#agents only get paid when they sell books so you have to write something they like enough to spend a couple of months working on with no pay

[ratgirlcopia]

ok now that it's Real™️ more or less i can saaay that i wrote a book. and i got a literary agent for that book! and if you don't know about traditional publishing it just means i unlocked a long and complicated gatekeeping step and now my book(s) can be sent to large publishing houses and hopefully sold. so that's cool. he says, while dying.

[strangebiology]

So, I just read your post on Myths surrounding Traditional publishing, and as an aspiring writer myself, I hope you don't mind me asking a question. How would I go about getting "experience" to have a better chance at getting traditionally published? I've been writing my whole life, but I haven't published anything, apart from some poetry in a state fair when I was a kid. Do I have to just self publish a book first and then try to find an agent?

Hi! (re: Myths about Traditional Publishing)

My writing experience involved getting jobs at Nat Geo, PBS Newshour, Newsweek, and Bay Nature. Got hundreds of articles published. My grad degree in science journalism, for which I am in $70k of debt, may have had something to do with me getting those jobs, or at least the first one.

You do not have to self-publish a book first; there are many types of writing and places to publish them. Most of what I know about is science journalism, and a tad bit of journalism in general. Here is a list of lists of science journalism resources which probably has a few articles on breaking into science journalism.

Regarding other types of writing, there are literary magazines to apply to and publish in. Not everything has to be a book! I don't know which lit mags are good. I know you can find calls for submissions in the Funds For Writers newsletter, but don't be fooled by the name, it mostly lists not-funds, but contests that you have to pay to enter. I imagine a lot of places that make money from the writers and not the readers could be considered scams or just targeted at people who are happy to pay to be included in a compendium. I don't know, what I see seems sketchy from my side of the aisle, as a journalist, where we expect to be paid for our work, but maybe it's just a different philosophy over there.

If you self-publish a book and then try to find an agent for that book, they will most likely not want to represent you. Trad publishers will make offers on books that have been self-published generally only when those books have sold very well already as self-published books, which is extremely rare. Actually, that sounds a bit of an unfair policy to me, as self-published books tend to sell very poorly even if they are good (it's WAY harder and more work for an indie author to sell their own wares than for a big, established company with lots of distribution lines to sell it.) So there may be exceptions if your book is truly amazing.

Self-publishing is a form of practice so it's sort of a good idea IMO. My book is taking me a year+ to write so I could not and would not self-publish a book and just starve for a year, as the advance for a self-published book is $0 and quite a lot of people lose money in the process paying for editing, advanced reader copies, etc. Agents also often don't want to acknowledge previous self-published books when pitching a new book to a trad publisher, unless those self-pubbed books sold well, which...well, see above.

Some writers will write a novel, stick it on their shelf, then write another, then another, then at some point they'll have the one worth publishing. But, you can't gain popularity or win prizes for the writing that sits on your shelf. Fanfiction seems like a good idea, even though it can't be published for money or put in any lit mags, there is a built-in audience there. If you're doing fiction, some fiction communities might have better advice for you--but ask the person giving advice what their success is, if you can. You don't wanna follow in the footsteps of someone who wants something completely different from you.

(PS. Again, I know self-publishing a book is the best deal for some people and there is a tiny minority that sells them very well, and I'm not trying to encourage trad pub, and a discussion of trad publishing isn't a dig at everyone else, I respect you and your craft, in fact if you enjoyed and/or profited from self-pubbing that's amazing...)

[literaticat]

Hello!

I've been represented by my agent for about six years. In many ways, she's wonderful. She's very editorially-focused and offers great feedback. When we're in the midst of editing a manuscript or proposal before submission, we do some of our best work together.

But I have some pretty major concerns about the business side of things. Unfortunately, she's only been able to sell my manuscripts to territories *outside* of the one she's based in. That means she's selling them via co-agents, and I'm paying 20% commission for both of them. For whatever reason, my books simply aren't selling in the territories she's based in. I'm not from that territory myself, so my thinking is that publishers probably think the kinds of stories I write just won't resonate with that audience. I have had several enthusiastic editors reply and voice their support for my projects, but they weren't able to get them across acquisitions.

I'm wondering if I should look at switching my primary representation to someone in the territory where I am from? Since that's where my books are selling. That would mean paying less commission, and possibly earning larger advances.

There are other issues as well...sometimes I feel that, when I raise concerns with my agent about the timeliness of payment or the insensitivity I find myself sometimes navigating with editors (I'm BIPOC, she's white) I feel as if she's often "managing" me, as in--telling me what's normal and that I should calm down. Rather than hearing the urgency I'm trying to express and taking accountability/action. For example, with my third book, it took her a year to get me paid. She claimed it was because of a difficult contracts person on the publisher's end, but that wasn't entirely truthful. I've spoken to several author friends, who all claimed that six months is normal--but a year is not.

I've spoken to my agent about all of this in detail. Our relationship is very transparent. I've also told her my thoughts about possibly moving to a new agent. But of course that would mean ending our editorial relationship, which functions very well.

Do you think it's worth switching agents at this point in my career?

This is a "look into your heart" type thing, I think. But if you're concerned enough that you've had the heart-to-hearts with your agent, and even floated the idea of leaving... you might already have your answer, no?

Unfortunately, she's only been able to sell my manuscripts to territories *outside* of the one she's based in. That's not necessarily a red flag -- but also you don't say which territory SHE'S based in, and which territory YOU are based in, and how big a pattern this is (one or two books? or a LOT of books?). IF you are in the UK, and she's only able to sell your work to UK agents through a co-agent despite her being based in the US, for example -- well it could be that actually you are writing very UK-centric stuff and maybe you'd benefit from having a UK-based agent who does UK as a specialty, both for the commission piece and for possibly better/more deals focusing on that market. If you are in the US, and she's in... IDK, Serbia or something, and she's regularly selling your work in the US but not in Serbia, that's kind of different. What were you going to do with a bunch of Serbian deals, anyway? But again, if she's not selling them directly and you ALWAYS have to pay the higher commish -- maybe that's not the best.

That means she's selling them via co-agents, and I'm paying 20% commission for both of them. Wait wait though -- please tell me you mean that you are paying 20% commission total, that they are splitting, and NOT 20% to EACH of them (aka 40%)?????? If they are charging you 40% please leave immediately. If it's 20-25% total for foreign deals with a co-agent, that's OK and normal. But again, might be worth exploring if you would rather have an agent in your home territory to sell your home territory deals.

There are other issues as well... I feel as if she's often "managing" me, as in--telling me what's normal and that I should calm down. Rather than hearing the urgency I'm trying to express and taking accountability/action. It's true that lot of an agent's job CAN be in the realm of "managing" -- particularly managing client expectations -- aka telling them what's normal, talking them down, etc. It's also true that sometimes it takes an awfully long time to get paid -- while I don't know the situation here, I have had it happen that it took A YEAR to get a contract. (Rare, but it has happened, and it was not for lack of action/effort on my part!) -- So neither "managing" nor "sometimes things take a long time" are red flags on their face. That said: If you don't feel like she's taking your concerns seriously, or minimizing things you feel strongly about, or NOT doing things she SHOULD/COULD be doing, that feels like at the very least you are not quite as on-the-same-page as you could be, communication-wise. It might just be a style difference, I'm not saying she's being NEFARIOUS or anything like that -- but if it doesn't work for you, it doesn't work for you, and if you've been transparent and had those conversations and change hasn't happened, well...

You can like an agent personally, and think they are great at editorial, and get along well with them in many respects, and they still aren't the best agent FOR YOU. That doesn't mean they suck, or that they've done anything "wrong" -- nor it is a failure on your part. It's not unusual or a problem to switch agents, and there doesn't have to be any bad blood at all. You just need to do what's best for YOU. (And what's best for you is probably not staying in a partnership that isn't working for you!)

[sheilammyers]

What Would Rachel Do?

Accept Failure and Move On

Rachel's first book, Under the Sea Wind (1941), was a flop, selling less than 2k copies. Carson chalked it up to timing - it came out on the eve of World War II - but also blamed her publisher, Simon and Schuster, for lack of marketing. Specifically, she was miffed that they hadn't taken her guidance on the target market - naturalists, nature lovers, sportsmen and women. Her only consolation was the rave reviews the book received from places like the New York Times, colleagues, and critics. Even so, she only netted 1k for her efforts. Rachel need for income beyond her government salary caused her to hesitate to pay $150.00 for the rights back from Simon and Schuster for Under the Sea Wind. But when they refused to issue a reprint, she found the money. She knew she was on to something and her love of the sea and the general lack of knowledge about its secrets piqued her innate curiosity to discover more. But she was also a realist. She had mouths to feed. Her work with the Fish and Wildlife Service bar3ely paid the bills and Rachel sought wider recognition for her talents. Bored with writing technical documents on commercial fishery production reports, she sought out stories at that may interest the general public and spin a tale she could pitch to magazines. For example, a piece on bat echolocation skills landed her a paid gig with Reader's Digest magazine. The random $150-$200 for a piece must have kept her satisfied in the creative realm but Rachel knew she was capable of more. I can relate to some of her disappointment at sales. I've spent my own money on research for the Durant Family Saga and The Truth of Who You Are. It was all worth it - staying curious is another blog post to watch for - however, there does come a time when, as a creative you have to consider how much of your time and money to put into something and realize a pay out. In Rachel's case, she was supporting a family. Same goes for me. At times I feel as if what I'm doing may be more frivolous than art. I know I have fans that enjoy my work, but like Rachel, I've had to deal with a lot of rejection. And not much monetary compensation for my time and effort. I'd like to attribute Rachel's eventual success to 'grit' or stick-to-ed-ness. However, I'm inclined to think that perhaps her greatest talent (besides conveying complex scientific information in a form that is both creative and inspiring) was knowing when to move on.  She kept up her oceanic research, taking notes on scientific discoveries and the latest sonar technologies. She even managed to get on a research vessel, rare for a woman in those days, observing a fish census for eight days conducted by scientists of the Fish and Wildlife Service. Feeling she had enough material to embark on a new project, she enlisted a literary agent to pitch it: The Sea Around Us - a biography of the sea that would appeal to the lay public. Oxford Press agreed to publish (1951). As was the custom in those days, she sent the first few chapters to several magazines for pre-publication and to entice an audience of potential readers. And was barraged with rejections. Readers Digest, The National Geographic, The Saturday Eventing Post - all said no.   It was an editor at the New Yorker who saw the potential of her work. And things started happening for Rachel. Source: Brooks, Paul. 1989. Rachel Carson: The Writer at Work.

[duckprintspress]

Ten Things We Hate About Trad Pub

Often when I say “I’ve started a small press; we publish the works of those who have trouble breaking into traditional publishing!” what people seem to hear is “me and a bunch of sad saps couldn’t sell our books in the Real World so we’ve made our own place with lower standards.” For those with minimal understanding of traditional publishing (trad pub), this reaction is perhaps understandable? But, truly, there are many things to hate about traditional publishing (and, don’t get me wrong - there are things to love about trad pub, too, but that’s not what this list is about) and it’s entirely reasonable for even highly accomplished authors to have no interest in running the gauntlet of genre restrictions, editorial control, hazing, long waits, and more, that make trad pub at best, um, challenging, and at worst, utterly inaccessible to many authors - even excellent ones.

Written in collaboration with @jhoomwrites, with input from @ramblingandpie, here is a list of ten things that we at Duck Prints Press detest about trad pub, why we hate it, and why/how we think things should be different!

(Needless to say, part of why we created Duck Prints Press was to...not do any of these things... so if you’re a writer looking for a publishing home, and you hate these things, too, and want to write with a Press that doesn’t do them...maybe come say hi?)

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1. Work lengths dictated by genre and/or author experience.

Romance novels can’t be longer than 90,000 words or they won’t sell! New authors shouldn’t try to market a novel longer than 100,000 words!

A good story is a good story is a good story. Longer genre works give authors the chance to explore their themes and develop their plots. How often an author has been published shouldn’t put a cap on the length of their work.

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2. Editors assert control of story events...except when they don’t.

If you don’t change this plot point, the book won’t market well. Oh, you’re a ten-time bestseller? Write whatever you want, even if it doesn’t make sense we know people will buy it.

Sometimes, a beta or an editor will point out that an aspect of a story doesn’t work - because it’s nonsensical, illogical, Deus ex Machina, etc. - and in those cases it’s of course reasonable for an editor to say, “This doesn’t work and we recommend changing it, for these reasons…” However, when that list of reasons begins and ends with, “...because it won’t sell…” that’s a problem, especially because this is so often applied as a double standard. We’ve all read bestsellers with major plot issues, but those authors get a “bye” because editors don’t want to exert to heavy a hand and risk a proven seller, but with a new, less experienced, or worse-selling author, the gloves come off (even though evidence suggests time and again that publishers’ ability to predict what will sell well is at best low and at worst nonexistent.)

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3. A billion rejection letters as a required rite of passage (especially when the letters aren't helpful in pinpointing why a work has been rejected or how the author can improve).

Well, my first book was rejected by a hundred Presses before it was accepted! How many rejection letters did you get before you got a bite? What, only one or two? Oh…

How often one succeeds or fails to get published shouldn’t be treated as a form of hazing, and we all know that how often someone gets rejected or accepted has essentially no bearing on how good a writer they are. Plenty of schlock goes out into the world after being accepted on the first or second try...and so does plenty of good stuff! Likewise, plenty of schlock will get rejected 100 times but due to persistence, luck, circumstances, whatever, finally find a home, and plenty of good stuff will also get rejected 100 times before being publishing. Rejections (or lack there of) as a point of pride or as a means of judging others needs to die as a rite of passage among authors.

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4. Query letters, for so many reasons.

Summarize all your hard work in a single page! Tell us who you’re like as an author and what books your story is like, so we can gauge how well it’ll sell based on two sentences about it! Format it exactly the way we say or we won’t even consider you!

For publishers, agents, and editors who have slush piles as tall as Mount Everest...we get it. There has to be a way to differentiate. We don’t blame you. Every creative writing class, NaNoWriMo pep talk, and college lit department combine to send out hundreds of thousands of people who think all they need to do to become the next Ernest Hemingway is string a sentence together. There has to be some way to sort through that pile...but God, can’t there be a better way than query letters? Especially since even with query letters being used it often takes months or years to hear back, and...

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5. "Simultaneous submissions prohibited.”

