Hi, please forgive my post replay. I’m in the middle of edits. I selected this post because I’m beefing up my PA’s duties. I have come to the realization I need a little more help. Happy June.
Happy August. It’s hard to believe we are in the middle of summer. I’ll keep it brief.
I did something a little presumptive or not very smart. The past two years have been a lot different. Most of us probably didn’t stick to our writing schedules. In an attempt to get back on track this year, I set up three preorders. What was I thinking? Since I’m being transparent, I changed the release date on all three preorders.
I could expound on the many things that contributed to the changes, but I won’t. However, the reasons and changes opened my eyes to something…I needed help…a team.
I’ve been doing well with my intimate production team.…a proof reader (my mom) and an editor. After my last release, my editor and I amended our arrangement. This new arrangement left me in a lurch…she wasn’t exactly on board with the new tone of my books. I like working with her. She understood my stories and she spoke French, which I needed for my series,The Good Girl. However, now she stated she would prefer to only edit sweet, non-sexual content books. Occasionally, I write sweet books and will keep her for those projects.
I freaked out about having to replace my editor. After all, she was half of my team. After my last release, I reached out to a friend who helped me find another editor who is on board with my writing style.
The other thing I realized was I was writing up to the deadline and trying to fit marketing in between craft and graphic design. I booked a few Facebook and BookBub ads. I also booked some newsletter swaps. However, I knew I could do more.
The past several years, I’ve heard other writers talk about their PAs. I longed for a PA, but figured that wasn’t in my budget just yet. But during lockdown, it seemed like more and more writers were talking about their PAs and how helpful they were. Pre-lockdown I reached out to a few PAs and felt as amazing as it sounded to have one, at that time it wasn’t an expense I was ready to take on.
Fast forward to lockdown and an author business workshop and a business book…”We Should All Be Millionaires”…by Rachel Rodgers, I realized not having help was costing me money.
I reached out and asked what an author PA did. I was ignorant. I thought all PAs did was schedule FB parties, newsletter swaps, send out prizes and organize ARC teams. I apologize to every PA out there because I was unaware of the value a good PA offers. I also think one of the issues I had with using a PA was control. I like to or rather I’m use to doing pretty much everything myself. I do my own covers, promotional graphics and ad graphics. I write my own newsletters and social media posts. I have an editor, a proof reader and a couple of beta readers.
If I was going to do this, I needed to know what a PA could do for me. Imagine my shock when I saw the list of things a PA could do that weren’t even on my list…book formatting, managing my social media and GoodReads page, update mailing list, arrange promotions and giveaways. I was intrigued.
I reached out to one of my FB groups for feedback and referrals. However, my friend A.M. Roark hit me up and recommended her PA…Praise Ikeme. We chatted and about an hour later, I knew she would be a good fit for me. I told Praise I wanted to take things slow and once I’ve come to grips with letting go of a few tasks, I’ll hand them off to her.
My dip into the PA water has been very good. I have my PA working with me on newsletter swaps. Within the first twenty-four hours of our arrangement, she had my first two months of swaps scheduled. I like that she sends me reminders, verifies the links on my site for the books I’m swapping. She proofs my newsletter and sends me reminders at the beginning of Newsletter Week.
I have to admit, I wasn’t very consistent when it came to sending out my newsletter. Since hiring my PA, I have a newsletter schedule…twice a month…which I’ve been sticking to. I also use the newsletter copy as blog copy. Thanks to my PA, I’m blogging again…something I hadn’t done in quite a while.
Now my team consists of three people…a proof reader, an editor and a PA. I’m excited and look forward to expanding my team when the time comes.
If you’re looking for a PA, I recommend Praise Ikeme (praiseikeme@gmail.com).
Who’s on your team?
Next month I’ll do a goals update.
Enjoy your summer and happy writing and reading.
As far as composite characters go, take Don Draper from Mad Men. He’s widely thought to be created as a composite of several advertising execs from the mid-century. His name was likely from Draper Daniels, a Chicago ad executive, as well as Albert Lasker, Emerson Foote, and George Lois.
Of course, there is Ebenezer Scrooge, who was based on politicians and businessmen of Charles Dickens’ time.
Many of us unintentionally create characters in our books that are based on ourselves, family members, co-workers, or friends. After all, who do we know best?
