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Humbly, I Market: 5 Reminders of the Power of Humility in Creating

July 7, 2021 By Emma Heggem 1 Comment

By Emma Heggem

When I first started editing, I thought I had all the necessary job requirements because I knew how to identify weaknesses in a book and recommend solutions. Then I realized I had to convince real humans—people who had spent months or years writing their book—that I had useful advice for them. When I first started, all they saw was a stranger telling them what was wrong with the product of their labors. Until I proved my expertise, we didn’t get anywhere.

Marketing our expertise is true about any product or service. Whatever role you play in the media industries, you are eventually going to put something out into the world and hope other people find it. However, if you want people to actually discover the existence of your work and pay attention, you will have to get involved in some level of marketing.

We’re all marketers in the end.

1. Recognize Humility isn’t About Being Ashamed of Your Talents

Most of us go into publishing or media creation because we have a talent that we want to share. There’s nothing wrong with that. After all, God gave us those talents for a reason. Personally, I have felt His guiding hand in my career, helping me find jobs and pushing me towards opportunities to work with some amazing people.

But He has never convinced someone else of my skills before. He provides the opportunity for me to prove myself, but He doesn’t send promptings to the client or hiring agent that I am the editor they need. He sends me a picture of a job notice from a friend or puts my website in front of a potential client. The rest is up to me. Sometimes I prove my skills through a résumé or an editing sample. Sometimes I do it through social media or by writing blog posts. Regardless of the method, proving what I can do is a necessary part of using my talent to the fullest.

2. Know Where Your Talents Lie

I didn’t just wake up one day and believe I was a good editor. I started out as a student, taking classes and doing industry research. Once I’d learned enough, I began applying those lessons to actual books. Over time, and with feedback from other editors, authors, and readers, I tested those skills. I found some weaknesses that I could work on (some are still works in progress!) and I learned what strengths I have. For example, I have determined that my work is able to help authors write stronger plot lines and engage their audience, but it isn’t great at catching all the typos and grammatical errors. This knowledge gives me the confidence to tell people about my editing skills, but also the humility to know when my services aren’t the right fit.

It isn’t pride to tell people what you can honestly do. If you use known facts and unbiased reviews, you can create marketing messages that genuinely reflect the quality of your work and help the right people find out about it.

You can use beta readers, reviewers, or industry gatekeepers to test your work. You can attend classes and conferences to continually adapt your knowledge to the changing industry and expand your skills. You can even create claims that you know to be true. For example, you may believe that everyone will love your movie. But what a humble creator will tell everyone is that they know the movie is a classic fantasy adventure tale for 12 year olds. You may believe the special effects are unbelievable, but you can know for certain that top industry professionals made them. (Think of all the movie trailers that begin with “From the creators of X.”)

Making factual claims and using reviews to verify your work may not be as flashy as sweeping messages about being the best and the newest, but it allows you to make public claims about your work that are coming from a place of honesty and not a place of pride. This is a huge step in creating a marketing message and still preserving your humility.

3. Get the Word Out

Marketing isn’t just about creating a message. It’s also about spreading it far and wide. In the modern age, there are many ways to do that. Social media ads, TV commercials, pitches to industry professionals, printed advertisements, giveaways, and many more opportunities exist. Because there are so many opportunities, you have to be careful not to over-saturate your audience.

As far as I know, there is no commandment that says, “Thou shalt not tell everyone thou knowest about thy book release.” But I think we all have been annoyed by a marketing attempt at least once in our lives, and I feel there is a commandment about that. I think it’s safe to assume that “love thy neighbor” includes things like not adding them to your email list without their permission and not messaging them weekly about liking your Facebook page. Still, as long as we are being kind and courteous, it’s okay to ask if friends and family are interested every once in a while.

Your current friends and family are not the only people you will likely reach out to. Endorsements from respected industry professionals can be a useful tool. Reviews from popular bloggers can get the word out. People with big email lists or social media followings can help spread the news beyond your own personal connections. Some people may feel that humility prevents them from assuming these big names and large reaches would have any interest in their work. However, asking for help is a principle of the gospel. We are encouraged to allow others to have a chance to serve their fellow man. As long as you are polite and give them a genuine chance to say no, there is no reason to be afraid of reaching out to influencers for help.

Asking for help is a principle of the gospel.

4. Do Not Raise Yourself Above Your Fellow Man

One of my favorite things about the publishing industry is the way it tends to be a supportive community rather than a cutthroat competition. Books and movies are an inclusive interest. It’s not like buying a phone or a house. Just because a customer buys one doesn’t mean they won’t buy another. In fact, in my experience, readers are more likely to buy books later if the first one they bought is good. Good media supports other good media.

Because of this, being a good marketer doesn’t have to be a competition. A humble person can advertise their own book and still leave positive reviews on books by other authors. A humble person can market their own editing skills and still give contract tips to other editors. To be a good member of the media industries, you need to accept help and offer it.

You can offer help in many different ways. An aspiring author can share the news that a publisher or agent is accepting submissions. A humble editor can pass on clients whose work falls outside their realm of expertise to other editors. A bestselling author could speak at conferences or recommend their favorite learning materials to those still trying to make a name for themselves.

Your success does not need to come at the expense of others; an attitude of humility is recognizing that your success puts you in a position to help others instead. Heavenly Father didn’t give us these talents to stop anyone else from creating. If we allow our success to prevent us from caring for our brothers and sisters, we are no longer using our talents to serve the Lord. We are only using them to serve ourselves.

5. Let Your Light Shine

I have felt the guiding hand of my Heavenly Father many times in my career and have seen Him do the same for others. The work we do by putting out good books and movies and other media adds brightness to the world. We should not be ashamed of our talents and should not let a false sense of humility stop us from sharing them with the world.

The world deserves to know what you can create. Whether you provide a service to creators or a final product to consumers, the work you do can be uplifting to those around you as long as you keep in mind that sharing our labors is about spreading joy and goodness into the world.

