What Makes a Great Nonfiction Book?

You’ve been writing articles for a while and would like to step up to writing a nonfiction book. While there’s a lot of information out there about writing novels, there isn’t as much about writing good nonfiction books.

Remember the Bob Newhardt Show on which the main character, a writer of nonfiction how-to books,  ran a bed and breakfast in Vermont with his wife.  The subjects of his books would have been great for insomniacs, but not all nonfiction books make readers yawn.

Today, nonfiction books have a lot of competition from the Internet. Readers can find all sorts of information online, so why would they want to purchase a book—even an inexpensive ebook—when they can search for what they need. The truth is that most people don’t really know how to search the Web, so they still need nonfiction books to give them information in an orderly manner.

It’s how a writer assembles the facts in a book that makes all the difference. The key to nonfiction book success is information synthesis. To make sure a nonfiction book is worth paying for, you need to bring your own fresh a perspective to the subject matter—a perspective that readers can’t find online. What’s more important today is your ability to synthesize the facts and give them context and perspective.

First and foremost, make sure your nonfiction book has a strong focus. It’s better to limit the focus than ramble all over the place. To do this, you’ll need to think out your book before doing research. You’ll most likely find a mess of facts on your subject. How you make sense of those facts is the key.

To make sense of all the information you collect, you need to give meaning to it. And that requires a point of view. What are your feelings about your subject? Who will be telling your story? Except for memoirs, most nonfiction books are told from another person’s perspective.

Offer insight by weaving current events and trends into the context of your book, even if it’s historical in nature.

Present the bigger picture about your subject so that readers will be able to make more global sense of it.  And if your subject is more complicated, simplify it for the average reader. Don’t talk down to your readers to prove how smart you are. Instead, write in plain language and explain difficult words or phrases.

A nonfiction book goes deeper than an article or blog on a subject. While the shortness of both only gives the reader the basics, a book can delve deeper into a subject. Take a common theme or one that has been written about heavily in the past and give it a fresh approach.

Above all, make sure your nonfiction book gives readers information in a way they won’t find it anywhere else, in a way only you can deliver it.
   
   

Bringing Nonfiction Characters to Life

Writing good nonfiction characters requires discipline and honesty. You can’t just make them do what you want them to do. You have to use the facts to structure your character. You have to report life, not imitate it. To do this well, you have to be observant. For readers, characters consist of four things—what they look like, where they are, what they say, and what they do.

Essentially, creating a realistic portrait of a nonfiction character is all about costume, setting, dialogue, and movement or action. It’s also about “business,” as actors like to call it. Business is the little things a character does while speaking or between dialogue, like putting on a coat, drumming a finger, sipping a cup of coffee, turning on a light, or texting with a cell phone. Each detail adds to the reality of the character you’re trying to portray, and at the same time provides hints about their inner being. Of course, every person has an inner life that is vibrant and active and changeable, but as a nonfiction writer, you can only guess at that.

When portraying a real person, you must use an actor’s tools. Can you, by showing a character doing this or that, make your readers see him or her as you did? It’s a movie or video—light on the screen, shadows on a wall, your marks on the page. Out of all of this a human being emerges.

You have to make the reader watch your character’s eyes as he laughs and jokes. You might even write out some of what the character is saying. You might show him tapping his foot impatiently. Whatever you choose to show influences how the reader perceives that character.

The most important thing in portraying a nonfiction character is honesty and then transparency. You try to show what you saw but with the lens open on the complete experience of the person, with all his subtleties and nuances.

The problem and fun of it is that while being honest, the meaning of your portrait must also be transparent to the reader. So you have to sharpen and shape your observation, much as a painter does. It’s up to you to make choices about detail and angle from all the information that another person in his full humanity offer to you. You strive for clarity and brilliance, position and attitude.

Even a painter of realism is always making decisions about framing and point of view, about light and color, about reflection and detail. He or she chooses which moment to capture on the canvas. It’s much like point and shoot photography. In writing about real people, you want your subject to live on the page, and you want to capture him or her for the reader. To do this well, you have to get inside your character’s mind.

This is the way of method acting. An actor studies the exact person he or she is playing or someone similar. The actor wants a deep and detailed experience of the exterior of their character, as well as how the character thinks, in order to present the character realistically on stage or screen. The actor must feel the character. He or she must steal their character’s soul—if just for a short time. In some way you, the writer, must possess the people you’re writing about, and they must possess you back.

