Alan O’Hashi, Whole Brain Thinker best chance blog 2025, Marketing 2025, Money Matters 2025

Maximize Earnings with Best Chance Media’s Revenue-Sharing Approach

Author Compensation with Best Chance

By Alan O’Hashi – Publisher

Best Chance Media’s compensation isn’t royalty-based. Big traditional publishing houses are happy to pay a celebrity an upfront royalty advance. They bet that a big name will sell books.

A small press like Best Chance works with indie writers and operates on a revenue-sharing model, and that’s a good thing. In most cases, advances are simply loans against future sales. If your book doesn’t “earn out,” the publisher sees it as a financial liability. They may stop putting effort into promotion. They might even drop the title entirely.

At Best Chance, your book is never treated like a liability. Instead, you start earning real money from the very first sale. Here’s how it works:

  • 40% discount for authors to buy their own books.
  • 50% of every sale Best Chance makes goes directly to the author.
  • Quarterly payments are deposited into your account.
  • You always own the copyright.

Best Chance will send your quarterly payments via PayPal. Once your book is selected, you’ll be asked to set up direct deposit for remittance by linking your bank account to your PayPal account through the online dashboard or the PayPal app on your phone. Payments totaling at least $10.00 will be transferred quarterly. Any amount less than $10.00 will roll over until the minimum threshold is met.

If this compensation formula seems fair to you, and you meet all the requirements, submit your manuscript:

SUBMISSION FORM

It may take BCM up to a month to accept or refuse your submission. If you have questions, ask Besty Bot. We’re here to provide you with the right information.

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📚✨ Got a manuscript ready to share with the world? Best Chance is looking for fresh voices and bold stories. No agents. No gatekeepers. Just YOU and your book. 💡✍️ 🚀 Submit today and keep your copyright, earn 50% of every sale, and start your author journey with a team that values your work! 👉 Your story deserves its best chance. #WritersOfInstagram #IndieAuthors #AmWriting #AuthorsLife #BookCommunity #PublishingJourney #WriteYourStory #BestChanceMedia https://bestchancemedia.org/2025/12/11/beyond-the-obstacle/

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Alan O’Hashi, Whole Brain Thinker best chance blog 2025, Craft

Mastering Turning Points in Storytelling

By Jennifer Braddock – Editor

Ever read a story or watch a movie where nothing really happens? Where characters meander through scenes, conversations trail off, and by the end of the chapter, you’re still not sure why you read it? That’s the danger of a story without turning points.

Whether you’re plotting meticulously or flying by the seat of your pants, knowing how and when to shift the direction of your story can keep readers engaged and keep you from getting stuck.

What Is a Turning Point?
A turning point is the moment something changes: an emotional pivot, a decision made, an accident, or a revelation. It doesn’t have to be huge. A character forgetting the bathroom code and getting locked out in a moment of crisis can be just as pivotal as finding out their partner is cheating or the plane is about to crash. Big or small, the point is: the story should never stay still.

When your character says “yes” to something, whether that’s a job, a relationship, a journey, or a truth, the scene needs to end, pivot, or reveal consequences. Unless that “yes” leads to a new challenge or reversal, the scene is over. It’s time to cut and move to the next setup.

Small Turning Points Matter
If your story feels sluggish, ask: What’s changing in this scene? What’s the point of this moment?

  • Did your character forget their lines in a school play? That’s a moment of embarrassment that could change their confidence.
  • Did a dog bark at them in the street? Maybe that moment triggers a memory.
  • Did they get a “yes” from a job interview? Great. What does that decision force them to face?

The story should always move. There are four essential turning points.

The Inciting Incident: The first major turning point is the moment that upsets your character’s ordinary world. It’s the spark. Your character gets fired, gets dumped, discovers a secret, gets an invitation they can’t refuse, or gets For example: by a spider. The incident forces them to make a choice or react.

  • A woman opens a letter meant for someone else and learns her boss is lying about her.
  • A teen forgets their backpack and ends up on a different bus that changes their life.
  • A chef drops a fork, and a customer picks it up, the first spark of a love story.

These are all small events that open the door to a bigger story.

End of Act I: This is the point of no return where the character steps fully into the story. Maybe they lie to protect someone, and now they’re stuck in the lie. Maybe they say yes to an opportunity but realize it comes with serious risks. This moment defines the rest of the story.

