Writing and Taxes

by Elizabeth S. Craig, @elizabethscraig
The business side of writing is my least
favorite part.  I struggle to keep
up.  And there’s sort of a residual guilt
that I’m not doing all I can do to keep my accounts organized.  But I’m trying.
New as of 2013 is an accountant.  I tried…I did try…to do my taxes last
February. I’ve done my own taxes for the last ten years.  This time, however, they boggled my mind
about halfway through and I also felt a rising panic that I was doing something
wrong.  I found a CPA right away.
One of the problems is that my
income—never very much, but always nice to have and increasingly relied upon—comes from many
different sources.  I’ve now got income
coming from two traditional publishers, Amazon, Smashwords, Nook, ACX, and
CreateSpace.  My accountant recently
asked me financial planning questions.  I ended up giving
several apologetic shrugs.  I’m sure this
makes her want to drink heavily.
“So you’re getting a check this
fall?  But you don’t know what that check
will be for?”  She smiles patiently at
me.
“No idea. 
It’s for royalties from Penguin.”
“For sales.  But you don’t know your sales.”
“That’s right.  It’s just sort of a surprise.”  I’m blushing now.  It makes it look as if I’m not paying
attention. But these are numbers I’m not privy to—primarily bookstore
numbers. This is, admittedly, one of the things that drives writers a little nuts when it comes to traditional publishing.  I add, “But I also have
self-published books and I’m paid 60 days in arrears for those.  I should be able to give you an idea of the
money coming in 60 days from now for my self-pubbed books, if that helps.” Financial planning, when you’re a writer, means a lot of guesswork and piecing together.
I did get some tips from the CPA that
I’ve been fairly good about following (and then some that are good tips that I
haven’t gotten around to yet).
Open a
business checking account.
  If you
can, find a free one—probably with a small bank or a credit union.  Have your publishing income direct deposited
into that account.  Write checks for
publishing-related expenses from that account, too—it just helps to keep
everything straight.
Keep a
small notebook in your car to record gas expenses for writing-related trips.

This is not only for promo…this could be gas spent driving to the post office
to mail off giveaway prizes to readers or gas used driving to the bank to
deposit a random check.
For US writers (since I have no idea how
this applies to international writers)—if you know you’ll likely be paying a
fair amount of taxes to the federal government in April (because this stuff
isn’t taken out of our checks, y’all), we should pay
the government estimated, taxes
along the way.  To avoid penalties, for sure, but also to
keep the tax bill from putting us in total shock when we get it in April. 
Contributing
to a 401K (self-employed people can be eligible) or an Individual Retirement Account
can help to reduce the
amount of taxes we pay.
Obviously, the necessity of paying taxes
means that we shouldn’t spend all of the money
from the checks that come in
. As difficult as this is. :)
If your income is higher during the year
than you’d previously estimated, it might be a good idea to check back in with your accountant and make some
plans. 
Keep
receipts.
  Keep your office supply
receipts, your receipts for computer-related purchases, your gas receipts, your
conference receipts.  Remember to keep
receipts of payments for services, too—your agent’s commissions, your cover
designer’s bill, your formatter’s invoice, etc.
And the disclaimer…clearly, I’m not a tax adviser (ha!) If you need tax advice…I do recommend you find a
professional.  It will keep you from
staying up at night worrying about this stuff.
Until you find your professional, here
are some interesting articles on taxes and writing income to get a more
thorough overview.
Taxes 101 for Authors—by Susan
Spann
How do you keep track of your writing
income? Got any other tips?  
Image: MorgueFile: ModernCog

How many drafts until you’re done?

