Public Self/Private Self

I subscribe to a daily newsletter about the publishing industry; it is comprised of articles from both the company that oublishes the newsletter, and other industry professionals on various topics.

Today’s email included an article by a PR person (who shall remain nameless because I felt rather disguated afte reading her $.02). who listed the major mistakes authors make with regard to marketing/PR (and what she allegedly tells her clients). One of those mistakes was oversharing on social media. She emphasized that politics, religion, or even what you had for breakfast/lunch/dinner. should not be mentioned on your social media, lest an author alienate potential and current fans. In short, keep it light and fluffy.


Now, I understand the oversharing part. Some things don’t need to be mentioned, like your cat’s yeast infection, or even your yeast infection. But authors are more than just sales numbers on a ledger sheet. We’re people. We have hopes,fears (writers moreso than others 🤣), likes, dislikes.

 I like it when my favorite authors share personal tidbits about themselves: pics from vacations, pets, favorite socks. It humanizes them and makes me even more inclined to buy their work, because they are not just robots sitting in front of a computer, churning out novels.

But to keep my thoughts silent regarding any issue that is important to me–be it Black Lives Matter or a BLT sandwich–for the sake of selling a book, does not sit right with me. And if someone doesn’t want to buy one of my books because I took a stance with which they do not agree, well…I’m not for everyone, and I wish that person well. 

It reminds me of the backlash when singers, athletes, actors, et al make their thoughts known regarding social and political issues. The mindset becomes, “Shut up and keep entertaining the masses. That’s your job, not expressing an independent thought.” Yet that is doing these people a disservice. They are human and have feelings; to try and shut them down for the sake of keeping stadiums, arenas, and theatres filled is hypocritical and oppressive.Yet many people concerned with an entertainer or athlete’s bottom line will attempt to do just that, all for the sake of making a buck (for themselves and their clients).

To paraphrase some quote that I saw on Instagram: I won’t dilute myself for those who can’t handle me at 100 proof. You shouldn’t either.

Thanks for stopping by.

In Case You Missed It…

For those who missed my LIVE Q&A on Tuesday, here ya go:




Five Miles to Empty

One of the hazards of starting out in self-publishing (or any entrepreneurial endeavor) is the lack of funding. Most people don’t save up a nest egg from which they can procure any manner of needed services (e.g. editing, marketing, accounting) at whim. And, as I have mentioned countless times before, it takes time to build up a loyal fan base that will automatically buy hundreds and thousands of your books upon release.  So, it’s a lot of do-it-yourself (DIY).

The problem with DIY is exhaustion. If you treat your writing like a full-time job (minus the nice corporate benefits and a spot in the company cubicle farm–and especially due to a lack thereof), then you will be hustling from “sunup to midnight”, in the words of the late, great, Michael Jackson in his song “Workin’ Day and Night”:

Add to this the fact that the rest of your non-work life doesn’t stop, and you set yourself up for fatigue, exhaustion, and don’t-give-a-figness. I’m there right about now. I have a new book looming in a few weeks, and a short story surrounding this book, and I have not done a lick of marketing. None. Zero. It’s not difficult; all it takes is a quick Tweet, a few seconds to post on Facebook and Google Plus, perhaps some sort of Instagram photo. Preliminary PR is right at my fingertips, but I can’t bring myself to exert the energy to put it out there. Meanwhile, I have the energy to write this blog post and binge-watch past seasons of Grey’s Anatomy…go figure.

It could be mental exhaustion (because my non-writing life is commanding a lot of attention these days). It could be a crippling fear of failure (second book curse, and all that). It could be recovery from a punishing and long round of antibiotics (but I’m back to my 3-mile-a-day walks, so that’s good). It could be a lack of marketing inspiration (e.g., what can I say/do differently from the release of The Bastille Family Chronicles: Camille to get Blizzard: A Sebastian Scott Novel hyped to the masses) Whatever the reason, I need to get it together, and get it together soon. I can’t afford to slack off, because that would mean a lack of sales and as I’ve said before: if it don’t make money, it don’t make sense.

Thanks for stopping by.



Don’t Believe the Hype

As an author, especially a self-published author, it’s easy to get caught up on numbers: sales ranks. Bestseller list position. Royalty amounts. Social media followers. Likes/retweets/Pins/shares. Trying to gauge these things will make you crazy, especially when you realize that the numbers don’t tell the whole story.

