” She also suggests avoiding coffee and alcohol (hopefully Hemingway was not pitta!).

I asked Frederieke for some suggestions. She addressed specific tips for writers:

“The challenge for Pitta is not to get overheated. Not just physical; when Pitta minds create too much heat, they tend to get frustrated and we all know that our best writing is not coming from that place.
“In order to keep cool, a simple remedy is take 2 tablespoons aloe vera juice daily. This helps flush heat from the system.
“Also, focus one writing time in the morning. Try not do exert your mind after 9 pm, which is the time Pitta tends to get aggravated and should be used to relax and wind down. This will prevent the production of too much heat!”
Thank you, Frederieke!

Tips for Kapha Writers

Kapha people tend to be wise, patient, grounded and able to finish what they start—all excellent traits for a writer.

When Kapha is out of balance, a person can become rigid, stubborn and inflexible. It may be helpful to get feedback from beta readers or an editor to break out of a rut, revise your work, and think more creatively in your writing.

Frederieke Couvee Ayurvedic practitioner
Frederieke in motion; photo courtesy of Frederieke

And advice from the expert (Frederieke):

“Kapha has a tendency to get heavy and stuck. When your writing mind gets dull and uninspired, don’t just stare at your screen but get up and do something else, preferably where movement is involved. Walk around the block or do a load of laundry, anything that’s different to what you where doing before. Change helps to stimulate the brain so you get new inspiration. Another one of my favorite medicines is play music with some heat in it. Whether it’s gangsterrap or techno music, anything that will stimulate your fire!”

The sluggish, stuck tendency of Kapha could result in experiencing what some call “Writer’s block.” Qigong bouncing/shaking before writing can energize you and help you enter a flow state. Try any mindful movement or breath work from Breathe. Write. Breathe. to welcome creative movement for writing. The book comes with QR codes so you can even watch videos or listen to audios where I lead you through the exercises. Of course, you are welcome to skip the videos and audios and follow along the written instructions for the practices, if you prefer.

To find out your dosha, you can take Kripalu Center’s “What’s your Dosha? Quiz.”

To learn more about Frederieke Couvee and her work as an Ayurvedic practitioner, check out her website and follow her on Instagram.

I hope you found the information about doshas helpful.

If you’ve been feeling any self-doubt about your chops as a writer, I hope Frederieke’s story makes it clear how a person can improve one’s writing with a bit of support and the right tools and information—things you may not have learned “in school!”

I’d love to know your insights and ideas about Ayurveda for Writing. Please share them in the comments below!

“How Do I Write About Other People’s Stories / Experiences with Integrity?”

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The Conundrum

In “Get Your Writing Done” last week, a lively discussion ensued about writing other people’s stories, such as in anecdotes, in our work. Can we write about other people’s experiences with integrity? Are there some “power issues” that come into play when we do so? Is it taking advantage of people? Here’s much of what we discussed, along with some of the solutions and experiments we came up with.

It began with the last ten minutes of class, when we often have one writer read an excerpt they would like feedback on. Colleen Wahl, a professor of dance and somatic educator/coach (and author of the textbook, Laban/Barenieff Movement Studies) read an intriguing anecdote, filled with curiosity and metaphor.  After the feedback, she raised an interesting question/concern, which we discussed. In writing up the discussion for the Get Your Writing Done community, I realized that this concern might be relevant to you as a reader of my blog, as well.

In response to a suggestion that she include her students more in the description of her experience, Colleen said she’s tired of just telling her own stories, but she’s concerned about sounding like “the expert” when it comes to people’s somatic experiences. Many people in her field write that way—and some make a lot of money off other people’s stories. That doesn’t feel right to her.

“I don’t want to seem like I have some great secrets—such as ‘I’ve healed someone.’ These are ideas we all have access to. It’s so common in my field to write about other people as if you have the secret to life and have helped someone in such a profound way. I think there’s a way I can do it honestly, and I need to find that way.”

Permission: Grappling with Telling People’s Stories—or Not—and Integrity Concerns about Anecdotes

I reflected that, in my experience with her writing, Colleen approaches the page with curiosity and awe—qualities that come across and do not sound like “I’m the expert.” I suggested she experiment; give it a try and ask yourself those questions (How do I do this in a way that’s authentic and in integrity?).

Kaye Michelle Pezzini, a yoga/meditation teacher and practitioner of energy medicine and mind-body therapies, whose book, Your Body Knows, is coming out in early 2027, offered an interesting suggestion. Her idea felt to me like it came straight from the story’s subject (which explored various aspects of her personality as embodied in her left and right hands): “Find out what part of you is objecting and what part isn’t?” Explore.

Author, somatic educator Colleen Wahl
Author, somatic educator and coach, Colleen Wahl

I also suggested that Colleen can create composites of students/clients so she isn’t actually taking someone’s full experience (and make that clear with a disclaimer at the beginning of the book). Another option is to ask permission to use someone’s story. If you get permission to use it (anonymously or not), then share with them what you wrote, and ask them to see if that reflects their experience and to feel free to clarify or change any aspects of it before you publish it.

Kaye shared that, “I felt uncomfortable sharing what gets told to me in trust as well, but I wanted to illustrate to others what’s possible, so I changed their names and other identifying information and also asked their permission. All but one person loved to be included. One person said she was very private, so I turned part of that story into a composite with permission.”

Kaye also gave Colleen the feedback, “You come off humble and inspiring, not like a know-it-all. [When I read your work, I feel] like you’re figuring it out on the page with us. Some people have an ability to open the door a little wider for the rest of us. You are that person! By the way, I struggled with that too (Who am I to write this?).”

Time to Draw from the Pool of Stories and Experiences

Colleen’s conclusion: “I’m so tired of writing just my own stories. I witness so many interesting things in others. I think there’s a way I can do it.”

How about you? Are you including other people’s stories? If so, how are you bringing integrity to the process? If not, is it time to consider it (particularly if you are writing a self-help book, how-to or textbook, but even for narrative nonfiction, such as memoir)?

Do you have any additional thoughts or ideas to add to the discussion? If so, please share in the comments below.

The Exhilaration of Working with a Mentor-Editor

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Perhaps you’ve heard me mention that this year I am working with a mentor-editor on my poetry with a goal of creating a poetry book for publication in 2026.

Journals and journals of unedited poetry!

I’ve written poetry since childhood but have never submitted my poems to journals or figured out quite what to do with them.

Gjertrud Schnakcenberg

I loved taking poetry classes, particularly an introductory writing class at MIT with Gjertrud Schnackenberg.

I enjoyed writing poems in Jean Valentine‘s class, although she did not inspire me as a teacher, and I am pretty sure I did not inspire her as a student. When I shared what was to my mind my most shallow poem, she told me I’d found my voice—other than that, not much encouragement. Gjertrud, on the other hand, was moved by both my prose and poetry, and I felt seen and invigorated by her feedback.

Beyond college, I’ve participated in writing groups or poetry groups, as well as occasional classes (thank you, [the late] Harold Bond!). I enjoy revising poems after group feedback, as well as being part of a community that listens and shares our poetry and responses.

