You will want to create something of your own. You will want to do what you can, with whatever’s at your disposal at that moment. Right there, right then. If you have to write your story on a piece of napkin, so be it. If you have to sketch on your phone, fine.
When you find your muse, you will feel yourself becoming addicted to the promise of doing work you hope could last forever…
If there’s one thing I’m quite the expert on, that’s alienating a large, engaged audience.
I started my first blog back in April 2012. By November the same year, I had over twenty thousand readers. I was earning about $100 every single day, and my articles were read by close to a thousand people within the first 3–4 hours of an article being published.
Somehow, in my quest to increase my numbers, both in terms of readers and income, I lost friends and alienated a lot of people.
Just take a look at this statistic:
Here’s how you can do it as well in a couple easy to follow steps.
So, you have a finished manuscript, and now you’re ready to share it with as many readers as possible.
In order to do that, you must choose one of two paths: either self-publish your book yourself, or go the traditional route and try to find a publisher.
Deciding on which route to take means that you’ve got to figure out a couple of things about yourself first, about your book, and about your ability to effectively market (and enjoy the process) both yourself as an author and your book.
Now, let’s discuss the essential questions to ask yourself if you’re trying to decide if self-publishing your book is the best available option for you.
“Solitude or working alone can help a creative person develop and refine their work, but it is certainly not the only way to nourish creative projects,” so states Douglas Eby in his new book. Well, to each his own. Some creatives prefer isolation while others seem to strive amidst a collective. Both environs serve a purpose. It depends, I think, on how you’re wired.
Many artists acknowledge the value of academies such as Juilliard, and less formal artist retreats and workshops, like Idyllwild. Others give credit to formal education at a university’s marketing and communications school or a structured curriculum at, say, the International Center for Studies in Creativity.
Eby points out that much of the writing and advice on creative expression and enhancing creativity focuses on the inner journey of the individual. Furthermore, creating happens in a social context, and often depends on inspiration and support from others, on finding an audience, and getting financing from publishers and producers.