Three Fiction Lead Magnet Ideas

3 Fiction Lead Magnet Ideas at  https://buildbookbuzz.com/

Posted on July 18, 2018 by Sandra Beck with fiction lead magnet  

“Lead magnet” is a marketing term for the gift you give readers as an incentive to add themselves to your email list. Think of it as an ethical bribe.

This isn’t optional. To get people to sign up to receive occasional author updates or a regular newsletter, you need to offer them a free, downloadable gift. It has to be something your readers, fans, or audience need or want.

My primary lead magnet is a one-page PDF file with my “Top 5 Free Book Promotion Resources.” Authors receive it when they complete the form on the right side of this screen or on a page I’ve created specifically for that purpose — a “landing page.”

The big question for you is: What should I offer as my incentive?

Not an easy question for novelists That question is easier for nonfiction authors to answer than it is for novelists. Nonfiction authors can create quizzes, templates, cheat sheets, and samples, among other options. More often than not, if they’re using any kind of lead magnet, fiction writers are using a sample chapter. But is that your only option?  Nope. Here are a few suggestions to get you thinking.

Fiction lead magnet idea #1: How to do something.

Bear with me on this. It’s possible. When I read Jane Green’s Saving Grace, which made frequent references to food that sounded delicious, I wanted the recipes. I wanted them so badly that I searched for them online. Unfortunately, she didn’t provide them.If Green had offered a collection of recipes featured in that book as a lead magnet for her list, I would have “opted in” — marketing-speak for “added myself to her list” — without thinking twice.

Fiction lead magnet 2 T

The author of The Language of Flowers could create a one-page illustrated guide to flowers as symbols (daisy is innocence, calla lily is passion, aster is wisdom, etc.).And how about a tongue-in-cheek sheet of instructions for “how to be a crazy rich Asian” to go along with the Crazy Rich Asians trilogy? It’s not that hard after all, right?

Fiction lead magnet idea #2: A cheat sheet

Imagine a lead magnet for How to Make an American Quilt that offers the best quilting tips from top quilters — even though it isn’t a nonfiction how-to quilting book.

If you’ve read Dan Brown’s Angels & Demons, you can appreciate how a map of the Vatican or a guide to Bernini’s art might have enhanced your story enjoyment. You’d add yourself to his mailing list to get that, right? If you write fantasy novels with many characters with unusual names, consider creating a one-page PDF character guide with names and descriptions. It will be a Godsend to fans who read in many small units of time rather than in long sittings.

Fiction lead magnet #3: Your book’s first chapter

This is the go-to option for most novelists. It’s what most recommend doing not because it’s the only idea they can think of, but because it’s the easiest to offer and implement. Just save your first chapter as a PDF file and set it up in your system for downloading.It’s a smart option because it lets readers sample your storytelling and writing skills. (Because of that, if you’re not a good writer, this could work against you.) Because it will help readers who aren’t yet familiar with you take your book for a test drive, it’s a solid option for first-time novelists.If you’re a seasoned writer with an established fan base, though, start getting creative with options one and two. You’ll have more fun with it, and so will your readers.

Creating your lead magnet

You can create an attractive, effective lead magnet with low-cost resources. I’ve used each of the following:

Fiverr Fiction lead magnet 3

On Fiverr site (and that’s my affiliate link), search for “lead magnet design.”To make sure you have a vision for what you want your designer to create, I recommend adding yourself to lots of email lists that offer lead magnets so you can see what fiction lead magnet 4 other people are doing.Your other option is to scroll through the design samples offered by Fiverr designers to find something that resonates with you and your book’s personality. In general, I find that I get the best results on Fiverr when I can give the designer an example of the type of look I’d like to have.

Designrr

Designrr is my new favorite toy, and because of that, this is also my affiliate link. I paid $27 for this web-based software that lets me take content I’ve already created on my blog, in  a Word file, on Facebook, or on a web page — and turn it into a range of end products. When I wanted to create a special free gift for a conference I spoke at recently, I used Designrr to turn a blog post into a short report. The nerd in me enjoyed exploring the templates and imagining the many design options for the audience handout.

****You’ll get a PDF as well as a URL that houses the PDF. Give that URL to people who add themselves to your list.

Canva

fiction lead magnet 5

While Canva is free, if you aren’t familiar with it already, it will be your most time-intensive option as you review templates and learn how to customize or replace elements. On the home page, select “more”  in the upper right, then scroll down to documents, blogging and e-books, marketing materials, and events. Click around each collection to find something that speaks to you. “A4 document” in the “documents” collection and “announcement” in the “events” collection are both good starting points.

