I can Write BookCan I write a book?
So how do you spell a story that will make an impression on readers with Honoree Corder?
The Honoree Corder has authored and released so many that she no longer counts. For thirteen years since she released her first volume, Honoree is still in the process of winding her up. When she is not working as a typist, she trains other authors and experts on how to turn her passion and knowledge into work. Are there any secrets that tell me you' re a serious author?
For authors, this means taking the necessary amount of work, doing a good job and getting the best out of yourself. Honoree is fond of saying that sometimes you have to "step on the brakes". Recruit an editors. And don't make your covers in Microsoft Paint. See, hear or browse below.
Remoree Corder: To have a product you've gone to all this product to food it and not do it excavation is kind deed to a dark ties ceremony that deterioration tract and flip-flops. That' s why our aim is to help up-and-coming writers, story tellers and businessmen like you to create and release a natural textbook that will be bought, shared and really shared by all.
Honoree, welcome to the show, it's so nice to have you. Remoree Corder: You' re a typing coaches. You' ve authored a dozen ledgers, right? You' re just a productive author, so we're very curious how you did it and how you could tell your stories.
Remoree Corder: If I don't look after the cat, I am writing a lot of them. Writing and publishing myself between six and twelve volumes a year, and then I work with pros to help them twist their heads around this whole thing we're discussing today by putting an ideas you have in your mind, some of your own knowledges or ideas, and transforming them into a calling cards or brochures, or a way to promote your store, or even tell the stories you've been rollin' around in your mind for a long while.
AGARON S.: How many did you actually write? Remoree Corder: Åaron S.: More than 30. Okay. Honoree Corder: CHARLES: Yeah, that does sound great. Remoree Corder: AGARON S.: Not many can say that they have authored 30 volumes and 30 volumes, so..... CONNEMBURG: Most folks can't even say they made one, so that's quite good.
Åaron S.: Yes. SYNAMON V: Since when do you write? He gave me his counsel, and I took a few speeches that I had given several to him. I took a concrete counsel that he had given me, and made it my first work. And was that five years ago, ten years ago?
Remoree Corder: And that was a different kind of life back then, because it was still difficult, if you wanted to become a novelist, you had to have an operative, you had to go the old-fashioned way. So not many folks published themselves so long ago, so it's quite unbelievable that you got involved so early.
Remoree Corder: But I wasn't a novelist. Not a great author. W was a lower-case author, and I didn't think any agent would care about me. There was no stage, no fan base, no previous experiences, and Mark Victor Hansen said to me to make a work.
I knew a few other writers who had taken the path of self-publication, and frankly, back then I wanted to make a script and just a script. Not from all the different perspectives I have encouraged and helped to help folks look at their books before they put them on the table, if that makes business.
Åaron S.: Yes. However, when you were there, what do you think from the minute you take the first steps that will lead you to the next ledger and move you forward? Remoree Corder: So I didn't grade what I said.
As Mark Victor Hansen said: "If you have given a talk that pleases them, put it on pen. I' d like you to make your address. "I tell them to think that they are having a talk with their perfect customer, the one they want to tell the tale to, or their former self, their daughters or their colleagues, and what would they tell them in which order?
Considering their work as a paper interview with their readers. I' m going to send my script to one people, and only one people. I' m talking to them. CHARON S.: That's really good. AGARON S.: That's how we all wrote our textbooks. I' d say to my woman when I was composing her first book,'Imagine you are just having a meeting with this readers.
CONSIMON V: Yes, and I have the feeling that the intuition is to send a message to a group. You stand on it and talk to a thousand, and then you don't talk to anyone. This is the ploy I'm putting here. Remoree Corder:
Yes, and omit the part where you have the feeling that you have to be flawless, and the other thing was, I didn't know I had to have an editors at the beginning what I really am now.....hoops. Why do I need an editors? Well, I encourages you guys to type with ruthless devotion, and don't be afraid to type impeccable fiction, because it doesn't happen, and all those ledgers later, when I get my copy back from an editorial ist, it still looks like a story.
