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Your Customized Energy Bank

Tuesday, November Post a comment

In a world of constant digital distraction, where we are terrorized by to-do lists and starved of authentic presence and connection, many of us feel tired and wired. Seven to eight hours of sleep often feels like an unattainable luxury, and caffeine becomes a convenient crutch.

As a Holistic High-Performance Coach and “Healthspanner,” I’ve observed that many of our modern health struggles and barriers to success stem from chronic stress, overwhelm, and burnout; symptoms of an unbalanced achievement model focusing on hustle, toughness, and sacrifice. To make matters worse, our current healthcare system is a misnomer. It’s not about health, shows little care, and is a poorly functioning system. Amid political discord, wars, and a mental health epidemic, a new paradigm of self-determined success, health, and fulfilment is being called forth, based on joy, wisdom, harmony, and energy flow. This shift reveals a crucial truth: no one is coming to save us but ourselves.

As Buckminster Fuller said, “You never change things by fighting the existing reality. To change something, build a new model that makes the existing model obsolete.” The Make America Healthy Again (MAHA) campaign is a powerful example of uniting people across the great political divide as the idea of shifting from sickcare to genuine healthcare is something that resonates widely.

Everyone desires the health and energy to be, have, and do what they want in life. According to the NY think tank Project Energy, energy is the single common denominator in lasting success in virtually anything. So, knowing where it comes from, where it goes, and how to maximize it is the key to success. Yet many people are unclear how their choices cause either energy gains or drains. This is precisely why after years of research I created a framework called the “Energy Engagement Wheel,” a holistic framework for us to cultivate healthier energy states in every aspect of life. Everything is energy. And everything we do, say, and think affects it. Energy is the currency of exponential impact, and it must be spent wisely.

The Energy Engagement Wheel divides energy into six main sources, empowering us to become more aware of how we use it. At the core is Foundation Energy: the air, food, water, light, sleep, and supplements we take in. Next is Move Energy: the shapes and movement we give our body, such as posture, smiles, exercise. Sitting is the new smoking. Then comes Pause Energy, the power of meditation, prayer, and mindfulness. Rumi said it best: “God’s language is silence. Everything else is poor translation.” Space Energy covers the sights, sounds, smells, and physical elements in your environment. Are you crushed under clutter, or do you have the space to let in the new and good? Mind Energy is about the thoughts, habits, and emotions that shape your experience of life. What questions are on your mental dashboard? Do they direct you to a place you want to go? Finally, Connection Energy looks at how you communicate and interact with others. The energy you give is the energy you get back. Are you an energy angel or energy vampire?

Take a bird’s-eye view of your energy wheel. How do you score in each category? For instance, if your Foundation Energy is low, do you need to cut back on sugar and hydrate? Are you sitting at your desk all day and need to top up on your Move Energy? Also, notice where you go when you’re depleted—do you seek connection through coffee with a friend or turn to pause with meditation? Bringing awareness to your unique personal energy map can help you plug up the leaks with small energy affirming habits. As you slowly stack your energy habits in each of these six areas, you’ll unlock a whole new level of performance, energy, and enjoyment!

 

 

Susan Treadgold is a holistic high-performance coach, speaker, and multiple #1 best-selling author with nearly two decades of investment banking experience at Morgan Stanley, Merrill Lynch, and Citigroup. She empowers women to have more energy and success with the use of science-backed high-performance habits, executive presence, training, and a personally curated longevity portfolio of cutting edge biohacking products. She is an award-winning artist, host of The High-Performing Woman talk show, and on the leadership committee of 5050 Women on Boards. She is a proud mother of two teenagers, and family is her love language. As a board member of Roots of Promise, she is passionate about helping less fortunate kids.

 

Categories: Susan Treadgold, Work-Life Balance

Getting an Author Interview

Friday, October Post a comment

Are you an author that’s tried to get radio, TV, or podcast interviews and had little or no success? You may be doing what every other author is doing. Let me share from the view of the decision maker.

I’ve been on the radio for almost 30 years and had thousands of requests by authors for interviews. Never, ever, no, not once, did I receive any audio or video from an author sharing what type of interviewee they would be. It’s always the same thing, their book in an envelope with a contact one-sheet randomly stuck in between the pages. What I needed was audio of them sharing what value they would be bringing to my audience.

So many of the one sheets are “author focused” meaning they tell me how many books they’ve written, where they went to college, how many interviews they’ve done, I’ve even seen how many grandchildren they have! What?? I need to know that what you’re wanting to present about your book is compelling, relevant, and entertaining. Don’t just tell me it is, SHOW me it is!

When you’re asking to “borrow” someone’s audience, you need to tell them why their listeners or viewers are going to care. What is your news hook? What is the common thread you will have with the audience? You need something in the first 15 seconds that’s going to make someone say “you feel that way, wow, I feel that way too!” They need to see or hear that they are in your conversation, otherwise, they just won’t care.

If you’re an author and don’t have a video interview in your digital “toolbox,” you’re missing out on your single most important marketing asset. An interview with you speaking about your book introduces readers to the heart behind the book, creating an important connection that builds familiarity and trust. This video can be repurposed for social media, newsletters, your Amazon author page, email blasts, and websites. Incorporating the video into your press kit lets decision makers see what type of interviewee you would be when requesting radio, television, and podcast interviews, as well as speaking opportunities.

Anyway, I’m just a little passionate about helping authors build their brand and sell more books with radio and video interviews. So much more to say and so little time.

Would love to hear about your book!

 

Suzanne Lynn Cheesman has been in radio for over 25 years, in New Jersey, South Dakota, Minnesota, Missouri, and Florida as well as having hosted her own nationally syndicated show. She now runs a digital media company that helps authors sell more books and build their brand with video and radio interviews. She currently hosts the Triangle Spotlight radio show on WQBQ 1410-AM, a Central Florida radio station that has a coverage area of half a million people. On this show, you can hear authors from around the country and around the world share their heart behind the writing of their books.

Categories: Interviews, Marketing, Suzanne Cheesman

No Money? No Problem. There Are Other Ways to Help!

Monday, October Post a comment

I’ve never met Kori Nelson or Paul Leblanc in person. But, thanks to the power of the internet, I recently introduced them to each other. Now, Paul is financing Kori’s trip from Minnesota to New Hampshire, so that she can attend her college graduation ceremony at Southern New Hampshire University (SNHU) — the same college where Paul just happens to be the President!

