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Showing posts with label Romance Writers of New Zealand. Show all posts
Showing posts with label Romance Writers of New Zealand. Show all posts

Friday, 25 August 2017

#RWNZ17: Kristen Lamb and Rise of the Machines

By Iola Goulton

As I mentioned in my Tuesday post, I’ve just returned from the 2017 Romance Writers of New Zealand Conference. Our Friday keynote speaker was Kristen Lamb, social media jedi, founder of #MyWANA, and bestselling author of Rise of the Machines: Human Authors in a Digital World.

Kristen is a dynamo from Texas. Being the Friday keynote speaker meant leading four consecutive sessions, broken only by meal breaks. That’s almost seven hours of teaching—and she kept us on the edge of our seats for that whole time. If that wasn’t enough of an achievement, she spoke without a PowerPoint presentation, and without notes. For seven hours.

Yes, Kristen Lamb knows her stuff.


Her first point was that we need to understand the human brain in order to work smarter, not harder. This takes us back to history and biology. Members of cultures with a strong oral culture (such as Australian Aborigines) have a brains with large memory centres. They also have long concentration spans.

Over time, the rise of the written word and technology means our memory centres and concentrations spans are smaller than ever. This rings true to me: if I want to remember something, I have to write it down. It's the rise of the machines ...

This leads to the theory of somatic markers. 


As Kristen explained it, a somatic marker is a neurological shortcut that affects our memory and our behaviour. If we see something positive, we form a positive association with that sight, sound, or smell. If we see something negative, we form a negative association.

(This has relevance to our actions as Christians. I suspect many people have negative somatic markers associated with Christians and Christianity, which is why they can be hard to convert.)

These somatic markers affect the way we need to act on social media.


Every interaction on social media creates a somatic marker that helps form an impression—helps form our online brand. We need that marker to be positive or neutral, not negative. If we form enough negative markers, we’ll learn to “unsee” that thing—our brain will blot it out as spam. This is why advertising doesn’t work—the people who aren’t interested in our products literally won’t see our advertisement.

People do business with people they know, like, and trust, so we want to create a positive emotional attachment with our prospective customers. When it comes to purchasing, we are more likely to purchase from someone we already have a positive emotional attachment with:
In a world of infinite choices, we buy what we know.
I see this at the supermarket. I know where the products I know, like, and trust are on the shelves, and I don’t even look at the other shelves. I barely look at the products surrounding whatever I want to buy.

Purchasing Behaviour


Kristen then talked about purchasing behaviour, describing low-consideration purchases, and high-consideration purchases. A low-consideration purchase is a low-cost item we purchase with little research or thought (i.e. most of what I buy at the supermarket). For the 5%–8% of the population who are booklovers (*raises hands*), a $2.99 ebook will be a low-consideration purchase.

A high-consideration purchase is one which requires more research or thought. This includes high-ticket items like a cars, computers, or iPhone. But here’s the thing:


A non-reader—one of that 92%—will consider a book a high-consideration purchase. Even a $2.99 ebook. Because they aren’t just thinking about the financial cost, but the fact it will take them ten hours or more to read that book (I read a lot faster, which could be another reason books are a low-consideration purchase).

Someone who is convinced they hate reading isn’t going to pay money to participate in an activity they think they’re not going to like. 


But if they do read and like your book, Kristen says they are more likely to review the book, and convince other people to buy and read the book.

So that’s the objective of social media: to form emotional relationships with potential purchasers. And she recommends blogging as the best way to form these relationships, to find our tribe. Kristen says:
We bond over the things we have in common.
She therefore recommends writing what she calls high concept blog posts. A high concept post is:

  • Emotional: it engages the hearts and minds of readers
  • Universal: it touches on something we can all relate to
  • Give/Take Away: it either gives the reader something (e.g. information) or offers a useful takeaway.

These high concept blog posts are the posts which are liked and shared … the post which go viral.


Kristen also recommends we always finish our posts with a call to action: ask readers what they thought, or offer them an incentive to comment (or both!). This encourages interaction, which builds relationship.

What do you think? Which authors do you think do a great job of building online relationships?


About Iola Goulton


I am a freelance editor specialising in Christian fiction. Visit my website at www.christianediting.co.nz to download a comprehensive list of publishers of Christian fiction. 