At the same time, I’m overwhelmed by the sheer volume of poems I write, which can range from zero (most days) to a couple of poems to five or a dozen or over twenty in one sitting! Whew.

I have journals and journals full of poems, and it’s only in the past few years that I’ve committed to going through and typing many of them in.

Searching for an editor and mentor for publishing my poems

I’ve wanted to find an editor for my poetry for years now. I tried one editor but he was more interested in punctuation and grammar than providing the deeper dive I needed.

When I met the poet Nadia Colburn at Omega Institute, while I was studying Qigong, I stumbled upon an evening program open to all visitors, even those not enrolled in her poetry workshop. Hearing her read her poems, I felt a sense of kindred spirit. I bought a copy of each of her books and eagerly began reading that night. Wow!

Nadia also led us in several engaging poetry writing exercises with prompts.

I asked Nadia about working with her, and a few months later, she announced a year-long poetry mentorship as a way to get the one-on-one guidance I sought.

More than just guidance, an editor can be a partner.

In a recent one-on-one editing session with Nadia, I felt the thrill of finding the poem within the poem.

  • Some poems we just tweaked–improving a word here and there, deleting a few lines.
  • A couple we left as is.
  • When she found a cliche, or phrase that felt trite, Nadia helped me wordsmith to find fresher ways to express the feeling or idea.
  • Other times, it was about precision: “Is this word expressing what the poem wants to say? Does the word fit with what you expressed earlier?”
  • Some of the most satisfying work, though, was when Nadia suggested cutting whole sections and simplifying a poem to its essence.
  • In several poems, Nadia suggested changing where a line ends. I tend to write very short lines and felt awed by how the rhythm and feel of a poem shifted as she brought lines together and we experimented with various line breaks, reading the results aloud to compare. I even learned a new word—enjamb—when a phrase is broken in the middle with a line break!

Do you need an editor for your book, articles or poems?

Could you use:

  • A thought partner to help you develop your ideas?
  • An expert to guide you from the beginning?
  • An editor to show you where you need to develop your work (sections to expand upon, ways to make the writing come to life, ways to make it more engaging and/or experiential, suggestions to reorganize the work for greater clarity and flow)?
  • A line editor to help you wordsmith for clarity of meaning, precision, brevity, reading pleasure and more?
  • Publishing guidance: how, where and when to publish your work, as well as steps to take; how to know what’s the best path for you?

Consider hiring an editor or working with a writing coach/editor to help you succeed in your writing and publishing goals. One of the many enjoyable aspects of my work is helping emerging authors and writers get the support they need by providing referrals to my talented, skilled, and experienced colleagues. Feel free to reach out to me for a referral. (Note: I do receive a commission from the editor/coach for some referrals; this pays for my time for marketing and ascertaining needs, setting expectations, etc.). You may also like to read 7 Questions to Ask an Editor Before You Hire Yours.

Teaching Book Writing Under Novel Conditions

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Teaching Book Writing Under Novel Conditions

Lisa Tener Writing teacher and coach
My friend Paula Schonewald took this picture as we kept our “social distance” on a walk through the neighborhood.

I’ve been resting my shoulder and arm due to what I finally discovered is a rotator cuff injury. I’ve been afraid to see any doctors given the risk of  being in a medical-related facility. So I put off calling my doctor for three weeks. I know, a bit crazy, but also somehow careful, right?

I still hadn’t discovered Google Docs voice, so I typed the occasional email one handed and did little other work besides supporting the emerging authors in my book writing program, which has been an education in itself. 

[bctt tweet=”Writers Under Pressure Require #Creative Approaches #WritingTips” username=”LisaTener”]

Many of the course participants work in healthcare: a COO providing leadership for an entire hospital and its many teams, a Canadian psychiatrist finding herself now in charge of a new special unit for her hospital, psychologists, a healthcare leadership consultant, two patient advocates, one of whom runs a small nonprofit while parenting and caregiving for two “medical zebras,” that is, children with complex diagnoses.

Normally, by this time, many participants would be celebrating completion of a first draft or first draft with some holes. Others would be close. A few would be revising their goals. This year, those struggling on the front lines of healthcare return home exhausted each night. Others find their book concepts shifting as they incorporate how this new normal affects their readers and topic. 

For some entrepreneurs in class, social distancing has wiped out their major source of income: in-person training and consulting. They are faced with whether to hunker down and focus on writing their books, trusting that their income will be replaced in time, or whether to focus on replacing the lost income now and reducing their writing hours. Others find themselves working harder than ever to support clients in the changing business landscape.

Varied Book Writing Challenges

writing by hand
teaching writing

Not everyone has been writing. Not everyone is able to make it to class. It’s my job to figure out how to support them, how to keep them connected to their books, how to help them make progress in these demanding times and yet to give space to those who need it. For one person, we can reframe the writing of the book as a lifeline, feeding their soul. For another, already stretched too thin now in their front line work, the book needs to take a back seat, but we can still move it along with a few notes, or voice recording a recent anecdote to write in depth in the future.

My job is not that different from parenting teenagers in that I have no clear answers. I fumble my way in the dark. Teaching becomes an experiment. My lesson plans go out the window and I try to discern what the group needs at this moment. 

One week we focus on rethinking goals, schedules and book concepts. We brainstorm how to get back in the groove. The next week, I scrap the planned marketing-oriented lesson, which is creative and fun but seems tone-deaf to the world we find ourselves in. Instead we further explore secrets of good writing, revision, topics that feel more related to the essence of the books and their messages.

And of course the idea of a “group need” is, in itself, an illusion. Some writers need to find time and space to write. Several are reconsidering aspects of their book concept or outline in light of the pandemic. Some are ready for more instruction in finding voice. Some want to explore publishing options and next steps. How do I address these diverse needs in each class without someone feeling their time has been wasted, their needs not met?

Addressing Various Readers’ Needs

teaching writingSimilarly to my teaching dilemma, when writing a nonfiction book—especially, self-help, how-to or business—one must clarify who one’s readers are and what they need. If you cast your net too widely. it’s impossible to write the book that the diverse group needs and have them all see the book as a fit for them. Yet, not all your readers will be in the exact same place with the exact same needs. You will need to think about various groups of readers. 

Is your book changing as the needs of your readers and the world may be changing at this time?

This is where it gets interesting, where you can make decisions that will help your book find the ideal balance between a large broad market and a niche market, where you can get creative:

  • Adding side bars for the scientific information that some of your readers will crave and others skip
  • Including special  sections or chapters for a specific segment of the audience
  • Sending readers to a website or video  that offers more depth for their particular situation

Let’s Hear From You.

What are you doing to keep your book alive?  

How To Write A Great Book

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Someone asked me recently how to write a great book. She wondered, “Is there a formula?” Rather than a formula, I would suggest there are important guidelines to help you get started to write your book. Get clear on these before you get writing—or as soon as you are able—and you are more likely to write a great book! Here’s the most important thing to know:

Yes, You Can Write a Great Book!