From there, each turning point should push the character toward the climax—the biggest turning point of all, where change becomes permanent, and the story can go no further.

Story Climax: The climax is the highest point of tension in your story: emotionally, physically, or both. It’s when your character faces the biggest challenge, makes the ultimate decision, or comes to a painful truth. After this moment, the story can go no further.

The inciting incident, the end of Act I, and every small and large turning point lead to this. It’s the do-or-die, speak-now-or-forever-hold-your-peace, win-or-lose beat.

Examples:

  • A character finally confesses their secret—and risks everything.
  • The hero defeats the villain, but at great cost.
  • A daughter walks away from her family, knowing she won’t come back.

Once the climax happens, there’s no need to keep building tension. The job now is to land the emotional plane, tie up loose ends, show the fallout, and let the reader breathe again. Let the end of your story ring and echo. Then wrap it up with a purpose rather than dragging your story out.

Denouement: Once the climax hits, the reader needs a moment to breathe. That’s why the denouement is important, as the final stretch where the consequences of the climax play out and the emotional arcs come full circle.

This is not the time to introduce new twists or subplots. Think of it as the last few moments after the storm has passed:

  • The hero limps home.
  • The lovers decide whether to try again.
  • The family gathers around a dinner table that’s a little quieter but somehow stronger.

A good denouement answers lingering questions, shows how the world has changed, and gives your readers time to reflect. It’s the moment the character relaxes, looks at the horizon, and we know at that point that after all they’ve been through, they’ll never be the same.

Without it, the climax feels abrupt. With it, your story resonates.

Plotters vs. Pantsers: Turning Points Matter Either Way
Whether you outline every beat or discover the story as you write, keeping turning points in mind will help you stay on track. Don’t write to fill pages, write to shift the stakes. Every scene should have a before and an after. Something happens. A choice is made. A secret is revealed. A bus pulls out.

Your Call to Action!
Don’t get stuck, keep moving. When you hit a wall, look for a turn. Ask: What hasn’t changed yet? What needs to? Turning points don’t have to be explosions. They can be dropped forks, forgotten codes, or missed buses. What matters is that something shifts emotionally, physically, or in the plot. Keep those turns coming, and your story will never stall.

Revisit your draft. Look at each scene and ask, “What changes here? Where’s the turn?” Keep the motion going, and you’ll find your way from start to finish—without getting stuck in the middle.

Do you have questions or comments? Ask Besty Bot about the writing craft and how to publish your book with Best Chance Media!

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🚨 Stuck in the middle of your story? You might be missing a turning point. Every scene should shift something: an emotion, a choice, a direction. Whether it’s a dropped fork or a life-changing “yes,” something must change.

✍️ Inciting incident? That’s your spark.
🎬 End of Act I? That’s your no-turning-back point.
🏁 Climax? That’s the final pivot before the end.

Whether you’re an outliner or a pantser, turning points are your best friend. Keep the story moving. Don’t write in circles, write to change. #WritingTips #StoryStructure #TurningPoints #AmWriting #FictionWriters #WritersOfInstagram #PlotTwist #KeepWriting #PantsersAndPlotters #WriteToChange https://bestchancemedia.org/2025/12/04/from-fork-drops-to-life-flops-writing-turning-points-that-keep-stories-moving/

Alan O’Hashi, Whole Brain Thinker Craft, Uncategorized

Why Picking a Genre Matters More Than You Think

By Jennifer Braddock – Editor

When I first started reading about query letters, one piece of advice kept popping up: agents and publishers want to know your genre.

At first, I resisted. “My book doesn’t fit into a neat little box,” I thought. “It’s unique!” But here’s the truth: uniqueness and marketability aren’t the same thing.

I’m looking for ‘funky, magical romance’!

Think of it this way. Walk into a bookstore. What do you see? Shelves with clear labels: Mystery, Romance, Science Fiction, Memoir. If your book doesn’t fit neatly under one of those signs, where would a bookseller put it? If readers can’t find your book, or don’t know what to expect when they pick it up, they likely wont buy it.

This isn’t about stifling creativity. It’s about speaking the same language as the people who will help you get your book into readers’ hands. Agents, publishers, and booksellers all use genres as shorthand for understanding your audience.