But what happens when you’re writing about another time period?. How do you get into your character’s mind if you can’t meet him or her in person? The answer is research. You must learn all you can about a person through your research. What you don’t know, you must fill in by studying someone similar. To know exactly how a ship’s captain might react just before a storm wrecks his ship, you must study the actions and reactions of other ship’s captains in similar situations. Chances are the actions and reactions will be somewhat the same. Remember, it’s what you choose to show the reader that will bring your character alive. 

When you’ve observed closely and written well about a person, you can feel them looking out at you from the portrait you’ve drawn while at the same time you and your readers are looking back in.

Believability is the Key to Good Fiction

If it’s not believable, it doesn’t belong in a short story or a novel. This concept doesn’t apply in creative non-fiction, because no matter how bizarre, facts are facts. About the only exceptions occur in science fiction and fantasy, whose readers will swallow just about anything for the story. After all, fantasy doesn’t exist except in the reader’s imagination and science fiction doesn’t yet exist.

But in regular fiction, a story’s world can be shattered when an action, even if it’s impossible, becomes unbelievable. It stops readers dead in their tracks. And it can destroy the trust they put in the writer of the story.

There’s an acceptance on the part of fantasy and science fiction readers that just doesn’t exist in other types of fiction. Readers begin reading a short story or novel expecting life in the story to be similar to real life. And while quirky things can happen in the real world, those same incidences become magnified in fiction because the rest of the world isn’t there to balance them.

All writers, fiction or non-fiction, focus on certain actions to tell a story. They ignore all other things going on at the same time because they’re just not relevant. That focus is what leads the reader through the story.

Readers approach stories wanting to believe them. They 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 a writer, your goal isn’t to convince readers to suspend their disbeliefs, but rather to give them what they want by continually sustaining their belief in the story.

In the fantasy novel, Weave World, by Clive Barker, an Oriental carpet comes alive as its threads unravel to produce a world of living beings living within it. Unbelievable, yes, but plausible in this fantasy about a world of witches and warlocks and mysterious happenings.

The distinction isn’t just a matter of semantics when it comes to believability. It’s a matter of understanding the mindset and expectations of your readers. Readers want to immerse themselves in deep belief. As a writer, you need to respect them enough to keep that belief alive throughout the story.

Consistency must coexist along with believability. Once you establish an implausible concept or action, you must follow through to the end of the story. Then it, too, becomes believable. That’s exactly what Clive Barker did in Weave World.

All else being equal, as soon as readers stop believing your story, they’ll stop caring about it. It’s important to know what any character would naturally do in an implausible situation. The main character in Weave World accidentally falls onto the rug and for a fleeting moment sees life. That’s how the story begins. In the end, he jumps into the woven world of the rug and experiences chaos as it begins to unravel.

Remember, as soon as your characters act in ways that aren’t believable, either in reference to their characterizations or to the story’s progression, the reader loses faith in your ability to tell the story.

So when something that’s unbelievable or odd happens, don’t be afraid to let your character notice and respond.

If a character acts in an unbelievable way, you’ll need to give your reader a reason why. Always give your readers something believable—or something better. If you don’t, you must satisfy them with a twist or a moment of story escalation that satisfies them more than they ever expected.

Writing for the Younger Set

Have you ever thought about writing for children? Most writers have the misconception that writing for them takes less skill than writing for adults. In fact, the opposite is true. While most people have either read children’s books when they were kids or have read them to their children or grandchildren, they don’t associate the skills needed to write them with the ones they already have.

Books written for children are special, but not in the way you think. They require as much knowledge of our language as you already have and the steps to producing a children’s book are similar to what you would use to produce a book for adults. Just because a children’s book has fewer words doesn’t mean that it takes less planning and forethought. And don't fall victim to the misconception that writing for kids is a stepping stone to getting published in adult fiction because the writing is shorter and simpler.

The fact is that it’s not easy to publish children’s books. The more you learn about the field and the business of children's publishing, the better equipped you’ll be to achieve success. This is what you should be doing when writing for adults.

