Category Archives: Writing

One Year Later…

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Lisa M. Green

Author & Copyeditor at Lisa M. Green
Lisa M. Green is the author of The First, a novel of mythic and paranormal fantasy. She is also a high school English and Special Education teacher. As a life-long writer, she considered a career in screenwriting or journalism before deciding on a career in education. As a teacher, she enjoys educating high school students about writing.
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And here I am. And there you are.

You’ve been with me all the way through my journey over the past year. Exactly one year ago today, I published my debut fantasy novel, The First. Amid a scurry of activity and anxiety, I managed to write, edit, and publish a novel that has been sold and read in many countries around the world. One year later, and I still feel that anxiety on a daily basis. Can I make this work? Can I become the published author that I want to be?

The answer is still out there. I’ve learned so much over the last year and a half. I’ve taken on the roles of author, co-editor, co-designer, webmaster, PR Rep, marketing manager, publisher, not to mention all of the other little things that go along with creating a novel. The things I have learned have enriched my life because I love learning new things. I feel empowered when I know I can create things that were unknown to me beforehand. My creative side gets a jump start every time I learn something new.

To all those who have read and reviewed my book, I thank you from the bottom pf my heart. To those of you who continue to read and follow my blog and/or newsletter, my gratitude is undying. This road has been a rocky one, filled with highest of highs and the lowest of lows. Have I let the rotten stuff get to me? Of course I have. This is me we are talking about. I’m still working on developing that thick skin needed for this job.

There is so much more to come. That much I can promise. The First in audiobook format is on its way, just shy of the one-year anniversary for the book. Please share this post with your friends and family. If you haven’t subscribed to my blog yet, the signup is on this page. It’s fast and simple. You can also subscribe to my newsletter (sent out once a month or so) for updates about me, my book, and my work-in-progress.

Once again, thank you for your continued support. Exciting things are on the horizon!






Corporate Con: A Cunning Clasp on Creativity

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Lisa M. Green

Author & Copyeditor at Lisa M. Green
Lisa M. Green is the author of The First, a novel of mythic and paranormal fantasy. She is also a high school English and Special Education teacher. As a life-long writer, she considered a career in screenwriting or journalism before deciding on a career in education. As a teacher, she enjoys educating high school students about writing.
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You like my title, don’t you? I know you do, or you wouldn’t be reading this.  🙂

It’s amazing how prevalent this type of fraudulent practice has been throughout history to some extent or another. Even more amazing that it still thrives, feeding on the gullible and desperate.

Disclaimer: The following was not written by me, but I found the post very interesting. This is from a blog I follow. I think it’s important that we all educate ourselves.

**Reblogged from David Gaughran | Let’s Get Digital

How Jessica Mitford Exposed A $48m Scam From America’s Literary Establishment

Posted on December 16, 2014 by davidgaughran


Jessica Mitford took on the American funeral industry, the California Department of Corrections, and the Ku Klux Klan, but it was her 1970 exposé of The Famous Writers School which led to Time calling her “The Queen of the Muckrakers.” And if a courageous editor hadn’t reversed his decision to kill her story, it might never have happened.

Mitford had been aware of The Famous Writers School’s existence for some time. Anyone who was a frequent reader of newspapers, books or magazines would have seen its ever-present advertisements, inviting aspiring writers to cut out and apply for the free aptitude test. While Mitford was suspicious, she didn’t have anything concrete until her lawyer husband took on a new client.

Bob Treuhaft was approached by a 72-year old widow, living on Social Security, who had cleaned out her bank account to make a down-payment to The Famous Writers School. On the same day Mitford heard the widow’s sorry tale from her husband, she received a book in the mail for review: Writing Rackets by Robert Byrne, which also mentioned the school.

Mitford had lunch with Bill Abrahams not long afterwards – then the West Coast editor of The Atlantic. She shared tales from Byrne’s book on literary frauds and the story of the cheated widow, and Abrahams asked her to write a short piece for The Atlantic covering both.

A still of Rod Serling taken from a Famous Writers School television ad (view here).

A still of Rod Serling taken from a Famous Writers School television ad (view here).

The following day Abrahams called to say that the editor-in-chief of The Atlantic, Robert Manning, had decided not to run the piece after all. While Manning agreed that the bold claims made in The Famous Writers School’s advertising were “probably unethical,” he pointed out that The Atlantic had made “many thousands of dollars” from those self-same ads and felt it would be equally unethical to run a piece criticizing the school.