No, we don’t know when we’ll get to your query, but we’ll throw it out instantly if you have the audacity to shop around while you wait for us.

The combination of “no simultaneous submissions” with the query letter bottleneck makes success slow and arduous. It disadvantages everyone who aims to write full-time but doesn’t have another income source (their own, or a parents’, or a spouse’s, or, or or). The result is that entire classes of people are edged out of publishing solely because the process, especially for writers early in their career, moves so glacially that people have to earn a living while they wait, and it’s so hard to, for example, work two jobs and raise a family and also somehow find the time to write. Especially considering that the standard advice for dealing with “no simultaneous submissions” is “just write something else while you wait!” ...the whole system screams privilege.

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6. Genres are boxes that must be fit into and adhered to.

Your protagonist is 18? Then obviously your book is Young Adult. It doesn’t matter how smutty your book is, erotica books must have sex within the first three chapters, ideally in the first chapter. Sorry, we’re a fantasy publisher, if you have a technological element you don’t belong here…

While some genre boxes have been becoming more like mesh cages of late, with some flow of content allowed in and out, many remain stiff prisons that constrict the kinds of stories people can tell. Even basic cross-genre works often struggle to find a place, and there’s no reason for it beyond “if we can’t pigeon-hole a story, it’s harder to sell.” This edges out many innovative, creative works. It also disadvantages people who aren’t as familiar with genre rules. And don’t get me wrong - this isn’t an argument that, for example, the romance genre would be improved by opening up to stories that don’t have “happily ever afters.” Instead, it’s pointing out - there should also be a home for, say, a space opera with a side romance, an erotica scene, and a happily-for-now ending. Occasionally, works breakthrough, but for the most part stories that don’t conform never see the light of day (or, they do, but only after Point 2 - trad pub editors insist that the elements most “outside” the box be removed or revised).

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7. The lines between romance and erotica are arbitrary, random, and hetero- and cis-normative.

This modern romance novel won’t sell if it doesn’t have an explicit sex scene, but God forbid you call a penis a penis. Oh, no, this is far too explicit, even though the book only has one mlm sex scene, this is erotica.

The difference between “romance” and “erotica” might not matter so much if not for the stigmas attached to erotica and the huge difference in marketability and audience. The difference between “romance” and “erotica” also might not matter so much if not for the fact that, so often, even incredibly raunchy stories that feature cis straight male/cis straight female sex scenes are shelved as romance, but the moment the sex is between people of the same gender, and/or a trans or genderqueer person is involved, and/or the relationship is polyamorous, and/or the characters involved are literally anything other than a cis straight male pleasuring a cis straight female in a “standard” way (cunnilingus welcome, pegging need not apply)...then the story is erotica. Two identical stories will get assigned different genres based on who the people having sex are, and also based on the “skill” of the author to use ludicrous euphemisms (instead of just...calling body parts what they’re called…), and it’s insane. Non-con can be a “romance” novel, even if it’s graphically described. “50 Shades of Gray” can sell millions of copies, even containing BDSM. But the word “vagina” gets used once...bam, erotica. (Seriously, the only standard that should matter is the Envelope Analogy).

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8. Authors are expected to do a lot of their own legwork (eg advertising) but then don't reap the benefits.

Okay, so, you’re going to get an advance of $2,500 on this, your first novel, and a royalty rate of 5% if and only if your advance sells out...so you’d better get out there and market! Wait, what do you mean you don’t have a following? Guess you’re never selling out your advance…

Trad pub can generally be relied on to do some marketing - so this item is perhaps better seen as an indictment of more mid-sized Presses - but, basically, if an author has to do the majority of the work themselves, then why aren’t they getting paid more? What’s the actual benefit to going the large press/trad pub route if it’s not going to get the book into more hands? It’s especially strange that this continues to be a major issue when self-publishing (which also requires doing one’s own marketing) garners 60%+ royalty rates. Yes, the author doesn’t get an advance, and they don’t get the cache of ~well I was published by…~, but considering some Presses require parts of advances to get paid back if the initial run doesn’t sell out, and cache doesn’t put food on the table...pay models have really, really got to change.

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9. Fanfiction writing doesn't count as writing experience

Hey there Basic White Dude, we see you’ve graduated summa cum laude from A Big Fancy Expensive School. Of course we’ll set you up to publish your first novel you haven’t actually quite finished writing yet. Oh, Fanperson, you’ve written 15 novels for your favorite fandom in the last 4 years? Get to the back of the line!

Do I really need to explain this? The only way to get better at writing is to write. Placing fanfiction on official trad pub “do not interact” lists is idiotic, especially considering many of the other items on this list. (They know how to engage readers! They have existing followings! They understand genre and tropes!) Being a fanfiction writer should absolutely be a marketable “I am a writer” skill. Nuff said. (To be clear, I’m not saying publishers should publish fanfiction, I’m saying that being a fanfiction writer is relevant and important experience that should be given weight when considering an author’s qualifications, similar to, say, publishing in a university’s quarterly.)

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10. Tagging conventions (read: lack thereof).

Oh, did I trigger you? Hahahaha. Good luck with that.

We rate movies so that people can avoid content they don’t like. Same with TV shows and video games. Increasingly, those ratings aren’t just “R - adult audiences,” either; they contain information about the nature of the story elements that have led to the rating (“blood and gore,” “alcohol reference,” “cartoon violence,” “drug reference,” “sexual violence,” “use of tobacco,” and many, many more). So why is it that I can read a book and, without warning, be surprised by incest, rape, graphic violence, explicit language, glorification of drug and alcohol use, and so so much more? That it’s left to readers to look up spoilers to ensure that they’re not exposed to content that could be upsetting or inappropriate for their children or, or, or, is insane. So often, too, authors cling to “but we don’t want to give away our story,” as if video game makes and other media makers do want to give away their stories. This shouldn’t be about author egos or ~originality~ (as if that’s even a thing)...it should be about helping readers make informed purchasing decisions. It’s way, way past time that major market books include content warnings.

Thank you for joining us, this has been our extended rant about how frustrated we are with traditional publishing. Helpful? No. Cathartic? Most definitely yes. 🤣

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[nim-lock]

Art Career Tips, 2021 Edition

Here’s an edited version of my 2019 answered ask, because... this feels relevant. 

It is a problem of capitalism that folks equate their income as a judgement of their value as people; and let me preface. You are worth so much. You have inherent value in this world. Your income is not a judgement on who you are (plenty of billionaires are actively making the world worse). LARPing self-confidence will go a long way to helping you get paid more for your work, because clients will believe that you know what you are doing, and are a professional. 

& real quick—my own background is that I’ve been living off my art since 2018. I went to art school (Pratt Institute). I work in a publishing/educational materials sphere, and a quarter of my income is my shop. Not all of this information may apply to you, so it is up to you to look through everything with a critical eye, and spot pick what is relevant. 

So there are multiple ways of getting income as an artist; 

Working freelance or full-time on projects

Selling your stuff on a shop

Licensing (charging other companies to use your designs)

This post primarily covers the freelance part; if you’re interested in the other bits there is absolutely info out there on the internet. 

IF you are just starting (skip to next section if not applicable) dream big, draw often (practice helps you get better/more efficient), do your best to take "a bad piece” lightly. You’re gonna RNG this shit. At some point your rate of “good” works will get higher. Watch tutorial videos & read books. A base understanding of “the rules”; anatomy, perspective, composition, color helps you know what the rules are to break them. This adds sophistication to your work. One way you can learn this stuff is by doing “studies”—you’re picking apart things from life, or things other people have done, to see what works, and how it works. 

Trying to turn your interests into a viable career means that you are now a SMALL BUSINESS; it really helps to learn some basic marketing, graphic design, figure out how to write polite customer service emails; etc. You can learn some of this by looking it up, or taking skillshare (not sponsored) classes by qualified folks. Eventually some people may get agents to take care of this for them—however, I do recommend y’all get a basic understanding of what it takes to do it on your own, just so you can know if your agent is doing a good job. 

Making sure your portfolio fits the work you want to get

Here is a beginner portfolio post. 

Research the field you’d like to get into. The amount people work, the time commitment, the process of making the thing, the companies & people who work for them. 

Create work that could fit in to the industry you’re breaking into. For example, if you want to do book cover illustration, you draw a bunch of mockup book covers, that can either be stuff you make up, or redesigns of existing books. If you’re not 100% sure what sort of work is needed for the industry, loop back into the portfolios of artists in a similar line of work as whatever you’re interested in, and analyze the things they have in common. If something looks to be a common project (like a sequence of action images for storyboard artists), then it’s probably something useful for the job. 

CLIENTS HIRE BASED ON HOW WELL THEY THINK YOUR WORK FITS WHAT THEY WANT. If they’re hiring for picture books, they’re gonna want to see picture book art in your portfolio, otherwise they may not want to risk hiring you. Doesn’t have to be 100% the project, but stuff similar enough. If you aren’t hired, it doesn’t mean your work is bad, it just wasn’t the right fit for that specific client. 

If you have many interests, make a different section of your portfolio for each!

Making sure you’re relevant 

Have a social media that’s a little more public-facing, and follow people in the career field you’re interested in. Fellow artists, art directors, editors, social media managers; whoever. Post on your own schedule. 

Interact with their posts every so often, in a non-creepy way. 

If you’ve made any contacts, great! Email these artists, art directors, editors, former professors, etc occasional updates on your work to stay in touch AND make sure that they think about you every so often.

Show up to general art events every once in a while! If you keep showing up to ones in your area (when... not dying from a sneeze is a thing), folks will eventually start to remember you. 

Industry events & conferences can be pricey, so attend/save up for what makes sense for you. Industry meetups are important for networking in person! In addition to meeting people with hiring power, you also connect with your peers in the community. Always bring a portfolio & hand out business cards like candy. 

Active job hunting

Apply to job postings online.

If interested in working with specific people at specific companies, you could send an email “I’d love to work with you, here’s my portfolio/relevant experience”, even if they aren’t actively looking for new hires. Be concise, and include a link to your work AND attached images so the person reading the email can get a quick preview before clicking for more. 

Twitter job postings can be pretty underpaid! Get a copy of the Graphic Artists’ Guild Handbook Pricing & Ethical Guidelines to know your rate. I once had a twitter post job listing email me back saying that other illustrators were charging less, and I quote, “primarily because they’re less experienced and looking for their first commission”. This was not okay! For reference, this was a 64-illustration book. The industry rate of a children’s book (~36 pages) is $10k+, and this company’s budget was apparently $1k. For all of it. 

Congrats you got a job! Now what?

Ask for like, 10% more than they initially offer and see if they say yes. If they do, great! If not, and the price is still OK, great! Often company budgets are slightly higher than they first tell you, and if you get this extra secret money, all the better for you. 

Make sure you sign a contract and the terms aren’t terrible (re: GO GET THE  Graphic Artists’ Guild Handbook Pricing & Ethical Guidelines) 

Be pleasant and easy to work with (Think ‘do no harm but take no shit’)

Communicate with them as much as needed! If something’s going to be late, tell them as soon as you know so they aren’t left wondering or worse, reaching out to ask what’s up. 

And if all goes well, they’ll contact you about more jobs down the line, or refer you to other folks who may need an artist, etc. 

Quick note about online shops/licensing and why they’re so good

It’s work that you do once, that you continuously make money off of. Different products do well in different situations (conventions vs. online, and then further, based on how you market/the specific groups you are marketing to), so products that may not do well initially may get a surge later on. 

Start with things that have low minimum order quantity and are relatively cheap to produce, like prints and stickers. 

If you are not breaking even, go back to some of the earlier portions of this and think about how you could tweak things as a small business. Ease of access is also very important with this; for example, if you only take orders through direct messages, that immediately shuts off all customers who don’t like talking to strangers. 

Quick resource that you could look through; it’s the spreadsheet of project organizing that I made a while back 

Licensing is when people pay you for the right to use your work on stuff they need to make, like textbooks or greeting cards. This is generally work you’ve already made that they are paying the right to use for a specified time or limited run of products. This is great because you’ve already done the work. I am not the expert on this. Go find someone else’s info.

“I am not physically capable of working much”/ “I need to pay the bills”

Guess who got a hand injury Sept 2020 that messed me up that entire month! I had a couple jobs going at the time that I was terrified of losing, but they were quite understanding when I told them I needed to heal. So:  Express your needs as early as you know you need them. Also do lots of stretches and rest your hands whenever you feel anything off; this will save your health later. Like, the potential of a couple months of no income was preferable over losing use of my hands for the rest of my life.

This continues to apply if you have any other life situation. Ask for extra time. Ask for clarification. If you tell people ahead of time, folks are often quite understanding. Know how much you are capable of working and do your best not to overdo it. (I am.. bad at this)

Do what MAKES SENSE for your situation. If doing art currently earns you less money than organizing spreadsheets, then do that for now, and whenever you have the energy, break down some of the tips above into actionable tiny chunks, and slowly work at em. 

The original ask I got in 2019 mentioned ‘knowing you’re not good enough yet’. Most artists experience imposter syndrome & self-doubt—the important thing is to do your best, and if anything, attempt to channel the confidence of a mediocre white man. If he can apply to this job/charge hella money for Not Much, then so can you! 

Check out this Art Director tumblr for more advice!

Danichuatico’s Literary Agent guide

Kikidoodle’s Shop Shipping Tutorial

Best of luck!

–

Once again disclaimer this post is just the ramblings of a man procrastinating on other things that need to be done. I’ve Long Posted my own post so that it turns into mush in my brain if I try to read it, but I wrote this so I should know this content. If you got down here, congrats. Here’s a shrimp drawing.

Yee Ha. 

My reference post tag My tip jar

[airplanned]

No.  Seriously.  Write for yourself.

There's a long post going around that has me in a state, so let me share a few stories with you.

I had a writing friend (we're still friends, but *spoiler* he doesn't write anymore) who was upfront about how he wrote to be read. 

This makes no sense to me, because I write to get the stories out of my head so that I can sleep at night.  But to each their own.  This friend did not have my problem and only bothered not only to write stories down but to come up with them so that other people would read them.  The problem is that he wrapped the entirety of the value of his work in whether or not people read it and if they liked it.  That's not something you can control.  So his success was completely out of his hands.  Therefore, this dude could not take even the slightest bit of criticism.  He would bring the start of a project to critique group, we would talk about it, and no matter how much we said we loved specific parts and no matter how much promise a piece had, he would go on Facebook the next day and whine about what a failure he was.  Now, there's a lot going on here (white male fragility, his undiagnosed depression), but this dude wasn't just some schmuck claiming to be a writer.  He had a MFA from a prestigious program.  He was a paid writing teacher with really interesting workshops.  His first book didn't sell and he threw up his hands and never wrote again.