By realistically representing our talents, accepting negative feedback, and treating competitors, coworkers, and potential customers with kindness, we can share our talents with the world and still remain faithful, humble servants of our Lord.

Emma Heggem is the managing editor at Future House Publishing where she specializes in content editing sci-fi and fantasy novels. When she’s not editing, she loves to attend writers conferences to take pitches, give critiques, and demystify the publishing industry. She also runs a writing/editing advice blog (www.editsbyemma.com). Emma graduated from Brigham Young University with a degree in English language and a minor in editing.

Cussing & Creating: 3 Reasons Why You Shouldn’t (& Should!) Use Profanities in Your Writing

June 30, 2021 By Lizzy Pingry 9 Comments

By Lizzy Pingry

During World War II, American soldier Audie Murphy earned a total of twenty-eight medals, including two from France and one from Belgium, making him the most decorated soldier in American history. His story was so extraordinary that in 1955, it was sensationalized in a film that Murphy himself starred in. To Hell and Back is his biography, and at one point, it shows the death of Murphy’s best friend, Lattie Tipton (named “Brandon” in the film). The scene was understandably difficult for Murphy, as Brandon is shot, looks at him from a distance, and falls down dead. However, this scene as depicted in the movie is not what really happened. Murphy stated, “When we shot the scene, we changed the part where Brandon died in my arms. That was the way it had really happened, but it looked too corny, they said. I guess it did.”

This highly decorated soldier had to relive one of his worst days, and a director or writer looked him in the eye and told him that the truth “looked too corny,” and the concept of that situation is just as shocking as the death itself. When writers censor or change the truth of a situation because it makes them uncomfortable or because it may be unpopular, they risk invalidating the truth, especially in nonfiction. Latter-day Saint authors have to grapple with the concept of censorship when trying to decide whether or not to use profanities in their writing.

Language: What Is It Good For? Absolutely Everything

The debate of appropriate use of language is an argument spanning centuries. It is one of the reasons the English language is so adaptable. Some words in English didn’t start as profanities but eventually evolved into something inappropriate for polite society. The Journal.ie’s article “The Historical Origins of 6 Swear Words We Use Every Day” explains that the Proto-Indo European’s base word skie, or the Old English scitte, started as a verb and noun (respectively) for “separating” or “purging” from the body. This base eventually evolved to suit the needs of the speakers until it stopped meaning “going to the bathroom” and started being a vulgarity for excrement. Meanwhile, some words started as vulgarities and eventually shifted into every-day terms. For example, a silly sounding word, zounds, is an archaic exclamation (popular in Baroness Orczy’s The Scarlet Pimpernel) meaning “God’s wounds,” and it was a terrible curse when it was first introduced.

Words are not capable of being bad by themselves. Even our synonyms for the phrase “swear words” supports that idea: vulgar means lacking in sophistication, and profane means disrespectful or irreverent. The word is only as powerful as our reaction to it as individuals and as a society. God’s name is a prayer—until it is used as an exclamation. The way we use the word defines its appropriateness, and we have to vet each term and syllable. Is it worse to say that it’s a “damn beautiful day” or to tell an overeager child to “please shut up”? Writers must evaluate the way they express themselves: how does our use of language and its profanities build or destroy our stories?

The word is only as powerful as our reaction to it.

Writers who are disinclined to use profane words in their writing might be familiar with a First Presidency message, in which Spencer W. Kimball addressed the world—specifically writers!—on profanities. He stated, “I lately picked up a book, widely circulated, highly recommended, a best-seller, and my blood ran cold at the profane and vulgar conversations therein, and I cringed as the characters used in an ugly way the sacred names of Deity. Why? Why do authors sell themselves so cheaply and desecrate their God-given talents? Why do they profane and curse?” Those who prefer to avoid using strong language in their writing may reflect on Book Cave’s article, “Profanity in Books: Show Don’t Tell Emotion,” which points out that “there are more effective ways to make the world ‘bloom’…the use of vulgarity quickly becomes a cheap, convenient device to give the impression that the book is up-to-date and realistic.” These individuals argue that profanity in any form is a sin and an example of weak writing styles; they believe that profanity is an excuse to express strong emotions without having to be vulnerable.

Meanwhile, we have stories about “the cursing apostle” J. Golden Kimball, who, when driving a stubborn stage of oxen, started cursing to get them moving. He remembered, saying: “Boy, how I did cuss! Did I wax eloquent! I’m afraid I did. But, did those oxen sit up and take notice? They sure did; every one of them got down to business. You see, they were Church oxen, and when you talked that language to them they understood it.” This humble and humorous story of working with Church oxen is a reminder that we are, none of us, perfect, and since that’s the case, we can’t expect the characters in our writing to be perfect either. The Writing Cooperative’s article “Should You Use Curse Words in Your Writing?” (heads up! This one uses strong curse words, so don’t read it if you want to avoid that kind of language) insists “swearing isn’t the only way to express emotion, but it is a tool in your arsenal.” Writers who use profanities in their work may relate to the article “Writing Dark Things as a Positive Person” by Zachariah Wahrer where he states, “If a story is all positive, it isn’t interesting. We have to have conflict, deception, destruction, lies, etc., to make it interesting, because that is how we experience everyday life (albeit usually on a smaller scale).” These individuals argue that strong language is representative of human nature and realism; they believe that profanity is an opportunity to represent a variety of character voices and experiences.

This argument is relevant to writers all over the world. Writers can join the discussion by educating themselves on the pros and cons of using profanities in our writing.

3 Reasons Why You Can Feel Justified Using Profanities in Your Writing

Lattie Tipton’s death was so traumatic that even nearly fifteen years later, Audie Murphy struggled to maintain composure while reenacting the scene. While the film’s representation of the scene is still potent, knowing the truth of the death is even more so. Failing to accurately represent the situation changed the meaning behind the scene, and one could argue that the same could apply to using profanities. For example, let’s take the phrase, coined initially by U.S. Naval officer David Glasgow Farragut: “Damn the torpedos! Full speed ahead!” This phrase is a popular colloquialism meaning to move forward despite the risks you may face.