I’m also a student at SNHU, which is how I know Kori. We met this past fall at SNHU’s online student center (SNHU Connect) when we were inducted into the National Society of Leadership and Success. Even though she lives in Menahga, Minnesota, and I live in Los Angeles, California, we became fast friends. We even made a point to skype at least once a month, and the more I learned about Kori, the more I thought she was great. Not only was she a full-time student, but she was also a hard-working mom of two with aspirations to help victims of domestic abuse. Despite challenges with family scheduling, job changes, and the weather (look on the map, Menahga is basically at the North Pole!), she always remained optimistic and determined to succeed.

That’s why, the moment I heard she needed help financing her family’s trip to SNHU (so that her husband and children could be there as she accepted her diploma), I wanted to help.

Kori had set up a crowd funding campaign on You Caring to raise the $500 her family needed for the trip. I went to the site. The more I read her family’s story the more I wanted to write a check to cover the entire amount. Unfortunately, as a student, I couldn’t afford to do that. But, as a writer, a social media marketing manager, and a friend, I knew exactly how I could help.

First, I re-wrote her story; cleaned it up a bit to make sure it could appeal to any potential donor. Then, I got on Twitter and Linkedin to share her story with my connections and followers. As I was scrolling through my list, I came across Dr. Paul LebBanc, the president of SNHU.

I first met Paul online too, when he retweeted an article I wrote for Borgen Magazine about SNHU’s College for America’s online learning program for refugees living at the Kiziba Refugee Camp, in Kigali, Rwanda. At the time, I had scrolled through his Twitter feed. I remember feeling that he was more than just a figure head of a president; that he genuinely cared about his students and would probably do anything to help them succeed. It seemed like Paul was one of us. He even accepted my invitation to connect on Linkedin! So, with a little wishful thinking, I sent him a message with a link to Kori’s You Caring campaign and a note asking him to, “Please help spread the word!” Almost instantly he wrote back, saying that he “took care of the expenses,” because he was a “sucker for cute kid pics and SNHU students.” Although, I still suspect it was a little more than that; that perhaps, his generosity had something to do with good-old-fashioned human kindness.

Sometimes it’s hard to imagine that the internet, especially social media, can inspire people to do good things. This is because much of what we hear and read on the subject is filtered through a very negative light. But, good things do come from a connected world. In fact, stories of kindness are popping up all over the news. This week, on NBC News, a hardworking father of two couldn’t afford to help his friend Shajuana (a cashier at his favorite Popeyes) make her $1500 tuition payment for nursing school. But, he started a crowd funding campaign to find others who could. Last checked, Shajuana’s fund was over $14,000. And, this South Carolina teacher raised $80,000 on Go Fund Me to buy every child in her a school a brand new bike!

Even large-scale non-profit organizations understand that not everyone can afford to fork over $100 for every cause they care about. Organizations like the American Red Cross accept vehicle donations, volunteer time and of course, blood donations — giving everyone the opportunity to help those in need.

As for Kori and Paul, he’s asked her to sit on the “right side” of the stage during graduation. This way, when she walks across the stage to accept her diploma in May, he will be the one who hands it to her. And, although she hasn’t said so, I suspect Paul may get a huge hug in return!

 

 

Ashley Henyan is a digital marketing consultant, a freelance writer, and the executive director for the American Red Cross of Lowcountry South Carolina. Previously, she held leadership roles in digital communications and media relations with the Red Cross (the 2017 Harris Poll Non-profit Brand of the Year). Ashley has-developed curriculum and trained hundreds of staff and volunteers across the United States in courses like Leveraging Your Story on LinkedIn and Social Media Story Telling. She has been invited to discuss social media marketing and brand visibility on various podcasts and with local and national associations. Ashley has played an integral part in award-winning social media campaigns including honorable mention recognition with the PR Daily Content Marketing Awards and numerous Silver Telly Awards for Branded Content. She holds a B.A. in government and politics from the University of Maryland and an M.A. in English and creative writing with a concentration in screenwriting from Southern New Hampshire University. Ashley’s work as a ghostwriter has appeared in national and international publications including Yahoo News, China Global Television Network, and The CEO Magazine.

Categories: Ashley Henyan, Crowdfunding

My Editing Role Model

Monday, October Post a comment

Today I took my dog Chilly, a white miniature poodle, to a brand new groomer named Sally. After I dropped Chilly off, I ran two blocks down the street to pick up a prescription from CVS. I was expecting to wait at least an hour and thought I’d get one errand done in the interim. Less than 20 minutes later, when I returned to Sally’s shop, Chilly was already finished! I laughed, because staring at me through the front window was Chilly and an identical dog. Well, identical except for one big difference. This dog was two feet taller than Chilly! I even joked with the cashier, stating, “I thought for a moment you transformed him into a giant!”

On our walk back home I got to thinking about how much a great editor is like a great dog groomer. Sometimes a literary work requires a full bath, a haircut, and a nail trim.  Sometimes it only needs a bath and a sanitary trim. And sometimes, the only thing necessary is a quick trim of the nails.  A great editor must be able to recognize what needs to be cleaned up or trimmed down, and make all the necessary adjustments while keeping the integrity of the original work. No one wants their work of art going in as a miniature poodle and coming out as a standard poodle!

Perhaps, equally important as keeping the integrity of a work is the way an editor communicates with their clients. Even worse than picking up a bigger dog would be picking up a distressed or psychologically traumatized dog, right!? When I arrived to pick up Chilly today he was as happy as he could be.  I knew Sally had treated him kindly. And just like her, an editor must be kind and compassionate every time they interact with their clients.

A great editor must also have a keen intuitive sense. Chilly has always had very long quicks in his nails. In the past most groomers have been afraid to cut them. But today, when we got home, I discovered Sally actually cut his nails. “Wow,” I thought, “this Sally is a real find! She must know how to trust her gut. We’re definitely going back to see her.”

Just like Sally the dog groomer, as an editor I want to always deliver feedback in a timely and efficient manner. I want to be able to communicate with clients in a kind and compassionate way. And above all, I want to be able to trust my intuition to know when to take risks, and when to back off.