Why write if no one would read it?

He was miserable the entire time, and I honestly think it's for the best for his mental health that he quit.  This is an extreme case, but...it's really not uncommon.  I've seen this same situation play out with other writers too.

On the other side of this extreme, my most successful professional writing project was a goofy thing I did just to see if I could, and then threw it out there, because it can sit on the internet just as well as it can sit on my laptop.  I told my friends on Facebook, and that was it.  This goofy project that I didn't think many people would see ended up getting my career off the ground.  I'm not saying that to brag, I'm saying that to point out that sometimes when you give zero shits, you make really successful art.

I write fic because it's so much easier than writing to be published.  It's just fun.  I've been working on the book I have out on submission right now off and on for 6 years.  During that time, 5 people have read it in full (one of whom was my mom), my critique group has seen it in chunks, and my agent has read it twice.  In six years, that's IT.  That’s all the feedback I’ve gotten.  And that was half and half praise and critique.  (Half and half is probably generous.) And then once it's out on submission, it's a steady trickle of rejection.  One reason I like posting the fic I write is that I toss it up and more often than not I get some reviews.  It makes me feel seen and makes me feel good when usually my writing gets silence for months on end.  Maybe I'm immune from not getting feedback, because my job is to write in a vacuum and not get feedback, but that's just how it is.  No one has to leave me kudos, but they do, and even if I get four likes on a post, those are special.

And if I don't get reviews, that's okay.  I already got what I wanted out of it.  I wrote a goofy story about Link and had a good time and I don't have to lay awake thinking "BUT WHAT ABOUT RUMBLE BUMBLE!?"  I wrote this story called "Of All the Bad Ideas," which is for Supernatural (of all things), and it's weird AF.  It has very few reviews.  But you know what?  I flipping love that story!  I did a good job.

Yeah, I edit for readers.  Yeah, I post for the endorphins.  But I write for me.

[likeawildthing]

Not to be morbid on main, but everyone dies and people are rarely prepared for it. It’s so much easier when you know your loved one’s wishes. So even if you’re a teenager or twenty-three and healthy, I hope this helps you start thinking about end-of-life wishes, because it can happen to us all (both the dying and, rudely, being died upon).

Cremations are an affordable way to subvert the funeral industry, but going this route puts the burden of “the little things” on the family. I’ve learned a lot in the last 36 hours and wanted to pass those things that weren’t on any checklists, because the burden is on you to navigate the process.

Putting this under a cut because it’s so long (although not comprehensive). Obviously some of this is altered because COVID and some is meant to be applicable in some distant, theoretical future when we can go out to lunch again.

Before you die

Think about it, talk about it, write it down

Think about what kind of rememberance you want, if any. If it doesn’t matter, tell people that so they don’t fret about it and grieve in whatever way works best for them.

Communicate now to save your family and friends angst later.

Build an “in case of death” binder, zip drive, google doc with links, etc. Make sure your passwords are up to date so that’s not an administrative nightmare for your loved ones.

Advanced directives. Here’s a great article explaining the types of medical advanced directives and decisions to make before an accident or illness happens, including whether you want to donate your organs.

We lost grandma for about twenty minutes yesteday because we couldn’t find the paperwork and grandpa couldn’t remember where they signed up for services. Death. Binder. Have a death binder/folder/zip drive so no one loses grandma.

Insurance. 

You likely have insurance through work, so consider that. It will also expire if you leave your job.

You can usually get, with minimal fuss, a 10- or 20-year term policy with enough to cover your arrangements and debts for less than $20 a month. Death expenses are anywhere from $5-$20k, conservatively. 

Talk to your auto insurance agent and score a multi-line discount.

Body snatchers. 

If you want to be cremated, talk to a local crematory beforehand and give them your basic information. It can be paid out of your estate (i.e. by your family or a life insurance policy) when it happens. 

Most funeral homes (I believe) require pre-payment. It’s super morbid but there are TONS of heavily discounted grave sites for sale on Craigslist if that’s the route you want to go. 

Here’s a list of certified green burial sites in the US.

Donating your body to science 101.

Memorial service. 

The idea of a “proper” funeral is more or less out the window, especially in the time of COVID. Celebration of life? Religious ceremony (or not)? A picnic at your favorite park? Anything goes, so figure it out now. 

When my sister-in-law died, we had a celebration of life at a non-profit who donated the space and had a poker tournament with her ash tin (she lost). 

Whether you have strong or no preferences, write that down to guide decision-making. 

Memorials. 

Traditionally people would donate money in the event of a death to a charity, foundation, or family account, or flowers to a funeral home or church.

 Family accounts (like for children) are traditionally done in care of the deceased’s bank but online fundraisers are a thing. 

If you have a particular charity you love, add this to your list of wishes.

Food. 

Before COVID it was pretty typical for there to be some kind of meal after a funeral. Will this be a restaurant? 

This is ultimately up to the family but if you have strong preferences (i.e. no church or Italian food), tell people now.

Obituary. 

Writing down the basic facts of your life, hobbies, and accomplishments you want included in your obituary means your family doesn’t have to do a guessing game. 

Plants, animals, stuff, etc.

Do you want your clothes to go to a specific charity? 

Do you NOT want your stuff to go to a specific charity? (Goodwill is terrible!)

Who will get your car (person, donate, sell)? Want to have your record collection to go one sister? Obviously family will divvy up stuff how they like, but write down any special considerations.

Have a plan for your pets (insurance, vet info, guardianship).

Please organize and digitize your photos if they aren’t already.

If you lose someone close:

Identify the primary griever

Support that person/those people by providing feedback when solicited, running errands as needed, and running interference so they aren’t inundated with all the little things.

Notifying people

Use the phone tree method. Great Aunt M will be happy to help by calling your cousins. Your boss, coworkers and HR. Your mom’s best friend/your adoptive aunt, your mom’s bunco group. 

Ask that family not put anything on social media until the principal people are informed. I found out my grandpa died on facebook!

Esp these days, set boundaries for visits (who, where, and in what capacity).

Designate one person to be the primary contact for extended family to keep the burden off the primary griever(s). 

Give this persons’ information when the first phone calls are made. It also makes sense for this person to be the travel coordinator. 

This person should have a good handle on family dynamics (i.e. my aunt is flying in and would drive my grandma nuts so she’s staying with Mom). 

This should be their only task because it’s time consuming.

Food

When people die, people gather, even in the time of COVID. Be responsible but expect a ton of drop by food. Clean out the primary griever’s fridge in anticipaton.

Organization

Start a shared family Google doc or sheet. Consolidate to do lists, anecdotes, important contact information, questions and inquiries, etc. 

Pay to have the houses of anyone hosting (gatherings, people coming in from out of town, etc.) cleaned. Or, delegate. This can be an act of service for someone who wants to help and doesn’t mind doing the work. 

Find the death binder (hopefully), legal documentation, etc. Get a folder or binder for papers if one doesn’t exist. And start a shared google doc for loved ones to track everything.

Delegate

I know I have said this three times, but it’s important. If you’re a primary decision maker do not be the primary do-er. My mom is the primary decision maker so my sisters and I are doing literally everything else. 

Say YES when people ask if they can help you. Look at your running list of to-dos and say yes.

Pay to have the houses of people who are hosting cleaned. It will seriously be such a life saver, or this can be an act of service for someone who wants to help.

Social media

You will need to decide what to do with a person’s social media. Do you start a tribute page? Turn their facebook (if they’re old) into a tribute page for a time? Indefinitely? Things to think about. 

Thank yous

Keep a running list of people to thank after via hand-written thank you notes. The link includes guidelines on 

who should receive a thank you note (gave flowers, brought food, made donations, helped with arrangements or the service(s), did readings, or went well out of their way to warm your heart or show up)

when to send them (ideally 2-3 weeks after the funeral)

here’s how to write them (it doesn’t matter if you buy fancy, ones or dollar store ones, make sure they’re hand written).

Receipts. 

Don’t be the petty biatch your cousins hate, but do save significant receipts to be reimbursed by the estate. (I.e. catering hundreds of dollars of food, paying $250 for programs and thank-you cards like I just did, etc.)

Service.

You will have a million decisions to make including

what kind of service to hold, if any

where to hold it

costs

hymns, readings, and anecdotes to share

who will be pall bearers, readers, vocalists, and give eulogies

Crematories handle cremation only, not the service details. 

you will need photo boards (Hobby Lobby has nice black foamcore ones) or a powerpoint (and a way to display it depending on the venue)

a guest or memorial book

a card basket,

memorial cards, possibly programs, and thank you cards 

Officiants, musicians, religious institutions, etc. all need to be paid (and tipped) for their time.

If we ever wrangle this pandemic, donating funeral flowers to a nursing homes is a fantastic way to brighten residents’ days. 

Obituary.

Obituaries are expected, but traditionally costly ($200-$800). As part of the publishing fee, most newspapers keep the obituary on legacy.com indefinitely.

A funeral home will assist you with this, but the burden will be on you and your loved ones if using other methods. 

These take hours to write and many hands does not make light work. Keep it to 2-4 key people. Having the facts laid out will help, and so will looking at other obituaries. I read a great tip which was to write about your loved one in present tense first, then change the tense before submission. 

Newspapers will update your spelling and grammar but that’s about it. Cheaper alternatives: 

Death notice which gives age, date and location of death, and who is handling funeral arrangements. Our crematory put in the death notice for us because they had her body, but the requirements on this likely vary state-to-state. 

Here is a place to put a free online obituary.

Plants, animals, stuff, etc. 

Save the plants and pets. 

Household misc. are usually not dictated by the will, except in special circumstances or contested items. Closest members will go through possessions first. Voice early if you want something in particular, but understand that you may not get it. That’s ok. 

Going through someone’s life is an overwhelming process. You may be repulsed and sad and overwhelmed and amused, all at the same time.  

In deciding what to keep, as I’ve now cleared out three houses, I’ve found that quality over quantity is the way to go. The sweet spot? 1-2 sentimental + useful things. My great grandmother’s thimble and juicer? Use them all the time, and I remember her lemonade. 

It’s okay to throw away some keepsakes and let things get thrown out or donated, depending on the thing. 

Don’t give into guilt if you don’t want the china your Aunt Karen is pressuring you into taking when she doesn’t want it either.

Legal stuff. 

If someone dies, there will be all kinds of legal things you will need to do (bank accounts, utilities, debtors, education, etc.), investments or 401k, etc. 

This varies too much by state and circumstance to talk about in depth but there are guides to specifically help you.

If someone you love has lost someone they love

Do not give platitudes or ask if they’re ok

Don’t expect a response from someone grieving

Do send a card! It’s so thoughtful. I keep a stack of blank condolence cards and a set of forever stamps in my closet. It doesn’t have to be a $20 card to be special.

Don’t judge someone by how they grieve

Offer specific, actionable help if you’re close enough to give it

I am going to come over and clean at 10, leave the house unlocked

I’m at the store and am going to buy cheap vodka unless you tell me what kind of wine you want

oops I got you an uber eats gift card in your gmail sorry/not sorry

Buy thank you cards with stamps as a condolence gift, depending on the person and situation

Send a plant instead of a bouquet of flowers

Make a donation in the loved one’s name if you have the funds

If the grieving person is someone super close (best friend, sister, etc.) add the date in your recurring calender so you can check up on them this day next year with a card and/or phone call

[notebooknebula]

Leverage Books to Grow Your Real Estate Business with Max Keller & Jay Conner

https://www.jayconner.com/leverage-books-to-grow-your-real-estate-business-with-max-keller-jay-conner/

Max Keller is a Best Selling Author, Investor, Entrepreneur, and National Speaker

Max joins Jay Conner to teach everyone how to create success.

Max went from being a full-time high school Math Teacher to creating multiple successful real estates and marketing businesses. He has published multiple books and currently licensees his lead generation systems to real estate professionals all over the country.

Although business is Max’s new full-time obsession, one thing has never left… the heart of a teacher. Max loves the opportunity to teach, inspire, and share real-world applications that can transform the lives of business owners.

Max earned his B.B.A. in Finance from The University of Texas at Austin and his M.A. in Teaching from Louisiana College. He has over 15 years of experience in real estate, finance, and teaching, and he was named the 2019 Industry Innovator of the Year. A few of his current roles are consultant, teacher, author, speaker, and expert panelist. He has flipped over 100 houses and is on a mission to help real estate agents and real estate investors have customers chasing them.

Max created Savior Publishing House as a way to serve his community and help seniors with their real estate challenges. The Savior brand of companies focuses on providing Christian real estate and business solutions to our clients. Max enjoys spending time with his wife and children and engaging in family activities, such as being involved at church and going on vacation. He is passionate about investing time in his family.

Timestamps:

0:01 – Get Ready To Be Plugged Into The Money

1:42 – Jay’s New Book: “Where To Get The Money Now”- https://www.JayConner.com/Book

2:59 – Today’s guest: Max Keller

5:26 – How Max Keller got into the real estate business

7:19 – Max Keller’s first real estate deal.

8:23 – Max Keller’s struggles during his start-up in the real estate business

13:29 – Max Keller’s marketing strategy in finding deals in the senior market

17:41 – They see me differently because I have a book – Max Keller

20:38 – Let Max Keller help you create your own book for your real estate business.

27:34 – ‘Real Estate Investors’ Book Writing Checklist” – https://www.DealsChasingYou.com/Conner

28:57 – Max Keller’s parting advice: Lead with value.

Private Money Academy Conference:

https://jaysliveevent.com/live/?oprid=&ref=42135

Have you read Jay’s new book: Where to Get The Money Now? It is available FREE (all you pay is the shipping and handling) at https://www.JayConner.com/Book

Free Webinar: http://bit.ly/jaymoneypodcast

Jay Conner is a proven real estate investment leader. Without using his own money or credit, Jay maximizes creative methods to buy and sell properties with profits averaging $64,000 per deal.