Luvvie Ajayi, popular blogger, recently discussed the trend of bloggers purchasing followers, site traffic, and the like. She spoke of the need for bloggers  and other content creators to pay attention to the numbers in a different way: pull the curtain back and see if those numbers are real.

This is a problem I’ve run into when feeling out potential social media managers for myself. The ones I’ve encountered all all abut numbers, numbers, numbers. While there is some validity in that sentiment with regard to visibility, it’s not a one-size-fit-all approach. My writing really is geared toward a target demographic, which in itself is rather small. Because of that, I don’t expect huge sales numbers (but I am willing to be pleasantly surprised!). I know who likes my books, and who reads my books. Expanding that circle may net me a few more readers, but if the net is being cast across the waters of an audience that doesn’t really care–and therefore, won’t engage–that energy is not spent well.

For writers, those of us who sell books, it’s a bit different. Unless you are a big name (e.g., Stephen King, Terry McMillan, Nora Roberts, Eric Jerome Dickey, Chimamanda Ngozi Adichie) and/or on a major publishing platform, we don’t usually see the types of numbers provided bloggers–in terms of sales, that is. Not understanding this leads to a lot of unnecessary angst.


One of my old bosses once told me, “If you want a good review, write a good book.”  Likewise, if you provide quality content, the “numbers” won’t matter because your loyal following will keep you afloat. So what if you don’t reach #1 on the Amazon Sales Rank? It’s better to have only a few hundred, or thousand, people buy EACH of your books, than tens of thousands on ONE book and nada on the rest.

So chill with the numbers game. Sit back, take a deep breath, and write what brings you joy. A Twitter follower of Charles M. Blow (author of Fire Shut Up In My Bones), said it best:


Thanks for stopping by.




The Social Media Shuffle

I recently consulted a social media expert (who happens to be a member of my sorority, and who also provides social media services to the sorority at the national level) to figure out how to best maximize my exposure. Since this is my first book, and I am a self-published author, I have to work twice as hard in order to gain half the exposure of a traditionally published author.  She reviewed my latest newsletter and recommended that I really work social media (Facebook, Twitter, LinkedIn, Google Plus, etc) to get my name out there.

Well…that sucks. :/

Not because I don’t realize the necessity of this, given the technological strides we’ve made in our society, but because social media management is a full-time job, and it’s hard to do that AND create a product that requires promotion on social media.  Plus, let’s keep it real: I am of a certain age, and have the most basic understanding of social media versus someone who was born with a smartphone in their hand, and with a Tumblr account. I know how to Twit (yes, I said “twit”, as I prefer it to “Tweet”), post on FB, LinkedIn, and Google Plus; I have a Tumblr account that I rarely check. But that’s about it. For all those multi-layered nuances that so many social media experts send newsletters about, well…I’m not on that level, and can’t afford to hire someone on that level right now.

(sidebar: if there are any college students who want to manage my social media for free, holler. Serious inquiries only.).

The good news is, a lot of the products I use are integrated with each other so that I only have to post to one place/site, and it shows up on other sites (Bless you, WordPress!). Still, the social media sorority sister suggested that I actually post unique content to the aforementioned sites, as a way of providing a more intimate feel with my audience.

Prince WTF look lip curl

Lookie here, I pour out my angst, euphoria, on my blog; I have to do it elsewhere too? This is too much for my little life. But alas, if I want to be marketable, it’s a sacrifice I’ll have to make…kicking, screaming,and Twitting all the way.

Oh, and I now have an official Author Page. Check it out!

Thanks for stopping by.


Keeping the Glow Alive

One of the hardest things for an author to sustain is book buzz. I’m talking about after all of the pre-release and release sizzle has died down, and the slight bump in interest that occurs after delivery of a monthly newsletter or other reader-oriented correspondence.

Ironically, my core demographic (35+ years of age) is one that is no stranger to patience. Most of us grew up in a time before email or smartphones, when computers ran on BASIC code (shoutouts to the original Apple and the Radio Shack Tandy 1000 computers), and meals (or even leftovers) were heated in an oven–you know, that big, cavernous part in the front and center of a stove. The closest things we had to quickie meals were cake mix, TV dinners, and JiffyPop popcorn (which was cooked on top of the stove). Microwaves didn’t become popular until many of us were in middle school; some branches of my family didn’t get one until my junior year of high school. Knowledge was garnered from books, not Google or Wikipedia, and we had to physically go to the library (shoutout to the Dewey Decimal System), for those of us not fortunate to have a set of the faux leather-bound Encyclopedia Brittanica in the home.