Mitford was aghast and asked Abrahams if he would kill a piece on lung cancer on the grounds that The Atlantic took ads from tobacco companies. He accepted her point and said that he would try again with Manning, and that if anything changed he would get in touch.

A week later, Mitford had no further response from The Atlantic but now had the bit between her teeth. She queried the articles editor at McCall’s who was extremely enthusiastic and wanted a full investigation of The Famous Writers School, commissioning a 7,000 word piece. Mitford was delighted and threw herself into exhaustive research.

The Famous Writers

Mitford soon realized that the well-known faces attached to The Famous Writers School’s advertisements played a very different role than suggested. She knew she was going up against some powerful individuals – some of the leading lights of America’s literary establishment.

The Guiding Faculty of The Famous Writers School consisted of people like Paul Engle (long-time director of the Iowa Writers’ Workshop), Rod Serling (of Twilight Zone fame), mystery writer Mignon Eberhart, Pulitzer Prize winner Bruce Catton, and romance author Faith Baldwin. Day-to-day operations were managed by Gordon Carroll (Reader’s Digest editor) and John Lawrence (former president of William Morrow publishers).

The biggest name of all was the man Mitford would later describe as “the ringleader” – Bennett Cerf, founder and president of Random House, and household name in America since his long-running stint on What’s My Line?

Knowing that Cerf could cause her problems, Mitford decided to interview him last.

How The Scam Worked

Part of an advertorial in New York Magazine, June 1969

Part of an advertorial in New York Magazine, June 1969

Mitford investigated how The Famous Writers School attracted students – focusing on those ubiquitous advertisements featuring the Guiding Faculty. Along with Baldwin, Eberhart, Serling, Catton, Engle, and Cerf, there was also John Caples, Bergen Evans, Clifton Fadiman, Rudolf Flesch, Phyllis McGinley, JD Ratcliff, Max Shulman, Red Smith, and Mark Wiseman – all noted writers in their fields.

The ads promised a free aptitude test which would “help you find out whether you can be trained to become a successful writer” and gave the impression that the Guiding Faculty would actually grade your test. The promotional materials also led potential students to believe that Cerf and his famous friends would act as their tutors and mentors throughout the course, and greatly exaggerated the market for freelance authors as well as the likely financial outcomes for students. Nowhere in the ads was the cost of the course mentioned.

After talking to various members of the Guiding Faculty, Mitford confirmed that they had nothing to do with either grading the aptitude tests or tutoring students. When Mitford presented Faith Baldwin with an ad which claimed the opposite, she responded with:

Oh, that’s just one of those things about advertising. Anyone with common sense would know that the fifteen of us are much too busy to read the manuscripts the students send in.

Mitford asked Mark Wiseman about why the ads claimed the market for freelance writers was in rude health when the opposite was true. He said:

That’s just a fault of our civilization. You have to over-persuade people, make it all look optimistic, not mention obstacles and hurdles.

Paul Engle was even more forthcoming about the actual role of the Guiding Faculty:

I only go there once in a great while. There’s a distinction between the Guiding Faculty, which doesn’t do very much, and the teaching faculty, which actually works with the students.

What the Guiding Faculty did do was provide some of the teaching materials used in the course. But it’s clear their main role was to make the course sound more attractive to potential students. In return, the faculty members received substantial stock holdings and a 1.6% cut of the school’s annual gross revenue.


BaldwinBoth these forms of compensation turned out to be extremely lucrative for the Guiding Faculty. Revenues for the school (together with its parent organization the Famous Artists School) rose from $7m in 1960 to $48m in 1969, while the stock improved from 5 to 40 over the same period.

The school was able to generate such staggering revenue (approximately $310m in today’s money) because of the huge enrollment numbers and the absurd price of the courses. 65,000 students were enrolled in 1970, including nearly 2,000 veterans via the GI Bill. The cost of the course – only revealed when a salesman came to your home to close the deal – was $785. That was a considerable sum in those days so most students went for the payment plan, pushing the cost up to $900 (approximately $5,800 in 2014 dollars). Mitford estimated this as roughly twenty times the cost of similar correspondence courses offered by universities at the time.

Mitford also established that the school was taking on students which had no place being on a professional writer’s training course: non-native English speakers with a poor command of their adopted tongue, those with no flair for language or composition, the barely literate, the penniless. The pass rate for those taking the free aptitude test – 90% – was so high because the bar was set ridiculously low.