What is Real Estate Investing? Live Private Money Academy Conference

https://youtu.be/QyeBbDOF4wo

YouTube Channel

https://www.youtube.com/c/RealEstateInvestingWithJayConner

iTunes:

https://podcasts.apple.com/ca/podcast/private-money-academy-real-estate-investing-jay-conner/id1377723034

Listen to our Podcast:

https://realestateinvestingdeals.mypodcastworld.com/11247/leverage-books-to-grow-your-real-estate-business-with-max-keller-jay-conner

Real Estate Investing With Jay Conner

Jay Conner

00:02:40

My special guest knows how to teach and create success. In addition to that, my guest and friend went from being a full-time high school math teacher to creating in such a short period of time, a moldable successful real estate and marketing businesses. In fact, he’s published multiple books and currently licenses his special proprietary lead generation systems to real estate professionals all over the country. Also, I want you to know that all of those businesses are my friend’s new full-time obsession. But one thing has not changed, and that is his heart of being a teacher.

He’s got a servant’s heart. He’s always looking to give value and he loves teaching. He loves the opportunity to teach, inspire, and share real world applications that can transform your business. In addition to that, my special guest and friend has been investing in real estate. He’s got 15 years of experience in real estate, finance, and teaching. And as a matter of fact, he was named the 2019 Industry Innovator of the Year. Also, he has already flipped over 100 houses. In addition to that, he’s created a company called Savior Publishing House as a way to serve his community and to help senior citizens with their real estate challenges, enjoy spending time with his wife and children engaged in family activities. And something very, very important to him is being very involved in his local church, just like me and Carol Joy. With that, welcome to the show my good friend, Max Keller.

Max Keller

00:04:57

Hey, good to be here. Let’s go.

Jay Conner

00:05:00

It is awesome to have you on here, Max. Good to see you again. You and I are in a fellow mastermind. You and I have probably known each other now for about 3 years or so. And I tell you, it’s just amazing to watch all the phenomenal successes and the growth of your company that you’ve got going on. We’re going to be talking about private money with you here on the show today. But before we jump in, tell us, Max, how did you get into real estate?

Max Keller

00:05:28

It was sort of by accident. So, I was teaching Math at an inner city school. I was coaching football, basketball, and track, and I didn’t want to actually get into real estate full time. I just saw it as a passive income opportunity. My pay was pretty much fixed to being a teacher. And so I was like, I got to do something as my kids were getting older. So what I did was I just wanted to maybe get one or two rentals a year. I figured if I did that over a period of time, I could have a pretty good nest egg and then pass it on. What ended up happening in 2015 was I just kind of got sucked into real estate. I mean, it’s not just a good way to make money over long periods of time, but you can really increase the active income.

So I basically just got a local mentor. I worked all day as a teacher and then at night I would work for him. And within about 3 months I got a couple of houses under contract wholesale. One made about $16,000, which is like 4 months worth of teacher pay. I Then did it again. And then another time. And I just decided I needed to go full-time. And so that’s what I did. I just went full-time, I made the leap, it was a lot easier to source deals back then in 2015, 2016 than it is right now, but there’s still ways to do it. You just have to know what you’re doing, execute, and level up your marketing. And so that’s sort of been the journey that I’m on. I’m in Dallas Fort Worth and it’s very competitive like a lot of markets. And so what happened with me, I just had to figure out a better way to do my marketing because if you don’t have leads in your business, whether they’re for private money or for deals, you don’t have a business. So that’s kind of what happened to me. It’s been an amazing journey and it just keeps evolving every day.

Jay Conner

00:07:19

So was your first deal, a wholesale deal, a fix and flip, what was it?

Max Keller

00:07:23

So I have pretty good credit because I didn’t use it. That’s what’s kind of funny about credit. If you use it a lot, you don’t get very much more and your credit score is low. I had gone through when I was a teacher, like the Dave Ramsey Financial Peace University model, so I had all my debts paid off. I didn’t understand how to leverage debt in a good way yet. So, I actually took down my first property with a line of credit, I guess I kind of really wholetailed it, I technically took title to it and then just sold it, like I did a closing 4 weeks later to a cash buyer. But yeah, it was $16,000. I mean, I didn’t squeeze every ounce of juice out of the deal like I could have, but what I did have back then, which was really important, is having some really consistent, solid buyers. And that allowed me to create some opportunities for bigger chunks of cash today. And then it allowed me to leverage into long-term assets.

Jay Conner

00:08:23

What were some of your early struggles when you were starting out?

Max Keller

00:08:26

I think probably the first one was what to focus on and like who to market to. So it’s funny. I do a lot of marketing now and I’ve gotten a lot better at it. But at first, the challenge was that marketing because there’s so many other people sending out the exact same thing to everybody. And so as the competition kept going up in our market, the return on my ad spend kept getting lower and lower. And so I had to figure out basically what I figured out in my market was the problem that we were having was every other investor and wholesaler were sending the same messages to the same people. Like if they’re on my list, they’re probably on other people’s lists, too. And we have hedge funds entering our market pretty early on and they were paying really, really high prices.

So I knew that if I was just going to only compete on price and compete against people who have multimillion dollar marketing budgets, that was going to be a tough order. So the good news is I just thought about what the problem was and said maybe I don’t need to take down every deal in Dallas Fort Worth. What’s the best niche I can focus on? And so what I did and what I would encourage people to consider, even if they’re brand new is like, I just kind of outlined what’s a perfect deal for me. And for me, a perfect deal is one where I make good profit on the deal because of a larger profit deal and a smaller one. They take about the same amount of time. Number two is I want to work with people that aren’t resisting me. Like, I would go over to people’s houses and they would argue with me when I showed them the comps and they hadn’t moved in 20 years.

They don’t have a real estate background. And I was like, this is kind of a joke. And so that was number two. I want to work with people who are like, “You’re the expert who helped me,” and I want to work with people that I just enjoyed working with, who were just nice people that just didn’t have a clear path. And so those are the kind of people I wanted to work with. I made a list when I’d already done about 30 or 40 deals, most of the deals that I’d already done didn’t meet all of those criteria, but the ones that did, you didn’t have to be rocket scientists to figure out what the pattern was and that they were senior citizens, they were senior homeowners. So that was sort of my first marketing A-ha moment, was that there’s this really large, fastest-growing niche in our real estate space that I could target with different messages.

Senior homeowners have different needs than millennial homeowners. They just do. They’re interested in different stuff. They have different questions. So instead of sending everybody the same message, “I’ll buy your house, paid cash in 7 days,” like everybody else is sending, I started sending totally different messages that were very senior-centric. And as a benefit, I got a lot more calls. I had a much higher response rate and then kind of the next thing that happened after that real quick was about a senior’s house. It was the dad, and his adult children were there. So he was probably in his early ’80s and the kids were in their ’50s, early ’60s. People were upset because they’re selling the family home. There’s a lot of memories, Christmas was right over there, but they had to do it.

The dad couldn’t stay in the house any longer. And so the adult daughter said, “I really appreciate everything that you’ve done for us. You’ve helped us out.” I found the dad a new place to live, like a senior retirement home. And she said, “You know a lot about this. Have you ever thought about writing a book about this?” I was like, Jay, my lands, that was the furthest thing from my mind. I was like, “No, I’m a Math teacher. I’m not an English teacher.” But then when I thought about it, I was like, that’s actually a pretty good idea because at the time in the little 3 cities that I focused on in this huge Dallas Fort Worth metro area, I was getting known as the guy who knew a lot about seniors.

But if I wrote a book about seniors and their housing struggles, I could be the guy who wrote the book on it. So that’s what I did. I’ve got a special gift for your audience at the end, by the way. If you’re interested in writing your own book, we’ve created the first of its kind DIY guide. It’s basically the framework that we didn’t have when we wrote our first book, but we have now for all the books that we write. I didn’t realize that a book would be such an incredible magnetic marketing engine for my business. I was selfishly just kind of tired of having the 4-hour Q and A’s in everybody’s living rooms, answering the same questions over and over for 3 years. It was kind of burning me out. So I just wrote the answers to all those questions in the book. I wrote down all the stuff that people should ask, and I just got it printed. It took a couple of hundred hours to write my first one and then I just started giving it to people and it became my ultimate business card. And it really changed the way that I market for deals and then eventually private money forever.

Jay Conner

00:13:30

So, you started focusing, as you just said, on serving and talking with senior citizens that were at the point where they needed to sell their houses.

What are your favorite marketing methods for locating the owners of these houses that may be looking to sell?

Max Keller

00:13:56

Great question. So there’s really 2 categories of marketing methods that we use. They’re the ones that we used before we had a book. And then there’s the ones that are more available to people who are experts, authorities, local celebrities. You, obviously, are in that category. And so what we did initially when we got the book, was basically just the same methods that we were using. Data is more available now than it’s ever been. It’s easier than it’s ever been to find more ways than there’s ever been for people to reach you. What’s really missing in marketing is really understanding who you’re talking to as a marketer and then sending messages that are like reading their minds.

That’s the biggest problem, okay? It’s not the list. Everybody has the same list. Everybody knows how to stack a list. You can go on YouTube, figure it out in 5 minutes. The real challenge is why would they choose you over everybody else? That’s the missing piece. And so that’s what we did. I’ll give you an example, real simple, okay. We’re getting calls from our direct mail, our door-to-door flyers, our normal calling agents and talking about if there are pocket listings. Normal stuff. So people are calling our office, right? We had just gotten the book and sometimes they’re calling with a little bit of a chip on their shoulder because they know that they’re getting all this mail, you know? So they’re like, “Hey, congratulations, you’re going to win the house lottery. You have the opportunity to come over to my house and pay me more than you probably should.”

And so when people call, they’re like, “we need you to come over right now.” And I was afraid that if I didn’t go over there real quick, they would sell it to somebody else. That’s what they teach at all the bootcamps. And that’s probably true if you don’t have a book, but if you do, you don’t have to do that because instead I would just say, “Hey, oh great! Yeah, you want us to come over? Okay. we’ll get to that. Hey, real quick, do you have a copy of our latest book?” And they’re like, “Your book?” like the whole tone changes. I go, “Yeah! We wrote the book on senior housing. I’m the Home To Home guy, the step-by-step senior housing guide.” And I press further.

“So, let me ask you a question. If I send an autographed copy of the book to your house,  you can read Chapter 3 – ‘All The Ways To Sell Your Home with Pros & Cons of Each’ before I come over. Because if you can, then I’ll come over and if you can’t, then I can’t come over. See, I’m the boss of my business. I’m the expert you’re calling and talking to the foundational source for the information that you need. So we’re going to follow my process.” It’s not being rude. It’s just a statement of fact. And so it really increases compliance, which is what you want as a business owner. Because you know the formula to help your clients better than they do. Otherwise, they’d be doing it themselves. Well, what do you think people are going to say when you ask them if they’re going to read an autographed book?

What do people say when they get your autographed book? They can’t wait. So what happens is, I pay a courier about 30 or 40 bucks. I send it over and I go, “Hey, do you still need me to come over right now? Or are you going in to foreclosure?” Then we got like a couple of days. It’s okay, a couple of days. So now I’m on my schedule, which is what I need to run a predictable business. I send the book, they read Chapter 3, but they read the rest of the chapters. Do you know what I mean? They read the story right here with me and my Momo. Do you think people think that guys who take care of their 90-year-old grandmas are scumbags or loan sharks? Heck, no. They’re like, “Man, this is, like, my new grandson, Max.”

So when I come over, they’ve read the whole book. They’ve already spent 4 or 5 hours with me and they see me differently because I have a book, you know? So it just sets the tone really well. It puts the odds in my favor. Then when I come over, I bring them the workbook and they’re just like, “Dang, it’s like Christmas around here.” And then I go through it with them. So instead of just talking about stuff or asking these lame and hard closing questions that nobody likes and it makes you look really slimy, we don’t have to do any of that stuff. Here’s the perfect example, Jay, on page 41. I tagged this page. I go, “Now, Mavis, if you’re looking at some other investors to buy your house, I totally understand that.”

I said to her, “I’d probably do the same thing, but make sure that you ask them these questions. These are the questions you’re going to want to ask to make sure you don’t get roped in with the wrong person. And by the way, you can ask me those questions, too: Do you see the credibility? Do you see the openness?” It’s like lights out. So that’s how we buy houses and it works really well. We attach it to what we’re already doing, but then the other stuff is the stuff that we didn’t even know about, which is speaking to local businesses. So one time I spoke at the probate attorney association, a monthly meeting for my county. Jay, do you think that 30 probate attorneys sitting in a room while you’re standing, that makes you the expert at what you’re delivering? Do you think some of those 30 probate attorneys in the next 2 years are going to know somebody that needs to sell their house?

Jay Conner

00:19:12

Well, it’s the perfect market that is like the revolving door of prospects for your target market.

Max Keller

00:19:19

Yeah. And so I used to think the only way to market for deals was directly to the homeowner with really standard, generic messages that get thrown in the trash. So our messages used to be in the junk mail, but now our books are on the coffee table with all the other autographed books from the local real estate experts, which, as you know, it’s not a huge stack. So, it’s about pivoting when you’ve established yourself as an authority, as an expert, as a local celebrity in your field, whatever it is. It helps make the transition going from an annoying pest, as Dan Kennedy says, to a welcome guest.  We were the pesky salespersons who were only pitching and not listening, but now we’re the educator or the non-fiduciary housing advisor. That’s just a big paradigm shift. And when you’re in front of 30 business owners, there’s an incredible amount of leverage because they know 30 prospects. So in 1 hour you can really speak to 900 people. It’s just super powerful. And I haven’t found any other method of marketing that can replicate those kinds of results.

Jay Conner

00:20:32

Well, you can’t beat the credibility of having a book. You can’t beat the credibility of knowing what you’re talking about and being an expert. So, Max, we got a lot of people here listening to the podcast and I’m sure they’re scratching their heads going, “Well, that’s a great idea, Max, but how in the world do I get me a book?”

Max Keller

00:20:52

How can I get a book? Yeah, great question. I would love to come on here and say, “Jay, I’m just such a hot shot ninja marketer that I planned all this out.” Nothing could be further from the truth. If my market wasn’t so competitive, I would have never spent 200 hours writing a book. I would have just kept scooping up deals like most people were doing in that time in these tertiary, secondary markets, but I didn’t have a choice and it worked out really good. Here’s what happened. I’m getting deals with my book. I’m in masterminds, and we’re actually in a lot of the same masterminds. So I’m in this mastermind and my friends in there, you know, investors copy what works, they’re not trying to reinvent the wheel. And they’re like, “Hey, I kinda like this.”