 

Ashley Henyan is a digital marketing consultant, a freelance writer, and the executive director for the American Red Cross of Lowcountry South Carolina. Previously, she held leadership roles in digital communications and media relations with the Red Cross (the 2017 Harris Poll Non-profit Brand of the Year). Ashley has-developed curriculum and trained hundreds of staff and volunteers across the United States in courses like Leveraging Your Story on LinkedIn and Social Media Story Telling. She has been invited to discuss social media marketing and brand visibility on various podcasts and with local and national associations. Ashley has played an integral part in award-winning social media campaigns including honorable mention recognition with the PR Daily Content Marketing Awards and numerous Silver Telly Awards for Branded Content. She holds a B.A. in government and politics from the University of Maryland and an M.A. in English and creative writing with a concentration in screenwriting from Southern New Hampshire University. Ashley’s work as a ghostwriter has appeared in national and international publications including Yahoo News, China Global Television Network, and The CEO Magazine.

Categories: Ashley Henyan, Editorial Services

Digital Social Discourse

Monday, October Post a comment

Mikhail Bakhtin was a 20th century Russian philosopher who expanded upon Marxist thought to define the social function of language. His work, forever ahead of its time, stumps scholars to this day. In fact, much of what Bakhtin wrote aligns with poststructuralist thought, a movement that didn’t emerge until just before his death, in 1975. In his 1935 essay “Discourse in the Novel,” Bakhtin draws attention to the way a variety of diverse discourses work together, to explain, “a concrete socio-ideological language consciousness . . . where consciousness finds itself inevitably facing the necessity of having to choose a language” (677). To quote my favorite professor’s favorite Bakhtin, “When we stare at each other, two different worlds are reflected in the pupils of our eyes. Dialogue, the give and take of language, completes these two worlds” (Salyer). But what if the person you are staring at isn’t physically there? What happens to language when pupils are replaced by a message board, a photo, or a post?  Is there a virtual give and take between dialogue and reflection in our digital world? Have we become blind to authenticity, communicating now through only that which is implied?  Perhaps the answer lies somewhere in-between, in the virtu-verse of social discourse.

Today, in the world of digital advertising, analytics reports and statistical analysis have nearly surpassed traditional communication.  I wouldn’t be surprised if you could easily find the statistics for how many Japanese-American men watched the “Ice-T Lemonade” ad last Thursday on the new iPhone while taking a sh*t.  Of course this would be accompanied by a pie-chart; highlighting location, socio-economic status, and if the toilet paper they were using came from Google Express.

Bakhtin claims, “a diversity of social speech types, sometimes even diversity of languages and a diversity of individual voices” (674), create language.  In essence, he is defining social discourse. Living somewhere among these various social speech types, within the world of social discourse, is the individual voice. And within every individual voice lies a multi-dimensional internal-verse, full of feeling and thought.  Thus, an infinite number of internal-verses exist within our social universe. But what happens when our social universe goes viral, when it itself becomes infinitesimal? How would Bakhtin define digital social discourse? What would he think of this virtu-verse?  Are there benefits and consequences from communicating through the in-between?

Everyone with a smart phone walks around with the ability to jump in and out of a virtual black hole. Either they are present and participating in society, or stuck in their phone, unconscious to the “real” world. But can consciousness exist above and below a thin transparent screen?

The virtu-verse is this threshold — where social discourse and internal discourse exist consciously and unconsciously, together and separately, virtually and authentically as one.

We’ve all met someone who lives in their own world. Someone who, when they actually speak out loud, is shocked back into “reality.”  For this person, entering the virtu-verse heightens their conscious identity, allowing them to virtually join the collective and enjoy unlimited new opportunities for social interaction.

There are also revenue generating aspects to consider. Throw a little money at the internet and in less than a second your computer sends a pop-up ad to the “right buyer” at the “right time” on precisely the “right quadrant” of the “right page.” Endless new jobs have also emerged, allowing more free time and a higher quality of life for people now choosing to work from home.

But can there be authenticity in virtual communication?  Can humans maintain accountability and consciously exist within an unconscious digital collective?

We’ve seen the power of virtual communication work both ways to inspire the human race.  A little girl from Aleppo can win the hearts of America just as easily as protesting can escalate into a state of emergency overnight. But there is a refreshing human quality to the movement behind the movement in our digital world. Something that makes a  9-year-old girl’s refusal to do her math homework  reach the national news, and remind us all about the importance of teaching and learning respect. Something that raises awareness for worthy causes—remember the “Ice-Bucket Challenge?” Something that allows us to watch the celestial motion of Jupiter and four of its moons, whenever we want, just by looking in the palm of our hand.

Regardless of whether we view digital communication in a positive or negative light, recognizing its ability to empower the virtual-human collective through the social function of language is something we should all consciously embrace. While I appreciate the amenities and services a commodified internet brings, I strongly believe the human benefit, the one we are almost missing, seriously outweighs every platform for capital gain. Don’t get me wrong, I love Google Express— especially when they deliver giant bundles of Costco toilet paper right to my front door. I just don’t see the benefit of others knowing what I’m watching on my iPhone when I use it. And I suspect Bakhtin, though he claimed, “consciousness at all times and everywhere comes upon languages, not language” (677), might also feel the same way.

 

Bakhtin, Mikhail. “Discourse in the Novel” Literary Theory: An Anthology. Ed. Julie Rivkin and Michael Ryan. 2nd ed. Malden, MA: Blackwell, 1998. (674-685). Print.

Salyer, Gregory. Uberconference.com Interview.  23 September 2016.

 

 

Ashley Henyan is a digital marketing consultant, a freelance writer, and the executive director for the American Red Cross of Lowcountry South Carolina. Previously, she held leadership roles in digital communications and media relations with the Red Cross (the 2017 Harris Poll Non-profit Brand of the Year). Ashley has-developed curriculum and trained hundreds of staff and volunteers across the United States in courses like Leveraging Your Story on LinkedIn and Social Media Story Telling. She has been invited to discuss social media marketing and brand visibility on various podcasts and with local and national associations. Ashley has played an integral part in award-winning social media campaigns including honorable mention recognition with the PR Daily Content Marketing Awards and numerous Silver Telly Awards for Branded Content. She holds a B.A. in government and politics from the University of Maryland and an M.A. in English and creative writing with a concentration in screenwriting from Southern New Hampshire University. Ashley’s work as a ghostwriter has appeared in national and international publications including Yahoo News, China Global Television Network, and The CEO Magazine.