I’m sure you want to write a book that makes an impact—inspires, supports, guides, creates positive change for readers. The kind of book readers share with friends, buy as gifts, and recommend on Facebook and Goodreads.

Most of my clients write books that powerfully transform some aspect of their readers’ lives. Here are just a few examples:

  • Consider the Nautilus Award-Winning book, The Soul of All Living Creatures, by Dr. Vint Virga. This great book offers stories about animals that open our hearts, minds and souls to the four legged creatures we share our planet with.book cover
  •  Success Without Stress: Simple Steps to Finding Calm for Women Business Owners became a finalist for two prfull book coveresitgious awards: 2017 Next Generation Indie Book Awards and 2017 New Generation Indie Book Award. This great book helps women business owners reach their goals calmly, amid the chaos of the entrepreneurial lifestyle.
  • On the Verge by Cara Bradley gives readers tools to make mindfulness a daily practice. It was recently featured on the Oprah Network with a four page reprint. Imagine how many people that book is impacting!
  • Arts Awareness, by Dr. Patricia Hoy shows how readers can apply the principles used in the arts to expand their everyday consciousness.
  • Full by Kimber Simpkins is also a Nautilus Award-Winner. Full offers readers a glimpse into how the author shifted her relationship with her body over time and overcame an eating disorder.
  • Feedback First won two Stevie Awards from the American Business Awards (For Best Business Book and Best Business E-Book). This gem by Huibert Jan Evekink and Steven Becker teaches team leaders and members to give and receive constructive feedback within multinational and multicultural teams, taking into account different cultures and the expectations of millenials, in particular.
  • The Creativity Cure, by Drs. Carrie and Alton Barron, offers a “Prescription for Happiness” and delivers!

Imagine the impact each of these books is having on their readers!

What about your book? You may wonder how to bring your wisdom and brilliance onto the page? How can you help your readers transform their lives?

How Do You Write a Great Book? What Are These Authors’ Secrets?

Writing a great book starts with a vision and a plan.

Before you ever write a word, get crystal clear on your vision for what you want readers to experience.

And to get clear about that, you need to identify who your readers are, and deeply understand what’s going on in their minds and hearts.

For instance, in Success Without Stress, Teri had a clear image of her reader: a business owner with a vision for how her business should be and where she wants her business to go, but who’s juggling so many priorities and projects, she constantly in a state of stress, unable to get out of crisis mode. The reader is a victim of her own success. And she desperately wants to change that.

Keeping that image in mind helped Teri write in a conversational, supportive and humorous voice that immediately captivates her readers and makes them open to the strategies she shares. She makes it feel doable—easy, even.

Sometimes identifying your reader is so obvious you miss it! Dr. Carrie Barron had a working title of I’m Creative But I Can’t Create. That title implies readers that they’re creative and who see creative blocks as their big problem. Yet, as Carrie spoke to me about her clients, it hit me that this was really her market—and a huge market—people who were depressed, anxious or unhappy.

That clarity led to a great title—The Creativity Cure. Knowing her readership and the “promise” offered in her title helped Carrie and her co-author write a great book.

This article on How to Clarify Target Market offers 9 Keys for Clarifying Your Readership.

Don’t Forget The Features

Features can make a book engaging, accessible and fun. They can also help readers benefit more deeply from the book’s material by making the reader’s experience more real or deep. To write a great book, the right features can be crucial.

  • Graphs or charts can help make the abstract more tangible, or can provide lots of information in an easy-to-access format.
  • Journaling prompts or exercises can help readers experience the work directly, perhaps even causing an inner shift in perception about something, or creating an aha moment.
  • Cartoons can add humor and make difficult material more palatable, enjoyable even.
  • Quotations can inspire.
  • Scientific information can be put in sidebars so that it’s there for those who want it, but others can skip the more technical parts.
  • Stories or anecdotes can make the material come alive with examples that readers can relate to.

book cover on the vergeIn On the Verge, Cara Bradley offers an “At a Glance” summary of each mindfulness practice at the beginning of each chapter. Readers immediately learn the purpose and benefits of the practice addressed in that chapter, as well as a brief version of the “how-to” of it.

While you’re probably more accustomed to finding summaries at the end of a chapter, this excellent feature quickly inspires and motivates readers to dive into each chapter by providing an idea of the benefits they’ll get out of reading about and applying the practice. With a book that has a strong experiential element (exercises or practices), it’s important to make sure readers have the support to jump in and try things, rather than just read.

Next Step: Structure!

Then there’s how to structure and organize your book—another essential element to write a great book.

Teri settled on short chapters, knowing how frazzled and busy her readers were. And the book itself is short, just over 140 pages, and each page about 3/4 the size of a typical self-help book. Even visually, this book says,”You can do it!”

Cara spent lots of time working out her structure. At first, it was just too complicated and we agreed that it could easily overwhelm her readers, so we spent time simplifying. In this case, structure was something she came back to refine several times.

Even if you have a structure that changes, you will still save so much time by virtue of just having a structure.

When people start writing without a tentative structure in place, they often end up with quite a bit of material they can’t use and a harder time figuring out the structure when they do finally get to it.

You, Too, Can Write a Great Book: Starting with Clarity is Key!

Of course, writing a great book requires time spent editing and getting input from both readers (from your target market) and at least one seasoned editor.

However, when you get clear on vision, market, tone, features and structure BEFORE you start writing, you tend to write a great book—the right book—the one that matches your vision and goals. With that clarity and strong foundation, you also tend to write a book much more quickly, and a book that succeeds in resonating with your readers. Your book is more likely to have the impact you envision.

That’s why I often recommend that before someone even have a book concept consultation with me, they work through Quick Start to Kick-Start Your Book. Because this is the self-study book writing program that will bring you clarity on all those elements mentioned above. Plus, Quick Start provides the tips you need to make the time to write a great book, stick to it, stay accountable and get support.

I often hear from authors that working through Quick Start was one of the most powerful, practical and helpful steps in getting their book written and published:

“Quick Start saved me from writing the wrong book!”

“I thought I knew what my book was until I worked through Quick Start. Then I really knew my book!”

“I had already written a first draft and it was a mess. Quick Start helped me rethink the book and write a much better second draft.”

What Do I Get with the Quick Start to Kick-Start Your Book Self-Study Program?

You will receive:

  • A downloadable PDF or a physical spiral workbook—your choice!
  • Emails to support you in the program and you can time these emails to your preferred pace—daily, every other day or weekly
  • An Audio CD or MP3 to guide you through the crucial exercises of visioning and clarifying your book concept
  • The BONUS special report: Empowered Author: How to Avoid the 10 Worst Mistakes of New Authors
  • The BONUS special report: Writing Breakthrough: 5 Powerful Steps for Inspiration and Flow, which teaches you the same 5 steps I use in my popular Writing in the Zone Program.

And as questions come up, you can ask on my blog and get answers directly from me in a forum where the whole community benefits.

As incentive to get started on your book for summer, I am offering a FREE BONUS of the downloadable special report Secrets of Compelling Writing, which will help you self-edit your book for starters and make your writing come to life for your readers.

The downloadable Quick Start Program is just $97 and you can find out more and purchase it here.