Need a lead magnet idea for your book? Join the Build Book Buzz book marketing group on Facebook and start a discussion. Tell us you’re looking for help with a lead magnet idea, provide your book title, and give us a short book description. Let’s rally the troops to help you if you need it!

What are you using as an incentive to get people on your list? Tell us in a comment.

Three Secrets to Great Storytelling!

Whispering

 

 

 

3 SECRETS TO GREAT STORYTELLING as presented on Writer’s Digest. I found this article by Steven James helpful in forming the structure of scenes.  (this is a re-blogging from 2014 but I thought it deserved a revival now, because it is simple, straightforward, and to the point.)

As a novelist and writing instructor, I’ve noticed that three of the most vital aspects of story craft are left out of many writing books and workshops. Even bestselling novelists stumble over them – Steven James But they’re not difficult to grasp. In fact, they’re easy.And if you master these simple principles for shaping great stories, your writing will be transformed forever. Honest. Here’s how to write a story.

Secret #1: 
CAUSE AND EFFECT ARE KING.

Everything in a story must be caused by the action or event that precedes it.  As a fiction writer, you want your reader to always be emotionally present in the story. But when readers are forced to guess why something happened (or didn’t happen), even for just a split second, it causes them to intellectually disengage and distances them from the story. Rather than remaining present alongside the characters, they’ll begin to analyze or question the progression of the plot. And you definitely don’t want that. When a reader tells you that he couldn’t put a book down, often it’s because everything in the story followed logically. Stories that move forward naturally, cause to effect, keep the reader engrossed and flipping pages. If you fail to do this, it can confuse readers, kill the pace and telegraph your weaknesses as a writer.

Secret #2: 
IF IT’S NOT BELIEVABLE, IT DOESN’T BELONG.  

The narrative world is also shattered when an action, even if it’s impossible, becomes unbelievable. In writing circles it’s common to speak about the suspension of disbelief, but that phrase bothers me because it seems to imply that the reader approaches the story wanting to disbelieve and that she needs to somehow set that attitude aside in order to engage with the story. But precisely the opposite is true. Readers approach stories wanting to believe them. Readers have both the intention and desire to enter a story in which everything that happens, within the narrative world that governs that story, is believable. As writers, then, our goal isn’t to convince the reader to suspend her disbelief, but rather to give her what she wants by continually sustaining her belief in the story. The distinction isn’t just a matter of semantics; it’s a matter of understanding the mindset and expectations of your readers. Readers want to immerse themselves in deep belief. We need to respect them enough to keep that belief alive throughout the story.

Secret #3: 

IT’S ALL ABOUT ESCALATION.  

At the heart of story is tension, and at the heart of tension is unmet desire. At its core, a story is about a character who wants something but cannot get it. As soon as he gets it, the story is over. So, when you resolve a problem, it must always be within the context of an even greater plot escalation. As part of the novel-writing intensives that I teach, I review and critique participants’ manuscripts. Often I find that aspiring authors have listened to the advice of so many writing books and included an engaging “hook” at the beginning of their story. This is usually a good idea; however, all too often the writer is then forced to spend the following pages dumping in background to explain the context of the hook.

IN CONCLUSION

By consistently driving your story forward through action that follows naturally, characters who act believably, and tension that mounts exponentially, you’ll keep readers flipping pages and panting for more of your work.

 

Writing Tips: Know Your Audience!

Writing Tips: Know Your Audience

know your audience

 

 

 

 

 

 

It’s an old adage for writers: know your audience. But what does that mean? How well must we know the audience? And does knowing the audience increase our chances of getting published or selling our books?

Some writers insist that the best way to write is to just write for yourself. Sit down and let the words flow. It’s true that sometimes a freewheeling approach will result in some of your best work. And writing that way is immensely enjoyable. But there are times when a writer must take readers into consideration.

So we have these two contradictory writing tips: know your audience and write for yourself. Taken together, they don’t make much sense, so let’s sort them out. Today, we’ll focus on knowing your audience.