When you can put aside your arrogance and your egos and allow the journalist to do their work, because their task is to take what you are writing and turn it into a sleek and enjoyable journey. It should be a very beautiful journey for the readers, a beautiful and enjoyable reading, where they do not find any missed sentences, or words that are out of place, duplicates, words that are absent, such things that are very unpleasant for the readers.
However, allow the journalist to do so. It is your task only to put what is in your mind on hard copy and let the publisher help you straighten it once or twice or three notches, according to how often your textbook needs a passport. AGARON S.: I have a query about the processing.
At the beginning you were writing your first volume and said: "I don't need an editorial staff, I know English. "If we go back now because we are speaking to this individual, we are speaking to the 13 year old Honoree, how would you, A, Honoree from 13 years ago persuade to get an editor, and, B, where would you be sending them?
Somebody could have sat down and written, but do I have $3,500, or however much it will take me, 10 cent a week to get an Editor, or are there ways you would have done it back then, that would have brought you at least 75 of that? Remoree Corder:
Sure. Aaron S.: That's something I want to go through. Remoree Corder: Yes, well, I want to contextualise why you need an editors first, because your work is you in absence. You will be there when you are not, and you will be assessed on the reading of your work.
You do not need an editorial office to write the volume so that you can go to Kinko's and take 100 pieces to the meeting. Writing a work for another reason requires the maintenance of an editors, so let's do it. You' re absent your ledger.
I' m going to take 2017 utilities and move them back to 2004, and I'm going to say that you can buy Grammarly, use a free copy of Grammarly, but I am recommending the pro-quality copy of something like Grammarly, and there's another one that isn't comin' to me right now, but there's another typing program where you can upload your typing, and it'll tell you where you have bugs, and most of the timeframe it's right.
Åaron S.: Grammar is a great instrument. AGARON S.: Yes, I may be considering another type of services, but they are usually not bargain. Remoree Corder: It is not cheaper to have your work published, so if you don't have.... I would say three to five eurocent per words is more sensible, but if you don't have it, then there is no need to bring your textbook into the can.
I have seen so many folks, and I myself have the feeling that I get 90 per cent of the way into the books, and the last 10 per cent are like the last 50 per cent. It is where men are, it is as if they were with child, and you have not lived that, but you could have kids.
After all, I urge those who are pumping the brake and waiting and doing it right, because you can't solve the bells. You can't remember them. Used to have someone who just got himself a cloak. So they went and got another horrible binding and brought out the notebook, and the notebook doesn't go on sale.
One of the main reasons why readers are drawn to your work is the wrapper, but the thing that actually selling the work is the wrapper text, so the return wrapper or the copy - it is known as both because it works as both. So you need to make sure you take the case to get those property finished excavation, otherwise you've all gone finished this and got relative quantity, and it's a alarming idea to person boxed product in your workplace, or a product on Amazon that far season into condition all era as statesman product are free.
It is possible to contact an writer and find out who his journalist is or who he would suggest. A good journalist will be fully charged a few month in advance, so you want on your diary, which is also a good accounting utility, because if you know that you have to submit a script on November 15, if you don't submit it, you will find someone to fill in your space, and then you will have to rest.
CONTINUO: So you're a typing trainer, right? Remoree Corder: I' m not teaching them how to spell because I think that I hardly.... And I can with my own vote, and I can with a great editorial staff. While I can tell folks who are abandoned to type, who put down thoughts on papers, here's how you describe it, but up to how to spell well, I'm not sure that's a big one....
We' re discussing the whole thing, the way it is edited and what it looks like, and you even said something before about how to write in an untidy way and not get in too early. Let us take a backtep from working and say if someone has an ideas, a novel concept, and they will begin when you would train them, where they begin, and what is the procedure, and what do they need to do before they put it on the page?
AGARON S.: Because an empty page is quite daunting. Remoree Corder: So I get a lot of guys who come to me in all parts of the trial because they just jumped in without any preparatory work. Before the launch there are some preliminaries that my colleagues ask me: What do you want from the work?