“I live in Florida. You’re not using your book in Florida. It turns out we got seniors there, too. You think I could use your book?” And I was like, “I don’t know.” Maybe I just didn’t understand. And then my friend in Chicago is like, “Hey, can I use your book? Hey, they got seniors in Chicago, too.” So what we did was we created a system. I brought in some of the who’s who in publishing and we created a licensing program. It turns out the secret behind this book is that 99% of it is about stuff that our ideal prospect cares about. 1% is about us. Most marketing messages are the opposite. All they do is talk about themselves and very little about the person. That’s why they don’t call you. It’s like, “I’m sending out all this stuff. Why are people not calling me?”

Because it doesn’t look like you even understand what they’re going through. So that was sort of the accidental secret sauce from this. So we created a system where we change about 5% of the book, because the ways to sell a house in North Carolina is pretty similar to Dallas and is pretty similar to California, especially with the types of assisted living facilities, all of that’s about the same. So now we just swap them out on the cover. We give them a custom cover and they just pay us a one-time licensing fee to set up their book. In less than 30 days, they have a book and a workbook that they can hand out to prospects. And so they only spend about an hour or two of their time filling out all the information we need to personalize it. We write in their story.

So it just lowers the barriers that make it easier. And the folks that are usually a fit for our program are folks that are active real estate investors. They understand the value of a deal. They have some credibility, but they just haven’t figured out a way to signal it to the people they’re trying to reach. The phone isn’t ringing like it used to. Those are the people that come to us. And we’ve had about 130 students that licensed one of our 4-books systems across the nation. They see that this works and they don’t want to reinvent the wheel. So yeah, that created another, whole new business that I never expected. That’s where I got the award from, with Robert Kiyosaki. Jay, a funny story and I didn’t tell everybody this right.

It’s kind of embarrassing, but in 2005 I actually tried to get into real estate. I was 25. I just got married. The problem was, I wasn’t reading and I definitely wasn’t writing books. I didn’t have a clue what I was doing. So I researched CRMs all day, which is worthless. And I created an LLC, which is meaningless. And I didn’t know anything about marketing or lead generation. I stood in line to get Robert’s book for 2 hours. And then I just ended up not doing anything. That’s what happens. I just didn’t understand what to do next. I didn’t have a mentor. I didn’t even know what that was. So it’s crazy to think and I never would have imagined in a million years, 15 years later, I’m getting this award, we’re sharing a stage together and we’re exchanging books. I never would have imagined it.

It was a really cool deal. So it can happen. Books are super powerful and we believe that we’ve made it easier than ever for folks to plug in. And like I said, it’s for folks who want to do senior housing. And then what happened was that, well, once you have a deal, what do you need after that? The money. So we created a licensing program. This is one of my student’s books, Leonard, I’m really proud of him. He’s in Seattle. And because it turns out, guess what? Senior homeowners have questions. And when you give them the book, they look at you really differently. It works the same way with private money lenders. Who knew? So this is Leonard’s book. And then we just swap out covers. Here’s Tim Davis’. So you see how they’re different? But the insides are the same. But here’s the thing, the person you’ve given it to doesn’t care.

They just want to solve their problem. They’re just trying to figure out how to not get into a deal with a lousy borrower. They’re just trying to figure out if this deal really has a discount or not, they just want to have their questions answered. So instead of going to a blog or getting a bunch of emails, which have a low perceived value, we give them something that has a higher perceived value and a higher level of expected authority and expertise. And we just educate and help people. We tell them this isn’t for everybody. Being a private money lender on real estate is not for everybody. This is who it’s for. This is who is not for. This is my book and if you want to go through it together, I’d love your feedback. You know, stuff like that. So it’s been really cool and he’s happy because he didn’t have to rewrite this himself.

And then what we’re good at is helping people apply it to their marketing because just getting a box of books where you wrote one chapter with everybody else, nobody cares about when you fell down a well and you overcome your struggles, they just care about themselves. “What’s in it for me?”, that’s what all the homeowners are thinking. That’s what all the private money lenders are thinking. They won’t tell you that, but that’s what they’re really thinking. So just give them that, but give it to them in a way that establishes your authority and your credibility and it’s scalable and that’s pretty much what we do. And then we created a book system for Gene Guarino. We just did his latest book, and his students licensed it. And then we haven’t even announced this publicly, but we just wrote a book for Eddie Speed and the Richard Thornton, and so there notes students are going to license that out. That’s brand new. We haven’t even announced it, but I guess I spoiled it a little bit. So it’s been really cool to help people because everybody there wants to lead with more value. They want to educate well, I mean, who would ever say no to that? So it’s been cool.

Jay Conner

00:27:14

What you’ve done there, Max, is you’ve created a way that no matter what niche someone has in real estate, they can further invest on how to raise their credibility and actually convert a higher percentage of prospects into actually doing business. Well, I know we’ve got people that want to connect with you. So what’s the best way for people to connect with you, Max?

Max Keller

00:27:37

Yeah, it’s real simple. We made a special link as long as it’s up, so don’t delay, but we’re going to leave it up at least for the first 25 people who download this. So we created a new book called, “The Real Estate Investors Bookwriting Checklist.” It’s basically all the steps that we went through when we wrote Gene’s book and Eddie’s book and Richard’s book. But we didn’t have that when we started and we haven’t seen it in any other books. So it’s a real simple guide that you can use, whether you’re thinking about writing a book or an e-book or you just want to have social media messages that convert better. It’s real simple. Just go to DealsChasingYou.com/Conner. You can download a copy of the book while the link is still up. And then you can go on the website and check out some of the training videos that we have. It talks about the different types of book systems and how it would benefit you because that’s what it’s all about. It’s about getting more deals. It’s about getting more dollars. And when those things get dialed in, the marketing becomes a lot easier. Life just gets better.

Jay Conner

00:28:50

Max, thank you so much for offering that amazing gift to our listeners here. Any final comments and advice?

Max Keller

00:29:01

Just lead with value. Look, I know you can go deep sea fishing and I know there’s some great fishing where you’re at. You can go deep sea fishing and spend 4 hours trying to wrestle a big fish on the boat. That works. People do it. It’s just really exhausting. That’s what it’s like to market in a crowded market, trying to compete against Wall Street with price. That’s what it’s like trying to market without a book. But what we do is totally different. We share what we’re doing. And then we attract the people that resonate with our message. And so they’re calling and qualifying themselves to work with us. And in one of the most competitive markets in the nation, in one of the most competitive times, people are regularly calling us asking if they qualify to work with us. That’s a big difference.

Jay Conner

00:29:49

That’s awesome. Thank you so much, Max. There, you have it, folks.

[ineffable-writer]

Hey so you don’t need to answer this but I saw your business school post and uhh I was wondering if you had any advice for me? Cause I think we’ve had a similar experience? Or not. I’d always loved books as a child but I grew up in india where a job in the creative sector is almost impossible for so many reasons, and so I made myself never write bc what if I liked it? And then couldn’t pay the bills? But fast forward to now, I’m 20 and I want to be creative. But I’ve never written in my life and it is so hard, even when I start, it’s like a muscle that doesn’t work anymore. Idk, I was wondering if you had something that would help maybe?

Anyway, thanks so much, and hope you have a lovely day!

Gonna preface this by saying that I actually know a good number of Indian people in my Creative Writing department, and before anything else I think you should know that your publishing industry--at least to this American--appears to be flourishing. So if you end up with a degree that lends itself to publishing, that could be a REALLY solid start.

All right. So. This is gonna be long, so I'mma put it below the cut, but I'm pretty much just gonna outline how I'm going about the whole creative career thing, and try to offer some specific advice.

Getting paid in the creative sector sucks. I'm at the point where I get short stories published at professional rates fairly frequently now (hell, I've actually received like... fan mail???), and I definitely do not make enough to live on. As a writer, money gets dispersed to you in chunks: you sell the story, you get paid for the story, and that sustains you while you're working on the next story.

Short fiction does not pay enough to sustain you. It is, however, a decent place to start, because publishing short fiction makes you industry friends, and it pads out your CV a little. Plus there are like... awards, and reprints, and it gets you in the door at some great conferences, where you can meet agents and make author friends and generally take a lot of baby steps forward.

(If you have novels and an agent, and you write prolifically, SOME advances will give you a really nice chunk of change. But it's a long game, and the more you publish, the more people seek out your other work. It layers.)

I'm not telling you this to dissuade you: I'm telling you this because the writer's career path takes a while, and you're at a good age to start. The thing about the industry is, it kind of forces you to put in your 10,000 hours. The more you write and publish, the better you get.

And, at 20, while you're working other jobs--that's a sustainable side hustle, and a fantastic way to stretch that muscle, so to speak.

My advice for you right now is to check out The Submission Grinder (tumblr will eat this if I put in a link, but google "submission grinder diabolical plots" and you should get there). It's a place that hosts a ton of publication venues--calls for publications, open submissions, and even places that are closed for submissions in case you want to see their statistics.

A good friend of mine has had AMAZING success writing for whatever open calls she finds interesting--a lot of these calls are themed or looking for particular subjects, and learning to write for those and write quickly is a great skill to have.

Anyway. Long-term.

Since creative work pays really poorly, it DOES make sense to have a day job. (Don't take after me. I kid you not, I worked five jobs simultaneously between undergrad and grad school.) But the creative industry does have a number of paying jobs, and 20 is a good age to get started in them. These aren't the ONLY jobs out there, but they're good places to start and get to know people.

Literary agencies are always looking for assistants, although you may have to start out in an unpaid internship--a lot of the big names only hire internally, or only hire people with experience. Publishing houses are the same--and like I said, India in particular has a burgeoning publishing industry right now, at least from what I can tell. (All my friends are from Delhi, though? Not sure if that's where the industry is located or what.) I'm not Indian, though, so maybe take a look at some publishers and see if you can find someone amenable to answering questions if you choose to go that route.

Lit mags are always looking for readers and volunteers if you want to build up experience on the CV, and there are paid positions out there once you know where to look. Magazines/journalism are also solid places to start, but they don't tend to leave much time for other writing these days. Writing festivals and major events may also have part-time paid work.

Also, don't discount bookstore jobs--they're great for getting to know the distribution side of things, and if you have a bookstore that hosts events or anything you should definitely check them out for early-career work.

Finally: if you decide to go to school for creative writing, it can be a really big career boost--but it can also be a really big money sink if you don't have a post-graduation plan in mind. I'm doing the PhD because I've decided to enter the intensely competitive world of teaching at a university level--and a lot of places don't want to hire you to teach Creative Writing unless you've got a book under your belt (I've just entered my second year, but I'm querying a novel I had under my belt already). People in my master's degree have gone on to jobs in publishing, bookselling, etc., or have founded their own presses. Not everyone goes into actual writing as a career.

Before I went to undergrad, I worked at a TON of day jobs, and one of those was founding a nonprofit writing organization. Another was self-pubbing. Those two experiences taught me a ton of stuff I never learned in school, and I still use the skills I learned there today.

Wow, that was a long post.

The general TL;DR: if you're 20 and you just want to write, get a writing-adjacent job and get some practice in with short fiction. Degrees are awesome, but only if you have a plan in mind and go in with your eyes wide open--experience will always get you further, and now is a great time to go get some.

[pantstomatch]

I love your writing, and (the cliche, it burns) one day I'd like to publish too. But a lot of things have changed since the last time I was confident in trying to do this, and I wondered if you would talk about the process (getting an agent, that sort of thing) if you're comfortable and have the time. It's also cool if you privately respond, if you'd prefer, I'm just trying to figure out how to get started again? And so many tips are "publish on Amazon!"

Thank you!!!! Okay, so here’s the thing. I’m probably not the best person to ask about this, because I’m actually really bad at being published, but I can tell you some stuff that I’ve learned? That might be helpful? I ended up being long-winded, so (if tumblr works right here) everything is under the cut...

1. Querying!

So in general, querying sucks balls. Like… it’s probably the worst thing you’ll ever have to do. You’re gonna want to research what agents are looking for the kind of stuff you want to write or have written. Some are looking for certain genres or what they think is marketable, and you want to send your query to someone who’s open to what you have, or it’s a waste. Most likely the agency website or the agents “I’m looking for…” page or whatever will give you specific instructions on what to include in your query email - how the subject should be written, what they’re looking for, how many pages of your manuscript they want to see, how to attach it to the email and in what form, and if they want a synopsis of your novel. Some agents use Query Manager, which is basically a form you fill out and attach all the things they want, and you can go back in and edit it and it’s a nice way to keep track of your query. Next, they’re gonna (hopefully; some just never respond) either say no thank you very politely, or ask you for the full manuscript. Most of these agents will also give you a general timeline for a response, and if they’re open to a nudge from you or not. After that, they’ll either say no to the full manuscript, or welcome you aboard!  

Most places allow you to send multiple queries out for the same work, meaning they’re not “exclusive,” except within their own agency. If they ask for a full manuscript, but before they get back to you, another agent has snapped you up, they’ll want you to let them know so they don’t waste their time on it. Occasionally, if they want to see your full manuscript, they’ll ask for you to not send the full manuscript to someone else until they’re done, or for you to tell them if someone else is looking at the full manuscript. You can also change your mind!  You can email them and let them know you’ve decided to pull the novel out of consideration, maybe if you think it needs more editing.

I have never successfully queried. I found the whole thing demoralizing, and I did my first contract on my own, without an agent. This is something I don’t recommend because I had to figure out a lot of confusing shit on my own that I still don’t fully understand. And it also made me doubt my writing after the fact, because agents don’t give a shit if you’re already published, they’re focused solely on whatever you’re presenting them with. And then after that, I figured if I got another book out of my current editor, would I want to present that to the people who already didn’t like my writing? I have an agent for another project I’m working on, and the only reason I have her is because someone introduced us and told her I desperately needed help.

1a. So you found the agent(s) you think you like!

Other than the instructions/guidelines written out by the agency/agents that you’re interested in, you’re gonna need the most complete and fully edited version of your novel in hand. If they ask for your full manuscript, you absolutely should not say it’s not done. Make sure it’s finished, and preferably edited, before you send your query in. If they ask for a synopsis, hard pass. Ha ha ha, just kidding. No, really, arguably, this is going to be the hardest thing to write. A synopsis will suck your soul out of your body and make you weep blood. The only thing worse than querying is writing a synopsis for that query. I have never written a synopsis that I didn’t think was utter shit. I hate them.

