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I was horrified when a client suggested using generative AI to “fill in” an article. I was appropriately aghast when another client switched their copywriting to cheaper ChatGPT. Generative AI has led to job losses and writing industry impact—it’s not just my story, but could be yours. Can writers stop or slow AI? Here’s how to brace for impact. Add a Disclaimer Add a disclaimer to your website that says you’re a human writer without generative AI. Some people want cheap, AI copywriting. Those aren’t the type of clients you’re hoping to get, and adding a disclaimer stops them (or you) from wasting time. Don’t use generative AI for your writing, cover art, or website. Non-generative AI tools can still be used for data analysis or research, like you’d use a calculator rather than grabbing an abacus. Don’t feed the machine. Avoid copying, pasting, or uploading your files to sites that may be connected to machine learning. “Free” file converters are a potential culprit. Use open source downloadable software rather than quick, free, online software that may just be teaching AI in the background. Check terms and conditions carefully before using anything “free”, because they’re usually covering their costs by selling data. Learn About More

“If you build it, he (they) will come” is the famous line in the classic 1989 flick, “Field of Dreams,” spoken by character Iowa corn farmer Ray Kinsella (actor Kevin Costner). That’s fine when you’re talking about ghosts showing up on a baseball field, but what about book signings and appearances? When you are going to make an appearance, and the group isn’t restrictive in size or membership, you cannot expect the public to just show up. Instead you ought to be touting the event, and you can do some or all of the following: 1) Create marketing material on Canva.com (or use what the host is using to be consistent). 2) Use it on your social media, allow it to be shareable, and suggest others spread the word. 3) Promote hard on local sites. Town, county, region . . . ask them to post this on their social media, sites, and newsletters. Most opportunities like this are free. 4) Promote via Chambers of Commerce. If your host is a commercial entity, nonprofit, or service entity, they likely get free promotion via the local Chamber’s social media and mailings. I belong to the Edisto Island Chamber, and they shout out More

I am more in the line of Dean Koontz when it comes to making appearances. I make myself appear just enough, not totally comfortable with too many face-to-face events. I don’t do major conferences. I rarely leave the state anymore. Pre-COVID I was all over the place, and admittedly, the touring helped put my name out there. Post-COVID, however, I’ve been more productive and less real-life promotional. No, you don’t have to appear if you don’t want to, but tell yourself how people will get to know you. You have to do it to a certain degree to become known, or to remain relevant. Exercise the 25/50/25 method of dictating where you appear. 25% of the time appear in easy venues that don’t make you nervous. Book clubs, maybe. Groups in coffee houses. 50% of the time, accept larger crowds. They are challenging but doable. Then 25% of the time, accept something that rattles you enough to put you on your toes. Step into fresh territory and give it a go. So, that means if you appear four times a year, you do a 1/2/1 ratio. If you appear monthly, then break it down into an 3/6/3 situation. There’s being More

Writers talk a lot about coping with rejection. I used to get lots of messages from editors and agencies that said things like ‘we decided to go another way’ or ‘sorry, this one’s not for us’ or ‘we regret to inform you that on this occasion your application has been unsuccessful’. But I don’t receive many rejections anymore. Mostly get … silence. When I fire things off into the digital ether – CVs, ideas, stories, manuscripts –I just simply never hear back at all. Hard to quantify, but it seems to me that this has become the norm. No doubt it’s a supply-and-demand thing: there are so many writing wannabes nowadays that editors could fill their whole days simply turning people down. But I even get the silent treatment from people who’ve asked me to contact them. A former boss messaged me on LinkedIn to say he wanted a catch-up. A head of an agency said he was turning down my application for a content contract but wanted to meet up ‘to discuss other opportunities’. A charity marketer I know well asked me to consider writing some words for his site. I replied to all of these, and… nada. I More

Every day I keep my writing career strong by logging in to social media. I often use Facebook Messenger to communicate with other writers, but chats alone are not enough. Your Profile Just as a website must make a writer or author stand out as an authority, so must a social media profile. For example, my social media profiles state that I am a freelance writer, author, newsletter publisher, book reviewer and editor. My Twitter/X profile notes I’m a disabled writer. An editor contacted me on there when looking for disabled writers to submit to an anthology. Include your link as well as hashtags with keywords specific to your specialty, such as #SEO or #Excel. Group Chats Personal group chats created on social media sites contain a selection of people with like interests, only drilled down more specific. I belong to many group chats; one for a publisher of my books, one for an anthology I am submitting to, and one for writers seeking calls for submissions. These were all created by the respective editors who added me. A group chat in a social media message center can help you stay more on top of a discussion. It’s usually more detailed, more instant, More