Why do you want the ledger? Would you like a current of revenue or repeated flows of revenue via eBooks, audiobooks, paperbacks, hardcovers, all of sources of revenue, or do you want to give someone your copy for them to employ you to do that other thing you write about in the copy?
Why do you want the ledger? Then when we speak about the name of the work, the name of the work is what the work is about, and the subheading is the premises of the work. How does the readers benefit if they take the necessary amount of effort and effort to study the work?
Okay, so for this purpose, what should the readers of the textbook do, or not do, or both, from having read the textbook? While I was writing You Must Watch A Bookto, I wanted my readers to read a work. And I didn't want them to be writing a shit tyke.
So I replied to all the fucking things I wanted, Honoree, what did I want from the script and what should the readers get as a product of it? That'?s where folks get started before they even think about what's in the script.
CHARON S: That's good, yeah. It' also a funny place to get started because it's such a big image, and it's the most important part, but it's also simple to do because you can get the emotions out very quickly, and you can type and at least touch 100 tracks, or see what it will be like.
Remoree Corder: Sure. Aaron S... Well, that's good. Beginning with what is the point of the script, because that can even amount to what you said you only want to give it to your buddies and your whole house who will answer you a ton of things. aron S.: Yes, but if you want it to be because of the publicity, or to get a career, or to get this deal started, or an additional kind of revenue, yes, then you have to think differently.
Her moves broaden with the premises of the volume. Remoree Corder: Who' s your best read? Who' s the absolutely best man to collect the album? So you' re not gonna write for the crowd like you said you were gonna write for this one dude or girl. The only type I have is Eric Negron, who is a former customer of mine who has not yet finished his books, so I will be sending him this tape so he can see my strict face.
He' s a younger man, and very knowledgable, and he needs this to give him, he has no grey heads, so it's really his credence, right? He has to make a notebook before he gets a bulbous tummy and grey head to fill the void in people's heads that he knows what he's about.
I' m writing my work to one and only one of you. I have a talk with them, and the next stage after that is to decide what I want to say to them in this talk, and the talk is also known as a work. And it also makes it easier for us to realize that we don't have to put everything in our work.
Your textbook doesn't have to be 400,000 words long. It' a discussion, and in this discussion we are talking about "boop", this particular theme. I could speak in another one about a different point of view on this issue, or I could go in another sense, or take another part of the larger image in another one, in another conversation, and this is about this discussion that I have with this individual on this issue, so that they do it, and they do not.
AGARON S.: So, Honoree, how often when you work with all these customers that you and you have, is the customer the customer? Honoree, how many people have you authored a work and you are the public? AGARON S.: We'll be sending you our next one. Remoree Corder: It' gonna hold me to all that script.
I always send a letter to a single individual, but it's not always the customer I have. and no one had a notebook about why someone would profit from posting a notebook, and I was one of five self-published writers on the notebook, so I said: "Would it be useful if there was a notebook about why someone should post a notebook and do it?
So why don't you just sign this one? Remoree Corder: No. My customers are you know now. They' re celebrities. They do not work on themselves, they work on the person who follows them because they want to pass on the talents of what they have learnt and their experiences to those who follow them or strive to be them or be the best in their own life.
AGARON S.: Okay, so they are a small lead over the ones we might talk to. Okay, well, well, many of the textbooks we write, we write like us in our scenarios, so when I think about Avatar, I think, oh, it's someone like me. Now I would be in a place where I would write to the old me or someone like me in the past or where I was.
So, I understand what you're saying. Remoree Corder: Remoree Corder: I can' t yet discuss the idea behind your work. I' m not going to be able to post on Facebook, "I'm going to write my first album. I can' t yet discuss the idea behind your work. AGARON S.: No, preparatory work is important. As Aaron S. says: "The more work you put into the preparatory work, the more benefits you will derive from the work.
Remoree Corder: Simón V.: And the whole typing experience, just the whole typing experience, just comes in a much more fluid form, right? Remoree Corder: Remoree Corder: Remoree Corder: Remoree Corder: Sure. Aaron S.: Outline. Remoree Corder:
So what are you gonna tell them in this interview? There are some strategical things I can bring in, e.g. if you want to make a script, you want to make three, five, seven, eight or ten information. So if you have three sound information in your textbook, then make three chapter, or three paragraphs and three subsections, an intro, and I call them the "vaya con dios", the "kumbaya" at the end of the work.