 

Categories: Ashley Henyan, Marketing

A Screenwriter’s Take on Visual Language

Monday, October Post a comment

One could argue that film, the precise blend of dialogue, visuals, special effects, and music, is the ultimate form of communication. As a screenwriter (doing my small part to create films), appropriately understanding and applying the English language plays a huge role: especially when it comes to expressing character thought with accurate and realistic dialogue. As society turns to technology for everyday needs, the English language will continue to adapt and eventually become the ultimate universal language. As a professional screenwriter, I hope to blend the English language with technology and convey heart-felt stories to diverse audiences, worldwide.

Technology has always influenced the English language, but recently, word formation methods like shortening (alphabetism, acronymy, clipping and backformation) and blending are on the rise to keep up with space and time saving trends that co-exist with today’s technology. In How English Works, Anne Curzan and Michael P. Adams discuss the trend of eliminating nonessential punctuation and characters from newspaper headlines and paperback books in the 20th century — as a means to save space and time (Curzan and Adams 459-460). Today, when it comes to the news and virtual media outlets, these space and time saving trends continue. Take for example the 140-character limit on Twitter. This social media platform has mastered the art of telling the news via headlines only. According to Craig Smith of DMR statistics, there are 1.3 billion registered users on Twitter (Smith). Imagine the space and time saved when all these tweets add up! As virtual communication becomes the only form of communication, space and time saving word formation methods will prove more effective and become more popular.  Enter the emoticon.

Emoticons, although controversial, are a widely used form of picto-graphic e-communication. I believe they are a major part of the continued expansion of the English language.  In a recent article, Author Quinn Bartlett stated, “. . . the assumption that emoticons are fundamentally a juvenile form of communication not worthy of consideration as a legitimate language is to hold society to a self-imposed standard which is both unrealistic, limiting, and ignorant of human history” (Bartlett).

Genius that we can say all this with just a few pics, dontcha think? Genius but not new. Over 40,000 years ago logographic writing appeared in the form of hieroglyphics, in ancient Egyptian societies (Scoville).

To this day scientists struggle with understanding the true meaning of hieroglyphic communication. Perhaps, in attempting to translate these pictorial messages, scientists are wasting their time. Just as its important to look back at history for answers, it is also important to consider that English is not an absolute, and never has been (Bartlett). If we were scientists studying emoticons, we would never assume the receiver was sitting at home, sulking over a bad break-up with a guy named Harry.  Similarly, one may never completely decipher 40,000 year- old Egyptian conversations. When discussing the meaning of words in context, in their book, How English Works, Anne Curzan and Michael P. Adams state, “Sentences, when uttered, can mean much more than the denotational meaning of the words they contain, and they can do more than describe or refer to the world around us” (Curzan and Adams 236). Hieroglyphic communication may too, mean much more than the intricate picture displayed, only to have been truly understood by the sender(s) and the receiver(s) at that precise moment in time.

Hieroglyphs, documentaries, feature films, emoticons: no matter the influence from technology, they all tell a story.  And for each reader/viewer/receiver, in context, each tells a different story — a highly personal one. As the English language evolves, linguistics, English and writing professionals will take on new roles, and function side-by-side, as partners with technology. Understanding the English language, where it has been and where it is going, will surely help these partnerships grow. Within this new role, as a screenwriter, my goal is to script stories in a manner that generates the empathetic appeal necessary to personally reach all audiences —  throughout time.

 

Bartlett, Quinn. “Emoticons, a Return to Hieroglyphics?” Revelfoundry.com. 2 October 2014. Web. 24 July 2016.

Curzan, Anne and Michael P. Adams. “How English Works: A Linguistic Introduction.” 3rd ed. Pearson, 2012.

Scoville, Priscilla. “Egyptian Hieroglyphs,” Ancient History Encyclopedia. 2 July 2015. Web. 24 July 2016.

Sherman, Robert. “Online Hieroglyphics Translator.” Quizland.com. 1996-2016. Web. 24 July 2016.

Smith, Craig. “By the Numbers: 170 + Amazing Twitter Statistics.” DMR.com. 14 July 2016. Web. 24 July 2016.

 

 

Ashley Henyan is a digital marketing consultant, a freelance writer, and the executive director for the American Red Cross of Lowcountry South Carolina. Previously, she held leadership roles in digital communications and media relations with the Red Cross (the 2017 Harris Poll Non-profit Brand of the Year). Ashley has-developed curriculum and trained hundreds of staff and volunteers across the United States in courses like Leveraging Your Story on LinkedIn and Social Media Story Telling. She has been invited to discuss social media marketing and brand visibility on various podcasts and with local and national associations. Ashley has played an integral part in award-winning social media campaigns including honorable mention recognition with the PR Daily Content Marketing Awards and numerous Silver Telly Awards for Branded Content. She holds a B.A. in government and politics from the University of Maryland and an M.A. in English and creative writing with a concentration in screenwriting from Southern New Hampshire University. Ashley’s work as a ghostwriter has appeared in national and international publications including Yahoo News, China Global Television Network, and The CEO Magazine.

 

Categories: Ashley Henyan, Voice, Writing

How to Find an Editor

Wednesday, September Post a comment

Once you’ve completed your manuscript, you’re likely to feel a sense of accomplishment. Those months, or possibly even years, of hard work and dedication to your story have finally come to completion! You then go back to your manuscript and revise it, tinker with it, and maybe run it through a software program to check for issues with grammar and spelling. After those steps have been exhausted, you may realize there’s only so much you can do on your own, and you embark on the next step toward publication — finding an editor. But how do you find one, and more importantly, how do you find one who is trustworthy, skilled, and reliable?

Before you begin your search, though, you’ll want to determine which type of editing you would most benefit from. Are you concerned that the character arcs are more of a flat line or that the plot flounders halfway through? If so, a developmental editor will be able to help you. Or are you worried that some of your sentences are more than a mouthful, that you’ve repeated words or phrases, or that the dialogue is stilted and unnatural? In this case, an editor who specializes in line editing can address any of these concerns. And finally, if you feel confident that your manuscript only needs to have the grammar and mechanics finetuned, you will be looking for a copy editor. But if you’re not sure, not to worry! Many editors will provide assessments and will be happy to guide you in the right direction.

