This means:

• How much money are you trying to make? 
• Is that number sustainable for you and yours to survive? 
• Can you factor in days off for vacation and sick days with that number? 
• What about a surprise pregnancy? 
• What about shopping during the holiday season? 
• And emergency expenses like a new car transmission?

The money matters. I’m passionate about this because when I started my indie author journey, nobody stressed the coin to me. And because no one stressed the importance of the coin, I lost a lot of it.

Now, I make sure I plan how to get to the bag and build a successful authorial business.

I need you to do the same. Take off your hobbyist hat. Even take off your author hat. Now put on your entrepreneurial hat. It’s time to think like an entrepreneur. It’s easier than you think to set up your next authorial calendar year for success.

To start the journey, you’ve got to plan your money.

Plan Your Money

Do you know how much money you want to earn in your business by the end of next year? I’m sure you have a lotfy idea of what number you’d hope to reach every month. Perhaps you even know what you’d like to make every week.

But what about the amount you’d be proud to bring home from your books at the end of the year after taxes?

This is important to note because your financial target will determine the activity you execute to reach your goals. 

I hope you caught that: The number you are working to earn by year’s end will determine what you do every month, week, day, and hour to hit that goal. 

It’s important for you to know where you’re headed so you can identify which paths will take you there. Once you know how to get there, you’ll then be able to see what’s the quickest way of reaching the goal.

Then you can publish with purpose.

Identify your numeric goal posts

The first step to plan your money is simple: identify your goal for the following year.

Really. Just pick a number.

Whether you want to make $100K. $250K. Or even $50K – $75K. The number is up to you. Whatever you’re comfortable making that will provide a nice cushion for you and your family, go with that.

Once you identify the number, you need to break it down. Saying you want to make $100,000 in 365 days might be terrifying. 

So work backwards:

To reach $100K in 12 months, you need to bring home $8,333.33 each month. This may still seem terrifying, yeah? No worries. Let’s break this number down.

To earn $8,333.33 every 30 days, each week your books have to earn $2,083.33. Some of you make more than this at your day job. So this doesn’t seem too much, right?

If you’re reading this and you’re still huffing and puffing—let’s break it down even more. To earn $2,083.33 every 7 days, your books need to earn $297.62 (rounding up) every single day.

This amounts to you needing to sell 12 to 13 books every single hour.

Note: This doesn’t factor in taxes, tithes, etc.

So if you sell 12 to 13 books every hour for 12 months, you’ll hit your income goal of $100,000 by the end of next year. Knowing this number will make it crystal clear on what you’re reaching for, so you can then identify how to reach it.

Identify how you’ll achieve the numeric goal posts

Knowing how you’ll reach those numeric goals is also pretty simple.

It boils down to IPAs. Income Producing Assets. As an author, you need to get clear on what your money makers are. Do you have one standalone? Two completed trilogies? 30+ books published in different series? Multiple series in multiple genres?

Sit down and identify in writing what all of your IPAs are. List out how much each costs. If you’re still writing, this is the perfect time for you to know what numeric goal you’ll be shooting for so you can determine how many books you’ll need to reach the goal.

Note: Not all IPAs have to be books. Candles, mugs, stickers, character art, pins, and all forms of book swag count as IPAs. You might have one novel, but you can package it up with a mug, candle, some art, and a journal in a box that ships for $57.00 to your readers at home and abroad. 

This is part of how you’ll achieve your income goals. Take some time to list out all the ways you can take one product (the novel) and stretch it to different income streams. Crunch numbers and make it plain what activities you need to do, and how often they need to be done, so you can hit your goals by the end of the following year.

Put a system in place to reach your numeric goals

Systems were something I stuck my nose up at until burnout knocked on my door and made a permanent home. Not only that, I lost a crap ton of money because I didn’t have solid systems in place to keep coin flowing.

Have you ever considered that each aspect of publishing requires systems? Systems aren’t only important for marketing your business to access high levels of exposure. They are also important for the writing through the publication phase.

Consider the following:

• How long does it take you to write a scene? Or 3K words?
• When are you most productive?
• What environment do you need to establish to access your writing flow?
• What tool do you use to write?
• What are you using to track your progress?

Knowing the answers to these questions is a system. How you get your work done as an author is a system. Because when it’s time to start the next book, you’ll go through this exact process all over again. 

Once you’ve finished writing a book, ask yourself these questions:

• Do you do your own developmental edits?
• Are betas involved?
• How many drafts will you do before submitting the manuscript to an editor?
• How about line editing? 
• When do you factor in time to just re-read?
• How long does this process take?

Every minute, day, week, or month different parts of the publication wheel take you to finish takes up time on the timeline of reaching your numeric goal by the year’s end.

You need a system for writing. You need a system for editing. You need a system for publishing. You need a system for marketing. You need a system for growing. You need a system for scaling.