It is an easier way to break it down into bite-sized pieces. Remoree Corder: Yeah, because some folks are gonna put 40 sections, because one more thing, oh, and there's this one thing I have to tell you, and one more thing. Considering that folks like prescriptions, they like to obey formulae, they like to be straightforward and not overpowering, and there is this adiome, or axiome, idiom, which is "one, two, three, many".
When you have much more to say, or that you want to expand your skills and let others go further, then you should start writing another work. AGARON S: Go on, sign another one. Simon V.: Yes. Honoree Corder: If I see a work that big, I know I can't just spend an afternoons sitting down and reading it, I have to throw it out, and sometimes it drives me crazy.
Remoree Corder: aron S.: Where we think: "I need many words. Remoree Corder: You' re done justifying $20 for a good copy of the work. If we make the Miracle Morning novels, they are a little longer because they have genuine Miracle Morning contents, and then we are adding the real contents for whatever the verticals are, no matter in which topic we write, parent or networking or whatever, so we are adding this special conten.
If I talk about something in a textbook, I talk about it and I will give you everything I can, in as few words as possible. AGARON S.: Yes, especially in the era of SMB. Remoree Corder: You' ll want to get into the game, get to know what you need to know, and get on with your work.
No more shaking it up or lengthening it so you'll be feeling better when you spend a few bucks on the work. Now all you have to do is tell them what they need to know. Åaron S.: What is something of the beauties of this era of self-publishing is that we don't have to have the same codes.
A few of the same things because they expect a certain level of service, because if you have nothing good to say, they won't do it. Remoree Corder: And simply give a top of the range item. Now, there's a ques-tion we'd like to ask all the guys we interview.
Back to 2004 Honoree, how would you be encouraging who you are now and who you were then, how would you be encouraging yourself? AGARON S.: Yes, and the trouble is that we are occupied, and so all our 15-minute scrolls. Remoree Corder: And then move on.
Remoree Corder: Myself 2004 was a rock star when it came to taking the council and making the album, but I didn't know what I didn't know, so you have to be very cautious about who to take the album from and that you make a good one, because there are some folks who say they'll make the album and release it in a week-end or four-hour period, or you don't even have to make the album!
There are certain perils involved, and at the end of the days it is your name, your call, your wisdom, and even if you can't imagine a novelist, you can get a ghostwriter. Thus pumpin' the horseflies would be degree what I would discussion active with 2004 Honoree higher cognitive process that you condition an educator that you condition a professional that you condition a picture specialist who is not your person who deliberation he is a picture specialist.
Remoree Corder: Yeah, well, we don't say a flag on the first one, okay? Åaron S.: Well, I would like to.... Remoree Corder: They don't know you did it quickly, or you didn't have the right..... None of you, but go somewhere that is not well clothed, and then show up somewhere that is clothed the way you mean it, and folks notice you and evaluate you differently, depending on how you present yourself, good, evil, right or false, or apathetic, real.
It' s so interesting, I always go travelling in clothes, and I have the most interesting talks with those well-represented. Well, if I didn't have the full honor, if that makes perfect, right? It' the same as if you didn't have a great jacket, no great style. On the inside of your text, please explain.
They are very easy things, and if you want to know how to do it, go to a bookshop and buy a traditional publication and look at the frontpage. Åaron S.: This is one of the advice we give in our course is to choose a work. Remoree Corder:
It is when you take these little things and you are adding them to your work that makes the difference and causes folks to take you seriously. To have a product you've gone to all this product to food it and not do it excavation is kind deed to a dark ceremony ties that deterioration tract and flip-flops.
Aaron S.: Not for this event. Remoree Corder: Not for this opportunity, and you want your work? And, because self-publishing is so simple, there are a bunch of folks who just throw things out and say, "Yes, I do!
