Sprinting through the Pandemic

I admit it. Getting words done while the world is disintegrating around me has been difficult for the last six months.

So I've been trying something new. I've been doing writing sprints with just a few friends online. We're only writing in twenty-minute stretches for a few hours, but I've been getting in a lot more words in those short sprints.

Why?

1) Part of it is breaking the stupid myth in my own head that I need a solid block of two hours to get anything done.

2) I feel more comfortable writing with people I know even if we do live hundreds of miles apart.

3) The sprinting got my competitive streak going. Not with the other writers, but with myself.. If I could do 100 words in that sprint, can I do 150 in the next?

I'm not going this is the end-all, be-all solution for everyone. For me being trapped at home under quarantine for the last two weeks, this has helped immensely.

So don't be afraid to experiment with your daily routines. You never know what you might discover about yourself.

Trying Something New

New writers constantly want the magic bullet, the secret handshake, whatever you want to call it.

What they're really afraid to do is experiment. There's so many ways to write. So many different methodologies. All of them have pluses and minuses. What works for one writer may not work for another, and vice-versa.

There's an old saying BICFOK. It stands for "Butt In Chair Fingers On Keyboard."

It's that simple. And that difficult.

I'm one of those writers who likes to carve out a straight hour or two to write. Preferably in the afternoon or night. Because I am SO not a morning person.

But with a husband and a kid, that's not always realistic, either from the amount of time standpoint or the time of day standpoint. It's also not healthy sitting in one position for so long as I age.

This morning I tried a couple of different things. One, I started writing a half hour after I crawled out of bed. Two, I tried writing is short bursts, aka sprints.

Sprints have been advocated by several writers I've known over the years. I've only ever tried them with other people, and the experience wasn't the best because there's always that one person who needs to talk.

(Yeah, sometimes I was the guilty party.)

This morning though, I tried three solitary 25-minute sprints. On the plus side, I came in on my normal speed of 600 words per minute hour. (Dang! Talk about a Freudian slip! I WISH I could type 600 words per minute.) On the negative side, I had a problem getting back into the story after my breaks. Though in all fairness, I took more than the 5-minute bathroom/drink break that I was supposed to do.

The reason I'm doing this? We're looking for a house, and I need to make the most of my writing time if I'm going to maintain my business schedule in the middle of a move.

So, I'm going to try sprints again, and see if I can't refine my technique.

Anything y'all are trying new to improve your writing for 2018?

Writing Is a Business; Treat It Like One

The title of this post has been my mantra since I decided to indie publish. I emphasized it when I wrote a few guest posts for other bloggers on developing a business plan for indie publishing. I was reminded of it during a discussion on the comments on Monday's post (definitely one of those cases where comments went off on a side tangent).

Regardless of whether you go the trad-published, indie published, or hybrid routes, you are self-employed. You are operating a small business.

I think that's where a lot of writers make their mistakes. Writing is not a business. To them, it's art. It's a dream. It's the lottery.

Which it may be all those things to you. But when you are offering your writing for money, it has now become a business, too

And like any business, you, as the owner, have to keep a handle on your overhead. Otherwise, your business is going to failure.

Statistics on business success/failure vary. Under some outdated information, the U.S. Small Business Administration estimated over fifty percent of new businesses failed in the first year. With the widespread use of computers and access to relevant information through the internet, the failure rate is probably much closer to Canada's four percent failure rate in the first year.

When it comes to a new business failing, the two biggest reasons are lack of adequate planning and lack of adequate capital. And believe me, the two go hand in hand.

So going back to Monday's discussion, here's part of how I planned for adequate capital. I don't NEED caffeine while I write, but my work habits are deeply ingrained from my days in IT. That means my brain goes into work mode if I have a caffeinated beverage sitting next to my computer, like the black tea sitting next to me right now. (Even with electric for the microwave and dishwasher, the cost of the mug of tea is less than $0.05.)

From a business point of view, it's not worth the time necessary to retrain my habits. (I generally assign $10/hr to my time because it's easy to calculate.) Therefore, I've added caffeine into my business budget.

Generally, I buy soda, tea and coffee from the grocery store. I search out sales and add in coupons to keep that budget under control. For example, even if I buy Starbucks coffee and sugar-free peppermint mocha creamer at the grocery store, it still comes out less than $0.20 per cup.

But I also budget for the occasional trip to a restaurant or café. Occasionally changing my work environment can trigger additional productivity. (YMMV on that one.)

However, there's the question of drinkability when I venture outside of the house, which is why I don't go to McDonald's. I swear the only time I've ever tossed a full cup of coffee in the trash, it was a McDonald's peppermint mocha. I shudder at the memory even now. Blech!

And if I'm not in walking distance, which I never am, I have to factor in gas money.

So in Houston in December, I would go to one of the closest Starbucks (2 miles away so roundtrip is 4 miles) and get a venti peppermint mocha. That's $5.25 for the coffee, $0.50 for the tip, plus gas at $3.00/gallon and a car that gets 20 miles/gallon.

$5.25 + $0.50 + $0.80 = $6.55

Lost writing time is only 10 minutes or $1.67.

$6.55 + 1.67 = $ 8.22

In Ohio in December, the cost would remain the same except for gas. Bowling Green, and the closest Starbucks, is twenty miles away. That adds an extra $6.00 to my overhead compared to the $0.80 for gas in Houston.

$5.25 + $0.50 + $6.00 = $11.75

Oh, and I lost an hour of writing time on the drive to and from Bowling Green.

$11.75 + $10.00 - $21.75

So my overhead has now nearly tripled for the sake of my peccadillo. Not good business, folks. Not good business at all.