How About a Consultation with Your Quick Start, Sir (or Ma’am)?

Once you complete the lessons and exercises in Quick Start, you may well wonder whether your Book Concept is the best it can be:

  • Will it resonate with readers?
  • Have you chosen the right audience?
  • Is it marketable?
  • Are there features that would make it fresher? More powerful?
  • Does the structure work or is there a better way to organize it?

I hear you. And I absolutely LOVE helping authors get clarity and take their book concept from good to great (or even from chaos to clarity)! Here are three options below:

 

Option 1: Purchase Quick Start on its own and receive The Secrets of Compelling Writing as a free bonus.

 

 

Option 2: Purchase Quick Start plus a full-hour Book Concept Consultation (you will receive preparation questionnaire that you and I will both use to prepare for our call and you will receive The Secrets of Compelling Writing as a free bonus). Use both links below:

 

 

 

 

Option 3: Purchase a 1.5 hour Book Concept Consultation plus preparation questionnaire. Get Quick Start (download version) free, as well as Secrets of Compelling Writing.

 

 

Note: This special offer is not widely available, so if you purchased with this link, please inform me by email to get your complimentary copy of Quick Start, which is normally $97 for the download version, and Secrets of Compelling Writing).

Questions? Feel free to email me.

What They Say

Dr. Jeffrey George recently purchased Quick Start to get started on his book.

Here’s what he said:

Dr. Jeffrey George“Quick Start to KickStart Your Book helped me clarify my vision, set aside time for writing and develop a working title—all within a week. When I shared my title with Lisa she loved it and called it, ‘spot on.’

“Lisa’s down-to-earth style and supportive tone helped me immensely in getting started on a lifelong dream—to write a book.

“Lisa’s daily emails provided practical tips to guide an aspiring writer and Quick Start and the accompanying Meet Your Muse exercise offered the emotional support needed to overcome obstacles that have blocked me for years.”

–  Dr. Jeffrey George

Here’s what Eileen Wilder, author of The Brave Body Method, Said About Her Single Book Concept Consultation

book author Eileen Wilder wrote a great book
Eileen Wilder Wrote a Great Book , Featured by Barnes & Noble and Got National Publicity

“When I hired Lisa Tener I was SO nervous… I didn’t really know what I was doing, but felt in my heart I really wanted to write a book.

a great book
Eileen’s book — featured by Barnes and Noble

“Through one coaching call, Lisa honed my book idea, gave me feedback on my title, and gave me the strategy for how to market my message.  I self-published within the year, and then it got picked up by a publisher!

“Now I’m being booked for National Television Interviews and out-front placement in Barnes & Noble. Lisa’s advice was nothing but catalytic— she made my dream come true.”

 – Eileen Wilder, author of The Brave Body Method

Next Steps to Write a Great Book: Strong Writing and Editing

Once you get clear on your book concept, you can write your book. Here are a few articles with writing tips. You may decide to bookmark this page for future reference and return here once you’ve settled on your book concept.

These articles will help you with the next steps of writing and then editing:

 

Writing Tips and Editing Advice: These tips will help you become a better writer and self-edit your work.

Each Chapter Better Than the Last: This article shares three great writing tips that Micaela Karlsen used in her book, A Plant Based Life, chosen

How to Find an Editor: Once you’ve written the whole book, or you feel you need feedback on one or more chapters before proceeding, it’s time to work with an editor. This article explains the different types of editing, as well as how to find an editor.

One step at a time. I don’t want to overwhelm you with instruction here. Perhaps you want to bookmark this page for next steps in the process of writing a great book.

Simplicity, Book Writing and Teaching by Connecting

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book writing coach lisa tenerI’d like to share a story about my recent experience with simplicity because it points to a powerful strategy for book writing.

Every year when I send out the welcome letter for my Bring Your Book to Life© Program, I apologize for the length and quantity of information contained!  There’s just so much I need to impart about how to schedule the consultations with me, the questionnaire to fill out, what participants get with the program, how the optional accountability partner system works–and how to make it especially effective for you…the list goes on.

The complexity troubled me. Even after cutting out the information on bonus items and leaving that for a later date, there was just way too much info.

book cover laws of simplicityThen, I stumbled upon a book at the library, John Maeda’s The Laws of Simplicity, published at my Alma Mater (MIT Press). John got me thinking about how to simplify the process from class participants’ point of view. Rather than trying to give them everything at once, I thought about how they could access what they needed as needed and have one easy place to find the information when they most needed it.

We now have a private, members-only website where they can access all information on the class! It seems obvious now. Why didn’t I think of that before? I know the answer to that one: I’d been thinking in linear terms. They sign up; they get all the info. But life doesn’t occur linearly, really.

They sign up. They are busy. They maybe glance at the letter. Then it’s time to sign up for their consultation. Where is that letter? Can they even find it in their inbox? Or they want to send me their first 10 pages of writing to get some feedback. Do they even remember that there’s a format to follow? Probably not, but they can remember that there’s a website that has all the information they need and, perhaps, they’ve bookmarked the website so they can go there easily.

3 Big Mistakes in Book Writing…and How to Fix Them

So, how does that relate to book writing? When I receive a first draft of a self-help book from someone who has not gone through my Bring Your Book to Life© Program, I often find that the author has written from their point of view: Here’s what happened to me; here’s what you need to know. Sounds simple, but it’s not necessarily in the optimal format for the reader to make use of or even enjoy.

The Big Mistakes are:

1. Organizing for You: Instead Put Yourself in Your Readers’ Moccasins

s. Starting by Teaching: Instead, start by connecting.

3. Over complicating: Ask yourself, “Is this clear to readers?” If you don’t know, ask them if they get confused by it. Ask how you can make it clearer and simpler.

With a self-help book, start with where the reader is. When you understand your readers’ thoughts, problems and needs, you can meet them where they are. Help them see that you “get” them. Then share a bit about how you’ve helped others solve similar problems to theirs. Or how you’ve done that for yourself. Don’t start teaching before your readers have even decided whether they are on board. Give them a reason to read. Click Here to Tweet this.

Then, you can start teaching, but start with what they want to know, not what you want them to know. Or start with something that will invite them to read further–something counterintuitive, exciting, curious, unlikely, promising or even bizarre. Draw your readers in just as you would with fiction. You can find more on how to think like your readers here.

And, may I reiterate? Keep it simple. I recently read a manuscript that was structured by both 3 main points that the author promised to share, but then the text focused on several lessons before we ever reached the 3 points. I kept mistaking the lessons for the points, which made the experience both confusing and a bit frustrating in an otherwise enlightening text. Subcategories can be appropriate but make it simple and clear.

Do you have any questions about how to simplify or think like your reader? Ask here as a comment or share your insights and ideas as well.

How Award Winning Author Dr. Vint Virga, Featured in the New York Times, Applies His Work Skills to Writing

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book cover for 6 figure book dealTwo of the most exciting parts of my work are when a client gets a publishing offer for their book and when a client gets recognized for the amazing work they are doing. Both of those things happened this week. While, I can’t reveal the publishing offer before the contract is signed, I can share Dr. Vint Virga‘s New York Times debut.