Robert Byrne, the author of Writing Rackets, submitted an aptitude test under an invented name with deliberately mangled prose; the applicant was accepted in glowing terms. And when Mitford’s husband asked his widow client to write out an account of her experiences with the school, it was “garbled” and “semiliterate” – very far away from the level of someone suitable for such a course. Nevertheless, the widow was also deemed to have passed the aptitude test “with flying colors” by The Famous Writers School.



Test ApplicationAfter being presented with complaints about the high-pressure sales tactics, The Famous Writers School said that its salesmen were carefully screened, that they received rigorous training in ethical salesmanship, and that every effort was made to ensure that their presentation of the course was both accurate and truthful.


But Mitford was never one to take such claims at face value and secretly arranged to witness one such salesman closing the deal in her neighbor’s living room. The salesman told a series of outrageous lies regarding the school. He said the Guiding Faculty spent a lot of time at the school grading assignments and mentoring the other teaching staff, that one of the faculty would personally review her assignments, and that the staff-pupil ratio was uniquely favorable – 300 instructors for 3,000 students – when in fact there were 55 instructors for 65,000 students (and 800 salesmen). He then disingenuously dangled the possibility of a publishing contract and made false claims about the success of graduating students.

The dropout rate for these courses was extremely high. Through looking at the company’s books and running the numbers, Mitford estimated that only a tenth of students completed the course. However, not all of this was down to unethical salesmen targeting the unsuitable.

Mitford spoke with a whole range of competent students who had enrolled and dropped out, with many citing the poor quality of both the course materials and the feedback given on assignments – particularly that a different person graded each piece of coursework. Those who attempted to get out of their contract without paying the remaining installments were threatened with legal action, but otherwise The Famous Writers School seemed unconcerned at the high dropout rate.

Indeed, Phyllis McGinley, a famous poet who was one of the Guiding Faculty, admitted to Mitford:

We couldn’t make any money if all the students finished.

Bennett Cerf’s “Appeal to the Gullible”


Now that Mitford had established exactly how the scam operated, it was time for the final interview. She met Bennett Cerf in his “wonderfully posh” office at Random House, where he remained president of the company he started despite selling his stake to RCA. Cerf explained how he helped found the school and put together the Guiding Faculty.

We approached representative writers, the best we could get in each field… The idea was to give the school some prestige.

He admitted that he did no teaching, wasn’t involved in recruiting the teaching staff or establishing standards, and didn’t supervise the school’s operations.

I know nothing about the business and selling end and I care less.

Cerf refused to disclose what compensation he received from the school, but described it as “quite generous.” When confronted with the inaccurate claims made in the advertisements bearing his name, Cerf said:

I think mail-order selling has several built-in deficiencies. The crux of it is a very hard sales pitch, an appeal to the gullible.

When Mitford asked him how many books by Famous Writers School students that Random House had published, Cerf replied:

Oh, come on, you must be pulling my leg – no person of any sophistication, whose book we’d publish, would have to take a mail-order course to learn how to write.

With Cerf interviewed, Mitford’s research was complete and she submitted the final piece to the articles editor at McCall’s. But the tale didn’t end there.

Killing The Story

Bennett Cerf on the cover of Time Magazine, 16 Dec 1966

Bennett Cerf on the cover of Time Magazine, 16 Dec 1966


On reading the contents and seeing the famous names mentioned therein, the editor-in-chief ofMcCall’s balked and refused to run the story, wary of angering Random House and Bennett Cerf, and conscious of their advertising relationship with both the prestigious publisher and The Famous Writers School itself.

Later on, Mitford discovered that Bennett Cerf exerted direct pressure on McCall’s to kill the story, despite his explicit promises to the contrary when interviewed. But Mitford knew none of this at the time, all the editor-in-chief of McCall’s told her was, “I don’t think it’s very good.”


Despite her ostensible opinion of the piece, she paid Mitford’s research expenses and the full agreed-upon fee for publication, instead of the kill fee that was standard in such situations.

Two years later, that McCall’s editor admitted the truth to More magazine.

I did not want to offend Bennett Cerf at a time when McCall’s was trying to improve the caliber of its fiction.