I also write contemporary Christian romance with a Kiwi twist—find out more at www.iolagoulton.com.

You can also find me on:
Facebook (Author)
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Instagram
Pinterest
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Tuesday, 22 August 2017

Romance Writers of New Zealand Conference Highlights

By Iola Goulton


You may have read my blog post last week, Top 10 Tips for First-Time Conference Attendees. One of those tips was not to schedule anything important for a couple of days after conference.

This blog post is me not following my own advice.


I’ve just returned from the 2017 Romance Writers of New Zealand conference, and I’m body tired and brain tired. Especially brain tired.

Narelle shared her highlights of the Romance Writers of Australia conference yesterday, including being able to meet several ACW members in person, as well as meeting with a representative of Draft2Digital. She also shared lots of fun photos, which shows she’s more organised than me—I always forget to take photos at conferences!

With Kristen Lamb
I do have a couple. When I arrived on Thursday afternoon, I met the exuberant Kristen Lamb, social media jedi, author of Rise of the Machines, and one of our keynote speakers. I also met the lovely Delwyn and Maggie from Australia. Delwyn and I found we have several writing friends in common, including ACW members Andrea Grigg and Nicki Edwards.

Me with Maggie and Delwyn

There were several Australians at the conference, both as guest speakers, and as attendees. If you can get a cheap trans-Tasman flight, the RWNZ conference works out around the same price as the Australian conference, and the conferences had different speakers this year—Delwyn attended both conferences back-to-back.

The format of RWNZ is that we have a keynote speaker who takes all four sessions on Friday—which is almost seven hours of speaking (and listening, and taking notes. Lots of notes). Our Friday speaker was Kristen Lamb. I consider myself fairly social media savvy, but I still learned a lot from Kristen’s talk. I think that’s going to be a separate post, once I’ve recovered a little more.

Saturday and Sunday was a mix of sessions from our keynote speakers, from visiting agents and editors, and elective sessions from Kiwi and Australian speakers (including yours truly). The sessions were a mix of technical (how to use Scrivener, how to keep yourself safe online), craft (writing a scene, creating reader engagement), and business (how to write a query, self-publishing advice).

My topic was Introducing Christian Romance: the biggest little genre you’ve never heard of. 


I was prompted to submit a speaker proposal after attending last year’s conference, when a lot of the people I met, even the Christians, didn’t even know Christian romance was a thing. No one told me that this year, so I guess that means everyone had read the programme. As far as I’m concerned, that’s a win.

All the sessions I attended were excellent, and there were several electives where I wanted to attend two or three of the four options. I wasn’t the only one with this problem. I had several people tell me they wanted to attend my session, but there was another session they also wanted to attend. I couldn’t blame them. So did I! The result was that my presentation was more of a discussion, as only two people attended. That didn’t bother me—we had a fabulous conversation.

I did have several authors tell me they are Christian writers, but not writing for the Christian market. Great! People who are reaching the lost with their writing—reaching people who would never walk into a Christian bookshop, or even read a Christian book.

I don’t have any of my own books to give away or sell, so I did the next best thing: I took copies of Then There Was You by Kara Isaac to give away, and Kara was kind enough to donate two copies of Can’t Help Falling. I gave copies to the ladies who attended my sessions, to a vicar from Christchurch, and to a general market author of rock chick romance who loved the cover and blurb. I doubt she’s ever read a Christian romance before, but she said she’d read it. Wonderful!

This is the third RWNZ conference I’ve attended. 


The first time, I went with Andrea Grigg and Catherine Hudson. We were impressed at the openness and friendliness of romance authors. Many of the attendees write erotica or paranormal romance, but they were universally friendly and welcomed us as fellow writers, despite the differences in our writing and personal beliefs.

I had the same experience last year and this year. Romance writing is a community that chooses to celebrate our common love of romance, rather than focusing on our differences. I love that. Yes, I’ll be back next year.


About Iola Goulton


I am a freelance editor specialising in Christian fiction. Visit my website at www.christianediting.co.nzto download a comprehensive list of publishers of Christian fiction. 

I also write contemporary Christian romance with a Kiwi twist—find out more at www.iolagoulton.com.