Vet Behaviorist Dr. Vint Virga, author of The Soul of All Living Creatures, which won a Nautilus Award in May, is featured for his work in today’s Sunday New York Times Magazine and you can read it here.

The Times featured a digital version of the article  on their home page this week, along with a moving video about Dr. Virga’s observations of three different animals–a giraffe with an eating problem, a sea lion having an eye exam and a tegu learning to climb through a tunnel.
I asked Vint to share a bit of the magic with us, as well as his insights on writing.
Me: Congratulations on this extraordinary feature in the New York Times Magazine, along with the digital enhanced digital coverage that includes a moving video about your work with animals at the Roger Williams Park Zoo.  How did the piece come about?
author vint virga
Vint: I first met Alex during the course of my first fellowship at MacDowell.  At dinnertimes and evening readings, as we talked about and shared our books, Alex took a keen interest in my work with animals.  Once we returned from New Hampshire to our routine lives, Alex approached me with his concept for the story. Roger Williams Park Zoo graciously allowed him to join me on my routine rounds to view the animals in their environments and watch their wonderful commitment to animals in action.
Me: Did you use some of the same observational, scientific and intuitive skills you use when observing animals in writing your book? Or did you have to turn off aspects of the more scientific brain to write at times?
Vint: I found writing my first book a fascinating struggle of learning how to set aside my inner critic (which is constantly nagging) and the scientist inside of me (which is always questioning and second-guessing) to allow the creative side of me to flow.
When writing each chapter and again in revisions, I would make a deal with myself not to edit too much while I was writing, so the creative side of my brain could flow.  Still, consistently my writing is guided by the same voice and perspective I bring to my work with animals — watching and noticing and trusting my instincts.
___________
Vint shared three of the most powerful skills for writing–paying attention, making observations and tapping into instinct and intuition–listening within.
Dear Reader, are there skills you use in your work that you either need to turn off for writing, or that help you be a better writer? Please share your comments below.

Writing Magic: Secrets to Compelling Writing

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writing coach Lisa Tener
Your Writing Coach

Once upon a time, a coach I know referred a client to me and–after reading a chapter–I almost told her I didn’t think I could help him. Lucky for both of us, I withheld judgement and agreed to edit one chapter.

When he sent me his second chapter, it blew me away.  I laughed, I cried and I thanked my lucky stars I hadn’t turned him away.  But what could explain the phenomenal leap in the quality of writing? I could only ask…

“I studied your feedback from chapter one and applied it. When I say I studied it, I mean I really studied it.”

So, what did Adam do exactly to go from something completely unpublishable to a blow-your-editor-away chapter? He put into action several tips, but the two main writing “secrets” he employed are not exactly secrets.

1).  He made the writing come alive by showing, not telling and 2). He replaced most passive verbs with active ones.

writing coach
Active verbs engage readers and enliven your writing.

Let’s talk about the second rule first. Instead of using “is,” “was,” “had,” “has,” etc., see if you can find a way to use a verb that has more energy. Passive verbs put readers to sleep and active verbs engage readers and enliven the writing.

Example:  The chapter was boring. vs. The chapter bored me.

More energy in the second example, right? Easy fix, too.

Now, rule 1, which offers many more applications and subtleties. I’ll just offer a few examples of Show vs. tell.

If the reader has to fill in too many details, you’re telling. If you’re not providing input into one or more of the six (yes, six) senses, you’re telling. If you’re spoon feeding the reader a conclusion (oldest children are often bossy) rather than allowing the reader to draw that conclusion by illustrating with an example (me telling my sister she wasn’t allowed to be Mister Nobody in our pretend family), you’re telling, as well.

Paint a picture with your words.

How do you move from telling to showing? Whether you’re writing a how-to book with anecdotes, a memoir or fiction, you can use this checklist below to get started.

  1. What can I show the reader to create a complete experience?
  2.  How can I employ two or more senses in my description?
  3. What is one unusual detail I remember about this experience, something that is not ordinary or clichéd?
  4. How can I get more specific?
  5. What’s an example from my own work or life, or the lives of my clients/customers/patients/friends/family that illustrates the point I want to make?
  6. How can I help the reader draw the conclusion?
  7. Where can I enhance the experience with dialogue?
Get specific about the details--especially quirky ones

Ready to dive into the details?

  1. If you’re asking yourself, “What can I show the reader to create a complete experience?” your revision might delete the section telling the reader that you had lots of rules for how to pick a new hire, replacing it with sharing your rules and what you looked for. Don’t gloss over the details—give them to us.
  2. If you’re looking to employ your senses, you can ask yourself, “What did I (or the person you’re writing about) see? Hear? Smell? Taste? How might that have felt in my/his/her body? “
  3. How to hit upon an unusual detail? Bring yourself back to picturing the situation (or if you’re writing fiction, put yourself in the scene). Notice everything around you. What sticks out as different? A funny phrase the person says (“I’m tickled.”)? The way the person drapes their scarf? An awkward and unbalanced gait?
  4. Here’s an example of “How Can I Get More Specific?” Adam described his car as a mess—papers and empty beer bottles strewn about the car. First I asked, “Where were these items?” It turned out that the papers were in the front seat and the beer bottles were in the back seat, on the floor and in the trunk. As we got even more specific, we uncovered that the papers were fertility treatment instructions and lace patterns. The beer bottles were Heinekens in the back of the car and Bud Lights in the trunk. At the start of the writing, the car was a clichéd mess. After polishing the paragraph, the reader could picture the author’s hummer in all its disheveled detail. When you do this exercise on your own, give a specific detail and then see how you can get even more specific. Try this until you run out of specificity.
Join me for a writing class this weekend at All That Matters

If you’d like more tools for polishing your writing and making it compelling, join me for Writing Magic Saturday, January 7 at 10:30 am at All That Matters Yoga and Conference Center in Wakefield, RI. We’ll learn the rules and put them into action. When you compare your writing from the beginning of class to the end, you’ll be amazed at the leap in style and impact!

What Nonfiction Authors Can Learn from Fiction: An Interview with Crystal Wilkinson

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Crystal Wilkinson
Crystal Wilkinson is one of my favorite writing teachers.

In just a few weeks, I’ll be basking in the glow of one of my favorite writing conferences, The Ocean State Summer Writing Conference at the University of Rhode Island. While I’ll be speaking about the marketing more than craft (How to Build Your Online Platform), I wanted to bring you a taste of the conference in the form of craft–how to write well.

I immediately thought of Crystal Wilkinson, whose workshops and editing I have experienced first hand. Jody Lisberger was right when she told me not to miss Crystal’s class last year. As an author of fiction, Crystal has lots to teach us about great writing that will make your book compelling to readers.

Lisa: Can you suggest 3 rules of writing you would apply across the board
for nonfiction and fiction alike?

Crystal:

Water Street was one of my favorite luxury reads last summer.