However, when it comes to deliberately writing about those people in our lives, we want to make them into believable characters yet disguise them enough that they are not just “cut and paste” copies of actual people. The point is to capture their essence and incorporate them seamlessly into our book.
You may think that person has a particular personality quirk that makes for an interesting addition to your cast of characters, but if you think they wouldn’t like it, make sure you make them different enough to be unrecognizable, or you may lose a friend or even open yourself up to a lawsuit.
Perhaps you’d like to use a historical figure or a famous celebrity of today. Make sure to do your homework before you write about them. In this day of social media and “fake news,” it can be all too easy to be misled by incorrect information. You don’t want any backlash when you release your work. Being careful will prevent any legal action. Remember that readers are very intelligent and inquisitive people. They WILL know if you got something wrong, and that will ruin the believability of your story.
We fall in love with many fictional. They’re exciting and engaging, beautiful and dangerous, mysterious, and sometimes evil to the core. Don’t rely too much on a real person to capture your readers’ attention. This can be a very dangerous game, indeed.
There is no reason why you shouldn’t use people you know to help you conjure up the characters in your stories. Just remember that doing so successfully takes time and effort to get right!
After all – what better way is there to honor or get revenge on someone in your life than to make them a character in your book?
A California native, novelist Tracy Reed pushes the boundaries of her Christian foundation with her sometimes racy and often fiery tales.
After years of living in the Big Apple, this self proclaimed New Yorker draws from the city’s imagination, intrigue, and inspiration to cultivate characters and plot lines who breathe life to the words on every page.
Tracy’s passion for beautiful fashion and beautiful men direct her vivid creative power towards not only novels, but short stories, poetry, and podcasts. With something for every attention span.
Tracy Reed’s ability to capture an audience is unmatched. Her body of work has been described as a host of stimulating adventures and invigorating expression.
The top floor of Brindle Hall overlooks a grove of red maples, the crowns of the trees only a few feet below the windows. Nyla smiles at the leaves in motion below her. It would be like living in a treehouse. A bit, anyway.
“How much is the lease?” She’s sure the price is beyond her budget, but she has to ask.
The agent names a price that’s a stretch, but the trees outside the windows are calling to her.
He promises the key and the paperwork by tomorrow. She can move in the following week.
Later, sitting on the couch she’s temporarily commandeered at a friend’s house, Nyla considers the floor plan of her new place. Two tiny bedrooms, a kitchen/dining room combo, and the living room with the balcony overlooking the maples. It must do.
Sam helps her move, but not without grousing. “You have too much stuff.”
“You mean books.” She knows that’s where she overbuys and shrugs. “I can’t help myself.”
They load box after box of books onto the handcart and take the elevator up. When he departs, after a feast of carryout pizza and chocolate chip cookies she had stashed for emergencies, she sits on the floor amid the boxes, which take up much of the living room.
She reaches into one of them, lifts out a volume, and opens the cover. Through the sliding glass door to the balcony, the maple leaves rustle.
Nodding, she checks her phone.
Almost time.
An hour slips past, as she reads several chapters. The darkness of the evening deepens beyond the windows, and Nyla switches a floor lamp on low.
After emptying her pockets, she lays her phone on the kitchen counter and places her shoes next to the fridge. On the balcony, she gazes down to the sidewalk that runs along the front of her building, four floors down. It’s empty and quiet at this hour.
Overhead, clouds drift past a waxing crescent shining in the east. A slight breeze brings the odor of diesel fumes and—as her nose morphs into a beak—mice and a wandering housecat. She can hear the rodents skittering in the alley. She shakes out her wing feathers, russet brown and soft, and swivels her head to check herself in the window. Her ear tufts stand out against the night’s backdrop. With a brief hoot, she hops onto the balcony railing.
One push up and she’s airborne, skimming above the maples, and then over the nearby streets of the town.
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It's 1924 and Daisy Gumm bands with friends to help Lily Bannister, whose abusive husband nearly killed her.
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More info →A Slice of Orange is an affiliate with some of the booksellers listed on this website, including Barnes & Nobel, Books A Million, iBooks, Kobo, and Smashwords. This means A Slice of Orange may earn a small advertising fee from sales made through the links used on this website. There are reminders of these affiliate links on the pages for individual books.
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