Karen Ann Hopkins On Balancing Promotion & Writing

Welcome to the SNOB - Second Novel Ominipresent Blues. Whether you’re under contract or trying to snag another deal, you’re a professional now, with the pressures of a published novelist compounded with the still-present nagging self-doubt of the noobie. How to deal?

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Today's guest is Karen Ann Hopkins. Karen resides in northern Kentucky with her family on a farm that boasts a menagerie of horses, goats, peacocks, chickens, ducks, rabbits, dogs and cats. Karen's main job is home schooling the kids, but she finds time to give riding lessons, coach a youth equestrian drill team, and of course, write. She was inspired to create her first book, TEMPTATION, by the Amish community she lived in. The experiential knowledge she gained through her interactions with her neighbors drove her to create the story of the star-crossed lovers, Rose and Noah.

Is it hard to leave behind the first novel and focus on the next?

Thank you for having me! I’m so happy to be here today. I’ve written three second books, two third books, and one fourth book in a series. I guess you can say I’m kind of an old hat at it now. To answer your question, no, writing the second book was always very exciting for me. With each of my series, I ended the first book on a bit of cliff hanger, with a definite lead into the next book. So I was already thinking about the second installment. It’s actually the third book that really gets me. By that point, you have expectations from your readers. And sometimes it’s difficult to write your own story without taking into account how your fans will react. Also, by the time the third book rolls around, the deadlines seem to be tighter, and your writing may be a little forced in places.

At what point do you start diverting your energies from promoting your debut and writing / polishing / editing your next novels?

That’s a great question. It’s a never ending game of writing, editing, and promoting. I wasn’t very savvy about self-promoting when I wrote TEMPTATION and BELONGING, and it affected my sales. By the time I began FOREVER, I’d finally figured out that I needed to set aside a block of time each day, usually two hours, to promote my books. When I changed my mindset about how important the promotion part of being an author is, I saw immediate results in sales and my fan base grew exponentially.

Your first book landed an agent and an editor, and hopefully some fans. Who are you writing the series for? Them, or yourself?

When I wrote BELONGING, I was still very much writing for myself and the story itself. I had so many ideas swirling around in my head about what was going to happen to Rose and Noah. He was Amish. She wasn’t. There were so many aspects of the relationship creating turmoil and so many issues to sort out. I guess you can say that I was a little over stimulated in the creative process for that book. FOREVER was the third book in their story and the one that was going to sort everything out.  I was half way through FOREVER before I even decided how to wrap up Rose and Noah’s love affair. And with that book, I was definitely thinking about how my fans would react, what they wanted, and what was really best for the story and characters. It’s much easier to write the beginning of a story than the closure of one, in my opinion. When I began book four in the series, RACHEL'S DECEPTION, which will release on May 19th of this year, it was like going home for me.  Fresh story lines and new faces mixed in with much loved characters and an amazing setting, taking the series to higher heights than I ever imagined. And in this case, I had more fun writing RACHEL'S DECEPTION than I did any of the previous books.

Is there a new balance of time management to address once you’re a professional author?

Unfortunately, there’s a lot less time to work with nowadays. I have three series going simultaneously at this point, and it seems that the more books I write, the harder it gets to manage my time. But I won’t complain though. It’s far better to be too busy than the alternative.

What did you do differently post-debut, with the perspective of a published author?

As I said above, I didn’t catch on to the expectations of self-promoting until I reached the third book in the TEMPTATION series. I really wish I’d taken more time to promote TEMPTATION and the ongoing series straight from the beginning. I’ve managed to make up for that time lost, but it was a real uphill battle. My advice to other writers, is to realize that being an author is as much about promotion as it is about writing. It’s imperative to block that time off in your schedule, and just do it.  It will make a huge difference in your career.

I love to connect with readers and I’d be happy to answer questions about the Amish way of life or writing in general. Please contact me at my website or you can message me on Facebook, Twitter, and Instagram.

Happy Reading!

Laurie McKay On Writing The Second Novel

Welcome to the SNOB - Second Novel Ominipresent Blues. Whether you’re under contract or trying to snag another deal, you’re a professional now, with the pressures of a published novelist compounded with the still-present nagging self-doubt of the noobie. How to deal?

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Toady's guest is Laurie McKay, who has a master’s degree is in the discipline most important for writing middle-grade fantasy: Biological Oceanography. Her debut novel THE LAST DRAGON CHARMER #1: VILLAIN KEEPER was released from HarperCollins in February 2015.

Is it hard to leave behind the first novel and focus on the second?

Yes and no. Since book two is the second in the trilogy, I stayed with my (beloved to me) book one characters. But it was daunting writing a brand new novel. When I compared my book two rough draft to the shiny, edited, copyedited, proofed version of book one, there was a virtual mountain to overcome to get book two to the same place. I just had to keep climbing. Now, book two is close to being finished, and I’m doing it all over again with book three.

At what point do you start diverting your energies from promoting your debut and writing / polishing / editing your second?

I’m a flurry of semi-organized chaos when it comes to partitioning my energies. I work on everything at once. It takes a lot of slow starts and pondering and waiting. Usually, at some point, something clicks and I gain some focus, and get better at managing my time. At that point, I scribble down a list. If I check off stuff, it helps. Honestly, people have always told me I’m organized, but it’s a frantic type of organization. And prioritizing helps.