by Elizabeth S. Craig, @elizabethscraig
I think when writers ask how many drafts
another writer completes for a finished story, they’re really wondering whether
they’re spending too much time editing or too little time editing.
That’s what happens when you work
alone—you have no basis of comparison.
I got this question emailed to me
recently and I had to really think about it. 
What comprises a draft to me?  In
general, how many times do I go through the manuscript before I send it to my
editor?
I definitely keep going through it if I
keep finding mistakes.  Obviously, if you
think it’s not a clean document, you want to keep working on it.  And I continue reading through the manuscript
if I feel I could have used better diction or if I think of other ways to
improve the story.  But there does get to
be a point where a writer is making changes just for the sake of making
changes.  You can write the life out of
your story and when it’s tough to say if a change makes the story better or
worse…it’s probably time to either put it aside for a while or send it out on
submission.
What comprises a draft?  To me, it’s a new version of the manuscript
with significant changes.  A draft is
something, to me, that would make me want to send an updated copy to my editor or
beta reader (“No, read this one,
actually.  Not the one I sent you.”)
I’d say that I have probably four or five
drafts of a story before I turn it in. 
That’s mainly because I write in layers and the second draft is where I
put in the book’s character and setting description and the third is where I
stick in chapter breaks. Then I have another couple of read-throughs for
errors, pacing, continuity, etc.  
You can also approach it a different
way—a bunch of targeted mini-drafts. 
This could take more read-throughs, but each time you’d be looking for
specific things: weak scenes, conflict/tension, description that pops,
out-of-sequence storyline, grammar, etc.
After I’m done,  I’ll email the story to my editor.  Months later, there will be more
editing.  Then it goes to the
proofreader…and even more editing ensues.
How many drafts do you usually go through
on a manuscript?  How do you know when
it’s ready? 
Image: MorgueFile: jppi

Twitterific

by Elizabeth S. Craig, @elizabethscraig
Twitterific
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Telling a Story in Our Own Voice (or One That Comes Naturally To Us)

 by Elizabeth S. Craig, @elizabethscraig
Wednesday, I was the only adult in the
line of about 100 junior year high school students in front of the counselor’s
office.   
The students were all there to
have their schedules changed for one reason or another.  My son was next to me, both relieved that I
was there and resigned that I was there. His schedule,
unfortunately, needed four or five changes to it—sometimes computers stick odd
things on schedules.  This computer
had.  I was there to lend an air of
gravitas to the situation and help him get the schedule in order so he’d have
what he needed for these colleges he’s starting to look at (primarily German
III and German IV, since they want four years in a single language).
So here’s the situation.  We’re all sitting in plastic chairs in a
long, long line outside this office, each with a number.  He has friends to the right of him and
friends to the left of him and I’m right in the middle. I have brought my book
with me and am determined not to bother/embarrass him (if I can help it).  Although I could potentially be bothering him
by the fact that I’m quietly writing about murder in my notebook.  Or that I’m there at all.
We wait about four hours.
His friends, nearer the start of the four
hour wait, aren’t exactly sure how to talk around me.  And this is literally around me, since they’re having to lean forward to bypass my
presence.  There is some stilted
conversation.  They pass their phones to
each other to share a video or a funny picture, but they only snort or laugh
and don’t talk about whatever it is they’re looking at.  I keep writing.
Finally the girl next to me asks sweetly,
“Mrs. Craig, are you here to get your schedule changed, too?” Trying out a
different tack to see how I’d respond. My son looks sideways at me.
I nodded. 
“I was supposed to graduate in 1989, but I can’t seem to get enough
credits for graduation.”
This makes them laugh.  And soon, they’re carrying on conversations
that seem a lot more natural. Not as natural as they’d be if I weren’t there at
all, but a whole lot more natural than they were before. This helps me relax
too. It’s very distracting when people are acting stilted around you.  I was actually able to block them all out and
write several pages for my book.
To me, this is half the battle of coming
up with a writer’s voice—not sounding stilted. 
Stilted narrative is distracting and makes it tough for a reader to get
wrapped up in our story.
I knew what I wanted my storytelling
voice to be before I wrote my first book…but it took a while for me to achieve
it. I wanted it to be intimate and friendly. It took some practice and both
hits and misses before I nailed it.  One
tip that I found:  once you’ve written a
passage of your book in the voice you’re shooting for, print that portion out
and keep it near you.  When you feel
you’re sounding stilted again, reread the passage that you wrote. It can help to reorient you.
Here are some posts on voice that I’ve
found helpful in the past:
Can
You Hear Me Now? Developing Your Voice
—by Janice Hardy @janice_hardy
10 Steps to Finding Your Writing
Voice
—by Jeff Goins @jeffgoins
Need Voice? Think
Out Loud
—by Jami Gold @jamigold
3 Vs of
Fiction—Voice
—by Darcy Pattison @fictionnotes
Did your author’s voice come naturally to
you? How did you find it? 
Photo–MorgueFile–mconnors

Outlining a Story

by Elizabeth S. Craig, @elizabethscraig

I’ve been asked a few times lately to write a post about how I outline, since I’ve recently been talking about outlining.