  • Agents want to know your genre so they can decide if your book fits the kinds of projects they represent. An agent who specializes in romance won’t take on your hard sci-fi novel, even if it’s brilliant.
  • Publishers need genres because they plan book launches around clear categories. If they don’t know whether your book is a historical novel or a thriller, they can’t figure out where to market it, or which editor will champion it.
  • Readers use genre as a promise. When they pick up a mystery, they expect a crime to solve. When they buy a romance, they expect a love story. Delivering on those expectations builds trust and keeps them coming back.

Here’s a simplified way to think about it:

  1. Start broad. Is your book fiction or nonfiction?
  2. Pick a lane. If it’s fiction, is it a mystery, romance, fantasy, historical, or literary novel? If it’s nonfiction, is it memoir, history, self-help, or true crime?
  3. Drill down. Subgenres help narrow your audience. Is your fantasy epic or urban? Is your romance historical or contemporary? Is your memoir a travel memoir or a grief memoir?

Here’s the most important part: be strategic. Query agents and publishers who actually represent or publish your genre. If you have a unique hybrid subgenre, position it smartly in your query letter or pitch.

For example, you might describe your book as “a mystery with speculative elements” rather than forcing an agent to wrestle with a brand-new label. If you spend too much time explaining why your work is part this and part that, you risk sounding uncertain—and uncertainty is the fastest way to lose interest.

Another tip: think about genre before you start writing. Rather than pouring your heart into a draft and then pulling your hair out trying to shoehorn it into a category later, give yourself a boundary from the beginning. Boundaries aren’t restrictions; they’re frameworks. Knowing your story is a thriller, a romance, or a memoir helps guide your choices as you write and keeps you from drifting so far that your story doesn’t fit anywhere.

Once you know your category, you can find comp titles—books that are similar to yours in tone, audience, or subject. Comp titles aren’t about proving your book is unoriginal; they show agents, publishers, and readers where your book fits in the marketplace and why it belongs on the shelf.

So, yes, your book might straddle genres, but for the sake of selling it, you need to pick one primary genre and maybe a subgenre. Think of it as giving your book a home. After all, if you don’t know where to shelve it, how will anyone else?

Call to Action: The next time you sit down to write—or revise—ask yourself: What shelf would my book sit on in a bookstore? Start there, and you’ll save yourself countless headaches when it’s time to query, pitch, and ultimately connect with readers who are already waiting for a story just like yours.

Alan O’Hashi, Whole Brain Thinker best chance blog 2025, Craft

Writing Authentic Characters: Tips for Diverse Voices

By Jennifer Braddock – Editor

You’re staring at the page. Your character is taking shape. She could be a young Black woman in the 1940s or a Native teen today. He might be a transgender man in a small town.

Another possibility is an undocumented immigrant or an octogenarian Buddhist monk. And you? You’re none of those things.

Now what?

Writing across difference isn’t a literary crime, but doing it poorly might land you in stereotype prison.

Tokenism, or flattening a character’s identity to a label can sink your story and your credibility. There are ways to do it well, starting with craft.

Why “Show, Don’t Tell” Matters Here

“Show, don’t tell” isn’t just a workshop cliché. It’s a tool that helps writers step back and let the character live on the page. This avoids reducing them to what the writer says about them. For writers working outside their own identity or experience, this approach encourages depth, empathy, and individuality.

Tip 1: Let Identity Inform, Not Define the Character

Telling (weak):
Enrique was a fiery Mexican teenager who loved tacos and got into trouble at school.

Showing (stronger):
Enrique smoothed the foil around his mother’s tamales before shoving them into his backpack. Detention could wait. He wasn’t missing Mrs. Larsen’s pop quiz again.

Enrique’s cultural background shows up in specific details, like tamales and his family life, not broad generalizations. He’s a fully realized teen, not a cultural shorthand. His description moves the story forward.

Tip 2: Think “Person First, Context Always”

Build a whole person with desires, fears, and contradictions. Then think about how identity interacts with the setting. Determine how this person’s lived experience would affect how they move through the world.

Example (White writer writing a Black woman character): Rather than start with “she’s Black.” Start with: What does she want? What’s in her way? Now, how might her identity shape those obstacles or motivations in her world? Think about yourself. Show her neighborhood, places she shops, and the type of food she eats.

Tip 3: Dialogue Should Reveal, Not Reinforce

Avoid using dialogue to dump identity markers or, worse, exoticize. Instead, use tone, pacing, subtext, and conflict. Let dialogue express worldview, not stereotypes.

Bad:
I’m just a sassy Black woman. That’s how we are.