Your first book landed an agent and an editor, and hopefully some fans. Who are you writing the second one for? Them, or yourself?

All three. Book one just was released in February, so I hope there are some fans, and I hope they’ll want to read the next two books. The great thing about having an agent and an editor is that there are more people to give me feedback on my ideas, and both my editor and agent are supportive. I think it’s important to listen to them.

When it comes to the story, it’s my book and my characters. It’s important to be open to criticism, feedback, and ideas. In the end, though, I have to write a book I’d want to read, and with which I connect. And I really hope that my story will resonate with others. As writers, I think we need to be true to ourselves.

Is there a new balance of time management to address once you’re a professional author?

The hardest thing about being a professional author with respect to time management is having deadlines! Before I would write regularly, but I could take all the time I needed. If I wanted to take a break one week, no problem. Now, I have to be much more thoughtful. And speedy. In some ways, it’s helped me. Having a time limit, means I can’t do as much staring at an empty page. And, hey, I actually get things done faster now.

What did you do differently the second time around, with the perspective of a published author?

I started book two before book one was published, but one big difference was that I knew what to expect with editing book two. And I’d worked with my editor – who is wonderful – before. It took away some of the anxiety of revising. Also, I hope my experience with my first book helped me improve my writing overall even before I turned in my early book two draft. I outlined more. I thought more about plot structure and tried to keep book three in mind as I wrote book two. For book three, I plan to have an even better outline.

One thing I learned was that while some of the worries about my debut novel diminished, others didn’t, and some new ones popped up as I wrote my second one. Likewise, the excitement was still there for the second book. There was a great sense of accomplishment writing ‘THE END’, and seeing the cover sketch for book two was as thrilling as seeing the cover sketch for book one!

Kristen Lippert-Martin Talks Second Novels

Welcome to the SNOB - Second Novel Ominipresent Blues. Whether you’re under contract or trying to snag another deal, you’re a professional now, with the pressures of a published novelist compounded with the still-present nagging self-doubt of the noobie. How to deal?

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Today's guest is Kristen Lippert-Martin. Kristen is a mom of four, a practicing geek, a holder of many opinions. She earned her MFA from Columbia University. Her debut YA thriller, Tabula Rasa (EgmontUSA), is about a girl whose memory is forcibly stripped from her and so naturally she must kick everyone’s butt in retaliation. She lives with her husband and merry band of misfits in Arlington, VA.

Is it hard to leave behind the first novel and focus on the second?

Yes and no. My debut was bought as a stand-alone, and I wouldn’t say that I didn’t think about a sequel at all while writing it, but there was no guarantee there’d be one, so my true “second book”—the one I wrote while editing/revising/etc. my debut—was totally unrelated. Writing it was kind of refreshing, actually.

Then, about three months before TABULA RASA came out, my publisher expressed interest in seeing a sequel proposal. So I put one together, and wow, was it hard after taking such a long break from the story to get back into my characters’ heads again. I believe the expression I’m looking for to express this level of difficulty is, “Like, whoa.”

I think if I’d written the sequel directly after writing the first book, it would have been very different. Hard to know, of course, but ultimately, I’m glad I had the break because my thinking about the characters and the story evolved in a very good way.

At what point do you start diverting your energies from promoting your debut and writing / polishing / editing your second?

Most times, books and their sequels come out about a year apart, but because of the way things worked out for me, I was drafting the sequel right when my debut published. Oy. Not so fun. The weeks leading up to and after my book came out, I felt like I was failing at everything. I either wasn’t doing enough to promote my debut or I wasn’t putting in the time to write the sequel.

Your first book landed an agent and an editor, and hopefully some fans. Who are you writing the second one for? Them, or yourself?

Them! Me! Everyone! I thought a lot about what people are looking for in a sequel—what I want from a sequel, whether it’s a book or a movie—and basically we want the same thing only different. So I want to give readers the same reading experience they got from TABULA. The sequel will be just as pacy and full of twists and turns, but it’s not going over the same ground as before. There are new problems, new characters, and different stakes. So, yeah, it’s the same thing only different.

Is there a new balance of time management to address once you’re a professional author?

Here’s the thing, I’ve got four kids, so I’ve been struggling with this whole balance issue for a long time. I like to believe I have mad time management skillz but even so—even considering the fact that I’ve been juggling flaming chainsaws for years—it’s been really hard.

All the time people say, “Oh, I wish I had more time to write!” But it’s not really more time that you need, it’s focus. When you’re truly focused on your story, you can write anywhere, anytime. You can write whole novels in 20 minute increments. I know because that’s what I did in order to get published in the first place. But the distractions that come with being a published author are so different and so varied. And don’t even get me going on the extra layer of anxiety that’s introduced into your life when a little thing known as “expectations” lands on your shoulders. Whoa, boy. More than once in the last few months, I’ve found myself longing for the peace of toiling in obscurity, when all I had to contend with is four kids and their need for food and clean clothes.

What did you do differently the second time around, with the perspective of a published author?

I wrote in a completely different way than I ever had before. I did a synopsis and a fairly detailed outline for my proposal and from that, I generated a very lean first draft. I never work like that. Usually I’m an over-writer and I find the story as I’m drafting and then pare back from there. But this time, I had to come at it in a different way. Honestly, it felt like suddenly trying to write left-handed—just totally contrary to my natural writing proclivities.

But, hey, what doesn’t kill you, amirite?