If we were to take that phrase and change it to avoid the profanity, we lose the intention behind the phrase. Neither “Don’t worry about the torpedoes! Full speed ahead!” nor “Forget the torpedoes! Full speed ahead!” carries the same reckless abandon as the vulgarity; the original phrase stirs a level of shock and awe, and it is far more realistic to imagine a sailor cursing. The profanity is an exclamation we expect from such a character, and some authors (and readers) feel strong language is justified because it lends itself to realism.

Don’t worry about the torpedoes! Full speed ahead!

It could be argued that fictional characters cannot be directly quoted, so providing alternatives to profanities is not going to change the meaning. To expand on that counter-argument, let’s look at Tim O’Brien’s novel The Things We Carried, which is introduced as a nonfictional memoir of American soldiers in Vietnam. Strong language is used throughout the book; these were real men surviving war, and if changing an experience invalidates it, we should expect nonfiction writers to honor the language as much as they can. However, at the end of the novel, readers come to understand that it was never a memoir; none of the men were real, and it takes first-time readers by surprise because the details are so accurate, so realistic, that it’s more unbelievable to think these characters weren’t human. The language they use is shocking, but expected. If O’Brien created fake characters and let them swear like soldiers, was he being profane, or was he representing the soldiers who did exist, even namelessly? Writers argue that these vulgarities are tools for intentionality. We would not correct real human beings for their profane statements; why should writers have to tiptoe around fictional characters inspired by those same people?

Influential comedian Richard Pryor noted, “What I’m saying might be profane, but it’s also profound,” suggesting that strong language can convey powerful messages. What’s more is the fact that writers are crafting something; their decisions in their work are not always meant to represent their personal values. Conflict and antagonists must exist to create a story, and these conflicts can sometimes be gruesome, raw, and violent because the protagonist has to overcome these evils to develop. To this day, Cormac McCarthy’s The Road is impacting lives because of its haunting imagery. McCarthy wrote about characters that would kill their own children to survive; does that mean he agrees with the tactic and would implement it himself? No. The same could be said for writers who use profanity. These writers can uphold Oscar Wilde’s insight: “I didn’t say I liked it. I said it fascinated me. There is a great difference.”

3 Reasons Why You Should Feel Justified Not Using Profanities in Your Writing

On the other hand, writers are meant to develop the skills of producing powerful emotions without leaning on the reader’s shock. C.S. Lewis wrote to a young author about adjectives saying, “…instead of telling us a thing was ‘terrible,’ describe it so that we’ll be terrified. Don’t say it was ‘delightful’; make us say ‘Delightful!’ when we’ve read the description. You see, all those words…are only like saying to your readers ‘Please, will you do my job for me?’”

Don’t say it was ‘delightful’; make us say ‘Delightful!’ when we’ve read the description.
C.S. Lewis

The same reasoning can apply to using vulgarities. Writers claim that using profanity is a signal of lazy writing, and Mark Twain humorously suggested, “Substitute ‘damn’ every time you’re inclined to write ‘very;’ your editor will delete it and the writing will be just as it should be.”

Writers who won’t use profanities have to adapt their work around the void, and doing so can make it just as impactful, particularly since vulgarity for shock value is a detriment to the reader and potentially to the work, especially the more it is used. For example, when you hear about the 2013 film “The Wolf of Wall Street,” you may not think about the story of corrupt stockbrokers in America. Instead, you probably remember it as being the most expletive film in history. The consequence of “realistic” profanity? This film won’t be remembered for the characters or their development, nor the conflict or how it was or wasn’t overcome, but for its use of over 700 swear words. Realistically, this is profanity. Outside a Latter-day Saint community, people use strong language as frequently as any other part of speech. If writers want to claim profanity as realism, they may find their work being analyzed for reasons they didn’t intend.

Using profanities is not as tempting when you realize that there are ways to work around doing so. Great men and women throughout history have avoided using profanities, even when they could have been justified to do so. Teddy Roosevelt, America’s 26th president, didn’t swear.

Using profanities is not required to develop a unique character voice.

Instead, according to Mental Floss’s article “16 Savage Teddy Roosevelt Insults,” he employed colorful phrases to describe his frustrations. Rachel Hawkins’ young adult novel Rebel Belle produces a narrator who censors her friend’s strongest language throughout the story because “this is my story, so I’m cleaning it up a little.” Language contributes to realism, and using profanities is not required to develop a unique character voice.

Who is Right and What Really Matters

Both sides of the argument are so compelling and it makes the decision that much harder. We are advised to use “praiseworthy” language, but as artists, we aim to reveal the truth of our reality. Toni Morrison’s novel Beloved is one of the most influential stories of our time, and it uses explicit violence and language to tell the truth. Writers can’t be expected to use profanities to deliver that truth, but I would say they can’t be expected not to either. This debate is one for the ages.

In the end, I can only say to write what is true to you. Validation of your art is not necessary for it to exist; what you write will continue with or without others’ approval. Whatever language you decide to implement, I simply recommend that you do so deliberately and with the understanding that your words—profane or not—carry a meaning that will affect your readers. What you choose to put in or take out can change your story in big ways and little ways at the same time: To Hell and Back told the true story of a soldier who witnessed the death of his best friend, and whether Lattie Tipton died on a hillside or in Audie Murphy’s arms, he still died.

Lizzy Pingry is a full-time editor and enthusiastic writer. She graduated with a degree in English and emphasis in creative writing from BYU-Idaho and has worked as an editor on multiple projects since 2016. She lives in Idaho with her husband and their cat, Jack.

5 Reasons You Should Read “Done!” by Don Aslett

June 23, 2021 By Jeremy Madsen 2 Comments

By Jeremy Madsen

Do you perpetually have a dozen too many irons in the fire? Do you struggle to keep your head above the flood of work projects, Church duties, family responsibilities, personal commitments, emails, text messages, phone notifications, laundry, dishes, and prayers? Is your life’s greatest problem that of never getting enough done?