Better:
“You think I’m being loud? No, baby. I’m being heard.”

Tip 4: Use Specificity, Not Symbols

Instead of vague references like “traditional food” or “foreign dress,” use concrete sensory detail. That’s where lived humanity shows up.

Weak:
Josef wore tribal garb.

Stronger:
Josef adjusted the frayed kente sash around his shoulders, fingers brushing the embroidery his grandmother stitched before the War.

Tip 5: Research Isn’t Optional, but It’s Not the End

Read memoirs, essays, and novels by writers who share your character’s identity. Watch documentaries. You might want to visit places where you may feel uncomfortable. Talk to sensitivity readers. Remember, your goal isn’t to become that person, it’s to write one honestly and specifically.

Tip 6: Observe, Embed, and Be Introduced

Writing characters unlike yourself isn’t just about what you imagine. It’s also about what you witness.

  • Observe the real world: Listen to conversations in public spaces. Watch how people interact with their families, elders, and institutions. What are the unspoken rules? What’s considered rude, tender, or powerful?
  • Embed when you can: Attend community events. Be respectful. Volunteer. Sit in the back row of the church, the cultural festival, the open mic, to listen and watch.
  • Find a Cultural Broker: This is someone who’s part of the community you want to write about. They can help you understand the nuance behind what you see. A good broker doesn’t just answer questions; they offer perspective, correct your assumptions, and challenge your narrative where needed.

Quick “Show, Don’t Tell” Checklist

You can’t shortcut trust. You can’t Google your way to nuance. You can build it with time, humility, and intention.

  • Avoid generic labels (e.g., “Asian values,” “female intuition”).
  • Don’t make identity the only thing interesting about a character.
  • Let the character surprise you and your reader.

Writing Outside Your World Requires Courage, Craft, and Cultural Competency

Writing characters unlike yourself isn’t just an act of imagination. It’s an act of responsibility. It’s more than about checking a diversity box. It’s about deepening your empathy, expanding your narrative lens, and doing the labor to write truthfully, not just “accurately.” To do it well, you need more than facts and feedback. You need cultural humility.

That means:

  • Reflecting on your own socialization: What assumptions were you taught about other cultures, races, genders, or communities? What did your education, media, or upbringing fail to show you, or distort?
  • Unlearning harmful patterns: Even well-meaning writers carry unconscious bias. That doesn’t make you irredeemable. It makes you human. But it does mean that part of your job is to interrogate the lens you’re writing through.
  • Expanding your empathy: True cultural competency isn’t performative. It’s about developing the emotional and intellectual agility to fully imagine others. This includes considering them with nuance, contradiction, and depth.

Your Call to Action

The toughest character of all is yourself. You can’t write what you haven’t taken the time to understand. If you’re going to write across race, gender, or ability, start with your own identity.

  • Reflect deeply and be curious.
  • Undo what needs unlearning in addition to research.
  • Listen harder than you speak.
  • Write with humility, not authority, and earn the right to tell the story.

Great storytelling doesn’t just represent the world. It reimagines who belongs in it. Write boldly and responsibly. You can do it. But don’t expect it to be easy. The words you put on the page will shape how readers see the world and each other.

Ready to do the work? Your story deserves it. So do your characters.

Do you have questions or comments? Ask Besty Bot about the writing craft and how to publish your book with Best Chance Media!

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✍️ Writing characters unlike yourself? It’s not just about research. It’s about reflection. Undo bias. Observe deeply. Write with cultural humility. Representation starts with responsibility. #AmWriting #WritingTips #DiverseVoices #ShowDontTell #OwnVoices #CulturalCompetency #WritersLife #WriteResponsibly #EmpathyInWriting #WritingCommunity https://bestchancemedia.org/2025/10/01/writing-beyond-stereotypes-tips-for-authentic-character-voices/

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Alan O’Hashi, Whole Brain Thinker best chance blog 2025, Craft

Do You Really Need a Literary Agent? A Writer’s Guide

By Jennifer Braddock – Editor

You did it. You typed “The End.”
You’ve got a first draft in hand, and now you’re wondering:

“Should I get an agent?”

Short answer? Not yet.
Longer answer? It’s complicated, and it helps to understand where the agent system even came from.

A Quick History of Literary Agents

Before there were agents, writers represented themselves. Including the famous ones. Louisa May Alcott negotiated her own deals and even pushed back on her publisher’s edits to Little Women. She was savvy. Many weren’t.