Querytracker is a cool place to look up agents that you want to query and see how responsive (and nice) they are. It took me a little bit to figure out the abbreviations, though.

2. Pick your genre carefully

Unless you are a best selling author, they are never ever ever going to let you change genres. I mean, maybe if you wrote under a different name. Maybe. But they’ve bought your book based on how they think it will sell, and they’re going to want to sell you, too, and genre jumping is usually a no-go. This is, basically, one of the biggest things I hate, and one of the greatest things I love about fanfiction, that I can write whatever the fuck I feel like writing. So, you know, make sure you really really really want to write about what your first book is going to be about, because you’re going to be writing about that forever.  And I don’t mean just YA vs New Adult vs Adult, although you need to take that into account too. I mean if you’re writing about high school regular kids, you probably can’t write about supernatural high school kids. You can’t write about high school kids in space. You can only write about regular high school kids. So.. think sci -fi vs fantasy vs historical vs contemporary, etc.

3. I hope you don’t hate people!

Do you want to go to a bookstore and talk in front of a crowd? Do you want to go to cons and network with other authors? Do you want to call up publications and volunteer for interviews? Do you want to talk about your books with strangers?  Because I sure don’t.  Publishing houses do the bare minimum of publicity for you for your book. First book, they’ll probably help set up some store signings. Going forward, if you weren’t proactive the first time around, they’re probably not going to do anything. If you’ve got some really good advance reviews, they’ll do ads. They’ll probably do the rote social media posts. But basically, you’re going to have to advocate for your book. You’re going to have to create your own brand. You’re going to have to make swag and send it out, call up bookstores, post constantly about it on twitter, buddy up to other authors, go places where you can network. And I will tell you that all of that is my nightmare. I don’t want to do any of that. I don’t like meeting new people. I had several panic attacks leading up my book signing, and the book signing itself was pretty bad. I’m just… not good with people. And, honestly, at my age, I don’t want to be any better. All it does is give me stress and hives, and to get over that I’d really really have to want to do it.

4. Personal perks?

Editors!  I’ve worked with two awesome editors, and it’s amazing having someone to tell you how to fix things in a way that makes sense. By far, one of the only perks of being published for me. I absolutely don’t know for sure, but I always got the feeling that they expected more push back from me with their suggestions, but nope. I was open to everything, and that’s probably why the books worked so well, because editors absolutely know what they’re doing and only want what’s best for the book.

Holding a solid book of my work!  Always awesome to hold that first book in your hands, with the beautiful cover work and everything. The fact that other people can read it and know it was me who wrote those words only counters that by about a half.  

Money! Advances vary drastically, but, listen, the money kind of made the panic attacks worth it. A little.

5. Advances and royalties

The things I’ve read about advances is that too little, and you might think they have less confidence in you, and too much and you’re panicking about selling, because if you don’t earn out your advance, there’s a chance they won’t want to invest in you in the future. Generally, the way they work is they offer you a contract with the amount they are willing to “advance” you. This is basically saying, we think this book will give us this amount of money, and this is your share of that amount of money. You earn this out with royalties. When you sign the contract, you will get a certain amount of money, usually half of your offered advance. When you deliver the finished manuscript, after your editor and you have gone over it and it’s been approved, you’ll get the other half. A two book deal would be split into 4 parts, and you’d get the first 2 parts for signing the contract (1/4th for each book), the next part for the first finished manuscript, and then the last part for the second finished manuscript, generally after the first book is already published. After that, you won’t see any money until your royalties reach the amount they already paid you in advance. Unless otherwise negotiated, you’d get a royalty check twice a year.  Your earnings from January to July would be sent to you in October, and your earnings for July to December would be sent to you in April. Since any books sold to bookstores and online stores can be returned to the publisher if unsold, they will usually “hold back” a certain amount at first, to make sure you’re really earning that royalty. Royalty statements themselves are a hot mess and I’ve never been able to read them, which is also a good reason to have an agent. An agent will get your money sent to them, make sure it’s the correct amount, take their cut, and then send you a check from them.

6. Self publishing

Okay, I know nothing about self publishing, but I don’t think there’s anything wrong with it if you have the right support system (ie editors). If you’re going to have to do a lot of the marketing yourself anyway, I don’t see how this is much different. Biggest thing would be the upfront cost, and making sure you make that cost worth it.  Independent author S Usher Evans has some good advice for self publishing - Sush’s worked very hard at it, and started her own publishing company. Also, @qwanderer might be a good resource, I think they use Lulu, which is a really cool self publishing site.

Uhhhh, so that’s a lot of info and also not a lot of info, so please feel free to ask me anything else, and I really hope I haven’t made this harder for you to get started ha ha ha. I think the best thing to do is to figure out what you want to write and write it and just… go from there. If you really love what you have, someone else is going to love it, too.

And if anyone’s had a different experience or thinks I got something wrong or has more/better advice for @heyninja, let me know!

[bettsfic]

2020 in writing

time for my annual writing recap!! as always, i sit here thinking “wow i didn’t do jackshit this year.” but i did! just, mostly at home, in pajamas. here are the highlights:

got an agent

i talk about that a bit here. considering i’ve had “get an agent” on the top of my goal list for going on 3 years, it feels like a big win.

was a finalist for a prize

i didn’t win any of the competitions i submitted my short story collection to, but i was a finalist for the hudson prize! just happy to have the cv line tbh.

submitted/applied to a lot of things

(sorted by decision date, not submit date.)

totals:

18 contests (13 rejected, 3 withdrawn, 2 made the final cut)

17 publications (13 rejected, 2 encouraged to submit again, 2 active)

2 residencies (2 rejected)

no acceptances all year on the submission front, which really upset me for a long time. hoping to do a summer residency next year and get a story acceptance somewhere.

started a phd

+ found out the phd of a prestigious program is way, way harder than the mfa of a really chill program :(

also i got all As, which shouldn’t even be a thing, but i spent so much of the semester getting Bs and Cs that idk how i ended up pulling them up at the end.

i wrote a bit about the phd here.

attended 3 residencies/traveled a lot (pre-covid)

i started the year at a residency in tennessee, then i flew out to texas to visit a friend, drove with said friend to mississippi to visit the school i now go to, then i went to georgia for the second residency which had the best food i’ve ever eaten in my life, and then did the third residency in nebraska which was the highlight of my year, except for, yk, the pandemic. in total, with all the driving i did, i visited 13 states.

i wrote about residencies a bit here. 

launched creative coaching services

this is something i’ve wanted to do for a long time, and i finally did it, and it’s going honestly better than even my highest expectations or aspirations. very excited to see how next year goes.

got way faster at reading

one of my major hesitations with the phd is that i knew it would be a ton of reading, and i’ve never been a very fast reader. so i did some research on how to read faster and figured out that part of the reason i read so slowly (and, conversely, retain so much; not eidetic but i definitely have a better verbal memory than most) is because i subvocalize and my eyes stop at every word. once i learned how to turn that on and off, and strategically move my eyes to land only twice per line of text, i figured out how to better control my reading speed (at the sacrifice of some comprehension). now i can read over twice as fast as i could at the start of the year. hoping next year i bring up the comprehension with the reading speed. 

wrote 375k words

55k fewer than 2019 but that’s fine. this last semester really kicked my ass. also, i think part of the problem is that i write everything 3 times and only take the final word count for the spreadsheet, so nearly everything listed as complete here has been rewritten start to finish at least once.

as you can see, i’ve struggled to finish things this year. 

year over year word count comparison:

2020: 375k

2019: 430k

2018: 450k

2017: 150k

2016: 343k

2015: 250k

2014: 311k

seven year total: 2,309,000

& other stuff i’m proud of

i’ve gotten a lot better at cooking? (i was really very bad at cooking at the start of the year, and only realized it when i started doing residencies and realized most adults don’t have the same toxic relationship to food that i do. i’m still bad at cooking! but i enjoy it now at least, and feel like it’s a worthwhile use of my time)

i have health insurance finally and i no longer have to get my medications from sketchy/illegal places

i paid off my student loans!

finally made a masterdoc of all my writing advice posts (i’ll post the link soon!)

2020 goal recap (from 2019)

get an agent -- yep!

sell a book -- nope

finish another novel -- nope (finished 2/3rds of one)

finish short story collection -- yep!!

2021 goals

keeping it simple again.

sell zucchini (short story collection)

finish vandal (novel)

rewrite cherry pop (novel)

thank you!!

thank you to everyone this year who sent kind asks and comments, insightful writing questions, or well wishes while i was feeling down! i feel like things are finally starting to come together, writing-wise, if nothing else, and i hope 2021 is a better year for all of us.

prior year recaps: 2015 | 2016 | 2017 | 2018 | 2019

[literaticat]

I know every day as an agent is different, but of the agent-y tasks you tend to deal with on a regular/daily basis, what makes you happiest/gives you satisfaction? (even if it's something mundane like updating a spreadsheet!)

There are lots of things I like about my job -- but in terms of like, day-to-day satisfaction on a pure and uncomplicated level, it probably actually IS updating spreadsheets lol. I have multiple ones I like updating. (THIS IS NERDY, I'M SORRY IN ADVANCE, I LOVE MY SPREADSHEETS, FEEL FREE TO SKIP)

One is "Books I've Sold" which lists literally every book I've sold since I started (which as of this writing is 565) with the title, author, and vital statistics. And there's a color coding aspect for when the book has been announced, if they owe us money, if I have to chase them for something, etc, though much of that part has slipped into disuse now; when I started, this list was like, the only way to keep track of my books -- now we have a very sophisticated contracts database that runs reports and whatnot so the codes in this spreadsheet are obsolete.

Anyway, it's so long at this point that arguably it isn't that useful and there are different/better ways we organize things, BUT, it's still fun to see everything all in one place and whatever, I like my dang list, it's a tradition! It's fun! It means I sold something! Yay!

One is "Contracts incoming" -- this was a recent invention, from probably late last year, because there was SUCH a backlog of contracts that I was losing track of where they all were in the process (sincerely around Christmas time / Jan I had at least 15 in various stages of completion and it was becoming a shit-show, and another handful that were horrifically late!). . .

So, "Contracts Incoming" is a rolling spreadsheet that ONLY has the contracts in play on it. When I sell a book, I simply add the title author publisher date sold. Once the contract comes, it shifts up and gets color coded and contracts person added, along with the date contract came. It changes color and adds a date when I send them notes or vice-versa, it changes color and adds a date when it is out for signature, and it changes color and adds a date when it is finalized. Once we are paid the on-signing and it is entered into our contract database, it can be removed from the spreadsheet. (I like it because it's really elegant and simple, it's a pretty rainbow, and also it just is really useful for keeping up with where things are and enables me to more easily chase after things that are stuck somewhere in the pipeline).

One is "Payments" -- a yearly spreadsheet that breaks down payments that have come in, author's share, commish/ agency share, my share, etc. So once a week we do our "check run" (which I still call it that though it's mostly not checks anymore but ACH, but ACH run sounds weird ANYWAY) -- on Tuesdays I get a bunch of statements from our bookkeeper / admin of all the payments for my clients that have come in that week. It's my responsibility to look at all of them, make sure that they are correct, match what was due, that the math is mathing, etc, and approve them (or submit changes/clear up confusion) before the payments are processed for the whole agency on Wednesday.

This spreadsheet is fun because, well, I like counting money -- but also because I am obsessed when formulas in excel work correctly, it's like magic, and it's fun to see everything reconcile, and if there IS a problem it's kinda fun to be a detective and figure it out. (And usually it's because of a typo on my end, not an actual problem - but sometimes it's an actual problem and I get to wear my INVESTIGATOR hat!) -- I also find myself checking this ALL THE TIME on behalf of clients who are asking, "did such-and-such come in" or "when did such-and-such happen" or "I got my 1099 but why is this like this" etc -- literally probably check this every other day to answer questions.

USEFUL! SATISFYING! SPREADSHEETS!

[whump-tr0pes]

I heard your novel is self published (I'm pretty sure correct me if I'm wrong) which is pretty cool and I'm actually considering that myself! What made you choose that?

It is self published!

There were a few things that went into that decision. First, the statistics. In order to submit a book to a publisher, you need an agent. Only about 0.1% of books submitted to an agent actually get an agent. And once you get one, only about 5% books get accepted to big publishers. And even if it does get published, the average time between your book being finished, and your book being published, is 11 years. Even if you write a book and it gets picked up immediately, you’re looking at a 2-year timeline, easy. (That almost never happens, though. The only reason we hear about debut novelists getting these huge signing deals is because it is so rare.) The beauty of self-publishing is that it’s fast. You could go to Amazon right now and upload a word doc and a picture of your dog as the cover, and viola, you have a book. And, so much of the time, a book gets selected for publishing because people think it will sell, not because it’s actually good. 

I wasn’t really interested in any of that. Don’t get me wrong, traditional publishing isn’t wrong, it just wasn’t right for me. I wanted to get my book out there on my timeline, on my terms, without all the politics and gatekeeping that goes on in the publishing world. I wanted control of my product. I got to hire my own cover designer, choose my cover design, choose my editor, choose my formatting, choose my marketer, everything. I also keep much more royalties per book than I would with self-publishing. We’re talking dollars instead of cents per book.

I also didn’t want to have to drastically alter the content. I write whump, and whump isn’t a huge genre that sells. (So many mainstream books are whumpy as hell, but you start to focus on the actual whump and people get weird about it. Indeed, the first professional review for Honor Bound I got essentially said “I loved it but there was too much torture.”) When publishing, I didn’t want to cut out the parts of the book that I enjoyed, and that you guys enjoyed. I wanted to keep my book a whump book, without adding marketable things that I don’t like, or taking out things that I like. And, as my editor @kyliebean-editing pointed out when I came to her upset about that review, the torture scenes need to be in there to set up the depth of hatred Isaac has for Gavin in the next book, and the background of their relationship. But I digress. I get protective of my whump.

Something that I should point out is that it can be a high financial burden. With self-publishing, you are paying for everything. Everything I mentioned ^ up there (editor, cover design, formatting, marketing, etc.) as well as copyright fees, uploading fees, author copies, etc. are things that I paid for myself. You absolutely can have a self-published book without paying for things like an editor or a cover artist, but I personally wanted them because I wanted my work to be presented as the best I could make it. I have also submitted it for awards, professional reviews, and online advertisements. I am very fortunate that I have some extra money to put towards this hobby (because this is a hobby, just like any hobby you might spend money on) and I am not even close to making that money up yet. Someday, maybe? Hopefully? But unlike traditional publishing, this financial burden falls on you.