If so, I strongly recommend reading Don Aslett’s masterpiece on productivity: Done! How to Accomplish Twice as Much in Half the Time—at Home and at the Office.

From when I was first introduced to Don Aslett’s books growing up (via my mother, herself a model of effective productivity), to when I revisited them this last year, I have found each of his publications inspiring and empowering. Done! has shown me how to get more done more quickly and more effectively, with less hassle, less stress, and less wasted energy. Here are five reasons why you should give Done! a try:

1. Don Aslett knows what he’s talking about

Rarely do the credentials of an author matter more than for a book touting itself as being about productivity. In this regard, Don Aslett leaves the masses far behind. The founder of a cleaning company now with over 4,000 employees, author of 40 books, and sought-after speaker and presenter, Don Aslett embodies the principles he teaches. (And he’s a Latter-day Saint!)

**2. Done! is packed with actionable and specific advice**

Done! offers no gimmick, secret formula, or calendar system for productivity—instead it is packed with specific strategies, tactics, and principles for cutting out time-wasting habits, approaching common problems in more efficient ways, and maintaining motivation and momentum throughout your day and week.

For example, chapter 3 is devoted to listing and describing in gory detail all the activities that rob us time, space, and energy, including three I’m especially guilty of as an editor and writer: interruptions (silence that phone when working!), oversleeping (get up when that alarm goes off!), and “rubbish reading” (ignore those tempting click-bait articles!). This book will help you identify your own productivity weak points.

**3. Done! will make you rethink conventional productivity “wisdom”**

Occassionally, Don Aslett offers advice that runs counter to the standard productivity fare. At one point, he warns against following schedules—at least, schedules that we rigidly stick to. “Schedules will bind and stiffen you if you follow them too closely. People who have become such expert schedulers that they run around with a planner in their hand at all times lose creativity and flexibility—the schedule becomes their master.” He then tells a story of how, when two weeks of solid rain threw off the yard work he had planned (“scheduled”) during a trip to their summer home in Hawaii, he immediately pivoted to use the time to draft an entire book, write some TV scripts, and even fly to New York and back for a business trip—all completely “unscheduled.”

**4. Done! is a fun read**

Done! is a delightful book to read. Each subsection is largely self-contained, meaning I can pick the book up for a three-minute motivational pick-me-up while waiting in a doctor’s office or giving a bottle to my baby daughter.

Don Aslett shares many anecdotes—from his own life or others’—that infuse life into his book, grounding each piece of advice in a concrete, memorable, and often funny story or observation.

A warning: Don Aslett’s positive, even exuberant attitude towards productivity is highly contagious!

**5. Done! will teach you the greatest secret of productivity: be early!**

In chapter 5 (my favorite chapter), Don Aslett lays out what he believes is the one great “secret” of getting more done: be early! A task performed one week early (or one day or one hour) can be three or five or ten times more effective than the same task performed on-time or late.

In the last week alone, here are ways I’ve seen earliness or lateness affect my life for good or ill:

Early: My wife was assigned to prep some Father’s Day card assembly kits for a family reunion. She finished the kits more than a week in advance, and she also made extra. When I needed a Father’s Day card on short notice three days later, it was a cinch!
Late: For a teacher council meeting, the Sunday School counselor in charge didn’t finalize or announce the topic until an hour before church, meaning no one had time to study the material beforehand.
Early: When our temple opened to phase 3 during the 2020 pandemic, I jumped online within the hour and reserved our family a session on the best day for our calendar. Later that day, every available reservation for the next two months had been filled.
Late: We invited a couple to join us for the sealing session we had scheduled, but the husband had let his recommend expire during COVID, meaning he’d either have to miss the session or scramble to set up two recommend interviews in a week’s time.
Early: On a vacation up to Idaho, we reserved a hotel in Pocatello several days in advance. When we got to the hotel and checked in, we learned from the desk staff that every hotel in Pocatello had since sold out for that night!
Late: My wife and I were planning a cross-country move and began apartment hunting about a month out. But by then, many of the places we called had no available units until two or three or even four months after our moving date, decreasing our options and multiplying our stress.
Early: I gave myself plenty of time to arrive at an unfamiliar airport. After taking 20 minutes to navigate security, I looked around—and realized I was in the wrong terminal! I had to go back out of security to another corner of the airport and pass through a different security checkpoint—but I had arrived two hours before boarding time, so I never felt stressed or rushed!
Late: On a trip I took this week, three out of my four flights were delayed almost two hours beyond their original departure times. I have seen one long round of stressed passengers, tired booking agents, long help-desk lines, and missed connections. The shockwaves of those late flights disseminated outward like ripples, delaying and postponing everything in their path, from vacation plans to babysitting arrangements to other flights—and the vicious cycle of lateness rolls on.

Think about your typical workday. How many projects do you stress about because they’re behind schedule? How many emails do you get asking you to solve a problem caused by somebody being late? How many opportunities do you lose because you respond to them three days after hearing about them, instead of three minutes or three hours? How much prime writing or editing or brainstorming time do you lose in the morning because you sleep in? Take a page from Don Aslett’s book—be early!

Still not convinced? Listen to this endorsement from the Lord Himself: “He that seeketh me early shall find me, and shall not be forsaken” (Doctrine and Covenants 88:83, emphasis added).

Get more done with Don!

If you want to reach more of your goals, if you want to win the fight against your endless to-do lists, if you want to make a greater impact on the world—I cannot recommend Don Aslett’s book Done! more highly. A delightful read packed with time-tested tactics and unforgettable anecdotes, Done! will forever change the way you approach your workdays and weekends. You don’t even need to read the whole thing—just mine it for all the five-minute nuggets of wisdom it contains. Then put away the distractions, ignore the diversions, and start doing!