But before you start studying how children’s books are published, it’s a good idea to become familiar with their categories. Generally, children’s books fall into six major categories—picture book (toddler to grade 4), easy reader ( kindergarten to grade 3), young chapter book (grades 2 to 4), middle grade novels(grades 3 to 7), young adult novels (grades 8 to 12)., and nonfiction. Publishers base each of them, except nonfiction, on grades in school and also on age. So it’s logical that the more familiar you are with children in the age group of the category in which your book will be placed, the better.

The categories of children’s books are only meant as a guide. Many of today’s books fall somewhere between one category and another.

A generation ago, children's stories were much more idealistic. Main characters almost exclusively came from white, middle-class suburban families. Stories often contained lessons. And the moral was always clear.

In addition to being "politically correct, today's children's stories are more about fun.
In order to get them to read a book, you have to entertain them.

There’s no magic trick. Finding success in the children's market is like any other genre. It takes persistence, patience, plenty of revising, and a true appreciation of children's literature.

Opportunities are limitless. For every idea there’s a potential market, including short stories, chapter books, articles, picture books and poetry. Topics can be serious, funny, factual or pure fantasy. And there's a market for just about any topic, writing style, and genre.

Before you get into children’s writing, ask yourself the following: Do you enjoy browsing the library shelves in the kids' department? Do you find yourself flipping through picture books when you visit bookstores? Do you still like to read kids' books? If you answered yes to each of these questions, then you’re going in the right direction.

Next Week: How to Get Started in Children’s Writing.

CHARACTERISTICS OF COMPELLING NONFICTION CHARACTERS

What makes a character compelling to a reader? Is it one who’s physical description grabs the reader. Or is it one whose personality the reader identifies with? While it could be either or both of those, what makes a character compelling is his or her ability to surprise the reader while remaining internally consistent. Every character, whether in fiction or nonfiction needs to posses some or all of these crucial things—ambition, a desire, a driving need, a secret, a contradiction, and a vulnerability.

Ambition
Ambition drives many people to do some very good and some very bad things. While not everyone is ambitious, those that are tend to be aggressive and pursue life to the fullest, sometimes no matter what.

A Desire
Just as ambition can affect how a person lives their daily life, so a desire can possess someone to the point of altering reality. Sexual desire can drive a character to make rash decisions and can even lead to harming another person. Jealousy is another trait that can adversely affect the way a character perceives reality. Desire intrinsically creates conflict.

A Driving Need
While possessing a driving need may lead to good actions, it can also lead to bad ones, as in revenge. The need for revenge can drive a person over the edge and force him or her to do unspeakable things.

The more a character wants and the stronger the want, the more compelling the  drama. This is because desire intrinsically creates conflict. This is a perfect example of the misconception that simply by giving the character a deep-seated need or want, you can automatically create conflict.

A Secret
A secret is an inclination or trait, such as a disposition to dishonesty, violence, sexual excess, or the abuse of alcohol or drugs, or an incident from the past that, if revealed, would change forever the character’s standing in his or her world, among co-workers, neighbors, friends, family, and lovers. Secrets inform us of what our characters have to lose, and why.

Of all these character traits, you most likely have a true insight into what it’s like to keep a secret and how it can affect your behavior—specifically, how they make us afraid.

A Contradiction
We all know people who are both shy and rude or funny and cruel. This complexity, which often appears during times of stress or conflict, is what can make a character  unpredictable, resulting in the kind of surprising behavior that will keep readers  wondering what’s going to happen next.

Your readers’ minds focus on irregularities—things that don’t make sense or that don’t quite fit. This helps your characters to analyze their environment for threats.  Contradictions reveal to readers what they can’t predict or a surprise.

A Vulnerability
Nothing draws us into a character more than his or her vulnerability. When people appear wounded or in need of help, people are instantly drawn to them. At the same time, they may also be repelled or frightened. Either way, injury to another person instantly triggers a strong response in readers.

Obviously, vulnerability may be the result of the character’s secret: He or she has a fear of being found out. Or it may come from the intensity of a need. For your character, the ambition and focus of a strong desire can imply some form of inner strength, while at the same time rendering the character vulnerable to being deprived of what he or she  wants most

Remember, your characters are human beings to whom your story happens. Unfortunately for many writers, a story begins with an idea. Fleshing out the characters to live in that story comes later.

Bringing Real Characters to Life

You’d think that if you’re writing about real people in a nonfiction piece that it would be easier than making up characters in a fictional short story or novel. Actually, quite the opposite is true. While you have facts about the person to deal with, there are limitations.