Plainly put, we mastered the art of patience. We didn’t have a choice. Ad a result, most of the general marketing tactics used to generate and boost sales don’t really work. Most can resist the urgency to BUY NOWNOWNOW, especially when there are more pressing concerns and expenses. We know the difference between a want and a need, and adjust our resources and expectations accordingly.

I’m alternately frustrated and amused, and I am in this gray zone right now. How do I keep the interest in my book(s) alive (present and future)? How do I market to a demographic that has been there, done that, and heard maybe not all, but a lot? A lot of my readers are parents; as such, they are used to hyperbole and (attempted) manipulation–both by their offspring, and by the environments in which their offspring navigate on a daily basis. This results in a BS detector that is finely tuned, at best, and functional at worst. Getting past such internal gatekeeping is like Jason trying to get past the Minotaur: difficult, though not impossible.

There are countless books, websites, newsletters, etc with marketing advice, gimmicks, etc. Unfortunately for me, they address broadstroke demographicd and generalized techniques. General ain’t gonna work on my core demographic. 🙂 I have to figure out something fresh that appeals to their sensibility without trying to come off like a used car salesman. If I could afford a marketing guru, I would probably hire one–but that’s a few books away, yet. Until them, I will continue to marinate upon it.

Thanks for stopping by.

Clarion Write-A-Thon Day 8

Target goal: 25,000 words

Target daily goal: 775 words

Today’s word count: 991

Total words written: 5,590 words

I almost forgot to work on the Clarion project today, as I was working on the marketing stuff for my upcoming book, The Camille Chronicles. When you’re self-publishing, you wear many hats–at least, until I can afford to have someone do it for me.

The story flowed pretty well today. I tried to figure out if my main character would really be that naive about office politics, or if it was a bit of a reach. Then I remember, from my days in Corporate America, that  there were people who didn’t have a clue beyond their workloads. Such folks tended to be blindsided by various corporate decisions and were under the impression (delusion?) that all was required was to show up and do their work. I know; I used to be one of them.

Anyway, the way the story is flowing, I’m going to write a rather action-packed scene coming up. How much blood and gore will be included will be determined as I go along.

Thanks for stopping by.


The Remix: Eight Tips to Evolve a Successful Writing Career

I recently read an article by Virgin Group founder Richard Branson, about growing a successful start-up company. In it, he outlined eight tips to take your startup from fledgling to fabulous. While the tips were general and were basically geared toward true business models (e.g., noncreative fields), I found that the tips were especially relevant to writers, given today’s publishing landscape. Without further ado, here are those eight tips, modified by me to directly address my fellow scribes:

RICHARD SAYS: Believe in your product: Believe in your product: Buy into your own vision and don’t waiver it just for a pay check. You know your vision better than anyone else, and if you lose sight of it, the world will too. “It is your vision that will give you success, not your venture capitalist’s vision.”

Tiff says: Believe that what you write will sell. Don’t let what’s currently on the shelves,  bestseller lists, or Goodreads buzz shake your confidence, or the “numbers” quoted by a publishing executive make you doubt  yourself.
RICHARD SAYS: Produce something of use: Build the best product you can, and make sure it has long-term value. This is something we’ve always focused on at Virgin – if you get into business solely to make money, you won’t. If you try to make a real difference, you’ll find true success.

Tiff says: Write what you want to write. It is very easy to look at what’s hot, sales-wise, and think that’s what you should be writing (especially since most writers want to ideally be paid by their craft). If that’s not your flow, though, trying to write what’s popular (e.g., writing what seems to be making authors money) is only going to end up making yourself miserable. 

RICHARD SAYS: Invest in what’s going to scale your business: Identify exactly what you need to grow your company. Is it technology, engineering, infrastructure? “Don’t put people on the ground for that sake of putting people on the ground.”

Tiff says: We are in a very different publishing age, with the increasing evolution of technology and social media. What used to work in order to get a book out to the public doesn’t really apply. You can’t do the same things and expect different results. Adaptabilty is key to longevity, so figure out how to plug yourself into today’s literary landscape. Do you need a social media manager? A manuscript editor? A website designer? A personal assistant? There is nothing wrong with figuring out what is needed to make you the best author you can be. You are a brand (and this publishing age is even bigger on branding), whether you like it or not. Protect your brand like you’d protect your reputation (which are pretty much one and the same, for business purposes).