If self-publishing is the right path for you, I absolutely recommend it. Even if you do self-publish, you can still end up on bookstores’ shelves if you publish through the right manufacturers and know who to contact. You can find success in self-publishing. I can’t recommend my editor enough, if you are looking for one. If you have questions, I can answer them as best I can, keeping in mind that I am a dumbass who came across most of my answers because of mistakes I made. I can also recommend this YouTube channel, which is where I got so much of my information the first time around. 

You can find Honor Bound 1 and Honor Bound 2 on Amazon, with Honor Bound 3 coming next spring.

Good luck! Please let me know if you decide to go this route, so I can buy it!

[hopelessromanticspoonie]

Trust

Masterlist here

Characters: Tom Hiddleston and Female Novelist Reader

Summary: Finding just the right actor to star in the movie based on your book wasn't an easy process. And then Tom Hiddleston walked into the room, and he may solve more than just your casting concerns.

Warnings: Alcohol consumption

Word Count: 4.2k (whoops)

A/N: This is based off a request given to me by @yespolkadotkitty! I apologize that I haven’t posted in a long while and that this took a minute to get out, but I hope you enjoy it! ALSO. I know nothing about the film industry. Please ignore what I’m sure are several errors concerning that topic.

“Next!”

“He was really good. You sure you didn’t like him?”

You closed your eyes and dropped your forehead onto your hand supported by your elbow on the folding table in front of you. When you had been contacted by your agent that a studio wanted to turn your best-selling novel into a movie, it felt like a dream come true. A whirlwind of paid flights, lunch meetings, negotiations, and signed contracts led you to your spot next to the casting director, several producers, and director for the movie. You were lucky that they were taking your opinion into consideration at all, and you didn’t want to create waves, but there hadn’t been a man reading for the main role yet that felt right.

From several one-note actors to a few who were way off the mark to those who showed up completely unprepared, nobody had made you feel the gripping tension of the troubled but earnest character of Joshua Collins, the struggling artist and male half of your romantic tale.

“Hello, my name is Tom Hiddleston, and I’d like to audition for the role of Joshua Collins.”

That voice. Sophistication roughened with the barest hint of anxiety and smoothed out by a full baritone that dripped honey. Your head popped up from your hand to take in the sheepishly grinning man in front of you. He was tall, so tall that it took an eternity for your eyes to drag from the worn boots on his feet, up the slim legs expertly encased in blue slacks, over the broad chest that strained at the thin fabric of his light blue button-up shirt, to a face that had to have been sculpted by the finest craftsmen with planes and shadows to highlight his arresting stare.

The lines that he read through with a producer’s assistant sounded as if they came straight from your creative imaginings. He was Joshua. The ability he had to convey such emotion with the tilt of his head, the press of his lips, or even the very act of taking a breath to sustain his speech was enough to render you utterly transfixed. Even the silence that fell over the room as he gathered his thoughts for a response had you tense and gripping your pen until your knuckles lightened as you waited with bated breath for a reply you had memorized before he’d strolled in. But with him it was new, organic, somehow spontaneous and heartfelt and so true it resonated deep in your bones.

And then he stood from the chair he had fallen into with an easy, relieved smile on his face as he smoothed his hand down the front of his shirt. “Thank you all for sharing your time with me today. And, if I may,” he shifted his attention from the studio bigwigs to you, “I absolutely adored the raw humanity in your novel. I hope that I can bring it to life for you.”

The sound of the door closing seemed to break the spell that had fallen over the room. You shared a knowing look first with the casting director and then the director herself.

“Joe, please tell those remaining that auditions have been canceled,” Sam smiled, scribbling something in her portfolio in front of her. “We have our man.”

~

Had you picked up all of the loose bits of trash scattered around your room? Sure, the staff had cleaned that morning, but that didn’t mean that you hadn’t found some way to dirty it since then. Would bottled water be okay? Maybe he preferred coffee. Hotel coffee wasn’t ever the greatest, but it would do in a pinch. Right? And should you have put on nicer clothes? Maybe-

A light, rhythmic knock sounded on your door, stopping your anxious thoughts and making you freeze from where you were bent over making sure the hem of your jeans wasn’t rolled over.

Another knock, and you quickly righted yourself, running your hand over your hair to tame any flyaways as you scurried to the door. Tom stood on the other side, holding two beers in one hand and a thick leather folio in the other.

“Thank you for agreeing to meet with me before rehearsals begin. May I come in?”

As if anyone would turn down Tom Hiddleston, especially when he came bearing beer. You stepped to the side, allowing him to pass by, leaving behind the very masculine scent of bergamot and citrus in the air that stirred between you. “Of course. You look like you’re ready to attend a class or something.”

He placed everything down on the tiny table meant to be a desk before turning to you with a small smile. His large hands rubbed against his jeans on the outside of his thighs. “Admittedly, I am a bit of a fan of your writing. An avid fan, actually. I was hoping that you wouldn’t mind too terribly if we discussed the book? I want to ensure I fully bring this character to life as you so masterfully wrote it.”

Color you shocked. Sure, you had received plenty of praise for your book throughout this process, the paycheck was evidence enough that it was liked, but to have someone that you personally admired for their own set of talents compliment it was another thing entirely. Working to school your face so that your excitement didn’t show, you grabbed the beer he opened and sat down on the edge of the bed. “Ask away, Mr. Hiddleston.”

Draping his long and lithe form into the faded desk chair, he opened his folio and uncapped a pen that looked more expensive than the entirety of your outfit. “Tom, please. We will be working closely together, and we are neighbors in this hotel as well. Formalities are not necessary.”

“Okay,” you nodded and took a swig of liquid courage. “Tom, what would you like to know?”

Questions and answered flowed easily after a few stuttering moments on both sides of the conversation. You were only struck dumb once or twice from the intensity of his thoughtful stare, and you found yourself both grateful and saddened when it would leave you to focus on the copious notes he scribbled down in the folio on his thigh. You’d never felt so heard as to when he watched you ramble on about plot points and motivation and character development, with his hand rasping against the five o’clock shadow that darkened his razor-sharp jawline and his brows furrowed.

Only when you stifled a yawn behind your hand did he seem to pull himself from the focused notes he had been taking after you explained a more difficult aspect of Joshua’s past. He glanced at the leather-strapped watch on his arm, frowning. “I do believe that I have kept you up far too late. I apologize. I should be going so that you may rest for overseeing rehearsals tomorrow. You will be there, correct?”

“I think so, yeah. Unless I’m needed for consultation on a last-minute script change, I think that’s where I’m supposed to be. I’m not really sure how all of this works,” you admitted with a light laugh.

He walked with you to the door after tossing both his and your bottles in the trash and gathering his things that had spread out over the desk. “If you have any questions, do not hesitate to ask. I know how overwhelming all of this can be. Until then, I very much look forward to seeing you. Goodnight.”

The clasp of his hand on your shoulder was heavy, stretching across your skin with a pleasant warmth that you wanted to curl into and bask in forever. You reached up and patted his hand gently before opening the door. “Goodnight.”

Sure enough, when you watched him head back to his room in the hotel meant to house you for the entirety of the filming project, he disappeared into the room directly next to yours.

The faint scent of his cologne lingered on your clothing as you ducked back into your room to prepare yourself as best as you could for the unknown journey ahead.

~

In all your days, you’d never met someone as motivated and driven as Tom. When he wasn’t rehearsing, he was exercising, or building comradery between the cast and crew that he would be spending the next year with, or even, to your astonishment, spending time with you.

It had begun under the guise of him delving deep into his character with you over beers and room service. Then it had switched to other books in your catalog, and then, when you had begged off any serious thinking because you’d spent all day arguing with the writers, it changed into something more personal.

You walked onto set holding two travel tumblers precariously with one arm and your overstuffed binder in the other. A meeting with your agent that morning discussing the press tour preceding the premiere of the movie had gone on longer than expected, and you couldn’t wait to sit down and just watch Tom and the cast act out the inner workings of your imagination over the coffee you clutched. The idea of going for so many interviews and appearances weighed heavily on you. To be the object of so much attention wasn’t why you had gone into writing.

But, perhaps this was.

Tom looked quite frustrated as he talked to Sam, the director, in the middle of the set, about a pivotal point in the film where he admits his love to the female lead (who does not feel the same), and he barely glanced your way as you settled in. His hands flew in front of him with every gesture, fingers spread wide and then clenched tightly into fists at his side. Some conclusion must have been reached because Sam came back to her spot behind the monitors and Tom got into place.

It was obvious to everyone that something was off. You especially, as the dialogue didn’t fit what you had written with the screenwriters for the scene. After the cameras stopped rolling so Sam could talk to Tom once again, whose performance had been stilted and unnatural, you turned to your assistant with a frown heavily etched into your skin. “Was there a rewrite?”

She didn’t even look up from the email she was typing away on her phone. “Yes, ma’am. Just given to everyone this morning. I sent it to your email.”

Groaning quietly, you slipped your coffee and belongings into pockets on the sides of your chair and stood up, holding Tom’s tea in your hand. When you caught his eye you raised it in the air and he nodded. He could come get a drink from it when he had a moment.

That moment came much faster than you expected. He held up one finger to Sam, and you barely caught him plead, “Let me take a drink before we run it again,” before he jogged over to you.

“What’s going on?” you asked, offering him the steaming tea and crossing your arms over your stomach.

He took a deep drink and sighed, closing his eyes to savor the flavor and moment of peace before opening them to look wearily down at you. Irritation lived in the lines between his brows and in the press of his lips together. “The rewrites simply don’t feel like Joshua. I don’t feel as if they line up with his motivations. I-” he sighed heavily, dropping his chin to his chest and putting his free hand on his hip.

You stepped closer to him so that he was forced to meet the determined set of your eyes. Of its own accord, your hand reached out and grasped his. He returned the tight grip and your heart squeezed right along with it. Not the time.

“You know him. You’ve brought him to life and fleshed him out into a fuller being than my words ever did. I-”

“Don’t sell yourself short. You’re immensely talented,” he interjected.

“I’m not. I’m praising your talent. I’ll go fight Sam if I have to, to just get one take like it was written before they changed it. That’s all I can probably get you. Can you do it?”

He took a bracing sip of his tea before handing the travel mug back to you. Gratitude reflected in the stormy blue of his eyes. “I can. Thank you.”

And then he jogged off back to the set, speaking quietly with the female lead, Mary, about the plan. Which left you to face Sam, hopefully, to throw around what little bit of weight you had. In all honesty, she could put a stopper on the whole situation and force Tom to follow the rewrites. But he was watching you with such hope and support that it bolstered your confidence enough to set down his drink and go over to her.

“What’s going on?”

Sam was a fierce woman, having clawed her way up through the ranks to get her position, and it was easy to want to cower under the steel of her stare. Taking a deep breath, you held out your hands at your sides. “The rewrites aren’t working, Sam. He knows it, Mary knows it, and I know it. Can we just try it the way it was written before? Even if it doesn’t work like we hope, then he’ll have gotten it out of his system and we can move on with shooting.”

She studied you, pinning you to the spot as you tried desperately not to fidget while waiting for her verdict. She maintained eye contact when she shouted to the remarkably silent cast and crew, “One take with the old lines and blocking.”

The knowledge that your reputation was very much on this decision weighed heavily on your shoulders as you nodded your thanks before heading back to your chair. Getting situated, you cradled your coffee in your hands and inhaled the calming aroma as you watched everyone scurry around to get ready for the slight change in blocking and places.

And then action was called, and tears pricked at the corners of your eyes as Tom’s heart was broken and shattered into a million pieces at Mary’s rejection. The anguish he expressed through ragged breaths and glistening eyes was enough to make you want to run from your place and gather him into the safety of your arms in a futile attempt to put him back together. The scene went on naturally after it was meant to finish, Sam not calling cut, and he collapsed into a heap on his knees and ripped the sketchbook before him to shreds before letting out a scream of pain that would haunt you for the rest of your days.

“Cut.”

An intern ran onto the set and handed Tom several tissues, which he took with a watery smile. Every muscle in your body tensed as you waited for Sam’s reaction.

“Reset. Tom, take a moment and collect yourself. Frank, make sure that you’re tighter on his face right after she turns him down. Lisa, good idea on the sketchbook. Get the rest that you have. Good work, people.”

Tom stood up and was instantly surrounded by hair and makeup to fix the mess that he’d made of himself with his heartfelt performance. But, over their bobbing heads, he managed to look at you and mouth, “Thank you.”

The happiness and relief that soared through your veins were more exhilarating than coffee would ever be.

~

Knock. Knock. Knock.

Your fingers stilled over your laptop, the words of your latest piece of fiction ceasing in your head at the peculiar sound. Did someone just knock on your wall? Surely the sounds of your quiet music weren’t too loud.

Knock. Knock.

Hesitantly, you twisted in your bed, pressing your ear to the thin beige wall, and rapped against it three times. When there wasn’t an answering knock, you turned around and pressed your back against your pile of pillows to continue tapping away at what you hoped could possibly be another movie brought to life.

And then the same steady knocks sounded on the door to your hotel room. Confused, you closed your laptop and set it to the side, padding to the door in your pajamas. You opened the door with a confused frown to see Tom standing on the other side, holding a covered tray from room service, exhaustion living in the slump of his shoulders and pull on the corners of his mouth.

“On occasion, I find it hard to wind down after filming. Since you’re awake, I was hoping we could share this piece of chocolate cake and chat a bit?”

Suddenly very shy at your mismatched pajamas and air-dried hair from your shower, you blushed, waving him inside. “How can I turn down cake?”

You closed the door behind him and sent a silent prayer to whoever was listening that you had remembered to pick up your dirty clothes from earlier in the day. Turning around, you found Tom sitting cross-legged on the bed, chocolate crumbs on his lips that you longed to clean with your own. “Were you writing? I can leave. I don’t want to disturb you?”

“Nonsense. The ideas are in my notes. I can always make time for you, especially if you ply me with sweets.” You crawled onto the bed next to him and snagged the fork from his hand, taking a bite. “You sure know a way to a girl’s heart.”