At what point of this process can you start monetizing? What do you need to do to monetize? Are you emailing your subscribers every week? Are you texting them? Will you do reels on Instagram? Will you post creative Tik Toks? Will you go Live on Facebook? Are you going to start threads on Twitter?

What activities can you do that require the least amount of effort but produce the most amount of results? How can you write fewer books and still sell to more readers so you can reach your goal faster?

You won’t hit your goal through the sheer will of your determination and efforts. Your goals will end up submitting to the default of your systems. If you’re all over the place as an author, you can tell that monetary goal sayonara.

But if you plan your money, if you sit down and write what you’re shooting for, how to get there, and what systems to establish to get it, you’ll be tap dancing into the following year.

Make the commitment to plan your money for next year before this one ends. Planning makes you purposeful. Being purposeful makes you profitable. You can’t earn what you don’t expect. Schedule a time on your calendar with yourself, that no one can interrupt (*ahem* not your kids, not your spouse, nobody), to strategize and plan what your author career will look like in the next 365 days. 

Then, get to work.

Stephanie BwaBwa is a Christian Fantasy Novelist. She’s the creator of the universe: Elledelle – about angels in magical worlds with impressive power that mirror the human condition.

She’s the author of the YA fantasy series: The Seraphim Resistance Prequels and The Transcendents Serial, as well as the writing guide, Fantasy Fundamentals for Christian fantasy writers. You can usually catch her going for a walk through a park, or simply binging Disney+ with too many snacks. Get in contact with Stephanie directly at: stephaniebwabwa.com.

The post Plan Your Money: Setting up Your Authorial Calendar for Success appeared first on DIY MFA.

This doesn’t mean you have to lock yourself in a creative box. Great structure comes in many shapes and forms, and can emerge from plotters and pantsers alike! However, there are certain red flags that will crop up if your structure is less than optimal, and these are what you need to look out for — especially if you’re a first-time author.

Though I know it’s hard to appraise your work objectively, I implore you to look for these five signs that your book’s structure isn’t working, so you can fix it before readers realize the same thing. To help you identify them, I’ve included titles that I feel demonstrate these structural defects, at least to some extent; they’ll show you how even the most experienced authors can falter, and why we all need to be vigilant with our own work.

1) Your plot peaks too soon

Picture this: you’re a reader halfway through a novel. You know something big is coming, whether through foreshadowing, increasing tension, or open acknowledgement that a major event is about to occur. Then it happens — and as it turns out, the remainder of the book is more or less falling action. There’s nothing significant left to reveal to readers or change the fates of the characters; in other words, the plot has peaked far too soon.

It might sound easily avoidable, but this is a surprisingly common issue, especially among authors who don’t outline. And even for those who do outline, the compulsion to get to the “exciting part” may cause them to rush through the buildup, resulting in a climax that arrives many pages earlier than intended… and which often means filling the subsequent pages with drawn-out resolution or total fluff.

In my opinion, this is the essential structural flaw that undermines Elizabeth Gilbert’s recent novel City of Girls. (Spoilers ahead for this and all other books discussed here!) The plot follows a young woman named Vivian who gets involved in the sparkling show biz and social scenes of 1940s New York City. She’s surrounded by fascinating characters, ever-changing relationships, and potent drama, all of which makes for an excellent story.

However, about two-thirds of the way through the book, Vivian gets caught up in a scandal that forces her to leave her life of glamor behind. And while I know some readers found Vivian’s post-NYC existence interesting and narratively fulfilling, I was disappointed by the abandonment of the plot up to that point — especially once I realized nothing else was really going to happen.

If you suspect your book may suffer from this problem, think about how you might extend the buildup and/or the post-peak plot in a worthwhile manner. For example, Gone Girl has a major reveal in the middle that easily could have made the rest of the book seem lackluster! But Gillian Flynn ensures the story doesn’t end there, keeping readers hanging on with plenty of additional drama and satisfying twists.

2) You have too many threads to tie off

Another unfortunate structural issue is having too many character arcs, subplots, and other details you initially intend to be important, but which feel superfluous as you approach the end of your book. Fortunately, these threads aren’t hard to identify: if you’re wrapping up the main plot and you have more than one minor storyline still to resolve, you have too much going on.

There are two ways to handle this, structure-wise. The first is to simply remove the plot and character threads that don’t add anything substantial. For example, if you have a character who only appears a handful of times and doesn’t impact the plot, you can reduce or eliminate them entirely. (For authors with series aspirations, this may even be a blessing in disguise; a character you want to write more about, but who doesn’t have much bearing on the story you’re currently telling, could be perfect fodder for your next book.)