Now that you’ve likely narrowed down the type of editing your manuscript needs, it’s time to figure out where to look. While there are multiple places to look for an editor, here are three that almost guarantee you will receive a bounty of responses:

  1. Professional associations, such as NAIWE, usually have easily searchable member directories. You can then narrow down the search results to show only service providers who are familiar with your genre and perform the type of editing you’re looking for.
  2. Facebook writing groups will provide you with additional options, but it pays to be cautious on this platform as you’ll need to wade through the multiple responses from scammers (which sometimes outnumber those from bona fide professionals).
  3. Fellow authors often share recommendations for all types of publishing-related service providers. They will also have insights that can’t be gleaned from a professional directory or Facebook post, such as how quickly the editor responds to emails or if the editor is frequently late with submitting promised deliverables.

Soon, your inbox will be overflowing with messages from editors eager to work with you. However, the time has come to separate the scammers and the unqualified from the experienced. These tips will help you do just that:

  1. Are the editors familiar with your genre? If not, they won’t be aware of conventions, beats, and reader expectations, which could lead to poor reviews/not having your manuscript acquired by a press. Browse through the editors’ websites to see whether they’ve edited books in your manuscript’s genre, ask which projects they’ve worked on before that are similar to yours, and check a few of the listed books on Amazon to check that it’s really their name in the acknowledgments/front matter to make sure this isn’t a cover they “borrowed” and claimed as their own work.
  2. Ask to look over the editors’ contracts (and make sure they have a contract as this protects both of you!). It may be beneficial to request a “No AI” clause since some scammers are known for running manuscripts through writing software programs and then charging for something you could have done on your own . . . for free. Also run their correspondence through an AI detector as some scammers may use an AI generator to write their responses for them to increase the likelihood that they’ll sound like a trusted professional.
  3. Ask for a sample edit, and then send the editors a section of your manuscript once they’ve agreed. Do not ask to see or rely on an already edited sample since there is no way to prove who actually completed this work, and it also doesn’t demonstrate how this editor can improve your Some editors charge a small fee for sample edits while others will complete one for free. Either is perfectly acceptable (after all, editors are giving up time that could be put toward paid projects to complete the sample and any write-up that accompanies it).
  4. Make sure the editors accept payment methods that allow the consumer to make a fraud claim/receive a refund. For instance, PayPal is a valid payment method, but avoid someone who asks for payment through PayPal “friends and family” or similar payment methods that the platform will see as payment between two individuals and not as money exchanged for a good or service.
  5. Finally, go with your gut! If something seems off, that’s reason enough to say “no thanks” and continue your search.

 

Jennia Herold D’Lima is a full-blown logophile. She joined her high school’s newspaper in ninth grade, winning statewide awards for her writing, and expanded her journalism skills by continuing to write and edit throughout her high school years and as a college freshman. While earning her BA in psychology (and minoring in cultural anthropology with a focus on precolonial Mesoamerica) and her MA in applied developmental psychology, her writing and editing naturally skewed toward all things academic. Writing for and publishing in peer-reviewed journals, editing papers for classmates, and writing parenting resource guides honed her research skills. Jennia joined multiple professor-led research groups and completed four internships throughout her academic career. After graduating with a master’s, she worked at a national nonprofit in Washington, DC, and as an assistant researcher at the University of Washington in Seattle. Jennia gradually transitioned to full-time editing. She is the host of the Writing & Editing podcast. Jennia enjoys traveling, volunteering, and taking creative photos of books and book-related items in those rare moments when she is not reading or editing.

Categories: Editorial Services, Jennia D'Lima

How Finding Your Freelance Micro Niche Leads to Maximum Marketing Potential

Friday, August Post a comment

Not since the advent of the internet — or perhaps the printing press — have writers experienced as much turmoil as they have in recent years. The launch of ChatGPT in November 2022 has spawned myriad “writing platforms” that purport to write copy in the blink of an eye. As this new technology has entered the market, Google has rolled out update after update, which has caused many websites that hired writers to craft search engine–optimized copy to slow their hiring or reduce writing quotas. The result is a shrinking freelance market at a time when writers need more and better-paying gigs just to keep pace with inflation.

 

What’s a Freelancer To Do?

Amid these signs of woe — shrinking freelance markets, AI platforms wooing clients with the promise of cheap and fast material for their websites — there are signs of hope. Writers and editors who are weathering the storm of change the best are the ones who have chosen and focused on a profitable micro-niche strategy.

What is a micro niche? How do you find your micro niche? And why is this a profitable marketing strategy during times of industry upheaval? Let’s unpack the concept of a micro niche and how you can benefit from this marketing concept.

 

What Is a Micro Niche?

A niche in marketing refers to a specialized segment of the market for a particular kind of product or service. It’s essentially a distinct, specialized group of customers with specific needs, preferences, and characteristics that differ from the broader market. For example, instead of targeting the general market for shoes, a niche could be high-performance running shoes for marathon runners.

A micro niche is an even more specialized subset within a niche market. It’s a very narrow, highly targeted segment with unique needs or preferences that may not be adequately addressed by broader niche offerings. Micro niches often cater to very specific demographics, interests, or behaviors within a larger niche. For instance, within the niche market of high-performance running shoes, a micro niche could be minimalist running shoes specifically designed for barefoot runners who prefer a natural feel.

Writers may have a niche, such as writing mystery novels. But they can also have a micro niche, such as writing cozy mystery novels or sci-fi mystery novels, and so on. A nonfiction writer may have a business niche with a micro niche in insurance.

An editor may have a niche of editing for websites, and a micro niche as an expert search engine optimization editor, or an editor of technical articles, and so on.

The more you can stake a claim to a micro niche, the less prone your business will be to marketplace shocks.

Here’s why micro niches work in today’s AI-driven world and how you can find and develop your own micro niche for maximum profitability.

 

Why Are Micro Niches Profitable for Freelance Writers and Editors?