Many of the same techniques for writing characters in fiction apply to nonfiction.  Through detail, through gesture, through talk, through close understanding of someone’s life before and after the scope of your story, you make your people vivid in your reader’s mind.

Characters are primary in creative nonfiction, an all-encompassing term covering the personal essays and literary journalism. The chief difference between creative nonfiction and regular nonfiction is that the writer composes the former in scenes with characters just like in fiction. But characters in nonfiction present special problems. While fiction writers base their characters on real people, nonfiction writers usually tell their readers about their characters. The trick is to use the fictional technique of showing, not telling.

When writing nonfiction, much of the work of characterization is done for you. You base your characters on facts, characterization is complete, the family history is in place, the physical description is a given. But that doesn’t make anything easier. The job is merely different. Doing justice to a real person can be difficult because you may have pre-existing biases to that person or their ideas.

Nonfiction readers get to know characters through their actions. But from who’s point of view? It’s all in the moment, all told from a particular point of view. We see the scene—a dark, stormy night off the coast of North Carolina—in the book Shipwrecks and Lost Treasures: Outer Banks, by Bob Brooke. The reader is in the wheelhouse with the captain, Commander George Ryan, and the officer on duty, Lieutenant W.S. French, at 1:00 A.M. as they try to steer the Huron, a converted gunship, through the swirling waters.

        “Hard over,” French shouted to the helmsman. “Leadsman take soundings.” But his orders came too late. The ship swung around toward the beach, heeling over on her port side.
        “What’s out location?, Mr. French?” asked Ryan.
        “I don’t know sir,” French replied.
        “Give the orders for all hands on deck.”
        “Aye, sir.”
        As the mist parted, Commander Ryan finally saw the coastline. “My, God, How did we get here?” he cried.

With just a few words of dialog and some short description, the writer was able to not only establish a time and place, but the military order covering the panic in the voices of the crewmen. From here, the point of view changes as the scene changes to a father and daughter on the shore, desperately trying to find a way to save the sailors.

Once you establish the scene, readers are in a particular time and don’t leave it. What changes is the point of view. Action keeps the scene moving forward.

Often nonfiction writers relate their characters personality characteristics through an as-told-to narrative. This often happens in memoirs where writers use family stories to make their characters come to life. In these, the writer stands back and lets readers draw their own conclusions and make their own judgements.

A character rarely appears fully formed. Readers get to know him or her in bits and pieces scene by scene. You’ll need to will your characters to life by drawing on your unconscious, memory, and imagination until your characters assume a clear form and, with hope, begin to act of their own accord.

This process is inherent to the success of any novel, but it’s also important in nonfiction writing. The key is first to understand what your characters require from you in order to come to life, and then to determine how you can draw on your best available resources to give them what they need.

But what happens if you don’t have all the information you need to flesh out a character in nonfiction? Unlike in fiction, you can’t just make things up. However, you can use your imagination in finding information from other sources.

For instance, let’s say you want your characters to speak but you don’t have access to the exact words of what they said. You can research the same sort of character in similar situations who most likely said something similar. This is exactly what happened in the above example. From captains’ logs of similar shipwreck scenarios, it was possible for the writer to create an exciting, nail-biting scene. He had to do this because Commander Ryan died when his lifeboat overturned and the all was lost, including his log, when the ship sank.

The same goes for how a character dresses. You may find what you need in old photographs from which you describe the type of clothes your characters wore. Similar information may appear in old letters written by a friend or relative of the character about him or her. Remember, you need to find facts about the person to fill out the characterization. Begin with what you know about the person and then do specialized research to fill in any voids in your characterization. You may not need much, just the essence.

Next Week: Characteristics of Compelling Nonfiction Characters

Writing Articles That Get Published

Non-fiction writing is meant to be published. It’s not something that you create to please yourself or your friends. It’s writing that you share with a number of readers, perhaps thousands. Unlike short fiction, which often gets stashed in a drawer incomplete, articles should go straight from your computer to either a print publication or online.

The neat thing about articles is that you can write and publish them even if you’re not planning to write for a living but just want to promote a product or service of yours or your company.

If you’re not writing articles yet, even if you write fiction, here are three reasons you should consider it:

•  They’re an easy way to gain credibility in your subject field.
•  They can drive quality traffic to your Web site or sales page.
•  You can get paid to write them. 