1. Write in scenes. No matter what the genre, providing the reader with a narrative arc through sensory language and making something happen is essential to both fiction and nonfiction.
2. Clarity is not negotiable. Take the most direct route from point to point. This does not mean that there can’t be layers or complication or complexity but clarity should be a priority.
3. Revise questioning every word, every sentence.

Lisa: What advice would you give to someone writing anecdotes for a how-to book in order to make the stories–however short–bring the material to life for readers?

Crystal: One simple fix for saggy writing is to go back and take a look at your verbs. Circle the verbs throughout a manuscript and make sure they are vibrant (without overdoing it). This gives great weight to any piece of writing. One thing it does is give the work a sense of a dramatic arc even when something is short.

Lisa: Great advice. One of my pet peeves is using the passive voice (which I just did!). How about someone writing a memoir-what tips should they apply
from the fiction world, particularly novels?

Crystal: I’ll be very specific and say everything. Memoir is essentially a story too and we as humans yearn for story so a successful memoir and a successful novel provide a reader with a good story. Every element novelists use can be applied to the memoir including pacing, characterization, a narrative arc, dramatic weight, etc. All of those things enhance the writer’s ability to deliver a good story whether it is fiction or nonfiction.

Lisa: Any other advice you’d like to pass on?

Crystal: All writers should stop and remind themselves, “I am a writer.” This may sound strange but we all get caught up in our schedules and doing the business of writing and wearing the title writer and no matter what the genre we need to stop and remind ourselves, “I am a writer therefore my butt should be on the seat, my fingers on the keys or the pen. Of course this comes from my own personal experience at this moment but I think it’s advice we can all take.

Have a question for Crystal? Ask below…

blackberriesCrystal Wilkinson is the author of Blackberries, Blackberries and Water Street, the latter a long-list finalist for the prestigious Orange Prize and short-listed for a Zora Neal Huston, Richard Wright Foundation Legacy Award.  She is the recipient of the Chaffin Award for Appalachian Literature.

You can still register for Crystal’s craft session on June 24: for fiction and nonfiction authors on “Point of View: The Eye of I” as well as the whole conference.  For a related post, read my interview with Richard Hoffman, another favorite author and teacher of mine who is also presenting. I hope to see you at URI (if you’re coming, let me know so we can catch up).

What’s AOL Done to My Huff Po?

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lisa tener writing coach
Your Book Writing Coach

I don’t remember seeing an ad pop up (and darken the rest of my screen!) when I click on a link from outside the Huff Po to read an article on the Huff Po. And I don’t remember having an video ad pop up when I click on my first headline.

Maybe a minor annoyance, something I have to put up with to read the news and engaging columns and posts by columnists I enjoy. Maybe. But it’s annoying enough that I’ll have second thoughts about clicking on a busy day.

I can see my reading habits change already. Yes, I can just hit the x and close the window. But somehow, it’s more junk right in my face. More stuff I have to do. And I don’t think I’m going to do it as often. It made me curious what effect it will have on readers. What effect does it have on you to get those pop up ads when you first click?

As writers and authors, we need to be sensitive to our readers’ experience–whether it’s reading our books, our blog posts or our newsletters. Repel your readers and you may not get a second chance.

Sometimes, I notice more unsubscribes after a particular mailing. I try to analyze why. When you’re writing a book, you’ll want to get some “test” readers who are members of your audience and ask them what they like, what they want more of. Also ask where they get bored or confused–and certainly find out what turns them off or ticks ’em off.

What repels you? What repels your readers? Any cautionary tales? I’d love to hear from you…

Help, Someone Already Wrote My Book

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Your Book Writing Coach Lisa Tener
Your Book Writing Coach Lisa Tener

My Bring Your Book to Life students are preparing for the start of book writing class next month. They’re researching their markets, creating the vision for the their books, and starting to outline. Some are calling me for their book concept consultation.

I love the consultations as we brainstorm to take good ideas and make them even better. Today was no exception–fun and creative. The possibilities for this book seemed endless.

Eight hours after today’s session, I received a desperate e-mail with the above subject line, “Help, someone already wrote my book.” The book covered exactly the material my student planned to cover…and the author–someone with similar credentials–seemed to have a very similar take on the subject.

My advice, “Don’t panic. Your book will have its own voice and flavor.
Sounds like he does a good job, but maybe by adding a brief story to the start of each chapter, your book will have something his doesn’t. And the forms will be an excellent addition.”

In fact, when publishers and agents consider a book, they want to know there are other books like yours out there. They’re very concerned when there aren’t! If there are no books like yours, there may be no market.

Students finding their unique voice in the "in-person" version of my book writing class
Students finding their unique voice in the "in-person" version of my book writing class

At the same time, if your book is exactly like another book, why write it? You want to add something unique to what’s out there. How do you do that?

1.  Go back to your readers. What do they want and need? Are there ways to give that to them? Perhaps your book will have stories that address readers’ concerns, or you’ll add another two chapters that the other person missed, or you have a new point of view on certain topics. Perhaps your book is more experiential and offers exercises or journal prompts.

After all these centuries, books still sell.
After all these centuries, books still sell.

2. Trust in your unique writer’s voice. Your tone should capture your personality in a way that meets a need of your audience (humor, emotion, a degree of irreverence, or playfulness, for instance). It may take time to find your voice, but trust that you will.

We can go back to Ecclesiastes to find, “There is nothing new under the sun.” Yet, there are fresh ways of saying things or books would have stopped selling a more than a century ago.

Should I Hire a Ghostwriter or Write My Book Myself?

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Your Book Writing Coach
Your Book Writing Coach

Easy answer: 9.5 times out of 10 you should write your book yourself.

My first year on the faculty of Harvard Medical School’s publishing course, a doctor told me his horror story on landing a top publisher who recommended hiring a ghostwriter. Sadly, the ghostwriter’s version took him far afield from his vision.

He took his name off the book altogether, though the publisher still published it (and, I believe, he paid for the ghostwriter). He came to Harvard to regain his voice and start over with the book he originally wanted to write.

Should you trust your book to this guy?
Should you trust your book to this guy?

It’s your story. Do you really want to trust the details to someone else?

There are some great ghostwriters out there. And I do recommend to some of my busiest clients that they hire one. But, most often, when I hear someone talk about their book and they say they need a ghostwriter because they can’t write, I know that what they really need is some support to learn to write.

It’s not that hard to write well. I have about three simple rules that make all the difference. It takes practice. And it’s always good to have a talented editor. But, the truth is, you probably can write. And if you feel drawn to get your message out there through a book, you’re probably the ideal writer for it.

If you’re a better speaker than writer, talk your book. Record it into a  phone or voice recorder and use a transcription service to send it to you in written form. It will need editing, but you’ll have  a great start. Just remember, Show; don’t tell and provide plenty of details, particularly quirky ones, to bring your book to life.

Ask your inner voice and you’ll probably have a clear answer inside. So, tell me, should you write the book or hire a ghostwriter? Still unsure? Share your questions here and I’ll provide the best answer I can.

Are You Getting the Word Out?