In the late 19th and early 20th centuries, publishing became more industrialized. Contracts got more complex. A new type of middleman emerged: the literary agent. Agents originally made their mark by forging relationships with editors. They pitched manuscripts directly. Sometimes they literally walked into newspaper or publisher offices with a carbon copy in hand.

Sounds helpful, right?

Well… yes and no.

Back then, many writers didn’t know how to negotiate for royalties, reprint rights, or foreign editions. Some agents stepped in to protect them.

Others saw opportunity in that vulnerability. They took advantage by pocketing fees. Greedy agents misreported royalties or steered deals that served their own interests.

Watch Elvis (2022) about The King’s relationship with his manipulative agent, Tom Parker (Tom Hanks).

Unlike today, there weren’t many standards or oversight bodies. For many writers, agents were a mysterious and necessary evil.

That legacy still lingers. While most modern agents are ethical professionals, the system remains uneven. Some are career-builders. Some take their cut and are ghosters. A few are still out to take a bite out of a writer’s naivete.

Watch Billy Joel’s recent documentary for his take on an agent who got into his back pocket.

What Does an Agent Do Today?

A reputable agent helps you:

  • Polish your manuscript before submission
  • Pitch to traditional publishers (especially the Big Five)
  • Negotiate advances, royalties, and contract terms
  • Sell subsidiary rights (film, foreign, audio)
  • Guide your long-term writing career

Here’s the kicker: agents don’t work for you until you sign with them. Even then, you’re partners, not boss-and-employee.

They also work on commission (usually 10% to 15%). If an agent asks you for an upfront fee? That’s a scam. The old predatory spirit still shows up in new forms. Be wary of anything that sounds too good to be true. It’ll probably cost you.

Why You Shouldn’t Query After Just One Draft

Back to your beautiful first draft.
It’s not ready yet, and that’s OK.

Agents aren’t looking for ideas, they want execution. They want the third or fourth draft that’s been revised, workshopped, and proofread.

Submitting too soon is like proposing marriage on the first date. It rarely ends well. Agents want to know what you have next, what are your third and fourth books? They don’t want one-hit wonders, they want sustainability.

Before you query, you should:

  • Revise until you’re sick of revising.
  • Get feedback from critique partners or beta readers.
  • Hire a freelance editor, but be picky. Some are wolves in invoice form.

Do You Even Need an Agent?

Maybe. Maybe not. It depends on your goals.

If you want to publish with one of the Big Five or a major imprint? Yes, you’ll probably need an agent, inless you know an insider or meet the Editor in Chief at a writing conference.

Agents have forged a role and are the gatekeepers. If you’re looking at small presses, hybrid publishing, or self-publishing, probably not.

Publishing is no longer one path. It’s a choose-your-own-adventure. Agents are great allies, but they’re not the only ones who can open doors. You are your story’s best advocate

Keep Writing While You Wait

Querying can take months, and waiting to hear back can be even longer. While you’re waiting and revising, start your next project. Agents love seeing that you’re committed to writing, not just pinning all your hopes on one book.

Your Call to Action

The agent system was born from writers’ need for business help, but came with strings attached. Not all of these strings were good. These days, you can protect yourself by being informed, strategic, and patient.

The more you understand the business side of writing, the less likely you are to get played.

Don’t be in a rush. Hone your book. Do your research. And remember: you are the CEO of your writing career. An agent is a partner, not a savior.

Are you revising? Researching agents? Deciding whether to go indie or traditional? Share your journey in the comments or start a convo with Besty Bot. If this post gave you clarity, pass it on to a fellow writer who’s standing at the same crossroads.

Do you have questions or comments? Ask Besty Bot about the writing craft and how to publish your book with Best Chance Media!

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📚Just finished your first draft and wondering if it’s time to get a literary agent? Not so fast.✋ Before you query, know the history behind agents, how they used to work the system, and what new writers still need to watch out for today. Louisa May Alcott represented herself. Should you? Read this before you sign anything. #WritingTips #AmWriting #WriterBeware #LiteraryAgents #FirstDraftDone #PublishingAdvice #WritingCommunity #LouisaMayAlcott #KnowYourWorth #WritersLife #IndieAuthors #QueryTips https://bestchancemedia.org/2025/09/11/when-is-it-time-to-query-a-literary-agent/

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