You can also find me on:
Facebook (Author)
Facebook (Editing)
Instagram
Pinterest
Twitter

Monday, 31 July 2017

Bookish Question: How do you define Christian Fiction?

By Iola Goulton


This is a cross-post with my own blog, Iola Goulton. Click here to add to the discussion.

I have an ulterior motive in asking this question. 


I’m presenting at the 2017 Romance Writers of New Zealand conference later this month. My topic is Christian Romance: the biggest romance genre you’ve never heard of.

I’ve been to two previous Romance Writers of New Zealand conferences, and met many authors writing all kinds of romance, from sweet to erotica. Some of these writers are Christians, who confess their worry at breaking in to the writing world when they don’t want to include sex scenes in their novels. They’ve barely heard of “clean” or sweet romance, let alone Christian romance.

That’s what prompted me to pitch the topic to the RWNZ Conference organisers last year (among others). And I guess it intrigued them as well, because this is the topic they asked me to speak on.

Here’s what I pitched to RWNZ:

Romance is one of the most popular genres in the US-driven Christian fiction market, but many New Zealand authors—even Christian authors—don’t know it exists. This session will:
  • Introduce authors to the Christian fiction genre and the CBA market.
  • Highlight the main Christian fiction imprints and publishers.
  • Consider how Christian fiction (and especially Christian romance) differs from general market fiction.
  • Discuss Christian vs. inspirational vs. crossover fiction, and the emerging trends for ‘clean reads’ and ‘edgy Christian fiction.’
Parts of the presentation will be straightforward. Who publishes Christian fiction? Easy—check the free download available from my website, www.christianediting.co.nz.

Which agents represent Christian fiction authors? Also easy, thanks to a free download compiled by Michael Hyatt, the ex-CEO of Thomas Nelson.

And where can you buy Christian fiction? At Christian book stores—like Koorong.com in Australia, or Manna Christian Books and Sonshine Books here in New Zealand. And at Amazon. Of course.

But this leaves one big question. How do we define Christian fiction?


It sounds easy, but it isn’t. I’ve written several blog posts on defining Christian fiction and Christian romance. There is no easy answer.

What do you think, either as a reader or as a writer (or both)? How do you define Christian fiction? Specifically, Christian romance?


I’d love to know what you think!

Tuesday, 23 August 2016

Best (and Worst) Advice for Writers

By Iola Goulton

Yesterday I gave you a whistlestop tour of the highlights of the 2016 Romance Writers of New Zealand conference, which I attended last weekend. The final session at the conference was an open panel featuring our international guests:
  • Keri Arthur (author)
  • Rachel Bailey (author)
  • Jaye Ford (author)
  • Heather Graham (author)
  • Joanne Grant (editor)
  • Michael Hauge (writing guru)
  • Courtney Miller-Callihan (agent)
  • Sarah Younger (agent)

 One of the questions was both amusing and interesting in the range of responses it provoked:

What is the best writing advice you’ve ever heard? 

And the worst?


I thought I’d share the answers with you today (along with my comments, in italics).

Best Writing Advice

Don’t work with a jerk. (Self-explanatory, really)
Just keep writing.
Finish your book. (I can assure you this is different to just keeping on writing. I have no trouble writing. Finishing … that’s another story).
Join Romance Writers of America. (Or Australia. Or New Zealand. Or American Christian Fiction Writers or Omega Writers or New Zealand Christian Writers. But connect with other writers and learn from those who have gone ahead.)
Follow the rules and learn from those who’ve gone before you. 
It’s not brain surgery. No one is going to die. It’s fun. (Yes, this is was an author.)
Follow your heart and stick with your gut instincts.(In relation to what you write. The book of your heart will almost certainly be a better book than the book you write to try and follow the Amish Zombie trend.)

The Worst Advice

The interesting thing about the worst advice was how often it was directly related to the best advice! (Or vice versa.)

Take this job to pay the rent. (Easier said than done. Especially when the rent has been replaced by a mortgage and children.)

Write what you think will get published. (Don’t, because you might hate it, but also because publishing moves slowly and you might be too late to catch the trend anyway).

You’ll never sell a novel set in Melbourne in the US. (Oh, yes, she did. In fact, she sold a whole series.)

Always be honest. (People might say they want an honest opinion, but they might not mean it.)