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lisa cropped head
Check out my Bring Your Book to Life Program

I was the first one up in my house this morning. That’s unusual. I bounded out of bed and ran to the computer before anyone could wake up, reflecting on last night’s teleseminar, which I hope you had a chance to hear.

Morgana Rae interviewed me about writing and publishing a book right now in this market: how do you get started? Is anyone getting publishing contracts nowadays, or should you just self-publish? When is it better to self-publish anyway? People asked lots of great questions. The call reminded me how important it is for us authors to be out there in the world.

It isn’t necessarily comfortable. It’s much easier to sit here and blog at my desk than try to learn a new conferencing technology, put myself on the line, answer questions, risk looking silly (which I’m sure I did when I  tried to figure out whose mikes were on and when I got so focused on figuring out whose hands were up that I missed a question).

It ain’t always pretty being out there. But writing a book is about being out there in the world, playing big, making an impact, reaching more people. And often you’ll look polished, but you’ll still make mistakes here and there. And that has to be okay, too. If you want to be a successful author, you need to give yourself permission for those mistakes, those silly moments, and say, “That’s okay. I’m playing big now and it comes with the territory.”

Shine your radiance.
Shine your radiance.

One way I talk myself out of the discomfort and into inspiration is by reminding myself of my vision and goals–why is it so important to get my message out there? What’s it going to do for my audience? What will it do for me? For my community and the world? Those questions get me back in the game and connecting with the radiance within me, within all of us.

Here’s some more radiance in case you missed yesterday’s call:

1.  Join me and Lisa Almeida for an information-packed interview on How to Write Your Book and Grow Your Business at 2pm eastern today.

2. Find out about–and register for–Bring Your Book to Life. This program will take you through the entire process to write a book successfully in record time and with a certain ease. We’ll be making a special offer on my call with Lisa, so listen for the discount code & sign up by midnight tonight!

3.  Listen to my interview with Danielle Hampson on Mind Your Business radio, where I share how other authors are using their books to grow their businesses, some of the decisions you need to make, and how the current market affects those decisions. I think the interview will be archived at the end of the week so listen today!

Listen to Your Writing Coach on Positive Living Radio

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Join me on WPRO FM second Sundays
Join me on WPRO FM second Sundays

I just got off the phone with Patricia Raskin. We were planning my monthly spotlight appearances on her show Positive Living which you can hear  Sundays from 12-2 on WPRO Providence (99.7 FM, 630 AM or live streamed).  We have six fun and informative 7-minute interviews planned:

Patricia Raskin, Host of Positive Living
Patricia Raskin, Host of Positive Living

  • March 8: Join the internet revolution and put your writing online.

  • April 12: Learn my 5 step system for Writing in the Zone.
  • May 10: Learn how several of my clients have transformed their lives through writing (a preview of my seminar on May 13 as part of Aspire Magazine’s Inspiring Women Speaker Series: Express Yourself in Writing and Transform Your Life).
  • June 14: Learn the steps you need to take–and the decisions to make–to become a published author.
  • July 12: Learn how to beat writer’s block.
  • August 9: Learn 5 of my best tips for becoming a better writer.

I hope you’ll join us this Sunday on the radio or by streaming internet broadcast.


How to Write an Introduction: Think Like Your Readers

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Read Your Reader's Mind
Can You Read His Mind?

Many aspiring writers meet their first challenge when they face the writing of their introduction. If you think like your reader, you should find the job much easier.

In the introduction your reader is trying to find out:

1.  Will this book help me solve my particular problem, challenge or goal?

2.  What kind of results can I expect to get by reading this book (for a self-help or how-to book) or What kind of experience might I expect in reading this book?

3.  Does the author have some kind of system to help me and is it something I can easily learn, use and incorporate into my life? (for a self-help or how-to book)

4. Will this book be fun to read? Will I enjoy the time I spend reading it? Is it entertaining? Moving?

Your reader also wants to know about you:

1. Has this author helped many people? or What are the author’s credentials?

2. What kinds of results have other people gotten with the author’s system or work?

3. Do I trust this author?

4. Do I like this author? Do I relate to him or her?

This is clearly a sophisticated reader

Your introduction should:

1. Motivate your readers to read the book

2. Inspire your readers to envision what they might get out of the book

3. Begin to develop a relationship between you and your readers

4. Help readers understand how the book will help them

5. Tell readers how to get the most out of the book (for a how-to book)

You want your book to come alive for readers starting on page 1: show your readers by providing details and actions that help readers draw conclusions. When you tell (“He was angry.” “I hate politicians.”), you’re not making your story real for your reader. The book is two dimensional. When you use the five senses to show your reader, the book pops off the page.

Fill your introduction with plenty of stories that make your points and your readers will become engaged.

Let’s hear from you:

  • Have any questions on writing an engaging introduction?
  • Any tips you’d offer others on writing an introduction?
  • Want to share something you did with your book’s introduction?
  • Or a writing challenge you’re experiencing right now?

Comment on the blog and let’s hear from you.

The Squirtgun Approach to Motivation

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Donna Montalbano Uses the Squirtgun Approach
Donna Montalbano Uses the Squirtgun Approach

Many writers find it challenging to sit down and write at will. They might schedule the time in their calendar to write, but when the time comes, they suddenly notice the grimy buildup inside the stove (time for some steel wool) or they head to the fridge to fix themselves a snack–anything to avoid writing.

It can be even more challenging if you are writing a book that brings up emotionally challenging issues. My friend and colleague, Donna Montalbano, recently shared a terrific secret with me. After completing The Shop on Wickendon Street, her sequel to the local phenomenon (Providence and Rhode Island), The House on Benefit Street, Donna realized the sequel needed rewriting.

The problem was, it had been an arduous process to write the book through a challenging time in her personal life. The character’s experiences often wove together with Donna’s painful personal experiences. The last thing she wanted was to revisit such agony…and yet, she owed it to Angie’s fans, who begged for more.

At first, she tried the squirt gun approach to motivating herself to write: “If you don’t write now, Donna, your eyelashes are going to fall out.” Having experienced such effects from menopause, this actually did motivate her in the short run. Then she realized that her eyelashes didn’t fall out whether she wrote or not. Uh oh. Time for a new trick.

Donna decided to use her fan base for motivation. She serialized the sequel on her website. Fans come from all over the world–her biggest hubs of fans being Chicago, California and New York. Now she has to polish and publish a chapter a week or she’ll disappoint her fans. The motivation works.

You might worry that serializing your book could eat away at your reader base, but serialization can actually catapult a book to instant fame and blockbuster sales. A Gentleman’s Agreement came out in 1947, after being serialized in Cosmopolitan. The book sold out its first printing of 30,000 books in three days and was number one on the New York Times Bestseller list for weeks! Just one example in a long history of serialization success–from Charles Dickens to Stephen King.

Are You Writing the Next Blockbuster?

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The Wall Street Journal had an interesting article this weekend addressing the huge advances that publishers will pay for a title that goes to auction. Why, in this economy, are they taking such risks? And how can you have it work to your advantage?

Anita Elberse, author of the article and associate professor at the Harvard Business School, points to the fact that blockbusters often bring in the lion’s share of profits at a publishing house. If a publisher backs out of the big auctions, those agents who tend to find the gems won’t include them in the next big opportunity. In essence, they get shut out in the future.