In business, academic, and other types of formal writing, the audience is a consideration from the very beginning. You wouldn’t write a business letter peppered with internet shorthand (LOLs and OMGs), and you shouldn’t use casual language in an academic paper. In instances like these, it’s easy to see why you must keep your reader in mind throughout the entire project, but what about poetry, creative nonfiction, and fiction writing? Should the work be influenced by its intended readers? At what point does the audience begin to matter? And who is the audience, anyway?

View remaining 674 words.. April 19, 2018 ·http://www.writingforward.com/?utm_source=Writing+Forward+Blog&utm_campaign

 

B is for Brand!

 

 

 

 

 

 

 

 

I came across this great article on Writer’s Digest, entitled Alpha-Blog Soup, by Gabriela Pereira, published this month and can be found Writer’s Digest on:  https://www.writersdigestshop.com/writer-s-digest-magazine-may-june-2-wd0618

I was totally engaged with the content. It appears there are levels to conquer before I can reach B for Brand! Great article, I thought. “But, I don’t have a brand!” I said aloud. I am a mix-match of a bit of everything,

Starting with A for Audience. Audience? I was hoping for everyone. It turns out my posts are meaningless without a Brand? So, 4 years of meaningless?  Well, I am not one to give up on having a Brand!

Now, taking my lessons from the author, I must find out the following:

  1. What themes come across in my novels?
  2. What emotions do my stories evoke?
  3. Why would readers want to read my novels in the first place?

I am told I must get into my readers heads and to do so, I must consider using The Breadcrumb Technique!

Step 1. Choose a ‘Comp Title’ and find one that is in my same genre. A competitive title is a book that is in the same genre and would draw the same kind of reader. But, but….my three novels are all in different genres. My current manuscript that I am writing is a mix of paranormal and a historical fiction. Hmmm….

Step 2. Browse the Reviews on Amazon in my chosen genre and look for only 3 stars and 4 stars (5 stars are not reliable, and 2 stars are by people with an axe to grind). Well, I thought, good to know!  Study a few of them and pick out phrases and specific word choices.  I can do that, I suppose.

Step 3. Examine the Reviewer by clicking the reviewers name and go to their profile (do all reviewers have profiles?).  Hmmm…that seems a little too crafty for me, but I will try.

Step 4. Choose a New Comp. This means to view genre books that have been reviewed by the same reviewer. If that doesn’t work out, then go to “Customers who bought this item also bought…” and continue following the breadcrumbs about readers who might like my books too. Okay…I can do that!

Step 5. Stop and Implement, because it is easy to get sucked into a research rabbit hole.  Oh, of course, and considering I am a clinical researcher by career, I would end up with dozens of pages and a hypothesis!  I would give up writing fiction and write a non-fiction about the psychology of reviewers! Well, that is not such a bad idea!  I will put that on my New Project List forthwith!

Now, I thought, for the real “red meat of the article”. B is for Brand!  Yes!!

Step 1. Look up my name on Google.  Find out what is being said about me? Someone is talking about me?? Good Grief! Well…I was shocked. I should have used a pseudonym. I am strongly considering it, but it may be too late for that now, I guess.

How can they list my email address, my old address, my writing on WordPress and even Facebook, as well as my daughters names and more! Much of it is completely wrong…and is about another person(s) named Karen Dowdall. I was surprised to see how many have my name too!  Is this legal, I thought, However, I could use my maiden name and maybe from this point forward I will. But, then again, I would have to start all over, from scratch.

Step 2.  Imagine. I must use imagery for my blog writes the author.  Well, I do that in spades!  I am good to go for imagery!  I have my photo on my blog too, and that is important, as the author writes, “for making that human to human connection.”

Step 3. Voice.  “This is perhaps the most difficult aspect of branding to quantify or explain.”, writes the author. I must be approachable, have a presence for my readers and how they feel when they interact with me or my blog.  Hmmm…. I guess I need to do a survey?

The author continues with C is for Content and Conversions and then D, E, F.

It is an excellent article and the author of this article, Gabriela Pereira, has been down this road herself, obviously.  I am now going to Google her!

by K. DeMers formally Karen Dowdall …just kidding!

Ideas for Guest Blog Posts about your novel #MondayBlogs #AmWriting #Marketing

D. E., thank you so much for posting these wonderful suggestions for blogging posts! You are a life saving for many of us bloggers that are writing novels too and find time is a precious commodity.