Mitford was undeterred by McCall’s rejection (and pay-off). In fact, she was furious, more determined than ever to get her exposé published. She queried Life Magazine – who were extremely keen and promised that it would be a major story, with photographers deployed to take pictures of the school. But the piece was killed when Life’s advertising manager revealed that he had just agreed a $500,000 ad campaign with The Famous Writers School to cover the next six months.



AtlanticIt seemed like Mitford’s investigation would never see the light of day, until Bill Abrahams at The Atlantic said that Robert Manning had a change of heart: he had cancelled The Atlantic’s advertising contract with The Famous Writers School and wanted to run the story. True to his word, Manning published it as the cover story in the July 1970 edition, under the title Let Us Now Appraise Famous Writers.


The article is a classic piece of investigative journalism, a complete dissection of how the scam worked as well as a delicate filleting of the famous faces profiting from this misery.

But even the most optimistic reporter couldn’t have predicted what happened next.

The Aftermath


In her wonderful book Poison Penmanship: The Gentle Art of Muckraking, Mitford explains that she had written articles on controversial topics for The Atlantic before, but even a piece like her coverage of The Dr. Spock Trial or the secret medical tests being conducted on Californian prisoners only generated “six to ten letters a piece” from readers.


Even before the July 1970 issue hit newsstands, The Atlantic had received an unprecedented fifty letters from subscribers who were privy to early copies of the magazine. After the issue went on sale, a further three hundred readers wrote in to share their experiences with The Famous Writers School.


Congressman Laurence J. Burton

Congressman Laurence J. Burton

Mitford had touched a nerve. Robert Manning told her that this issue had the largest newsstand sale of any in the The Atlantic’s history. Her article was subsequently picked up by the Des Moines Register and the Washington Post, and Mitford herself was invited onto The Dick Cavett Show to talk about the famous names involved with this scam.


As law suits from Attorneys General in several states were being prepared against The Famous Writers School, Congressman Laurence J. Burton of Utah read a copy of Mitford’s piece into the Congressional Record.

In his introductory remarks on the floor of the House of Representatives, Burton said the following:

I have written to both the Federal Trade Commission’s Bureau of Deceptive Practices, and the Veterans’ Administration, registering my concern, and requesting that they provide reports on the activities of the Famous Writers School. […]

High-pressure tactics and misleading information should not be used to gain enrollments for a course which would not attract enrollees on its merits. I believe the people of this country are entitled to protection from such unfair practices.

All this negative publicity had a profound effect on the fortunes of The Famous Writers School. Its stock plummeted from 35 to 5 before trading was suspended in May 1971, and the operation formally went bankrupt at the start of 1972 – a few months after the death of Bennett Cerf.


A Temporary Success


“You may not be able to change the world, but at least you can embarrass the guilty.” – Jessica Mitford

“You may not be able to change the world, but at least you can embarrass the guilty.” – Jessica Mitford

Mitford later called it “one of the clear-cut successes however temporary in my muckraking career. She felt the qualification “temporary” necessary because The Famous Writers School reappeared a few years later. In fact, it’s still in existence, although it has never quite operated on the same staggering, and lucrative, scale.

The spiritual successor to The Famous Writers School is another matter. Author Solutions is undergoing a massive international expansion under its owners – Penguin Random House. And there appears to be no one in today’s media with the courage of Jessica Mitford, and her editors at The Atlantic, willing to investigate its operations.

However, Penguin Random House’s uncanny ability to avoid press attention on this matter can only last so long. Author Solutions will face a class action for deceptive practices next year.


**Reblogged from David Gaughran | Let’s Get Digital

Interview with Author Noor A Jahangir

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Lisa M. Green

Author & Copyeditor at Lisa M. Green
Lisa M. Green is the author of The First, a novel of mythic and paranormal fantasy. She is also a high school English and Special Education teacher. As a life-long writer, she considered a career in screenwriting or journalism before deciding on a career in education. As a teacher, she enjoys educating high school students about writing.
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Well...I'm back. In the most general sense.

Traveling, despite being a vacation, can be quite taxing. Not to mention downright nerve-wracking. While I do plan to get back into talking about my own writing, as well sharing some interesting tidbits from my trip to Italy, this shift back into author mode will take some time. I'm not saying I haven't been mentally working throughout my hiatus (and absorbing LOTS of fantastic inspiration for my new novel), but getting back into the swing of things is harder than it seems, especially when you've been out of it for a month.

And so, for today, I will let another author do most of the talking.

Today’s author interview is with Noor A Jahangir, a British Asian author, who’s here to talk about how he got into writing and his latest novel, The Adventures of Some Kid.