Makes sense, but how do you capitalize on this opportunity? First, you need to gain access to those top agents. Second, you need to convince them that your book is a future hit. Your query letter and book proposal can accomplish this.

Elberse gives the example of Dewey: The Small-Town Library Cat Who Touched The World, a book by a first-time author that attracted a seven figure advance. The book was touted by the agent as “Marley and Me for cat lovers.” Is there a bestseller you can compare your book to?

You’ll need a combination of compelling writing, an entertaining and powerful story (think laugh out loud funny and moving at the same time) and a popular or intriguing subject. And that special ingredient that makes people talk about and share it with others.

It’s exciting to think in terms of blockbuster status–a book so exciting that the publisher will pay seven figures and then spend their own money to promote it heavily in order to recoup the advance and more. However, as a writing coach and book coach, I still encourage aspiring authors to stick to the basics that agents are looking for:

1.  Work on your author platform: Grow your mailing list, create an internet presence, speak to audiences, get your articles printed in national magazines or get yourself some good national publicity on TV, radio, newspapers and magazines, if you can.

2.  Make your book fresh and exciting:  Research what’s already out there and find out what’s missing that your audience needs or wants.

3.  Understand your audience:  You’ll hit the mark if you know exactly who your audience is, where your readers are coming from and what they most want and need.

4.  Create a powerful book promotion plan:  Publishers are companies looking for a solid investment. If you show them a compelling book promotion plan for your book, you’re much more likely to get them excited about your book.

Let’s hear from you:

* Is there a bestseller you’d compare your story to?

* Do you have a question on how to entice literary agents and publishers with your book?

* Have concerns about whether your platform is adequate, or whether you really need a platform with your specific book?

Share your ideas and questions for this writing coach as comments to the blog. I’ll be sure to respond and would love to hear from you.


Writer’s Block

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I just ready Cathy Stucker’s blog on Writer’s block and she brought up a good point about fear being a common cause of writer’s block. And, of course, the thing to do to get rid of fear is to do it anyway.

Opening up to nature can transform writer's block.
Opening up to nature can transform writer’s block.

However, As a writer and writing coach, I find that stress and depletion are two very big reasons that my writing clients and students experience writer’s block. When you come to your writing refreshed and in an open frame of mind, the writing can often flow with ease. But if you’re still breathing shallowly, thinking of the 10,000 things on your to-do list, you’re not very present.

Writing is about being present. When you’re present, you make your writing come alive for your reader. You paint a picture. You make it real. Which, oh-my-gosh, I’m not actually doing right now. I’m generalizing, pontificating, but I’m not showing (I’m telling). So I might not be blocked, but I’m not knocking your socks off, either.

Truth is, I just finished packing for a trip to my parent’s house in Sag Harbor early tomorrow morning. My husband loaded the boys into his Toyota Corolla for a quick trip to Home Depot. We’re due to go to a party in about a half our and I need a shower, a wardrobe adjustment, and time to turn my hair into something other than Medusa on a bad day. So I think I fell into category two–not blocked but not much fun either.

By now, I hope I’ve painted a picture and that brings me to some of the cures for writer’s block due to stress or fatigue.

1.  Take a walk in nature and allow the autumn smells and cool, crisp air to replenish you. Breathe deeply.

2.  Listen to your favorite music. You can lie down and take it in, dance or sing out loud–whatever it takes to energize you.

3. Bust through it by sheer will–write a bunch of blah until it turns into something else.

4. Do a few yoga postures, chi gong or even jumping jacks.

5. Meditate for a few minutes. You can even close your eyes and just picture yourself as the stress melts away. Then picture yourself writing with ease and feeling the exhilaration of inspired writing.

The challenge with my third suggestion is that sometimes it doesn’t turn into something else. In that case, those rejuvenating exercises are a whole lot better. Have fun with my suggestions and see if they get rid of writer’s block. I bet they will.

I also have a visualization I often take my writing coaching clients and students through. At my clients’ request, I’ve made a free recording of the guided visualization–so you never have to suffer from writer’s block again.

Top 10 Reasons to Attend Harvard Medical School’s Publishing Course

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I recently received the brochure for the 2009 course, Publishing Books, Memoirs and Other Creative Nonfiction, which is offered March 26-28 at Boston’s Fairmont Copley Hotel. Several of my writing coaching clients have told me they’ll be there. Will you?

Even if you’re not a medical professional or health writer, I can think of a whole bunch of reasons for you to come:

1. It’s one of the most comprehensive courses on how to become a published author, including information on how to build your platform (and if you don’t know what a platform is, you really need to attend!).

2. You get to meet top literary agents in person with the opportunity to sit down and talk with them. They’ll tell you if they’re interested in your book and, many times, they’ll provide an author with ideas that would make the book more appealing to readers, agents and publishers–taking your book idea from interesting to marketable.

3. You can get expert feedback on your writing and your book concept during the Writer’s Workshop (you can request to work with your favorite writing coach if you want).

4. You can learn how to get into “The Zone” whenever you sit down to write (in the workshop taught by your favorite writing coach on Thursday and Friday).

5. You’ll learn from bestselling authors including, Herbert Benson.

6. You’ll hear cutting edge information from professionals in all walks of publishing: agents, authors, publishers, publicists, writing coaches and editors.

7. Copley Square (Hey, I went to MIT, so a trip to Boston is always a draw for me).

8. Shameless Pitches: Yet another opportunity to grab an agent or publisher’s attention.

9. You’ll learn secrets of compelling writing.

10.  Dr. Julie Silver, the course director, over-delivers (Many people take the course year one, put it into action and attend the following year to pitch to agents and publishers, and also to learn more–each year offers new gems).

I’ve often heard aspiring writers complain about how hard it is to get published. Those people just aren’t doing the right things to get published. Attending this course is the perfect antidote. Not only do you learn exactly what to do, but you make those contacts that are necessary to get published.  I know many people who attended the course and got an agent or publisher for their book within a year or so.

Too Painful to Write?

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Sometimes I hear from someone who’s finding it too painful to write their story. Usually, they’re referring to a memoir, but sometimes they’re writing a self-help book that touches upon a painful real life story, or even a novel based on the author’s life.

My best advice is “Don’t go it alone.” When traveling to those dark regions of the soul, go in there with all the support you can muster:

  • Call a friend before and after writing to make sure you have support.
  • Say a prayer before starting asking your highest guidance to accompany you on the journey. Keep checking in with that highest guidance (your higher self, your angels, your guides, God, Goddess, etc.) as you write.
  • Affirm the present. Tell yourself before you start, “That was then; then is not now. Today I am safe and well. I can remember the details without feeling the pain.”
  • When you finish writing: shake it off, shake it out, dance, move, whatever it takes to get back in your body and be present.

Yes, you want to remember the details, but not at the expense of your happiness and wellbeing. Good writing does not mean suffering. In my opinion, good writing is always transcendant of the pain. And to transcend, you need to keep connecting.

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