D.E. Haggerty

I try to blog three times a week, but sometimes I can’t come up with a blog idea for the life of me. And then there’s those blog tours that want guest blog posts. Of course, I’m a glutton for punishment and also offer to write blog posts for other blogs to promote my books. Help! Calgon take me away!

calgon take me away

I don’t have a bathtub so Calgon is never going to take me away. Instead, I’ve developed a list of ideas to use for blog posts about my book. And because I’m super supportive of my fellow writers (but mostly because I couldn’t come up with an idea for today’s blog post), I’m going to share my list with you. Here goes:

Character Interview. Tried and tested. Never fails.

Five Things You Didn’t Know About (Protagonist). I find this one more fun than doing a character interview.

10 Items…

View original post 274 more words

Critical Thinking: The 5 Factors that Earn 5 Star Reviews!

An excerpt from: Paul Goat Allen | March 12, 2018, Writer’s Digest. Paul Goat Allen has worked as a genre fiction book critic and written thousands of reviews for companies like BarnesandNoble.com, Publishers Weekly, the Chicago Tribune and Kirkus Reviews.

Novelists live and die by reviews yet uncovering what garners a gushing ovation or blistering takedown is often a mystery. A professional critic lays out what it takes to earn five-star book reviews. For two decades I’d been working as a freelance genre fiction book critic for outlets such as BarnesandNoble.com, Publishers Weekly, Kirkus Reviews and the Chicago Tribune. After sharing my credentials with the group, some of the writers began telling stories about mediocre or bad reviews they’d received at different points in their careers from one or more of the companies I’d listed.

As a reviewer, not much has changed since then. I enjoy all genres and have reviewed thousands of titles in hundreds of sub-genres ranging from apocalyptic fiction to zombie erotica. (Yes, there’s such thing as zombie erotica.) In the end, genre categorization matters little to me—it’s all about the story. With that in mind, I decided to formalize a universal framework through which I process and analyze my various reading experiences. While there are undoubtedly specific narrative elements I look for in-particular-genres (pacing and tension level in thrillers, for example), there’s a pyramid of qualities—a Hierarchy of Needs, if you will—that I seek in every story. While highly simplified, it’s this structure that dictates whether I give a book a positive or negative review.

These five criteria will not only provide a glimpse into how a veteran book reviewer dissects and evaluates a novel but, hopefully, make you look at your writing in a different light. See for yourself: Does your work-in-progress have what it takes to earn a positive review?

The Book Reviewer’s Hierarchy of Needs: How to Earn Five-Star Book Reviews

  1. Readability

A book’s degree of readability is the base layer of my reviewer’s pyramid, and the foundation for any good story. The quality of a novel—narrative clarity, narrative fluidity, having a coherent storyline—is directly related to the number of times I put that book down. Some are so bad, so poorly written, that I struggle to get through a single paragraph without wanting to walk away. Others have such a fl uid plot that I find it virtually impossible to stop reading—Tad Williams’ The Witchwood Crown and Jim Butcher’s The Aeronaut’s Windlass being two such examples of utterly readable, page-turning novels.

I’ve read a lot of “unputdownable” books over the last few decades, and the vast majority of these all have something in common beyond a clear and fluid narrative: The stories have noticeably strong chapter beginnings and endings. It’s a small thing, but a great way to compel readers to keep reading. How can you put a book down when every chapter begins and ends with a cliffhanger sequence, bombshell plot twist or powerful statement? When I consistently find these elements in a novel, I know the author fully understands the significance of readability.

Conversely, novels that aren’t as readable—that are poorly written with awkward sentence structure, a confusing storyline, weak chapter beginnings and endings—are almost asking to be tossed aside. This may sound obvious, but if you can’t compel a reader to read your story, then you need to focus more on your craft before penning another book.

  1. Immersion

I define immersion as the ability for me, the reader, to not only lose myself in a novel (I call these “stay-up-all-night-till-your-eyes-bleed” reads) but to experience the story intimately, living vicariously through the characters. This trick is accomplished through a continued focus on setting, rich description and atmospherics. I don’t want to experience the story as a detached viewer looking down at what’s happening—I want to feel like I’m in the story.

The litmus test for this is easy. If I become so engaged with a book that I lose track of time—if I glance at the clock and hours have passed by—you’ve succeeded in drawing me fully into your read. Writers who are absolute immersion masters (think Cherie Priest, Justin Cronin, Charlaine Harris) are so good at captivating description that weeks, months and oftentimes years after reading their novels I can still vividly recall specific scenes.