" It' not even a letter, I can't even write. However, when I see a really well-made work, I'm really impressive, I'm upset, and then I'm interested. I' d like to study the script. They want to kill humans..... "When someone looks at your textbook, they should want to look at it.
Do you want them to want to discuss it with other inmates? One way is by referral, so do yourself the favour of making a good one to give your books a struggling chance in this worid where there are so many of them.
Remoree Corder: If you are interested in making a window of how much it is going to costs for things, but put away so that you can affords the very best people you can to at the moment of your work. SYNAMON V.: One of the other things I think it would be great to discuss is how you used your letter in your accounts to get customers, because you said, I mean, your customers are big-name.
You' ve got a thriving shop here where you have customers, but you' re also a novelist. Remoree Corder: Now, in 2004 Honoree paid for 11,000 of the first books I ever written when it was still in the printing house. Until I got the first copy, I used to sell a copy of my books, and once someone finds out you're an editor, everything else doesn't matter.
Åaron S.: That's what we sell here, it's cooling, yeah. Remoree Corder: Åaron S.: It's really really coolly. Remoree Corder: If I meet someone and don't want to talk to them, I tell them that I'll be at home. "When I want to have a talk with someone, I tell them that I am a novelist or that I am an artist.
AGARON S.: Which, by the way, still makes mothers fantastic. Remoree Corder: That they are, yes, but folks don't want to listen like[inaudible], because I'm also a mother who stays home. If I want to talk to someone, I'll just say I am writing a book. Remoree Corder:
I will never have a little star, unless it is a really badly made and you send it to me, then I have to discard it because I can't get it, I won't be reading it and I won't give it to anyone.
Now, a work when I get it, and I do and I like it, I will put it on Facebook and Instagram, and I will say, "You must be reading this work... you will really like it. "Someone comes into my house or my workroom and they see this and then they lend it to me, or I get a really nice one and then I buy a copy for everyone.....
There are many ways a work of art has no calling cards and it can reach places you can't go. You will find your works in lands, states, towns, places and peoples you would never otherwise be with. But I do like the way you are speaking about the script, rather than being a calling cards, that you give a part of yourself that is precious, that you invest your precious amount of your own precious investment of your own life, and they are feeling like an understanding of yourself, your personality, the way you are speaking, the way you are speaking, so that this is a different way that we have not even taken along, that our audience can think to build my faith.
The majority of folks don't even know the name of the publishers. Remoree Corder: CONTINUO: And although not all of our audience wants that, there are definitely some who want to release a textbook themselves to take it to another place. SARAARON S.: Well, maybe that's something they never thought about.
Remoree Corder: Now, that's why I have written You Must Watch A Script, and I have a whole bookseries for authors, it's the Prosperous Writer bookseries. It' s all the different shades of the same theme, how you think, how you find a reader, how you comprehend your dates and how you compose a script in 15 mins.
So I have the work that someone can get for a few bucks, and they can get everything I know about this particular topic in a few lessons. Århon S.: No, that's great. It' what my woman and I have planted our careers away from now, and now we are trying to educate group that they can do the Lappic, or day fitting person the ability of state a publicized maker who is a advantage awareness.
Remoree Corder: Århon S.: It's very, very chill. Remoree Corder: Åaron S.: Yes. CHARON S: Here you go. Simon V.: Well, Honoree, thank you for your tim. That was a great talk. Åaron S.: It's a fantastic entertainment. AGARON S.: We will make sure that we find the link to all your things in the descriptions of this page, and if you wanted to give us some of the resource you have, if you are willing to use it.
Remoree Corder: So where can we get You Must Watch A Book or where can our audiences join you to find out more about your work? Remoree Corder: I have a work book, this is I Must Watch My Book, this is the accompanying work book, so it is where to do all the work we were talking about before, all the preparatory work and all that is in this one.
All of the writer's works are on Amazon, and then I have a subscription for you. CHARON: Thank you, Honoree. Remoree Corder: A lyricist, as well as writer and contributor, Tyler Smith is passionately interested in assisting his colleagues in telling life-changing tales.