To put it another way, I'd have to sell eleven books to cover my trip to Bowling Green compared to the sale of four books covering one trip in Houston.

This is exactly where most business people lose their way. These little costs add up. If you're not selling enough to cover your costs, your business will go under.

It's why I dreaded seeing statements from new writers about how much they spent on cover art, editing, etc., back when I put out by business planning series in 2012. So many of these folks are having to go back to their day jobs now because they spent way more money than they had coming in.

This is not to disparage one of DH's mantras, "You have to spend money to make money." However, I do believe it's in your best interests to find the best quality at the lowest price.

Remember, selling your stories means you are now in commerce, not art. If you want to keep writing full-time, you've got to keep that overhead under control. Writing is a business. Treat it like one.

Isolation Can Be A Beautiful Thing

Please welcome back today's guest blogger, paranormal romance author Teri Thackston!

Some of the most suspenseful stories involve isolating the primary characters in some way. Shipwreck your hero and heroine on a desert island and they must interact, often in interesting—and sensual—ways. If that island is not so deserted (i.e., there are other folks with less-than benevolent intentions around), and they must also put aside their differences to work together for survival. Seclude them in an out-of-the-way airport during an ice storm, throw in an escaped murderer among the other passengers, and you’ll create a scenario that is ripe with suspense. Send a crew of miners to a newly discovered planet, sabotage their ride back to earth, then toss a man-eating alien into the mix. For writers, isolation is a very helpful plot device.

In my paranormal romance Wait Until Moonrise, I use magic to isolate my hero. The curse of a spurned sorceress traps Welshman Nicholas Pierce, Earl of Beaumarith, in his family castle in 1774. No one can see, hear or touch him, but he is far from dead. Trying everything he can think of to attract attention, he succeeds in only one thing: convincing subsequent inhabitants of the castle that it is haunted.

Fast-forward to today when American Bria Leighton visits the castle in search of her family roots. One night in the moonlit ballroom, she hears Nicholas’s voice then she sees him watching her. Stunned to be noticed, Nicholas quickly discovers that they can also touch each other. He remembers that the curse gave him one possible out: his true love can free him in the moonlight. Bria must be his true love and the key to his freedom.

But he must convince her that he’s more than a ghost. And when the sorceress returns, determined to have Nicholas for herself at last, he must protect Bria from becoming another victim of the witch’s magic.

Do any of you have a favorite situation in which to isolate characters? To what remote locations does your imagination take you? While you ponder that, here’s a short excerpt from Wait Until Moonrise:

“I must admit you dance almost as well as your mother.”
Startled, Bria whirled around. A man stood in the doorway leading onto the patio, arms folded over his chest, one shoulder resting against the door’s frame. Moonlight surrounded him like an aura, forming a halo about his black hair and shadowing his eyes. Then, he tilted his head, and silver light poured over his features like clear, sweet water.
Bria stared. Only in dreams had she seen such a beautiful masculine face. Dreams and one disturbing portrait…
“You look prettier, though, when your mouth isn’t hanging open,” he went on in a bored tone.
“Who…who are you?”
As her voice whispered across that hushed, moonlit room, the stranger fell still. Then, slowly, eyes black and wide, he lowered his arms. “You can see me?”
The query came to Bria as a hoarse, disbelieving whisper, words of doubt trembling on a precipice of mad hope. Frightened by the emotion in his voice—by the sudden, stark sensation burning in his black eyes—she backed away. He, in turn, moved toward her, away from the open patio door, into a patch of shadow…and promptly vanished.

Wait Until Moonrise, a winner of the Emily Award for Best Paranormal Romance, is available exclusively at Amazon.com for the next few weeks. Coming soon to Barnesandnoble.com.

I Love It When the Writing Comes Together**

Currently reading - Dark and Stormy Knights, edited by P.N. Elrod

In the midst of lunch and business gossip with Christie and typing several pages on the new manuscript yesterday, I, um, well...

Let's be honest here. I forgot to write an effing post. Ironically, I love that feeling though. When I get so lost in the story that GK stands next to me with a pathetic Oliver Twist look at 7 PM and says, "Mom, are you making dinner soon or can I have some chocolate?"

(See? Chocolate. Proof that there was no switching at birth.)

Before anyone thinks I starve my kid, I'll have you know that a family council was held. The mutual decision was s'mores, then Next Gen, followed by chicken pesto pasta.

Anyway, I've finally hit the roll. The characters are established, the plot is rising and dipping like a proper rollercoaster should, and I'm having fun because the writing process feels like I'm reading a brand-new story for the first time.

I can't wait to see what happens next!


**With all due respect to various incarnations of Col. Hannibal Smith

Time's Flying Blind

Currently reading - Kitty and the Dead Man's Hand by Carrie Vaughn

Wow. Can you believe we're 25% through 2010 already?

New pages written yesterday helped with the sleeping last night. It didn't eliminate all bizarro dreams, but it defnitely cut down on the amount and the weirdness. Six hours straight though is a record for the last few weeks.

And this whole episode comes under the heading of doing what's right for you as a writer. Yeah, you can listen to all the experts and published authors for methodologies of the process. But it comes down to one simple question-what's right for you?

My method of switching between projects in the middle may not work for most people. In fact, my way drives a pubbed author (who I love to bits and has given loads of great advice) absolutely, positively bonkers. The first time she heard me tell someone what I did she fussed at me about how I'd never finish a novel at that rate--until I listed all my completed projects. Now she sticks to the odd looks if I mention a switch-off.

So how about the rest of you? Can you work on multiple projects at once or do you have to complete one manscript before moving on to the next?