| If you've written book of non-fiction, it's easy to | | | | Now, you can also take this strategy and turn it |
| get no-cost promotion on the internet. You simply | | | | to your advantage with virtually any media you |
| write articles about the information in your | | | | want to work with. You'll be giving media |
| non-fiction book and people want to know more. | | | | interviews on the topic of abused children in Haiti, |
| But what if your book is fiction? What if it's a | | | | or the lack of flood preparedness of the average |
| novel? How do you write articles then and take | | | | family and what they can do about it. |
| advantage of the same sort of great promotion | | | | "Well, Dorothy, I started thinking about flood |
| that's available to the non-fiction writer. I was | | | | preparedness of the average family when I began |
| mulling this problem over in my mind when the | | | | writing my novel, the Dam that Ate Cleveland. |
| answer popped into my mind. Of course! It was | | | | There's a scene in that book that is both |
| so simple. All you have to do is... focus on the | | | | terrifying to the reader, and was actually |
| information or the details in your book and then | | | | terrifying for me as I wrote it. In that situation |
| write non-fiction articles about those things. | | | | we have a family that..." |
| So if you wrote a thriller that takes place in | | | | "And as I did more research, I discovered that |
| Rome and ha a heavy emphasis on putting clues | | | | these problems not only continue to exist, but |
| inside churches or near statues (Does the work | | | | they're getting worse. The novel is a fictionalized |
| of Dan Brown sound familiar) then all you've got | | | | version of a situation that could become very real |
| to do is start producing articles about those | | | | if just a few circumstances come about..." |
| statues and those churches. | | | | With just a little effort, you can do this virtually |
| In fact, it's a great way to start using all that | | | | any novel... |
| excess research information you have but never | | | | "There are now nano machines, microscopic |
| got the chance to put in the book. When you | | | | robots, really, that can actually repair mechanical |
| write fiction, your plot, your story, is moved along | | | | damage by themselves and on their own.. This |
| by things. Those things could be river boats on | | | | means that the main character in my novel, a '57 |
| the Mississippi. Or argyle socks, or a particular kind | | | | Chevrolet that repairs damage to itself, is closer |
| of gun, a food recipe, old style baseball uniforms. | | | | to real life than we might think..." |
| The list is endless. | | | | Naturally, every article you write about your |
| You write an article about one of those things. | | | | non-fiction information must refer to your novel |
| Let's say you've just written a story very much | | | | at some point, usually near the end of the article. |
| like Jack and the bean stock. How about an article | | | | You want people who were interested enough to |
| on con men, or how music therapy is helping with | | | | read the article, to have a speedy method of |
| medical recoveries, or whether gold (eggs or coins | | | | laying down the money for the entire book. And |
| or whatever) are good investments at the | | | | the article gives them a reason for doing just |
| moment. You get the idea. | | | | that. |
| You write your article and then at the very end, | | | | If you've already written a novel, take a look at |
| mention how this one item plays an essential roll in | | | | each page. You'll find the genesis of an non-fiction |
| the book you've just written entitled... well, | | | | article right there before you, with a new article |
| whatever the title is. | | | | being offered up on each and every page. |