Many new freelance writers and editors think that if they specialize in an area, they will lose business opportunities; they will shut out potentially lucrative opportunities if they stake a claim to a specific niche. “But I can write about anything!” is usually the cry of a newly minted freelance writer when faced with the task of selecting a niche and further defining a micro niche.

While it is certainly possible for you to write about almost anything (and let’s face it, we all have our limits!), will someone hire us if we have too broad or too general a background?

Niches and micro niches enable writers to really dig deep into their subject matter and develop a strong personal brand for being an expert at writing about that niche. Whether your micro niche is origami (from a crafting niche) or CRM software (from an IT or technology niche), defining a profitable subcategory of a broader category and focusing considerable time and attention helps freelancers develop a profitable business because of the following marketing factors.

  1. Competitive Edge

Because few writers think in terms of micro niches or extreme areas of specialty, you’ll stand out among applicants for a specific writing gig. Your clips will be highly focused on the micro niche too, demonstrating superior knowledge and experience in the niche over the competition.

 

  1. Attracting Organic Search Traffic

If you build your website around a micro niche, you’ll also have less competition for keywords. Long-tail keyword phrases are often ideal for micro niches. They may have low search volume (under 100 per month), but the competition is also low, which means that you’ll have a much better chance of ranking your web pages on the first page of search results for the terms. This not only improves your organic search traffic but also adds to your competitive edge.

 

  1. Personal Branding

Micro niches enable you to build a personal brand around your specific niche. This helps you stand out among other freelancers faster and easier, which in turn helps you market your services.

 

  1. Charge Higher Fees

Have you ever noticed that specialists command higher fees than generalists? The same goes for freelancers. The more you specialize in your micro niche, the higher your fees, because by specializing, you have built up your expertise in an area and thus shortened the time it will take for your client to achieve their ideal project. You’re saving clients time by deepening your experience in a subject, and in turn, many are willing to compensate you better for that increased knowledge.

 

  1. Offer Specialized Services

We’re all in the publishing industry, but within the profession, there are often additional services that clients need that we can provide. When you focus on a micro niche, you may discover some unusual but highly profitable services you can offer in addition to your services. Again, because you have specialized in a micro niche, the competition for the specialized and profitable services should be less, so you can more easily add new profit lines to your business with less effort.

 

Finding a Profitable Micro Niche

Now comes the hard part: finding a profitable micro niche. How do you find a micro niche to specialize in?

There are several ways you can find a micro niche. I like to think about finding a micro niche as overlapping circles, like a Venn diagram. Where the circles overlap is your niche.

To find your micro niche, begin at the top of the diagram and work around it to find the areas that overlap. You can create a similar diagram with paper and pencil and jot your responses inside the circles to see where they overlap, where all four overlap is a strong indication of a possible micro niche to explore.

  1. Your Interests

Any micro niche you pursue should interest you. Why work at something you find boring? You’re in this for long-term success, so choose something that sparks your imagination and piques your curiosity. Brainstorm a list of 10 possible areas of interest.

 

  1. Your Experience

Consider your experience. What industries or topics have you written or edited for? Make a list of 10 industries. Sort the list according to “I have the most experience” to “I have the least experience.” You can go back many years on this one. It can include full-time work, freelance work, or volunteer work. You want to cast the net as wide as possible to encompass all sorts of work to build this part of the diagram.

 

  1. Market Demand

Now, take the list of interest from #1 and the list of experience from #2, and cross-reference them. Use a highlighter or another visual aid to mark anything that appears in both 1 and 2. Perhaps you have an interest in computers and have written several articles on the subject. That’s an intersection and one to note. Keep going until you have at least three that touch on the interest and experience segments.

Once you have your matching of interests and experience, it’s time to hit the search engines and assess marketplace demand. I tackle this in several ways:

  • General searches to uncover market size and growth trends
  • Business publications that cover industry topics
  • “Help Wanted” ads and ads on job boards like Indeed.com, FlexJobs, etc.

Areas of high market demand are industries that are growing at a rapid pace, have highly specific topics that are difficult to hire a generalist for, or require credentials for authenticity. Examples may include technology (or very specific technology, such as writing about CRM systems, AI, or music production technology), medicine (which may prioritize writers with experience or medical credentials like an M.D. or R.N.), veterinary or pet topics (which may require hands-on experience with specific species, like a dog groomer who writes about dogs or an avid equestrian covering tack and horse care).

Which, if any, of the interest and experience topics also have high market demand?

 

  1. Happy Clients!

Now it’s time to review your past clients or jobs. Who left glowing testimonials for you? Thanked you profusely for the work? Or where you saw a marked difference in sales, website traffic, or other quantifiable metrics?

Happy clients give us important feedback on our freelance work. They point us in the direction of potential niches. And, if you have happy clients already in one niche, it’s a small marketing step to ask them to write a testimonial you can publish on your website or use them as a reference for landing future gigs.

Look through your emails, your files, or however you organize your work, and find your happy clients. Is there a pattern of the type of business, industry, or work in which you excel?

 

It is the intersection of these four areas that points you to a potentially profitable micro niche, one in which you have a good chance of excelling and loving as you embrace it for your business.

 

What If You Can’t Find a Micro Niche?

What if, after going through these four steps, there is no point of intersection in your work? Perhaps your happy clients aren’t in those industries that interest you, or you’ve done your market research and found that the industry is shrinking. What then?

  • Decide what you can compromise on. Look through each of the four circles and decide which area you can compromise on. For example, perhaps you need to earn a certain income and are willing to write about topics that do not interest you. If the market size and potential appear to be strong, you may wish to pursue that micro niche even if the topics are not of great interest. Determine what, if anything, you can compromise on and restart your search.
  • Think outside the box. Use tools like Answer the Public to brainstorm avenues to explore. I enjoy writing about business, but I focus on technology and engineering companies as my market niches. Why? Because business issues are what drive companies to seek solutions from tech platforms and engineers — and I can bridge the gap between their technical writers (who focus on their products) and marketing writers (who know how to market the products but may not be good at telling the stories driving sales). Brainstorm other ways in which your interests or strengths may be applied to new industries.
  • Consider testing a niche or two. You may have some that align in two of the four circles (interest/happy clients, happy clients/market demand). Test the market for 6 – 12 months. Can you land enough gigs in that industry to consider it a micro niche? What about prices? Can you develop your online personal brand as the go-to source for articles on this topic?