This is something I’ve been reticent to do, since I don’t really think of myself as an outliner.  My outline process does seem to work for me, though, and in the hopes it might help someone else, I’ll share it.  But it’s not pretty.  There are no highlighters or index cards around.  And at times, it seems like the ramblings of a crazy person.

With that caveat, here we go.

Pace–I outline generally as quickly as I can. My goal is to get through the thing, look for places where the story seems weak, fix the outline, then either hand it in or start writing the book.

Format—The outline looks like a story.  If I’ve really thoroughly outlined and gone scene to scene, the outline runs anywhere from ten to twenty-five pages.  It’s in paragraph form. I sometimes include dialogue. There are no numbers on my outlines since I’m a fervent believer that numbers and words should stay segregated (this would explain my grades in Algebra all those years ago.)

Starting out—I write three series, so to keep my head straight, I put a list of all the recurring characters at the top of the page before I start out.  I start out with my victim, as usual, and come up with a quick list of who might want to kill such a person.  With that victim and that list, I start writing the outline.

My outline’s first draft (and only draft, if it’s self-pub. I clean up the outline if I’m handing it into an editor) reads as if a child is telling a friend about a movie they’ve seen.  You know what I mean:  And then this happens! And then that happens! And then…

I go through the whole story scene by scene: body, suspects identified and interviewed, second body, suspects interviewed, alibis checked out, sleuth in danger, murderer revealed.  Sometimes I get carried away and stick in some dialogue as I go…frequently without the use of quotation marks. I’m flying through it, doing a brain dump with the story.  If I need to brainstorm as I go, I do it on a different Word doc.

Then I’ve got a skeleton of a story.  There isn’t setting in there.  But it’s an outline.  I don’t think my editor necessarily wants to see that in my outlines and I sure don’t.  I just need something to get me started.

Then I go back to my opening scene and add some other things in:

I hint at the trouble that’s about to engulf the story.

I like to tie in the beginning of the story with the ending—sometimes with a subplot, sometimes with the opening scene. I think of ways to do this, and then put my first mention at the start of the story.

I do try to have a sort of “Save the Cat” moment at the beginning of the story—some way to make my protagonist sympathetic to the reader.  I tend to write protagonists who are prickly and difficult and this helps to soften them up.

I list my characters on a separate page.  I make a few notes about them…what they’re afraid of, what they really want in life, where they are now.  Then I think of ways that I can possibly give them an arc over the course of the story.  Can I make readers end up relating to a character they originally disliked? Can I give some extra dimension to a character who just seems always cranky, cheerful, remote, whiny?

My editor for the quilting series particularly likes it when I can weave different characters’ stories together—one helping the other to grow or change in some way.  She feels it gives the story a sense of completion in smaller ways…not just the murder investigation being solved.  I do look for ways to do this.

Subplots are vital to my stories and are ways to incorporate humor, diffuse tension, help readers connect with characters, or even help solve the case.  I brainstorm ideas…as many as I can think of and with a variety of different characters…and then see which idea is the strongest.  Especially if it’s an idea that can also help me accomplish other story goals at the same time.  I stick the subplot into the outline.

Strictly for mysteries—I check out my clues, red herrings, alibis.  I make sure the story will be fair to the readers.

I make sure my readers’ favorite recurring characters are in the story.

I look for spots that seem boring.  I look for spots where my protagonist appears to be taking a backseat. I look for spots to put in clues and red herrings for my sleuth to explore.

If the outline is only for my eyes, then I’m done.  If the outline is for an editor, then I try to make it sound more sane.  I put in punctuation, for instance. :)  I tell my editor I’m open to changes.  And I warn her that I may change the story, too.  I frequently do.

As for the character description, chapter breaks, et al…those go in after the first draft is finished.

And…that’s about it.  It’s really a very simple process. A scene by scene outline that basically lays the book on the line takes me almost a week to write and edit.

Then I write the book.

How do you outline?  Is it a process that works for you?

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