Do you remember when you first decided you wanted to be a writer?

Hi. Yeah, I remember quite vividly in fact. I was seven years old and sitting on the floor with my classmates, whilst our teacher was reading The Lion, the Witch and the Wardrobe. It was the bit when the kids and the beavers are hiding beneath an outcrop, listening to sound of footsteps approaching. I was completely spellbound and knew that this, captivating children and young people through fiction, was what I wanted to do.

When did you start writing seriously?

I wrote the first draft of my first novel when I was 14, and started a correspondence course with The Writing School a year later. I took a volunteer staff writer post with a magazine when I turned 17, and spent three years working there in the evenings whilst studying. But it wasn’t until I was 23 that I had my first short story published by an online journal.

Have you written anything before The Adventures of Some Kid?

My first novel was The Changeling King, an epic fantasy adventure about five kids who have been sucked into another world and forced to overthrow a monstrous tyrant, whilst a sixth kid is hunted by trolls in our own world. It was published in 2011.

Do you write full-time? What are your writing habits?

I wish I could write full-time. That would be my dream job. I often fantasise about having that luxury to focus on my writing. Instead I have to write late in the evenings, on weekends and on holidays. I have a nice laptop hooked up to an ergonomic keyboard. I usually write a couple of drafts, send it to some test readers, and then use their feedback to write another couple. Then it’s over to the editors.

What’s the hardest part about being a writer?

Writing is a difficult thing, but it’s also a source of pleasure. It’s the marketing and promotion stuff, or finding an agent or publisher that is really soul-sucking.

 Who are your favorite authors?

Wow, the list is massive! I’ll give you a few though. It would have to be David Gemmell, Raymond Fiest and Neil Gaiman. Of the new authors, I really like Jade Kerrion’s stuff.

What inspired you to write The Adventures of Some Kid?

It actually came about from a chat I had with my local librarian. She basically said that there wasn’t that many adventure stories out with a protagonist that was just a normal kid. It’s all super spies, boy wizards and demi-gods. That got me thinking about the Tintin stories I grew up with, the Indiana Jones movies and the Tomb Raider games. So I invented this character, Zach Caan, who is loosely based on my kid brother, and thought up ways of getting him into serious, life threatening danger.

Who did the cover art for The Adventures of Some Kid? How do you go about finding an artist?

The cover is by an artist called Elbert Lim, from Singapore. My go to place is the DeviantArt community online. I posted a brief on the Job Offers forum and got back a stack of responses from a whole bunch of amazing artists. I wish I had the number of projects and the money to hire them all, but sadly that isn’t the case. Elbert sent me a quick sketch of what he thought the cover would look like, and that really caught my attention. Elbert Lim will be doing the cover for the next two “Some Kid” books.

What are you working on next?

I’m currently working on the sequel to The Adventures of Some Kid and also the sequel to The Changeling King. I’m hoping to release the next Some Kid book around the Christmas holidays.

The latest book from the author of The Changeling King, Noor A Jahangir, is coming out on 27th June 2014, in digital and print.

ZACH CAAN isn’t a boy wizard, a super spy or a vampire’s assistant. He doesn’t have any super powers, martial arts training or cool gadgets. In fact there is nothing remarkable about him at all. He's just some kid.

But when he boards Flight X4573, he embarks on the most unlikely adventure a person can experience in the twenty-first century. Pirates, lost tribes of Aztec warriors and mysterious islands are not usually part of his daily routine. and when it's all over and his classmates read about him in the national newspapers, they will have great difficulty in believing that it actually happened to him. You see, nothing ever really happens to Zach Caan. That is, until now.

Ebook available to pre-order now from Smashwords and your favorite eBook stores!!!

“Writing is Rewriting” and Other Things I Was Never Taught

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Lisa M. Green

Author & Copyeditor at Lisa M. Green
Lisa M. Green is the author of The First, a novel of mythic and paranormal fantasy. She is also a high school English and Special Education teacher. As a life-long writer, she considered a career in screenwriting or journalism before deciding on a career in education. As a teacher, she enjoys educating high school students about writing.
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(taken from a paper I wrote in my creative writing class in college)

Writing is rewriting.