The second method is to try and resolve some of those minor threads earlier, so they don’t pile up and become overwhelming. This requires more thoughtful restructuring than scrapping whole subplots and characters, but it can be extremely rewarding, especially if the resolutions of those earlier threads contribute to the reader’s understanding of the “big” resolution later.

As for a concrete example of what not to do, you might look at some of Dickens’ works as having far too many threads. Of course, many would argue that this is exactly what makes Dickens great — the epic number of characters and subplots, the extreme level of detail. But, as I imagine anyone who’s read Bleak House would concede, a bit of pruning is sometimes necessary to make a book more comprehensible (and tolerable) for readers.

3) Your timeline jumps around too much

We’ve all read books with time jumps, and I won’t deny that flashbacks in particular are a great way to build narrative suspense. However, some time jumps can be more confusing than compelling, and may even cause readers to lose interest completely; this is why a jumpy timeline can be a sign that you need to restructure your book.

Continuing in my vein of controversial examples, Slaughterhouse-Five by Kurt Vonnegut is a quintessential case of too many time jumps. To be fair, the chaotic structure of this somewhat dystopian novel does accurately reflect the story — that of a man “unstuck in time” — and over the course of reading it, I’ll admit that I came to respect Vonnegut’s unorthodox approach.

However, I’ve since realized this is a case of the exception proving the rule. Even upon rereading the book, each time jump was still quite disorienting; I only remained invested and entertained because of Vonnegut’s immense skill as a writer. Needless to say, if Kurt Vonnegut can barely get away with this kind of time-jumping, the rest of us probably shouldn’t attempt it.

That said, if you find your story’s timeline jumps around too much (especially if you, the author, have trouble keeping track!) the best thing to do is go back to square one. What did you intend to accomplish with this structure, and might the same goals be attainable through fewer time jumps — and perhaps fewer perspectives, if that’s a complicating factor as well?

If you end up re-outlining your entire book, it might help to use a writing app to keep track of different elements. This way, even if you continue to use time jumps, you’ll have a clear visual sense of your chronology. (Scrivener 3 with Label View is the one I have in mind, but any writing tool with outlining functionality should greatly improve your use of time in a narrative.)

4) Your late-stage “revelations” are unsatisfying

This is perhaps the most irksome structural flaw I’ve come across as a reader, because it’s almost impossible to identify until you’ve read the book in full. In a way, it’s the opposite of the first issue I mentioned: rather than peaking too soon, the story builds and builds, dropping tantalizing hints and drawing out every bit of tension, and then… it fails to resolve in a satisfying way.

Sometimes the “big reveal” is glaringly obvious, or it’s not much of a reveal at all. Or sometimes a late-stage twist will arise with no foreshadowing whatsoever, which has the added “bonus” of making the reader frantically flip back through the book to scan for signs that were never there.

Whatever the form, it’s incredibly frustrating to invest so much time and energy in a book, only to be cheated out of a satisfying resolution. Once again, I speak from experience; I recently picked up Tangerine by Christine Mangan, a book claiming to be “The Girl on the Train meets The Talented Mr. Ripley.” High praise!

But despite an atmospheric start, Tangerine quickly devolves into a sort of suspenseful endurance test, doling out promising information without ever doing anything interesting with it. In the end, as one reviewer put it, “everything is exactly as it seems” — what’s perhaps intended to be a twist is just a slightly clearer iteration of information that was already provided.

Of course, to pinpoint this kind of structural problem in your own book, you have to be extremely honest with yourself. Consider your ending and what you’ve done to build to it. If there’s a reveal or dramatic ending of any kind, have you hinted at it without being too obvious? If there’s not, or if it’s intentionally out of left field, might readers feel that you led them on? Any doubts should prompt you to take another look at your structure, and potentially rework it for a more satisfying outcome, whatever that might mean for your readers. Speaking of which…

5) Your readers become confused

This is an undeniable catch-all for any author worried about their book’s structure: if other readers have trouble following it — even if it’s crystal-clear to you! — you have a problem. This could be due to any number of reasons, including any or all of the issues outlined above. But whatever the culprit, if a third-party reader tells you the structure doesn’t make sense to them, you’d better trust their objective opinion.

This is why, if you’re planning to publish your book, you should seek out beta readers and other trusted commentators to provide feedback as early as possible. Hire a professional editor if you have to; just get some eyes on your book that aren’t your own.

And even if they tell you to burn everything and start over, that’s still much better than releasing a book with a structure no one can understand. Plus, the next time you write a book, you’ll know exactly what tends to go wrong with your structure… which some might say is the first step toward making sure everything goes right.

Savannah Cordova is a writer with Reedsy, a marketplace that connects authors and publishers with the world’s best editors, designers, and marketers. In her spare time, Savannah enjoys reading contemporary fiction and writing short stories.

The post #5onFri: Five Signs Your Book’s Structure Needs Work appeared first on DIY MFA.