RICHARD SAYS: Hire the right people: “If you get the input right, the output is far easier to manage.” At Virgin, our people are at the heart of everything we do, and are crucial to our success.

Tiff says: Choose your team wisely. We, as authors, are more prone to cut corners in an effort to get our books out there; this includes attaching people to our projects who end up doing more harm than good.  Professionals are more expensive, but they are worth it. Besides, our job is to create, and we can’t create when we’re trying to do everything else. We are only as good as our last book and if we want longevity, we have to come out of the gate strong. The public is fickle and unforgiving, especially with the rise of social media, and it’s a lot harder to get a second chance to prove ourselves.


RICHARD SAYS: Give everybody equity: Shared stewardship leads to collective responsibly and increased passion. If you empower your employees to believe in the company like it’s their own, it’s hard to fail.

Tiff says: Engage your readers. People are more likely to purchase from people with whom they are comfortable, and this means that they feel as if they “know” you.  Solicit comments not only from trusted people who read drafts of your pre-published work (and that means finding people who will give you the unvarnished truth, and won’t tell you that every word you write is a masterpiece), but also your reading audience. They are the ones who will be spending hard-earned money on your work, so make them feel invested in that work. A good way is to do polls on your website about different things: which book should come next in a series; which cover design do you like best; or even contests, where the winner gets a character named after them in an upcoming book or can pick a title. Remember, it takes a village. 


RICHARD SAYS: Think globally: Ensure your product is world-class and can compete with any competition, anywhere. But don’t just go global for the sake of it.

Tiff says: For writers, this speaks to distribution. Yes, it’s great to list your books on Ingram for worldwide distribution, and that’s the de facto assumption in mainstream publishing (and even in some indie publishers). But is that really necessary? Perhaps it will be in later stages of your writing career but when you’re just starting out with your first or second book, it may be better to keep it local (within your country of residence). Don’t bite off more than you can chew in the early stages of your writing and publishing career. Hopefully, you plan on being at this for a long time, so be a marathon runner, not a sprinter.


RICHARD SAYS: Decentralise: While it’s necessary to centralise your business structure in the beginning so that you can run a tight ship, it’s not scalable if you want to be global. To be successful in different markets your company needs to work on local time, understand local geography and culture, and attract the best local talent.

Tiff says: This piggybacks on my above comments regarding worldwide distribution and marketing. Marketing to different demographics requires skill and knowledge of the demographic you are targeting. Even within a country (or even a state), you may find that certain marketing tactics are different for different parts of the country. If you are unfamiliar with a certain area of that country, you may want to reach out and find someone who is, and who can give you some pointers on how to best reach your audience in that particular area. Likewise if you live in one country and are seeking to expand your writing presence to another country. For example, if you write erotica and are seeking to expand your writing wares to an area known for a strong religious presence, you may want to work with someone who can help you navigate any minefields that may pop up and identify potential channels through which to sell your work.

Folks, remember: you don’t have to be the smartest person in the room, as long as you have the smartest person in the room working for you. 🙂

Thanks for stopping by.



I’ll Teach You, But I’ll Have to Charge: Valuing the Creative as Commerce

A few months ago, I posted about a potential publishing client who wanted me to do her book marketing, and editing, for free, in exchange for a (nebulous) percentage of upcoming sales. The theory being that I would hustle to get her book in the public collective, which will in turn fatten my own pockets. This was clarified when said client stated that she’d already spoken with a marketing firm earlier but could not afford that firm’s fees. After further conversation with my potential client, I figured that it may not have been a question of affording that firm’s fees, so much as not wanting to pay the fees.

Yesterday, my potential appearance at a book club gathering, in another state, was cancelled when I asked about compensation. My contact balked, as her book club was one of the potluck-and-discussion variety, and the members would likely not contribute to any fees regarding my appearance (despite the fact that I was travelling specifically to their book club meeting–again, from out-of-state). My contact also informed me that in the past, authors had appeared at their book club for free.