So what’s the secret that all non-fiction writers use to guarantee that their articles get published? You don’t have to have a genie in a bottle granting three wishes to succeed. All you need do is follow these simple steps to prepare yourself before you begin to write.

Choose the right type of article for the purpose.
All articles can be classified in one of these types: advice, how-to, profile, and review. Each has a specific purpose and must be written differently to correspond to its intended purpose. 

Know the direction of your article.
Before you begin, you need to know the direction your article will take. Once you know that, you need to ensure that every word you write supports that direction.

Define the specific thought, feeling, or action you want to stimulate in your readers.
Just like advertising people do when writing good direct-response copy, you want to think about the purpose of your article. Do you want your readers to feel inspired? Visit a Web site or purchase a product? Become more informed on a subject?

Note how your article will help your readers.
This step is similar to defining the benefits of the product or service you’re selling in a sales letter. It’s critical, because along with helping you write the article, the list of benefits will reveal if it’s worthwhile for you to write it. Make a list of the benefits your article will provide your readers. Some people say you should have at least six, but you don’t need to include that many if the ones you do include are strong.

Include useful instruction on your topic.
Identify some type of instruction you can give your readers. Just like with a sales letter, you want to engage them. Everyone likes to learn something new. Useful instruction ensures that that will happen.

Of course, this doesn’t mean that every article you write needs to be a “how-to.” The instruction could just be as simple as explaining how a marketing process works or providing examples of what others do when faced with a similar situation.

Identify how your readers will identify with your article.
It’s important that your readers identify with what you’ve written. Have they been in similar situations? What have you told them that will help them next time? As much as you want to engage your readers, you also want them to identify themselves as people who will benefit from the advice or instructions given in your article.

Answer the questions your readers will ask themselves.
As interactive as Facebook and other social media sites are, readers may find it hard to seek you out to get answers to questions that may arise as they read your article. To help make sure that you include answers to some of the frequently asked questions in your article, you should make a list of them to use as a guide before you begin writing.

The next time you sit down to write an article, create a worksheet for it and fill in the details before you begin writing. Not only will this help you to write your article faster, it will also guarantee that the content will be directed to your readers—and that’s what makes an article publishable.

Is Writing a Book All It’s Cracked Up to Be?

It seems most beginning writers want to write a book. Some of them start out doing that without ever having written anything else for publication. Why is that? It could be that “authors” seem to get the most exposure. When was the last time you remember the name of the writer of an article or short story?  Probably never. But readers tend to remember and talk about those who write books. Remember, not all writers are authors but all authors are writers.

Perhaps it’s the title of author that seems to get more respect. Have you ever been at an event where someone asked you what you did? If you said that you’re a writer, they probably asked what you’ve written. If you only had written a short article on tips for winterizing your home, they probably wouldn’t be impressed. But turn that into a book on whole house maintenance and their ears will probably perk up.

So before you dive into writing your first book, think about the mistakes lots of beginning writers make.

First and foremost, don’t start out writing a book. It’s a huge project that will use every once of writing skill you have. Start out small writing articles or short stories. Get used to writing, itself, and improve your writing and thinking skills. Remember, an average non-fiction book equals perhaps 10-25 articles. A novel equals even more short stories. A book is so big that you may forget the beginning before you get to the end. So you’ve got to develop your planning skills as well.

Some people say not to tell anyone about your book. That’s rubbish. Discuss your idea with close friends or family members. Listen to what they have to say about it, but don’t necessarily take their advice. What you decide to do is totally up to you. However, too many beginning writers think that if they talk about what they’re doing, someone will steal their idea. As a writer, you should have lots of ideas and variations on them. But your friends and family aren’t about to steal them. Talking about your book idea may firm it up in your mind, but don’t talk about it to strangers.

Stay objective while working on your book. This is hard to do. Some writers fall in love with parts of their book. This doesn’t help when it comes to editing later on. And editing doesn’t just mean looking out for mistakes in grammar and such. Editing for continuity and length is an important part of the process. If you’re objective, you’ll be able to delete parts that don’t belong.

If you haven’t done any writing for publication before starting your book, you’re in for a big surprise. Beginning writers often think that the words will just pour out and the book will write itself. Nothing could be farther from the truth.