 

Problems and Pitfalls in Micro Niches

There are some problems and pitfalls when it comes to selecting micro niches. I’ve reviewed the ones that occur when completing the initial exercise to select a micro niche. However, even after you’ve chosen a micro niche and focused on it for a while, you may still encounter a few of the following problems.

  • The niche appeared profitable — but you find it isn’t. This usually means returning to the market research stage, as something went awry during your research. Perhaps you misunderstood the data, or the data was misleading.
  • There isn’t enough sustainable demand. This can happen when a temporary increase in demand is mistaken for a long-term trend. During the pandemic, for example, online searches for gardening information rose as more people were at home and had time to work on their lawns and gardens. However, when the pandemic was over and people returned to work, demand fell. Consider larger macroeconomic trends when conducting market research.

What if, after spending months or years developing your brand reputation in a particular niche, you find you’re bored to tears and want to try another? Or a former client returns and asks you to work on a project, but it’s not in your niche?

Selecting and pursuing a micro niche doesn’t mean limiting yourself! It simply means focusing your marketing efforts on a particular micro niche to build momentum in this field and generate positive income and inbound leads. If you receive an opportunity in another area, and you wish to pursue it, there’s no “law of marketing” that says don’t go for it!

 

Identifying a market and focusing promotional efforts on that market is an important skill for freelancers to master. Hopefully, this discussion will set you on the path to building a strong reputation in your chosen micro niche.

 

 

Jeanne Grunert is the president and founder of Seven Oaks Consulting, a business-to-business content marketing agency. She is an award-winning writer and direct marketing expert with over 30 years of writing, marketing, and business experience. Prior to founding Seven Oaks Consulting, Jeanne led marketing for divisions of McGraw-Hill Education, Teachers College Columbia University, The College Board, and retail, publishing, and financial service companies in the New York City area. Known worldwide for her exceptional leadership and communication skills, Jeanne works seamlessly across cultural and corporate barriers to achieve outstanding results. She holds an M.A. in writing and an M.S. in direct and digital marketing (awarded with distinction) from New York University, as well as certifications in social media marketing, content marketing, and adult education. Originally from the New York City area, Jeanne currently resides with her husband, John, and many pets on a 17-acre farm in rural Virginia. When not leading marketing teams through her work at Seven Oaks Consulting, she enjoys gardening, reading, cooking, and writing mystery novels.

Categories: Jeanne Grunert, Nonfiction, Writing

How To Choose When To Add New Services in Your Writing/Editing Business

Tuesday, July Post a comment

As a freelance writer or editor, you can broaden your business in two ways with new services: (1) niching into other writing/editing services or (2) stepping out into other freelance niches like marketing, video, or audio work, or administrative work.

But how do you know if it’s the right time or fit for you? Throughout my freelance career, I have pivoted into other freelance services and niched down into other freelance writing options, too. Here’s what to keep in mind.

 

Taking on Other Kinds of Editing/Writing Work

This is perhaps the easiest pivot, since you already have a track record of delivering in the writing and editing space. You have a better handle on pricing and can also bring over the lessons learned from your existing business (AKA how not to work with nightmare clients, which contract provisions protect you, how to set deadlines.)

For example, if you’ve been largely focused on academic editing services, you could continue to do those or dial that work down to shift over into business editing or fiction manuscript editing. Although the projects will look somewhat different, you aren’t making a huge change. It might be difficult to land those first few clients in your new service area if you’ve done a lot of work “branding” yourself as the academic writing expert.

When to consider making this kind of change:

  • You’re feeling too much “sameness” in your work (if you look at one more academic journal article, you’ll lose your mind). New service offerings, even if you’re not pivoting into them full-time, can help add variety.
  • You’re getting bored with your work and feel you’ve taken your current service offering as far as you could take it. (After 11 years of writing personal injury law blogs, not a single thing about it was challenging for me anymore.)
  • You don’t want to learn something entirely new, but you do desire a little bit of change

 

Taking on Entirely New Work

It’s a much bigger change if you’re going to start offering book cover design either instead of or in addition to your current editing workload. That’s not to say it can’t be done. In fact, some writers and editors love zooming out to the big picture to make themselves more of a one-stop shop. With this, however, comes thinking about how you’re going to market yourself differently and whether you need new work samples. If you’re not as familiar with the standards, pricing, client types, and deadlines in this new service area, allocate more time to get up to speed. It can be a bit clunky especially when everything feels so smooth in your existing editing and writing business just due to your experience in that field.

For example, after years of content writing, I shifted over to offer Amazon Ads for published book authors for a time. It was a big change even though I was familiar with publishing in general. I was talking to an entirely new group of potential clients and did not have all the kinks worked out yet. More on that later as I walk you through how to approach a test run of a new service area.

Here’s when to consider making a shift like this:

  • You’re increasingly bored or frustrated with your existing service offering and want to see if you can retire it or dial it down to 20% or less of your total work. Trying out a new service area helps you see whether that’s possible in terms of income and whether you like the new offering enough to do more of it.
  • You feel stagnant and want to continue growing or you want to protect yourself from risks, downturns, influence of AI, etc. that you’re worried about with your current service offering.
  • Your clients keep asking you if you offer service XYZ and you’re saying no, meaning you’re losing the opportunity to do more work with clients you like. An editor who also loves cover design could be a killer combination!

 

Managing a Test Run

A new service offering, even one similar to your existing work, is not always a good fit. Therefore, don’t put the cart before the horse and invest in a total rebrand. I’m really glad I didn’t do this with my Amazon Ads offering, because I ended up phasing it out after just four months. The great thing about trying something new is that you’re not obligated to stick with it so long as you didn’t promise people that it’s your new focus.