I was surprised when a copywriting client pointed out “weird phrasing and spelling mistakes” in my work, then I worried their concerns were true. Writing tired had become the norm for a while, and the stress of late nights was beginning to show. This pushed me to hire a single, permanent beta-reader—someone who could brainstorm some ideas and check drafts with me. Here’s how writers can improve their flow by working with one particular back-up reader. Writer’s Block (Or Desk Fright) Writer’s block is the inability to write what feels good enough for submission. I sometimes call it desk fright—and like stage fright, it takes the pressure off to imagine that you’re only performing for one person instead of a whole audience. What if I only imagined a single reader while writing? Could my style return to its former quality? About Beta-Readers and First Eyes I asked DJ and producer Flash Wrldwide if she would be my primary reader and brainstorming partner in 2025. We’re from different worlds, but a disc jockey has particularly sharp eyes and coordination skills. Mixing music means you have to be fast with your eyes, keys, and mind. Flash fit in with my thought processes, my pace, More

A reader queried me this week, asking how to send their word to a traditional press. Big ask, because they write entire courses and books on the subject, but I tried to give them an abridged version. First, you don’t send the entire manuscript. He asked if he needed a dedication page, the front matter, etc. and I had to explain to him that they have to like your writing first. This isn’t about formatting and the extra material of a book nor your bio. It’s about sending one to three chapters (sometimes only a first page) to a publisher to see if they like what they see. Not the full manuscript. Second, you prepare a query letter where every word counts. EVERY.WORD.HAS.TO.COUNT. That query has to make an editor (or agent) want to read more. Even if it’s talking about who you are or the brief 100-word synopsis of your book. They might never read that one to three chapters if the pitch letter doesn’t sing. Third, you only get one chance with each publisher and agent. If they reject you on this book, the book is pretty much forever rejected. Unless they reply with suggestions and leave the More

Last year, I realized my submission process was extremely inefficient. I’d write an essay or short story and then begin searching for somewhere to submit it. It was a time-consuming process that meant I could spend up to two hours researching markets just to submit to one or two publications. Although I subscribe to newsletters like FundsforWriters and The Practicing Writer, I often get behind in reading them, which means I miss important submission deadlines. Also, because some magazines limit the number of submissions, if I don’t send to those within the first couple of days after they open submission portals, I have to wait until their next reading cycles. To address these issues, I switched my process to something closer to an old-fashioned “tickler file” system. In the era before digital calendars sent reminders, a “tickler file” system consisted of folders where you’d put letters that needed to be sent that month, bills that needed to be paid, and other such timed tasks. When the month started, you opened the folder and “tickled” your memory about what needed to be done that month. Using a Tickler File System For my new system, I created one Word document for each month. Each document More

Okay, so you’ve written a screenplay and are shopping it around town. What now? Well, if your work generates interest from a studio or producer, you may soon be handed one of several agreements to review. Understanding the key differences and commonalities between each one will be essential to protecting your work, accomplishing your goals, managing expectations and avoiding pitfalls. Let’s first look at each one so you’re clear on what they entail and under what circumstances they might appear. Option/Shopping Agreement An option is most often used by a producer who doesn’t currently have the means to get your picture made, but believes in the work and wants a chance to shop or package it. The option period is the length of time you agree to give that producer to purchase the script outright, during which time she has the exclusive right to attach talent, secure distribution, raise financing and/or engage in other measures that result in a greenlight. If the producer fails to purchase the script by the end of the option window and you choose not to renew, all rights revert back to you. The producer’s rights during this window are exclusive because she doesn’t want you More

Having your book turned into a film or series offers fans the chance to engage through a different medium, opens the work up to an entirely new audience, and creates an additional revenue stream. But how do you get your book in the hands of a Hollywood producer who can bring it to the screen? While there’s no one-size-fits-all strategy, some best practices that will give you an edge. Write a Visual Book The first step is to write a book that Hollywood finds adaptable. Some stories are more attractive in this regard than others. Those featuring strong visual elements, hooky concepts with high commercial appeal, and flawed characters with compelling arcs are catnip for producers, directors and stars, as are books based on true stories. For inspiration, read books that have already been adapted into movies and follow industry trade magazines like Variety or Hollywood Reporter to gauge trends. For more info on judging adaptability, read my article here. Protect Your Work The first thing to do before shopping your book around Tinseltown is to make sure it’s copyright protected through the U.S Copyright Office. Clearly adding a copyright notice to the beginning of the book, watermarking pages and using More