—Donald M. Murray, a Pulitzer-prize winning journalist, teacher, and author

Growing up, this kind of thinking would not fly in my schools. Formulaic writing was not only customary, but mandatory. It’s as if all the English teachers gathered around a campfire at midnight every night and doomed the souls of a generation of would-be aspiring writers to one-draft hell. I saw it, you saw it, we all saw it. And we experienced it firsthand. There are no revisions on timed essay exams, and forget about changing that C into an A. One draft, one shot, one grade. That’s all she wrote.

It is amazing how revision can open up the door to the exact answers you were looking for, or perhaps weren’t even trying to find. But they come, nonetheless, and surprise writers into realizing how much potential they might really have. This is an important focus I want my students to experience for themselves. To draft a piece and look back over it only to realize the latent possibilities of their minds. It’s sad how so many of us were deprived of the kind of self-confidence that kind of revelation brings. As Murray states, “The real mistake is to see the surprises as mistakes.” I think that most students, as I would have done in high school, tend to view correction of anything as a devaluing act, a blight on the face of perfection. Schools teach revision like its an evil word, or perhaps not even taught at all. I strive for imperfection, in my own writing and in visions of my future classroom. Imperfection is the key to something great, something beyond ourselves. Somewhere we never knew existed.

Murray described writing and rewriting as an exploration or a journey. The writer must follow the text’s lead, not the other way around. Once you put something to paper, it has a voice if you can find it. Life springs up where once was only a blank page. In school, I was NEVER taught the term “voice.” The writer also has a voice. It is the most important part of a piece, and it comes directly from the writer’s soul. I want to teach my kids to write from their heart, to think from their soul.

The only revision I ever saw in school came in the form of peer review. What a concept! You hand something you’ve tried to pour your heart and soul into (yet not really because your teacher never taught you how to do that) over to another student with that gleeful look in their eye. You pray they don’t laugh at what you’ve written. The only response you get is either laughter or boredom, and a returned paper marked with every spelling and punctuation error you made. But that’s not revision. I want my students to learn that. I want them to experience that. I want them to LIVE that.

As I’ve grown in my writing over the years since I stepped out of the box of high school, I’ve learned many lessons I wish to pass on in ways I never got a chance to hear. I don’t expect to change the world with a classroom full of Mary Shelleys and John Miltons. But I will take one. One kid to “get” what I’m trying so hard not to teach—but to instill—in young minds. Perhaps even one is a higher aspiration than I should hope for, but it’s one I’ll cling to.

The beautiful thing about writing is that you don’t have to get it right the first time—unlike, say, brain surgery.

                                                                                                                    —Robert Corimer

NOTE: Now, I’m not saying I didn’t learn a great deal from my English teachers in high school (R.I.P. Mrs. Monroe). The teachers really gather together and plot some sinister plan to rid the world of good writing. But I am saying that the environment isn’t—and never has been—conducive to this type of experience. As a current English teacher, I know this isn’t the fault of the teacher themselves, merely the byproduct of a system spiraling slowly but surely down to the depths of some unknown place I hope to never see. Until then, I’ll continue to steer them away from formulaic writing, even as they grumble about putting pen to paper. Every day.

Insert Catchy Title Here

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Lisa M. Green

Author & Copyeditor at Lisa M. Green
Lisa M. Green is the author of The First, a novel of mythic and paranormal fantasy. She is also a high school English and Special Education teacher. As a life-long writer, she considered a career in screenwriting or journalism before deciding on a career in education. As a teacher, she enjoys educating high school students about writing.
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I’m exhausted. No more than I have been for the past eight months, but it’s certainly attacking me with a vengeance these days. I started writing my new novel (or series most likely) this past week, but I haven’t written very much. The research is going strong, however, and I feel really confident about where this is going.

One thing you need to understand about me is that I sometimes do things backwards, or sideways rather. The story does come first, but I still need an idea of the title and cover before I really get into the rough draft, just to have an image in my mind to work from when I’m in need of some inspiration. The title may change (though I hope not because I really like it), and the cover almost certainly will, but it still helps to have the visual. Instead of describing the appearance of the main character in words and then having it displayed visually, I need to talk through what I’m envisioning so that I can see a rough sketch of the details before trying to explain it in words. This only seems to be the case when it comes to wardrobe. I’m terrible at describing clothing and things of that nature. This is something I am trying to get better at, but having an idea of the cover art certainly helps to wake the muse.

I won’t have any artwork for the public for quite some time, but I’ll spread the word when the time is right. We’ll also be revamping the website to reflect the new visuals at some point.

Until next week, happy reading!