Jeremy Madsen is a fantasy writer, freelance editor, and biblical scholar. With his three siblings, he runs the website Atrium of Light, a repository for scripture songs used to memorize scripture passages through music. Jeremy is the founder of Universal Cape Day (March 10), a day to wear a cape, look epic, and feel heroic. He currently lives in Columbus, Ohio, with his wife and kids. He is also the operations manager for LDSPMA.

Lessons in Spaghetti Sauce, Horseradish, and Peace: What Creators Can Do to Lift the World

June 16, 2021 By Tyler Nelson 4 Comments

By Tyler Nelson

To a Worm in Horseradish, the World is Horseradish

A week after the general conference in April, I was reading through articles from my favorite author, Malcolm Gladwell. Malcolm has written on just about every subject, from dogs to Challenger, sneakers to police officers, and even David and Goliath. The article that struck me that day was about spaghetti sauce. Specifically, the connection between spaghetti sauce, choices, and happiness. It made me hopeful.

The gist of the article was that back in any decade before the 90s, a lot of people were eating one, maybe two, kinds of spaghetti sauce. Howard Moskowitz, a market researcher and psychophysicist who Gladwell interviewed, said that people only ate one kind of spaghetti sauce because they were only aware of one kind of spaghetti sauce. In those days, that kind of spaghetti sauce was the thin and runny kind. Maybe that is your thing, and maybe it’s not. That is what the sauce companies wanted to find out.

So, some of those spaghetti sauce companies whipped up new batches of spaghetti sauce: chunky, garlic, and extra tomato. These flavors existed, but they weren’t prevalent. The sauce companies loaded up the sauce in trucks and set out across the country on taste-testing missions. What they found was incredible. People were floored by the new flavors! They loved them! Most importantly, the people listed their satisfaction as being much higher than before. They were happier!

Moskowitz shared his take on a Yiddish proverb to explain the situation: “To a worm in horseradish, the world is horseradish.” To put it simply, what it means is that sometimes when we are put in a situation or circumstance in life, we have a hard time seeing beyond it. It can often become our world.

Coming out of COVID

Has anyone else felt like a worm in horseradish over the last year and a half? As we enter this summer, we do so with a lot of emotion. Sadness, anxiety, loneliness, even anger. Many people have lost loved ones. Some have lost jobs or face other financial difficulties. Grandparents have gone months and months without seeing their grandkids.

If you have paid any attention to the news, you’ve watched as the political temperature has risen and continues to rise. One could not get on social media or watch the news without hearing or seeing some kind of hateful vitriol. There have been accusations, violence, and widening gaps among friends and family when we should be bonding together. It has truly been hard to find a haven.

Elder Jeffrey. R Holland addressed the situation of the world in his recent April 2021 general conference talk “Not as the World Giveth.” He said:

Two thousand years ago, the Savior warned that in the last days there would be ‘wars, and rumors of wars,” later saying that ‘peace [would] be taken from the earth.’… Brothers and sisters, we do see too much conflict, anger, and general incivility around us … with real deficits of faith and hope and charity all around us.
“NOT AS THE WORLD GIVETH,” ELDER JEFFREY R. HOLLAND

Elder Holland knows that these have been, and may continue to be, trying times. But he also knows that there is something that can lift us, guide us, and comfort us when we need it. And we can find comfort in knowing that if an Apostle of the Lord is aware of the situation, the Lord is aware of our situation and is more than ready and willing to give help, aid, and assistance in whatever form that we might need it. With the help of Jesus Christ and His gospel, we can be happy.

In his talk, Elder Holland shared how Christ shared His peace:

Prior to that first Easter, as Jesus concluded the new sacramental ordinance He had administered to the Twelve, He began His majestic farewell discourse and moved toward Gethsemane, betrayal, and crucifixion. However, sensing the concern and perhaps even outright fear some of those men must have exhibited, He said this to them (and to us):

‘Let not your heart be troubled: ye believe in God, believe also in me. …

‘I will not leave you comfortless: I will come to you. …

“Peace I leave with you, my peace I give unto you: not as the world giveth, give I unto you. Let not your heart be troubled, neither let it be afraid.’ …

…Such help and hope are dearly needed because in this worldwide congregation today are many who struggle with any number of challenges—physical or emotional, social or financial, or a dozen other kinds of trouble. But many of these we are not strong enough to address in and of ourselves, for the help and peace we need is not the kind ‘the world giveth.’
“Not as the World Giveth,” ELDER JEFFREY R. HOLLAND

Benjamin’s Runners

As members of Latter-day Saint Publishing, Media & Arts (LDSPMA) and The Church of Jesus Christ of Latter-day Saints, we find ourselves in a unique and powerful position. We are writers, readers, podcasters, artists, singers, publishers, and so much more. The theme for LDSPMA this year is “Voices of Light,” and we have the amazing capacity to help bolster and uplift those around us. In the negativity and the fear of the world today, we can break through. We have ways to spread light and joy, to give not as “the world giveth,” but as Christ would.

One of my favorite stories in the Book of Mormon comes at the beginning of Mosiah. The venerated King Benjamin summons all his people to the temple so that he can speak to them. They arrived in masses, setting their tents up around the temple. King Benjamin finds that even speaking from his tall tower, not everyone can hear him. So, what did he do?

He caused that the words which he spake should be written and sent forth among those that were not under the sound of his voice, that they might also receive his words.
Mosiah 2:8

I especially love the depiction of this in the Book of Mormon videos. A group of young messengers is tasked with taking the written words out to the people so that they can be read and that the people might understand. These messengers take their assignments seriously, and when they get the missives they sprint out to their assigned areas to deliver. We can be, and we need to be those runners. As the world continues to rage and more and more people find themselves lost in the dark and trapped in negative mindsets, we need to give them the tools and the help and the words that they need to be free.

Most importantly, what was contained in the message that King Benjamin’s runners delivered?

I would desire that ye should consider on the blessed and happy state of those that keep the commandments of God. For behold, they are blessed in all things, both temporal and spiritual; and if they hold out faithful to the end they are received into heaven.
Mosiah 2:41

Peace. Life. Love. An escape from the things of the world. And who does King Benjamin declare this message will go to?