This layer is where many writers stumble, and here’s why: While they may excel at world-building and meticulous description at the beginning of a novel, once the action and adventure ramps up, they not only lose focus but completely ignore description altogether. I’ve seen this happen countless times in every genre: rich description for the first 100 pages or so, then almost nothing in the final 200. It’s called literary escapism for a reason. If I can’t lose myself in a read—from beginning to end—then I haven’t fully escaped. Writing the Intimate Character: Create Unique, Compelling Characters Through Mastery of Point of View

  1. Character Depth and/or Plot Intricacy

Three-dimensional, interesting and identifiable characters bring emotional connectivity and intensity to the read. If your readers aren’t emotionally invested in your characters, then the narrative impact of your story is inevitably going to be negatively impacted. Emotions wield power. If you can bring your readers to tears, make them laugh out loud or scare them to the point of checking under the bed, then you’ve succeeded on some level.

Creating authentic characters to whom readers can relate is a solid achievement—but an obvious word of warning: Stay clear of clichés and stereotypes. Overused conventions—like the Chosen One in fantasy who is consistently a white male, or the emotionally damaged billionaire entrepreneur in erotic fiction who needs to sexually dominate his love interest—even if brilliantly rendered, will underwhelm and disappoint more than a few readers (and reviewers).

Now, the reason I include an “and/or” between character development and plot intricacy is because, in some rare cases (particularly in mainstream thrillers), a novel with an impressively knotty storyline can still succeed with relatively cardboard characters.

Which is why plot intricacy is key: Why read a novel where you can accurately predict what’s going to happen after a few chapters? (I do that quite often. After reading the first chapter or two, I’ll jot down a prediction in my notes. You’d be surprised how many times I’ve guessed the ending correctly.) I just finished reviewing a brilliant historical mystery for Publishers Weekly that was filled with so many plot twists I was left guessing until the last few pages. It doesn’t matter if you’re writing a fantasy or a thriller or a romance—the plot has to be intricate enough to keep your reader simultaneously engaged and a bit off balance.

  1. Originality and Innovation

This one ties in with embracing originality, be it atypical characters or unconventional story structure. So many books out there today are built upon unoriginal, rehashed, derivative storylines. I read a lot. And I get bored easily, especially when reading the same basic story arc again and again. My advice? Don’t play it safe. Write a story that you’ve never read before. In a 2016 Goodreads interview I conducted with fantasy novelist Michael J. Sullivan, author of Age of Myth, he said,

“It doesn’t matter if it’s been done before. It just matters if it’s being done well now.”

I love that quote. Just because something has been done before doesn’t mean it can’t be re-envisioned or reimagined but be innovative—put a new twist on an old mythos, turn a stereotype on its head. Have the courage to be creative!

  1. Thematic Profundity

In the introduction to the 2006 reissue of Walter M. Miller Jr.’s 1960 Hugo Award–winning classic, A Canticle for Leibowitz, Mary Doria Russell writes, “You’ll be different when you finish it.” That’s my hope for every novel I pick up—that within the story there will be a kind of spiritual and/or existential wisdom, a kind of revelation or insight that will change the way I look at myself and the world around me.

A novel that holds this kind of thematic power—as well as the other elements in the Hierarchy of Needs—will get a starred review from me every time. Stories, no matter the genre, have the power to change lives. Novels like Andreas Eschbach’s The Carpet Makers, Margaret Atwood’s The Handmaid’s Tale and Yevgeny Zamyatin’s We have irrevocably changed who I am. After all, that’s the ultimate goal, right? To write a commercially successful and critically acclaimed novel that is both entertaining and enlightening.

Evaluating a novel is a cumulative process. Those with masterful character development but zero immersion will still receive a poor review, for example, while a thematically profound read with excruciatingly bad readability will receive a terrible review.

May this Hierarchy of Needs not only make you more aware of how your writing is experienced by readers—and jaded book reviewers like myself—but also offer up a few invaluable insights that can be used to improve your craft. Who knows, maybe my next starred review will be yours.

Paul Goat Allen has worked as a genre fiction book critic and written thousands of reviews for companies like BarnesandNoble.com, Publishers Weekly, the Chicago Tribune and Kirkus Reviews.

 

 

Ten Myths About Creativity by Melissa Donovan

 

 

 

 

 

 

reblogged from Writing Forward, by Melissa Donovan on March 6, 2018, 

https://www.writingforward.com/  (An excerpt from Melissa Donovan’s book, 10 Core Practices for Better Writing.)