Follow the rules. (You don’t have to follow the rules, because they don’t always apply. But the old guideline still holds true: you have to know the rules before you can know test whether or not they apply.)

You don’t want to be typecast as a romance writer. (Why not?)

Chase trends. (No. Don’t. Really.)


Anyway, I hope that gives you a laugh! What's the best writing advice you've ever heard? Or the worst?

About Iola Goulton


I am a freelance editor specialising in Christian fiction. Visit my website at www.christianediting.co.nz to download a comprehensive list of publishers of Christian fiction. 

I also write contemporary Christian romance with a Kiwi twist—find out more atwww.iolagoulton.com.

You can also find me on:
Facebook (Author)
Facebook (Editing)
Instagram
Pinterest
Twitter


Monday, 22 August 2016

Michael Hauge at #RWNZ2016


I’ve recently returned from the Romance Writers of New Zealand annual conference, and this is the first post covering some of what I heard and learned over three busy days .

One-word summary: lots.


First up was a session from screenwriter and coach Kathryn Burnett on what makes a “cinematic idea”—meaning, what features of a novel make it a good prospect for adapting to film or television. She had two main points: first, that cinema is audio and visual, which means it has to show emotion through sound and images. We can’t rely on interior monologue to tell us what the character is thinking or feeling.

She also pointed out that film is expensive, so producers aren’t going to spend time or money on any idea that doesn’t have all the essential elements of good cinema: a compelling character facing a difficult problem with something significant at stake for the person … but solvable in 90-110 minutes of screen time (which is broadly equivalent to 90-110 pages of script), in only a couple of settings, and something that can be seen to have been solved.

The best ideas are external and rely on action.


I often see book reviews where the review says “this book would make a great movie!” I now know that isn’t always true. Sure, some books make great movies, but many stories are best told as a TV series, a play … or as a novel. The talent comes in knowing why one story might work best as a novel and another might work as a film. I don’t know anything about screenwriting, but this workshop showed me enough to judge whether a story has what it takes to be cinematic.

Friday was an all-day session from Hollywood script consultant Michael Hauge. 


While many of his ideas (and all his examples) were from film, he pointed out how novels and films have a lot in common. His main point was that the most important thing we do as novelists or screenwriters is elicit emotion. As novelists, we do this by “showing” the movie in the reader’s mind.

Many of Michael Hauge’s concepts were familiar. For example, he utilises the traditional three-act structure of film and fiction as taught by writers such James Scott Bell and KM Weiland. He talks about Character, Desire and Conflict, and the Outer and Inner Journeys, which are similar to Debra Dixon’s Goal Motivation Conflict.

But he also covered a lot of ideas which were new to me, and which I found helpful in considering my own manuscript … and which my manuscript assessment clients are going to find extraordinarily annoying when I start asking questions about the character’s inner journey or false belief or why the reader should like them or empathise with them.

I read a lot of books on writing craft, but there is something special about hearing the same content as part of a large group, especially when question time started. 


We soon found out that asking Michael Hauge a question is about him turning the question back on us. I thought I asked a simple question about the difference between longing and need, but before I knew it he was challenging me on my main character’s outer conflict and inner wound (oops. She didn’t have either—well, not that I could articulate to Michael Hauge and 100 romance writers when put on the spot). Watching him grill other members of the audience was just as fascinating—for me, if not for them.

He then applied his principles of plot and structure to the movie Hitch, which was an excellent way of reinforcing the principles (and now I want to see the full movie!). His final session was on being the hero (or heroine) of our own story. Challenging, to say the least.

There were also excellent sessions from Australian author Rachel Bailey (the Black Moment, and Sexual Tension … which I’ll cover in another post), and a great session from agent Sarah Younger on identifying the high concept in your novel. She made it sound so easy …

I know some of you will have been to the Romance Writers of Australia this past weekend. Did anyone attend Michael Hauge’s session? Or Rachel Bailey’s? What did you think?



About Iola Goulton


I am a freelance editor specialising in Christian fiction. Visit my website at www.christianediting.co.nz to download a comprehensive list of publishers of Christian fiction. 

I also write contemporary Christian romance with a Kiwi twist—find out more atwww.iolagoulton.com.

You can also find me on:
Facebook (Author)
Facebook (Editing)
Instagram
Pinterest
Twitter