The time shall come when the knowledge of a Savior shall spread throughout every nation, kindred, tongue, and people.
Mosiah 3:20

The world has been a bit of a dark place for a long time now. But there is hope in the Savior. There is life. There is light. And we can share it. If a change in spaghetti sauce can make people happier, imagine what the gospel can do! There are people out there who need to see their options, and we are the creators who can deliver them. Whether it is in print, film, audio, or any other medium, we can spread the message of Christ. As you prepare your next piece, compose, or speak, remember we can help lift that darkness by delivering messages of light. By delivering the message of light:

Peace I leave with you, my peace I give unto you: not as the world giveth, give I unto you. Let not your heart be troubled, neither let it be afraid.

Tyler Nelson is an English major at Utah Valley University and will graduate with his bachelor’s degree in creative writing this fall. He is the author of five published short stories, including Letters From Bahati, which can be found through Owl Canyon Press. He hosts the Mission Report, a podcast all about interviewing returned missionaries and letting them share their experiences and advice for future missionaries. Tyler and his wife currently live up on a hill in Provo, UT.

Questions Every Writer Should Ask Themselves

June 9, 2021 By Steve Dunn Hanson Leave a Comment

By Steve Dunn Hanson

In high school my most dreaded assignment was to write a composition. Give me a book, like Orwell’s 1984 back then, and you could just about say goodbye to me until I had finished it. But writing . . . ? Hand me a math problem or a science project or, preferably, a basketball or a MAD magazine. Just don’t ask me to write, or, even worse, give a talk.

Maybe my handwriting had something to do with this aversion. The lowest grade I ever received in school was in penmanship in the fourth grade. Mine was the poorest in the class. The teacher told us that she would give a book, The Magic Bus, to the student who improved the most in penmanship. It was no contest. I was so bad nobody could possibly improve as much as I could. I got the book, but bettering my handwriting never got close to the top of my I-want-to-do-this list again. Thank goodness for typewriters and computers!

So, when did my attitude about writing and speaking change, and why? Well, weird things sometimes happen when you grow up. For me, I began to discover that I had something meaningful to say. And if I was going to effectively share with others what I was observing and experiencing and thinking, I had to do something about my subpar communication skills.

I began to discover that I had something meaningful to say.

While each of us has our own unique path to where we are today in the use of our creative talents, all of us are faced with the same ongoing and defining question: Why am I doing this? Is it for money, or for recognition, or to be famous? Is it to make others happy, or to help others overcome challenges, or to share knowledge, or to provide entertainment? Will it give me an outlet for something in me that needs to get out, or fulfill my desire to achieve, or give me a satisfaction-high by watching something new and even beautiful flow from me? Or is it my duty to create?

Any or all the above might be our answer. But whatever our reasons for creating, we need to count on snags along the way. My foray into getting my first book published illustrates this rather dramatically. And, I might add, that this initial rollercoaster experience of mine has been replicated, in one form or another, a myriad of times throughout my creative journey. Here’s how it went.

Some 40 years ago I had two articles published in the Ensign magazine within a year or two of each other. That confidence builder got me thinking about writing a book. And I knew just the book I wanted to write. As a young man, I had an extraordinary Church mission to Australia. It had everything. Gobs of spiritual highlights. Dangers. Depressions. Really funny incidents. And even why-am-I-out-here gut-punchers. I could literally go 3,000 miles from one end of my mission to the other and be on islands or in the tropics or deserts or snowy mountains. I labored in small outback towns that were 100 years behind anything I had ever experienced as well as in a dazzling metropolis that boasted world-class beauty. All of this plus out-of-this-world fauna like kangaroos, emus, koalas, echidnas, and platypuses. I was in an exotic zoo with no cages.

In sum, my mission was an adventure I never dreamed possible, and I was certain the world would be waiting with bated breath to read about it! But after my initial enthusiasm, I was struck with a balloon-popping realization. Who would ever want to buy a book about the mission of a nobody like Steve Dunn Hanson? And with that came a critical question. “Why do I want to write this book? Really!”

Why do I want to write this book? Really!

Significant soul searching resulted and some course-guiding answers came. I decided my primary objective in writing was to help young missionaries find out who they were so their missions could be the life changing experience for them that mine was for me. Now all I had to do was write the book so it would appeal to a publisher and entice young men and women to read it. That shouldn’t be too hard. After all, the Ensign published two of my articles. Dream on!

I titled the book The Mission. It was a fictionalized account of some of my mission experiences with a focus on the changes taking place in the life of my protagonist, Elder Pete Hewitt. I wrote it as a series of letters that brought the reader into Pete’s mission and mind in a unique and intimate way. I submitted my manuscript to a major Latter-day Saint publisher and within two or three weeks I received a phone call from the managing editor saying they wanted to publish it. Well, I thought, what was so hard about this?

Then reality hit.

Someone on the publisher’s board of directors didn’t like the book—too realistic they said. Remember this was over 30 years ago, and Latter-day Saint fiction tended to be more vanilla then. I soon received a “with regrets” letter from the managing editor. They would not be publishing it. I picked myself up off the floor (I stayed there for quite a while!) and submitted my work to other Latter-day Saint publishers. My rejection letters piled up until I received an acceptance from a very small publisher. That was an almost euphoric experience, but I was learning to restrain my hope. A publishing date was set, and then . . . reality hit. Again.

The company didn’t have the funds to publish it for a while, they said apologetically. I could wait for when they did (no date was given), or, if I wanted to do this now, they would help me self-publish it and would distribute it for me at a special price. I would, of course, foot the bill. I had run out of options, and since I had the funds, that’s what I did.

Amazon didn’t exist back then, and there wasn’t a plethora of publishing, marketing, editing, formatting, or distributing services to get a self-published book up and going. My would-be publisher, however, was good to their word and successfully guided me through the process. A learning experience, and an expensive one. I printed 7,000 hardback copies, and Deseret Book and other Latter-day Saint bookstores carried them. It was all working. At one point, Deseret Book even told me The Mission was their top-selling book for the week.