No matter what kind of book you’re going to write, you must set some realistic goals. Writing a book takes months of hard work, beginning with thinking about it, then intensive research, planning it out, writing the first draft, revising and re-writing, and finally editing. The idea of writing a book in a month, itself is unrealistic. So don’t follow the crowd in NaNoWriMo and plan to write your book come November.

You need to set some long-term goals for your book project and some short-term ones. Know where you want to be on the project in say six months. For short-term goals, set them to write each chapter. Consider each chapter a unit by itself. Also, set time goals. Figure how much time you’ll have to write each day and plan to write for that amount of time, no matter how many words you put down. Even if you write a little each day, it will all add up. Above all, don’t go on writing binges and work for hours on end. Limit the time you write.

Get organized from the start. Create a folder for your book in your computer, then create subfolders for each of the chapters within that. You’ll also need folders for your research within the main folder. Number your drafts to keep them separate from each other. And save your work often. Some word processors, such as Corel WordPerfect, automatically save your work after a certain number of minutes, say 10, that you specify. That means that even if your program crashes, your work is backed up. Otherwise, set a timer to go off on your smartphone every so often to remind you to save your work. At the end of each writing session, also save your book draft on a thumb or external hard drive or to the Cloud if you have that available.

Writing a book is hard work, so make sure you enjoy doing it. Pick an idea that you love and really get into it. Remind yourself why you why you decided to write a book in the first place.

Feeding Your Muse

Did you ever wonder why some writers produce an exhaustive amount of material and others very little? The same thing seems to go for songwriters. The answer is complex but usually boils down to the fact that prolific writers do some things that the others don’t. They feed their muses in a number of odd ways.

First, there are the writers that proclaim they have a book inside them waiting to get out. So why can’t it escape the confines of their brains. Usually, it’s because their writing skills aren’t advanced enough to express their idea successfully. Later on in their career, after their writing skills have developed more, they can develop that same idea with little effort.

But what about the writer who produces one successful book and then seems to disappear from the scene. Much like the musical artist that produces one hit and fades into the background, so the one-shot-wonder puts so much effort into their first work that they lose sight of the bigger picture and don’t produce anything again.

The difference lies in looking versus seeing. Most people, including the one-shot-wonders, look only where they have to to survive. They focus so hard on that first, or perhaps even second or third, work that they don’t prepare themselves for anymore. But prolific writers and musical artists embrace the world around them. They pay attention because ideas worth capturing are happening all the time right next to them. They just see it where others don’t. Eyes that look are common while eyes that see are rare.

Prolific writers know how to beat resistance—that insidious force that works to stop creativity and progress. It’s the voice that says, “You’re tired. You can do it tomorrow. You’re really not that good. You could spend ten years slaving away and, chances are, it’ll all be for nothing.” Resistance is the true enemy to success. Prolific professional writers realize this and know how to beat it by constantly keeping something in the works, by constantly keeping their irons hot. They’re constantly writing. While they may not be writing books all the time, they produce blogs, stories, and articles—all sorts of projects that require the same method of creative thinking.

Creating something is difficult, usually lonely work, for any writer. Most think they can do it, but then find out they can’t. There are probably more half-written books out there than there are completed and successful ones. Professional writers live with the fact that producing a book is hard. So if they want to be a successful, prolific writer, they have keep their head down and trudge forward when everyone else has given up.

Successful writers don’t say no to new ideas. They know what risk is all about. They’ve tried things and failed. They can taste success. Let’s face it, mediocrity loves company. Prolific writers see beyond their ideas. They believe anything is possible. Whether or not it turns out to be true doesn’t really matter. Genius is seeing the inevitable before everyone else, the possibilities before it’s even a consideration.

Above all, prolific writers have passion—a passion for writing in general and for one type of writing in particular. Some derive pleasure from writing non-fiction books, realizing that fact is often more tantalizing than fiction. Others like to delve into the fantasy world of novels, literally creating life before them. And still others fall in love with the beautiful rhymes of poetry. Whatever the end result, a writer’s passion is what’s behind a work’s success.

If you’ve ever listened to prolific writers on T.V. talk shows, they all seem to have one thing in common—a stubbornness that’s often seen as ego or attitude. Sometimes it is, but most of the time it’s simply seeing the world for what it could be and expecting nothing less than passion and belief from those who normally don’t. But nothing great ever came from mediocre minds. So feed your muse daily and sit down and write.