Instead, here is how to approach that:

  • Set up a test run of a few months or a handful of projects. Ideally, this will come from your existing clients or people who already know, like, and trust you. Bonus: these projects can be your first work samples and/or testimonials if they go well!
  • Offer special pricing for these first few projects with clear boundaries and endcaps. For example, with my Amazon Ads offering, I made it clear I was trying this out and only signed three-month contracts with a few people who I already liked and had asked me to run ads for them. This gives people an incentive to try out this new offering while not locking you in to some big project/long timeline in case you end up hating what you’re doing. This also prevents long-term underpricing since the special pricing is for a limited period.
  • Set a deadline for when you’ll decide if you will continue to offer this new service. I chose four months because during that time I’d be able to work on several of these projects.
  • Do not build a website, pay for a new logo, spend all your time on LinkedIn, etc. to make it seem as though this is your “new thing.” If you need to pick up a few test run clients, you can market this as a special opportunity: “I have openings for up to three clients with my new service.”
  • If you hate the new offering, conclude your contracts and exit the service. No harm done: you learned something new. And now you can try another service offering if you want!

I stopped offering 1:1 Amazon Ads because I just didn’t enjoy it; the clients wanted too much in terms of reporting, the results were randomly effective, and I did not like the constant back and forth emails. So I  wrapped it up and put that behind me.

Keep these tips in mind as you think about whether offering a new service makes sense for you.

 

Laura Pennington Briggs is the founder and CEO of the Freelance Coach. A two-time TEDx speaker on how freelancing is changing the economy and the host of the weekly Advanced Freelancing podcast, Laura has helped over 15,000 freelancers start and scale their business. She’s an expert on systems, project and client management, marketing a solopreneur business, delegating to team members, retainers, and developing multiple income streams for writers of all stripes. Laura is the author of five books, including the Six Figure Freelancer, How to Start Your Own Freelance Writing Business, and award-winning Remote Work for Military Spouses. She’s also the founder of Operation Freelance, a national nonprofit providing free entrepreneurship training to military spouses worldwide.

Categories: Business, Freelancing, Laura Pennington Briggs

Covers Uncovered

Monday, July Post a comment

You glance across a crowded room and lock eyes. You are inspired, beguiled. Suddenly, “love-at-first-sight” makes sense and you feel the spark of a love affair blossoming with . . . the BOOK of your dreams?…

Ok, that might be taking the metaphor a bit too far, but work with me on this. The ultimate goal of your book’s cover is to grab your readers’ attention and tell them in an instant, “Take me HOME, I’m just what you need! Pay no attention to all those other books, I’m the one!”

Think of it like your favorite little black dress that shows off your curves, and accentuates your . . . assets.

Let’s face it, there are really only two reasons to write a book:

  1. To say you did, and
  2. To sell it.

Unless you only wrote your book so your grandmother could read it, and your target audience is your crazy cousin Emma, Auntie Eileen, and Uncle George, the cover does matter. Let me say that again, in case you missed it in all the humor: If you want to sell your book, your cover DOES matter, a LOT.

So, let’s assume you wrote your book to actually sell a few copies. The key then is that you must:

Treat your writing as a business,

your book as a product

and the cover as its packaging. 

The cover is your most important marketing tool, and as such, must be properly packaged to be visually appealing to your target market.

A successfully designed book cover, like that little black dress, will give hints about its content, convey the tone of your book, and entice readers into actually picking up your product to read your meticulously written and diligently edited words. Metaphorically, you’ve just been asked out for a first date. Only then can your inner beauty be discovered.

Let’s have a look at some examples and see what they tell you about what’s under the covers . . . (Ok, I’ll stop.)

Ponder on this cover package for a moment.

What does the color story tell you about what’s inside? It’s fresh, clean, green grass, blue sky. How does it make you feel? Cheerful, hopeful?

Non-Fiction, Religion, Ethics

What’s under the cover, you ask? A letter from Pope Francis about caring for our common home, Earth.

The cover I created for the Pope’s Encyclical Letter is designed to make you think about our environment, ecology, and children’s future. The fresh greens, calming blues, and flesh tones are used intentionally to evoke a feeling of newness and concepts of youth, growth, and springtime rebirth.

 

 

 

 

What about these next two? How do they make you feel?

Fiction, Murder Mystery
Fiction, Alternative History, Murder, Mystery

The color red in both of these images tells us they might be about death, but the fonts also tell us a story too. Notice that the bold modern font on The End Of Snow tells us that the story is based in modern day. If you zoom in close, you’ll also notice the texture of the font feels like a blizzard.

With Rebel Nation, we can surmise from the font that it has something to do with history. The rebel flag also gives a historical clue, but why is there a modern day rifle site? Hmmm, intriguing.

 

 

 

 

 

 

 

 

 

 

 

In the case of these next two, the softer font tells us this is a more feminine story. But what else can we discover about these two? Do they belong together? What clues tell you this?

Young Adult Fiction
Young Adult Fiction

With a sequel, it’s important to have consistency in the overall look and feel from one book to the next so your readers (or searchers) will know these stories belong together. This is known as “branding.” Typically, the color story will likely match and text treatment is usually similar.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Science Fiction
Science Fiction

 

Notice the repeating elements. The spherical object at the top of the design space, the light source just below, the city-scape in the foreground, and the similar text treatment. All these elements let us know that these are part of a sequel.

Another important thing to note is that there should be a strong contrast between the text and the image behind so that your words are legible.

Fiction, Historical Romance

And, you should always keep in mind that the cover will be displayed on digital browsers at a thumbnail size, so it is important the elements are minimal. Including every detail from your story only serves to make your cover busy and confusing and gives away too much, too soon. Remember our little black dress and keep it simple and classic.

One final little tid bit of advice I always give new authors is, if you are beginning to write a book, start saving from day one so that when it’s complete, you’ll have a tidy little nest egg to invest in what it takes to make your product look professional.

Because it matters. A lot.

 

Tamian Wood, winner of numerous print and cover design awards, uses art, photography, typography, and digital collage techniques to create book covers that sell. She works with several publishers and a growing number of indie authors. Tamian’s most famous client to date is Pope Francis, whose Encyclical Letter won first place for cover design. With over 25 years in the design trenches, she is also a partner member in good standing with the Alliance of Independent Authors (ALLi) and a co-judge for a monthly cover design contest at Discovering Diamonds Historical Fiction Review site. Tamian has a weekly featured post (Critique Corner) at the Writers of Non-Fiction Facebook group. And she is the director of the LinkedIn group, Authors’ Resource. Tamian holds degrees in computer science and graphic design technology and is a proud member of Phi Theta Kappa National Honour Society.

Categories: Book Design, Tamian Wood

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