This excerpt is from “Chapter Nine: Creativity,” which offers insights and tips to help you stay inspired and creative as a writer. The excerpt I’ve chosen presents ten myths about creativity. These are notions about creativity that people assume, even though many of them are counterproductive to creativity.

“You can’t use up creativity. The more you use, the more you have.” – Maya Angelou

There’s an old myth floating around, which suggests that creativity is inherent. You’re either born with it or you’re born without it. But creativity can be learned and developed over time. Some people may have a more natural inclination toward creative thinking, but anyone can foster and nurture creativity.

Artists throughout the ages have gone to great lengths and sunk to fathomless lows in pursuit of inspiration. The ancient Greeks personified inspiration in the muses. When they needed inspiration, they invoked these supernatural entities, calling on them for artistic help. Artists have set out on journeys, pursued spiritual and religious activities, and engaged in painful or unhealthy experiences in order to feed their imaginations.

Indeed, there are famous examples of authors drinking themselves to death or committing suicide, and of course, there is the well-known tale of Vincent Van Gogh cutting off part of his own ear. And finally, there’s the ever-present stereotype of the starving artist.

Despite these tales of suffering and tragedy among authors and artists, the most successful creative people tend toward more practical measures, choosing lifestyles and habits that are healthy and conducive to creativity. Unfortunately, these destructive myths about creativity persist.

Ten Myths about Creativity

1. Drugs and alcohol: One of the worst myths about artistry is that drugs and alcohol promote creativity. That’s a lie. What drugs and alcohol do is promote dependence. It is ineffective and inefficient to rely on these substances in order to make art. It’s also unhealthy, and in fact, it can be deadly.

2.Misery: Another common myth is that pain, sorrow, and anger are the best conduits for creativity. Sure, when we are unhappy, writing can provide a healthy, therapeutic outlet. But this has nothing to do with creativity and everything to do with the need to express oneself. While misery may indeed inspire us, we can be just as inspired by happy or emotionally neutral experiences. Relying on a depressive state of mind for inspiration is just as dangerous as relying on drugs and alcohol. And like drugs and alcohol, such thinking is unhealthy and can be deadly.

3.Suffering: This myth is based on the idea that artistry is won through suffering. Some people actually believe that artists should suffer, and suffer hard, before they get to succeed. What you have to do to succeed is work hard. You shouldn’t have to suffer.

4.Divinity: There are less dangerous myths about creativity and inspiration. Some people believe that creativity makes a divine appearance only when they are supposed to create, and the rest of the time, they shouldn’t bother. We all have moments of great inspiration. They come and go and are rare for most of us. The most successful writers don’t wait for inspiration, they work for it. Regardless of our religious or spiritual beliefs, we can learn to control our own creativity just as we control other aspects of our lives. It’s called free will.

4.Talent: Lots of people believe that creativity is inherently tied to talent. Talent just means you have a knack for something. Lots of creative people may not be especially talented, and there are plenty of talented individuals with no interest in pursuing the arts.

5.Two kinds of people: Some people are artistic; everyone else is not. That’s definitely not true. Everyone is creative, and the more we nurture and foster creativity, the more creative we become. Creativity is closely associated with the arts, but artists aren’t the only people who are creative.

6.Life of poverty: Many people believe that it’s practically impossible to succeed or make a living as any kind of artist. They mistakenly believe that an artist’s life is one of poverty and struggle. All kinds of people experience poverty—not just artists—and artists who do experience poverty don’t do so just because they are artists, as is proven by the many artists who never struggled with poverty.

7.Fame and fortune: Conversely, some people believe that artists will enjoy great fame and fortune. While it’s possible that you could write a wildly best-selling novel and become rich and famous, it’s not likely, although the odds are better for you than for someone working in a cubicle-eight-hours a day who doesn’t make any art at all. At least you have a shot at fame and fortune.

8.Creative people are weird: everybody’s weird.

9.Creative people are creative all the time or whenever they want to create: Once you’ve shown yourself to be creative, some people will think you’re capable of doing anything that requires creativity or that you’re a constant fountain of ideas. While many creative people have more ideas than they know what to do with, some have to work hard at finding inspiration.

10.The truth is that creativity is different for everyone and possible for anyone. You just have to want it, and you might have to work for it.