Which brings me to the subject of this post. For some reason, our society has gotten into the habit of devaluing any type of creative work. No one would expect a physician to do free exams in exchange for future good health on the part of the patient. Attorneys are normally not expected to work pro bono, unless it’s a specific part of their contracts or corporate culture. Why, then, are people in creative fields expected to work for free? And, as a corollary, why are those of us who work in creative fields expect fellow creatives to hook us up for little or nothing?

A lot of this involves the overall low perception of the labor value of creative work. We are a society that was initially agrarian/agricultural, then switched to industrial, and is now technological. The first two industries required hard, physical labor; the latter, more mental labor and creative thinking, but within the parameters of science and math. Creative fields, which can be equally laborious from a physical and mental standpoint, are still seen as soft options because they don’t make an immediate contribution and/or impact on society…unless one makes money and/or receives recognition or fame. As a capitalistic society, America is all about the bottom line. If it doesn’t make money, it doesn’t make sense. Or, as the rap group Wu-Tang Clan once noted in their popular song “C.R.E.A.M.“:  “Cash rules everything around me/C.R.E.A.M., get the money/dollar, dollar bill,  y’all.”

Case in point: I do not blame my book club contact at this particular venue for the tight pockets of her fellow book club members. I do, however, blame the author(s) who have placed so little value on their work and time, that they agree to make appearances for free–which devalues the process for the rest of us authors. I didn’t understand this until I published my first book. As a self-published author, this is my livelihood now. I am at the point where if it doesn’t make dollars, it doesn’t really make sense for me.

As Kelis once sang in her song “Milkshake“: I’ll teach you, but I’ll have to charge.

Perhaps it’s because authors are seen as yet another venue of entertainment, much like professional athletes and reality TV shows (but minus the payoff). We should, I supposed, be grateful that anyone wants to read our work at all–this gratitude should, in turn, extend to appearing somewhere–anywhere–that will have us, because hey, we’re just people who wrote books for entertainment. It’s not like we’re doing brain surgery, right? Our profession is not on par with those who heal, or provide legal services. This is especially true of self-published authors–we are often not seen as “real” writers because we do not have a contract with a major publishing house, for whatever reason, and the author advance and PR push (if you’re lucky) that usually comes with it.  Our gratitude should be doubly ample, because we really are seen as long shots.

Plus, creative types are seen as dreamers, livers in the ether, “woo woo” types of folks. This usually is a code for a lack of intellectual firepower. Ergo, any advice given or work performed would be on par with asking a toddler to do the same, since contributions allegedly don’t require much energy or many brain cells. Perhaps we creative folks should be grateful to be consulted at all, to let our society at large tell it. This may be a reason why arts and music programs are the first to be cut from public school funding, but I digress.

All that being said, and despite the more publicized contributions of our white- and blue-collar folks, being a creative person is a lot of hard work. Not only do we have to deal with narrow-minded perceptions, we also have to deal with the struggle to quantify work that is not normally meant to be quantified (e.g., monetized), since our work is usually subjective. The energy it takes to write, draw, dance, paint, etc. is just as valid as slogging in a trading pit on the New York Stock Exchange, or arguing a brief in front of a judge, or performing heart surgery (I just wish is was as lucrative in the short term!). In fact, in this age of digital media, marketing is an extremely difficult job, especially when it comes to social media: that’s a full-time job in and of itself. Asking your creative friend to create, for free, continues to perpetuate the notion that creative work lacks value–because we only value that which we pay for and the higher the fee, the more value ascribed.

Creative people, we are contributors to the problem as well. We have helped create our perception of being a bit “out there” because we don’t pay attention to business. Yes, we want to be left to create and leave the tedious stuff like setting rates, submitting invoices, and the like for other folks, but that’s not going to help us eat. We also want people to like us, and like our work as a result, and buy it, and recommend it to others who will, in turn, buy it as well. But the old adage is very true: people do not value what they can get for free. That whole cow-and-milk thing? It’s gospel. Like it or not, we are in a left-brain world and we need to adjust accordingly. If someone asks you to do work for free, don’t cave and agree because you don’t want to hurt any feelings, or you’re so desperate to be put on that you’ll do anything for recognition. Politely refuse the request and counter with a list of your rates for the services requested. The requester may be a bit peeved at first, but in the end they will respect you for respecting yourself, your time, and your work.

It’s always tempting to ask someone to do you a solid when your funds are low, but it would do you well to remember that time is money, even the time of someone who isn’t perceived as doing “real” work. So do THEM a solid and pay your way. Your pet creative will thank you for it.