And then . . . (Stop me if you’ve heard this before).

While all copies of my book were ultimately sold, my publisher/distributor declared bankruptcy somewhere along the way, and I was sans thousands of dollars in royalty compensation. But fortunately, that was not the end of the story.

Over the years, I have had countless people tell me how that book changed their mission. Changed their lives. And even today, decades later, I have had grandfathers approach me to tell me how my book affected them deeply when they were struggling with their missions. And I’ve thought, it didn’t just affect these now-grandfathers, but through them their children and grandchildren as well. My book was a success in the most meaningful way it could be. It accomplished what I wrote it to do.

My answer to the “Why” question back then was the right answer and put me on a convoluted but exceptionally rewarding path. The ride was amazing . . . especially looking back. But, then again, maybe I have just described life.

How we respond to the “Why” question, of course, is affected by how we answer another question: Where does my talent come from? Am I the source of my creative genius and solely responsible for how successfully it is manifested and received? Or is my talent a gift from God that He has given me stewardship over, and my magnifying it requires an abundance of His grace?

How we respond to the “Why” question is affected by how we answer another question: Where does my talent come from?

While I, for one, find it disturbingly easy to drink in accolades and internalize praise, that is literally a dead-end street. I wrote a little poem about that.

When I think
that it is me,
I find my glint
is hard to see.

As I lose myself in Him,
His Beam bursts forth
where e’er I Am.

When we perceive that we are the sole or primary source of our talents, we will likely focus on ourselves. A dim light indeed. If we recognize the gift-nature of our abilities, we will strive to know what the Lord wants us to do with the talents He has given us. On an admittedly bumpy and inconsistent road, we will also grow and learn to become an extension of Jesus Christ; an instrument in bringing about His purposes. We are then entitled to have the Spirit work through us, and what proceeds can be far beyond what we are innately capable of producing.

How we answer the “Why” and “Where” questions will affect the content, quality, and impact of our creativity. But those responses beg another question that is even more important. Are they congruous with who we really want to be eternally? If not, perhaps we should consider reprioritizing some of our objectives.

Steve Dunn Hanson has a BS in economics and an MA in political behavior. He has served in many community and Church capacities, including as a jail chaplain, stake president, and member of a temple presidency. He lives with Joyce, his wife of 57 years, in northeast Washington and is the author of several books, including The Course of Fate, a fiction trilogy currently available on Amazon.

Showing Versus Telling to Write Compelling Dialogue

June 2, 2021 By Emma Heggem Leave a Comment

By Emma Heggem

To write a good conversation, you first need to be picky about what conversations make it into your book. A conversation that doesn’t affect the story, no matter how dynamic, realistic, and well-written, will feel like an unnecessary aside. Dialogue takes up a lot more space than narrating a conversation would. It needs to earn that space by showing readers something important. Characters need to learn valuable information through the conversation, whether that’s the password to their bank account or the state of another human being’s emotions. The things that are talked about must change the story or the character by being known.

There are some things that come across particularly well by being shown to readers in a conversation. One example is relationships. Readers don’t like to be told about a relationship between two characters. They want to feel the connection for themselves, which means that it is very important to show relationships and show them changing over the course of the book. Downtime or relationship-changing moments for characters, including dialogue, can help readers feel the bond between the characters and be invested in the relationship. This is true whether the relationship is improving or declining. Inter-character conflict is just as important to show as characters falling in love.

Decisions can also work well as dialogue conversations. Inner monologues can get tiring to read and can drift into angst or get repetitive. Real people mull over the same thing again and again when making a decision, but characters need to avoid boring their readers. One way to show them pondering a decision without sitting inside their head and going in circles is to have them talk their decision through with another person. This pushes them forward and forces them to move through each part of the decision and then move on. When the character weighing the decision gets bogged down, their friends or listeners can express the same frustration the readers will be feeling and cut them off.

Another excellent use of dialogue is to provide the reader with an active and dynamic account of events that your point-of-view character wasn’t present for. This can help tone down unnecessary telling in your novel. The characters who were present can retell the story, be asked questions, and even be unreliable when it suits your needs. That’s much more interesting than a factual summary of important events.

Speaking of things your point-of-view character doesn’t know, dialogue is a great way to show readers the emotional state of your other characters without necessarily cluing your POV character in. Is one of your characters keeping a huge secret? Is a side character madly in love with your oblivious main character? By showing the conversations directly to the reader, you allow the reader to pick up on things that the point-of-view character doesn’t notice. This can help fill in the blanks and explain complex side-character motivations without having to switch POV.

As with most forms of showing, dialogue takes up more time and space than narration does. Choosing which conversations to show your readers is a very important step towards making sure that the conversation will be compelling. Don’t waste time with dialogue that isn’t going to strengthen your story. Focus on the moments that readers truly need to hear (read) about and you will end up having a much easier time keeping them interested and invested.

Happy writing!

———————————————————————————————

Emma Heggem is the managing editor with Future House Publishing. She specializes in content editing sci-fi and fantasy novels. She has worked with authors from around the world to prepare their manuscripts for publication. When she’s not editing, she attends writers conferences to take pitches, give critiques, and talk to aspiring writers about the mysterious world of publishing. Emma graduated from Brigham Young University with a degree in English language and a minor in editing.

What Is LDSPMA Really About?

May 26, 2021 By LDSPMA Leave a Comment

By Michael I. Judson

Years ago, I worked for Novell, a company that, at one time, was the world leader in computer networking software. You might think the way the company got so big was by focusing on beating out all its competitors, but our mission statement was just the opposite. It was: “To grow the networking industry faster than it would without us.”

That mission statement seemed counterintuitive at first. Why spend time and resources helping everyone else in the industry when we had our own company’s success to look after? But over time, the wisdom of that approach began to manifest itself. You see, personal computers were relatively new at the time, and networking them together was a novel concept, so we needed help to create awareness and demand for products in our industry.