His face softened as he nudged your knee with his. “You think very highly of me. On that note, thank you, today, for believing in me.”

“Of course. You are the most talented man I’ve ever met. I trust your gut.”

The rest of the cake was eaten in relative silence, your eyes chasing each other in fleeting glances that had your heart racing in your chest. There was something much more intimate about sharing a dessert in your pajamas, on your bed, than your other late-night meetings in your room. Was it the electric brush of his fingers over yours when you passed the fork to him, or the knowledge that your lips were touching where his had only moments ago? Would he taste like the rich dessert you shared?

Yearning for the charismatic man had grown in you since that first meeting at his audition. How could it not? He was kind, seeking to meet and know every person he interacted with on set. You were not the exception, as your late-night meetings had proved. His intelligence knew no bounds, and you had put it to the test with rousing discussions from everything to literature to current events to Shakespeare to politics. And the fondness that you caught in his gaze from time to time set a warmth alight in your bones that you wanted to live in for the rest of your days. Every brush of his body against yours had you aware of the heat he left behind for hours, and you had long ago imprinted the feeling of his lips upon your cheek in a quick greeting kiss into your memory.

You must have been staring during your descent into your hopelessly pining thoughts, as he was watching you closely with an eyebrow quirked in silent question, when you pulled yourself from your reverie.

“Sorry,” you shook your head, blinking the madness of your wishes away. “Long day. What’d you say?”

“I said that you have a bit of chocolate on your face. Would you like me to get it for you?” he asked quietly.

He didn’t wait for an answer. His thumb brushed against your cheek, sending the smallest shiver down your spine, before he pulled the digit into his mouth. The silence that stretched beneath his darkened gaze held you frozen to the spot. Your face burned where he had fleetingly touched you.

“Were it not for professionalism…” he murmured, a hint of anguish in his voice as his eyes traveled down your face to settle on your parted lips.

How was it possible that you felt like a schoolgirl again? Your heart hammered in your chest so loudly that it seemed impossible to take a deep enough breath to stop your head from spinning. You shifted on the bed, closer to him, peering up at him through your lashes. “You’d?”

He sighed and scrubbed his hand over the back of his neck before lighting it on your face. Holding you still, he leaned forward, pressing his lips against your cheek in a lingering kiss that had your stomach clench in anticipation. Your hands dug into the scratchy duvet beneath you to keep from resting on his abdomen to see if he had the same reaction to the tension that stretched between you like a livewire.

He left one more kiss on your temple, breathing you in and stroking your jawline with his thumb, before pulling away and standing up from the bed with a groan. “You are temptation personified. It would be an injustice to us both if any romantic notions got in the way of your brilliant storytelling. After, though…”

The promise in his lowered voice and the inferno of his eyes was enough to temporarily sate you as you watched him walk out of the door with a shake of his head. Writing for that evening was out of the question as you fell asleep with the remnants of his touch warm on your skin and his cologne perfuming your sheets.

~

“Did you hear the news?”

You turned from where you were scrolling through your phone at the filming wrap party, perking up at the liquid velvet voice that broke through the terrible house music Sam had requested from the DJ. Tom leaned his shoulder against the very wall that currently propped you up, his head tilted to the side in a way that had your belly fluttering like mad.

“News?”

His hands shoved into the pockets of his navy blazer. “We’ll be on the press tour together, for the movie. The studio wanted someone paired up with you that had a bit more experience with such matters, and I volunteered. I guess you aren’t rid of me yet.”

“As if I’d want such a thing,” you admitted with a quiet laugh. Any anxieties that you'd had about making an idiot of yourself for the worldwide press tour were now replaced with doing the very same, but perhaps now you'd be caught ogling Tom while he waxed on about the movie. Or perhaps you'd simply go mad spending so much time with him in close quarters while jet setting across the globe. Was there time for romantic interludes when you were answering the same twenty questions in twenty different countries?

He stood up straight and offered his arm with a cheeky grin, “At the risk of removing the woman of the hour from the party, would you accompany me outside for a bit of fresh air?”

The mischief that twinkled in his eyes was impossible to ignore. You slipped your hand into the crook of his elbow. “Says the leading man of the movie and an actual ray of sunshine. Lead on.”

The bar that they’d rented for the evening opened out onto a busy street that replaced the booming music with honking horns and bustling crowds hurrying home. His arm fell to hang at his side, and he caught your hand with his and laced your fingers together before pulling you behind a bit of greenery out front that hid you from prying eyes both inside and outside.

“Along with attending the press tour with you, I was hoping I could accompany you to the premiere?” he asked, leaned against the roughened brick wall behind him, tugging you closer until you stood in between his spread legs. The chilled wind was most unwelcome at your back, but the warmth of the man in front of you was more than enough to make the stolen privacy comfortable.

Your free hand picked a bit of lint from his crimson sweater before stilling, connected to his ribs by just your pointer finger and thumb, drawn into his heat with the bite of the winter air through your thin party dress. “You know what they’ll say.”

Tom was an incredibly private man, and it might create more talk than he’d want to deal with to show up with a date. You’d love more than anything to spend the evening on his arm, basking in his charismatic glow, but not if it caused him any headache or heartache.

His breath, scented with bittersweet alcohol, fanned across your face as his hand settled onto your hip. That simple touch branded your goose-bump covered skin and had you leaned into him until you had to crane your head backward to meet his tender stare. “That I was chivalrous in escorting the novelist who allowed me the opportunity to embody her treasured characters? That it was very thoughtful of me to ensure that you didn’t feel tossed to the sharks for your first red carpet event?”

With just the drop of his chin, his forehead leaned against yours. “Say yes?”

The nudge of his nose along yours, the rub of his thumb over the thin skin on the back of your hand, the push of his leanly muscled chest against yours with every breath, gave you enough courage to close your eyes and touch your lips to his in the kiss that had been denied you months ago. He groaned softly into your parted lips, releasing his hold on you to press his hands over the curve of your backside so you were flush against him. Fire scorched at your insides from the tease of his tongue and you tumbled headfirst into the passion that he finally stoked to life after it had been smoldering between you for so very long.

“Yes,” you replied breathlessly against his jaw, pulling away to draw air into your tortured lungs, kneading your fingers gently over his rapidly beating heart.

Leaning against him, with his arms wrapped around you so that your face found a comfortable home in the smooth column of his throat, you closed your eyes and gave in to the enticing man that had caught your attention so very long ago. With Tom by your side, and perhaps even in your bed, you were safe in the knowledge that you wouldn’t have to navigate this new world alone.

~~

Tidbit of Tom taglist: @otakumultimuse-hiddlewhore @ladyblablabla

Whole Shebang taglist: @just-the-hiddles @yespolkadotkitty @nonsensicalobsessions @vodka-and-some-sass @he-is-chaotic-she-is-psychotic @myoxisbroken @brokenthelovely @myworddump @polireader @wiczer @littleredstarfish @the-broken-angel-13 @arch-venus25 @xxloki81xx @jessiejunebug @tinchentitri @sllooney @devilbat @vikkleinpaul​ @bouquet-o-undercaffeinated-roses​ @angelus80 @wolfsmom1 @kthemarsian​ @toozmanykids​ @claritastantrum @princerowanwhitethorngalathynius​ @sabine-leo​ @lovesmesomehiddles​ @peterman-spideyparker​ @wegingerangelica​ @bluefrenchfries604​ @catsladen @snoopy3000​ @silverswordthekilljoy​ @villainousshakespeare​ @kitkatd7​

[d-l-dare]

“Near Existence”

The imagination is a powerful thing. You can dream up worlds of great fantasy, create characters that you can easily fall in love with or hate. You can do anything and be anywhere your heart desires. But sometimes your imagination can play tricks on you. It can leave you believing things that couldn't possibly be real.

Being the author of a best selling book is one thing, but having an entire series that's sold more copies than you even dreamed possible is a feeling completely different. It is one that, ironically coming from a writer, is hard to describe. It's like all the hard work you put into a silly little something you enjoyed every moment of creating, suddenly sprouted wings and flew off to a crowded city of admiration.

Going around to book signings is something I enjoyed, though I wasn't much of a people person. Big crowds make me incredibly anxious, and the fact there were so many people supporting me on a dream I've attached myself to since I was a kid was about to bring me to tears, didn't help the situation. But no matter what life threw at me in the wake of my success wouldn't stop me from enjoying every moment of it.

Even the nerve wracking phone call I'd just received wasn't going to ruin my fun. I'd just got off the phone with my agent. She said I needed a new book in my series to be finished and mailed in by the end of the month. I was relieved because I still had three weeks left. I was also terrified because I'd have to write quickly and do a rewrite for a final draft before mailing it in. It would almost seem doable, if not for the fact that I had no plan for this book. I'd just got back from a short vacation I'd taken my family on from all the money I earned off my books. I had no time to plan.

I paced back and forth in my small writing room in my apartment, trying to come up with a concept. It didn't take long to come to the conclusion that this book would be a filler. I'd load the book up with a bunch of killings from my main character, the Unseen Killer. I'd then sprinkle in a little bit of a plot that I'd further explore in the next book.

My next thought was, who should be the first death? I figured in order to do some quick writing, I need to base it on people I actually know. I knew just who it'd be, my mother. She told me when we were on vacation that she wanted to be in a book. What better way to honor her than to make her the first victim in the newest book? She'd be ecstatic.

I sat down and began to write. I had her on front of the kitchen counter, making a quick snack for herself before bed. A peanut butter sandwich. She finishes spreading the peanut butter on the slice of bread when she hears heavy footsteps coming up from behind her. He brings his axe over his head and slams it down over her head.

After the graphic scene I'd created in the book, I figured I should call my mom. It was probably from the guilt I felt from killing her off. The phone rang for a few minutes before it went to voicemail. I hung up the phone. She must be asleep. I didn't want to keep calling and wake her up, so I followed suit and crawled into bed.

*** I awoke to my phone buzzing. I glanced over and turned the screen on, squinting hard to read what it said. I had several missed calls from my sister. I sat up and dialed her right back.

"Hey sis, what's going on?" I asked, my voice groggy from the slumber.

She responded in sobs. "It's mom. She's dead." She began crying louder.

I fell silent, tears beginning to stream down my cheeks. I couldn't help but think back to what I'd written the previous night. There's no way this had to do with what I wrote, I thought, this had to be a coincidence. A twisted one, but a coincidence all the same.

"Are you still there?" she asked, sniffling.

"Yeah, I'm still here." I replied. "Where are you?"

"I'm outside of her house," she said. "The police won't let me inside to see her."

I told her I'd be right there and headed out the door. I had to continue wiping tears from my eyes as I made my way to her.

After meeting up with her, I took her to get some coffee. She told me everything she knew about how she died, which wasn't much, between sobs. I kept reminding myself of the story I wrote. I know what I wrote didn't cause it, but I couldn't help but feel guilty for it. We shifted the subject of conversation to the good times we'd spent together and scrolling through the pictures we took on vacation and laughing. It made us feel a little better.

As we were about to go our separate ways, she asked me if she could stay the night with me. She was afraid that what happened to mom might happen to her. And she didn't want to be alone right now. I know I didn't either. We needed each other more now than we ever have.

*** It had been a few days since our mother's death. Her funeral was yesterday. My sister and I felt it was time to go our separate ways and continue our lives as normal. We had grown closer the last week. We agreed that if anything happens we'd call each other and let them know.

I was reminded that the deadline for my book to be finished was drawing nearer. I needed another person to kill off in my book. I knew exactly who I'd base it on. He was an old school bully in high school. We'd since made up and talk every once in a while online.

I wrote that he would be drinking a beer and watching television. Suddenly, he hears the door swing open behind him. He turns to see the killer swing an axe toward his head and it topples to the floor, along with his body.

It was a little twisted the way I wrote the killer to be. The way he kills his victims was simply by checking to see if their door was locked. If it wasn't he'd go inside, sneak up behind the person, and kill them. I know, it sounds like a cheesy way to get people to lock their doors. It wasn't always meant to be that way, that's the way the character kind of shaped himself.

I mean, this was an oddball book series in general. The main character was the killer. It was supposed to paint the picture of why the person kills. He's not supposed to be some kind of anti-hero, he's just the main character bad guy that somehow always gets away with it. That's why they call him the "Unseen Killer" because he never gets caught.

With all of this in mind, I drifted off to sleep, knowing that the book I was in the process of writing was shaping up the be the best one I'd written yet.

*** The next morning, I found myself thinking about Thomas, the guy I wrote about last night. After writing about my mom and her ending up dead, I was worried about him. I got onto my social media account and scrolled through his page with the intent to message him. I was about to click the message icon when I caught a glimpse of a post that someone had made and tagged him in. I skimmed through it and saw that he had died last night. Apparently he was murdered but nobody could prove it.

I staggered back and when I felt my back hit a wall, I found myself sliding down to the floor. I was lost in shock. This was impossible, how could the exact two people I'm writing deaths for, die on the same night I write about them? There's no way this could be a coincidence. I got in my car and made my way to the police station.

*** I stood before a cop at a police station, begging for them to listen to me. I told them about the stories I'd written lining up with two deaths. They rolled their eyes.

"So what are you trying to tell us?" the cop asked from behind his desk. "Are you suggesting that the killer in your stories came to life and killed these people?"

"No," I replied, scoffing. "I'm saying... I don't know. Maybe someone hacked into my computer and looked at the story as a motivation to kill people."

"Do you realize how ridiculous you sound right now?" he said, leaning forward, his elbows on the table. "What would the hacker be after anyway, trying to get your book promoted?"

I rolled my eyes and walked away. If they weren't going to listen to me, there's only one other thing I can try.

*** That night after getting home from grabbing food at the nearest burger joint, I propped open my laptop and began to write.

This time the story was about a man, sitting home alone. He was in the kitchen, typing away on his laptop. He heard the door creak open but paid no mind to it, he was lost in the story he was writing. He hears footsteps creaking behind him. He feels the wind off the axe as the killer raised it above his head.

I was about to type up the next line when I felt hot breath on my neck. I turned around and to my surprise, there was nothing.

"FINISH IT!" a voice boomed behind me. I knew this was it. The killer was behind me. The Unseen Killer. I now knew why he was never caught. He was invisible. I figured I could run and call the police, but how were they going to arrest someone they couldn't see?

I realized with terror, the only thing left to do was finish the story.

"The killer swung the axe down on the man's head with all his might, burying the hatchet in his head."