Thanks for stopping by.



Scared Money Don’t Make Money: Investing In Your Writing Future

This blog was inspired by a recent conversation with a potential publishing client. During our initial phone conversation, when she described what she needed to bring her book to fruition (and it was a lot :/), she made a comment that she was looking for someone to work with her so that both parties can succeed together. Or, to use a more descriptive phrase, she wanted one hand to wash the other, and both hands to wash the face. To put it more plainly, she didn’t have a lot of money and wanted stuff done for free, in exchange for a future cut of royalties.  In short, she wanted to allocate her funds to areas where she thought they were better served, and things like editing and book layout weren’t among them.

When I was a full-time editor, I noticed that a lot of my self-published clients cut corners in order to get their book out into the public eye. As I may have mentioned before, self-publishers don’t have the luxury of an advance upon which to fall back. Sure, we reap all of the benefits but before that happens, we have to pay all of the costs up front. Self-publishing has indeed gotten easier, and in some ways less expensive, but there are still costs involved. It’s tempting for independently published authors to skimp in certain areas in order to have the funds for what is deemed most important: the final product, the book, that commodity that is to be sold.

This is not the move.

I learned the hard way that when I cut corners, it came back to bite me in the assets (literally and figuratively). I’ve also seen this play out in the literary lives of others. The main place I see skrimping is in three areas: professional editing; website; and book covers.

Professional editing is more than making sure every word is spelled correctly. Yes, grammatical and typographical errors are addressed, but so are story flow, fact checking, punctuation, etc. An editor will go through your manuscript, line by line, and find out what is wrong, and tell you how to fix it; this is called content or line editing. The process is rather involved and time-consuming, and most professional editors have some professional training: certification by a reputable body and/or  valid industry experience. Your high school cousin who got straight As in English isn’t going to have the requisite training to polish your gem of a book; reading a book on self-editing isn’t going to get you what you need either, especially if you don’t think that anything is wrong with your work (which is a failing of many authors; we are too close to our “babies” to notice anything wrong).  i strongly urge writerss to holler at Evette Porter, who is a dynamic editor and will get your book public-worthy.

Next up: websites. There are a whole lot of “free” websites out here, that are more on the do-it-yourself (DIY) tip. Weebly and Wix are just two popular services that offer people the chance to establish a web presence for free. I can see why they get a lot of business, when a professionally designed website can run at least $1,000 (and usually around $2,000 and up, depending upon how many bells and whistles you’d like).  Again, you get what you pay for. Now here’s a caveat: I have seen one author’s site, done by Wix, and it looked pretty decent. This is more the exception, and not the rule. Websites are how the world sees you, before they even buy your book, so make it count. You don’t necessarily need a Flash intro, music in the background (unless you are a musical artist), lots of video, etc. But you do have to make people want to stop by your site and hang around for a while. Also, in this age of social media, connection through various platforms is key for helping get the word out about your project. Don’t forget e-commerce, if you are selling your book through avenues other than Amazon or Barnes & Nobles (Nook). To include all these things, It’s usually best to let a professional handle it (I recommend Cix Designs. Ask for Micah.). If you really want to make your presence known on the cheap, then start a blog.

“Cheap” is a word that should not be used when pursuing your publishing dream (or anywhere else, for that matter); this goes double for book covers. Your book cover is your calling card; it needs to make people want to pick up your book and want to take it home (please note that a good book cover is worth nothing if the content of your book is not up to par). I strongly suggest that authors avoid the free covers offered via publishing packagers; they are deliberately terrible in order to encourage you to spend more money to hire designers to do a custom cover. Since this is the case, why not just hire a graphic designer off the break? A good designer will not only have experience in doing covers (both e-book and physical book), but will also align your covers with your book visions and growth. Two folks to check out are Ad-Lib Designs (ask for John) and The Little Orange (ask for Diana).

Investing in yourself, your business, and your brand are extremely important. As a self-publisher, you are all three, so act like it. If you want people to take you seriously, then you must first take yourself seriously. You have to figure out if you are an author who has a day gig, or a ____ who does writing on the side. The answer you choose will determine the trajectory of your success, since we put our energies into those things which we most value. If you don’t value  yourself and your work, and how both are presented to the public, then no one else will.

Thanks for stopping by.