Without the infrastructure of the industry, our leaders knew the company would never succeed, so we developed our own trade show and aggressively invited other companies to participate. We sponsored training and professional certification programs, started our own industry magazine, and published newsletters for resellers and dealers. And we sought out mutually beneficial partnerships with other technology companies.

So, what has all of this got to do with the Latter-day Saint Publishing and Media Association? Of course, we are not out to dominate some “industry.” Rather, we want to bring the light of the gospel of Jesus Christ to as many people as we can through the creative works of gifted writers, artists, musicians, filmmakers and more. And the best way to do this is by helping everyone who has a similar desire, to reach their goals—including organizations that may look a bit like ours.

Borrowing a well-known metaphor, we want to be a part of the “rising tide” that helps to “lift all boats.” Yes, we want to succeed as an organization; otherwise, why exist? By collaborating with other organizations and individuals with a similar vision, we can help to inspire more creativity, develop more opportunities for sharing ideas and creative works, and establish more connections with more people who share a passion for spreading praiseworthy works to a sometimes dark and dreary world.

Announcing . . .

With that as a backdrop, we are thrilled to announce a partnership with the American Night Writers Association (ANWA), which will begin with LDSPMA and ANWA each promoting the other’s annual conferences.

ANWA is a professional organization for writers and members of The Church of Jesus Christ of Latter-day Saints, whose purpose is to encourage, assist, educate, and motivate Church members to write, and, if they desire, to publish their works.
Learn more about ANWA at their website or on Facebook or Instagram, and watch for additional announcements from LDSPMA about partnerships and sponsorships to help us serve and inspire more Latter-day Saints who are interested in publishing and media.
And if you are part of an organization that shares our vision and would like to explore partnership or sponsorship opportunities with LDSPMA, please contact me at mjudson@ldspma.org.

Mike Judson is a professional communicator, author, and the LDSPMA Director of Development.

7 Ways To Help Readers Discover Your Books

May 12, 2021 By LDSPMA 1 Comment

By Karlene Browning

When you publish your first book, you aren’t just putting a story out there. You are launching a brand and an identity that will travel with you over the course of your writing career. If you do it right, it will help lead readers to you in a natural and organic fashion. If you do it wrong, it will confuse readers and they will get lost on their way to finding you.

While each of these tips has its own set of pros and cons, whys and wherefores, rules, and reasons to break the rules, this tip list will help your readers find YOU when they’re looking for a good book to read.

1. Pick your name

As your brand, your name needs to be unique enough to differentiate you from other authors with similar names. Do a Google search. If you happen to share a name with another author or a famous person, consider adding an initial, using a middle name, or using a less common pen name.

When a reader finds an author they like, they will Google the name on the cover of the book. You want them to find you online wherever you are. Whether you’re Jane Doe, Jane S. Doe, or Jane Smith Doe, that is your brand and you need to use it on every book cover and on all your online author accounts.

2. Claim your name

Before your name is set in stone, make sure you can get it as a .com, a Google ID and gmail address, and on the social media platforms you prefer. You want identifiable and consistent name branding across as many platforms as possible.

Here again, Google is your friend. If the .com is taken, adjust your name until you find a variation that you’re comfortable with, then grab the URL and social media account names as fast as you can. Even if you aren’t quite ready to publish, get them NOW!

3. Avoid too many pen names

There are several valid and legitimate reasons for having multiple pen names. Just know that for each name, you start all over from scratch to build a brand and platform. You’ll need a website, social media accounts, and emails for each one. Is it worth it?

In most cases, differentiating genres is not a good reason to create a new pen name. Readers usually find you through the genre they like best. If they like you, they will give your other genres a try. A good website will let them know what to expect in each genre.

The only time it truly serves you to use a second (or third) name is if one area of writing would offend established readers or damage your reputation. For example, if you write both Middle Grade and soft porn, use a pen name. Or if you write academic papers on quantum physics and Regency Romance, use a pen name or your academic peers will snicker behind your back.

4. Get a website

You need an online presence with a permanent URL and an easily searchable website or blog. (Facebook and Twitter are add-ons, not adequate author sites.) Unless you know you are only going to write one book, your URL should be your name (see tips 1 & 2), not your book title. Not only will a website help people find you, but it gives them something to link to when they want to share your books with their friends.

While you can start with a free site, I recommend a hosted domain as soon as possible. Free sites can change policies or close down at any time. At the very least, point that URL from tip #2 to your free blog, and use that URL on business cards and book bios.

5. Post your books on your site

You would think this is one of those “duh” statements, but you would be surprised at how many author sites and blogs I go to that have absolutely no mention of their books. At all.

Somewhere on your site, you need a tab or button that says BOOKS. A simple list of each book and/or series in suggested reading order is the minimum. Ideally, each book would have its own page with a large cover image, title, release date, publisher, ISBN #, genre category, description, and links to where the books can be purchased. Keep this information current!

6. You need an About Page

Readers want to know who you are, not just what you write. A good website always has an About page with a photo, a short professional bio that bloggers and news media can use, and perhaps a longer bio just for fun. It also needs to include links to all of your active social media sites and a way to contact you.

Your photo should be a nice image that will clearly identify you everywhere. Use this same image on your Amazon, GoodReads, Facebook, Twitter, and all profiles where you are acting as your author identity. Even if you’re camera shy, you can come up with something.

This isn’t to say you can’t change it up sometimes or use more casual photos on social media. The goal is to have your readers recognize you, no matter where they find you.

7. Email

You MUST have a way for people to contact you. I can’t tell you how many times I’ve tried to reach an author for an interview, presentation, or tell them they’ve won an award, only to discover there is no way to contact them.

As to the email address itself, no self-respecting author would use missfancypants@whatever.com. If at all possible, it should be your name as it appears on your books, JaneDoe@whatever.com.

These seven simple tips will make it easier for readers, new and old, to find your newest releases.

Karlene Browning is a publisher, editor, typesetter, and book designer at www.Inksplasher.com