Category Archives: Marketing

Writer’s Confessional Part Six

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This past month has been a writing bonanza. I’ve written my own obituary, started my About Me biography for WjK ARTiSAN DESiGNS, and have also focused on the anthology project for the Deadwood Writers Group. It’s been an interesting thirty-one days.

I’ve been concentrating primarily on my top five strengths through the class I am taking with Jo Self at Jo Self Consulting. It’s a strengths-branding course (she differentiates for each person’s needs). For my individualized consultation we’ve concentrated on my solopreneurship to dig through my top five strengths—Responsibility, Harmony, Discipline, Consistency, Maximizer–and beyond, which are the result of a specifically designed questionnaire at CliftonStrengths 34 online. It’s been enlightening.

Writing my obituary was a fascinating exercise. What would you want someone to say about you at your funeral? Or, if not an obituary, how about a speech at your 90th birthday celebration? It is a lesson everyone should try. It forced me to look at the accomplishments in my life. What should my life look like as I move forward? Did I reach for things I wanted? Did I set on a path to success? It was an emotional read. When I got to the end, reading it aloud to the participants on the conference call, I had to stop to control my tears because of the hope I have that I will have helped my girls turn into great women. The exercise also allowed me to see what needs to be done to reach the goals I’ve set for myself in my professional life.

During the second section of the course Kirsten Back, The Word Distiller, helps with branding our businesses. She wants us to emotionally connect with our customers. That, in turn, will help customers justify their return or pass on the word about our businesses. There’s some more work to be done with Kirsten, but I’ve got a good start to my About Me page. Now, I need to add the nuances of my top five strengths into what I’ve already written.

And to wrap things up, I’ve asked a lot of what if questions regarding where I want my characters to go in the Anthology for the Deadwood Writer’s Group. The ‘What if’s’ stem from a book I discovered by K. M. Weiland, called Outlining your Novel, Map Your Way to Success. The idea is to take your story in a direction that the reader doesn’t expect, so I asked myself the ‘What If’ questions to understand the premise goals.  This exercise led me to some interesting ideas about the characters and how they’ll interact with the main prop, the coin of Caligula. It must be a part of everyone’s story for those participating in the anthology. It was a fun bit of writing and hopefully, I have a solid foundation to move the arc in the direction I want the story to conclude, with a happily ever after.

Aspirations and Efficiency

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This past December my Deadwood Writers Voices editor, John McCarthy, asked us if we were thinking ahead into 2018 and would we like to share what was on our minds for our writer’s life. There was also a post by Robin Covington on her Facebook page asking if we could pick one word to carry us through the new year what would it be. My word was efficiency. To reach my goal, I’m combining the answers to both questions because I find that I need one to go with the other if I’m going to make any progress in my career.

The answer to the first part is:

  • Dive deep into A NEW LIFE, book 1 in my Leeti vampire series, and see what needs to be done so it’s ready to be published.
  • Write on a schedule instead of when I feel like an idea is brewing.
  • Continue to develop new stories in a loose format so when I’m ready I can start writing the novel.

To help with the points above, I asked the same person, Robin Covington, what she used as an organization tool. She had mentioned Erin Condren’s Life Planners. What’s great about them is that an individual can customize it for a particular use. Plus, bonus, the planners, are made in America. In my case, writing. Here’s the link https://www.erincondren.com/. What it’s going to help me do is narrow my focus on writing while the appointments and scheduling for my family are on the periphery of this schedule.

In my twenties, I used Franklin Covey’s planning system, but I don’t think that style works for what’s happening in my life. I need more visual space to plan my day to day tasks. And I don’t want it to be on the computer. I want to be able to spread it out, look at it, touch it, get a feel for what’s happening next. I won’t stop using my computer schedule because I love being able to get a notification telling me that I better get on my way to make my appointment on time. But having something that is not digital helps my creative side and allows me to get down on paper the ideas of the sexy heroes and heroines I’m writing into stories. And one thing I did learn from Franklin Covey was how to prioritize a full schedule and strive to reach my life goals.

For the first point, regarding A New Life re-reading and editing content, I also need to tackle the grammar errors for publication and make sure the storyline is consistent. With all the things listed above scheduling is essential. If I tell myself I’ll set aside some time for the next day, if I’m not being specific in my listed tasks it won’t get done. I’ll sit down and read or go shopping.

Writing on a schedule seems natural enough, the dates and times and all. It’s the other things that get in the way that hinder the process. So, scheduling the time to write is what’s got to happen.  I’m used to free-writing on Tuesday’s. It’s my day off from making coffee and I have a significant amount of time. What should I do, I write it on the schedule. Appointment. Write on the schedule. Cello lessons for Kid #1. Write it on the schedule. My hope is, the time I set aside to write is productive. I still want to read as many romance novels as I can, but with my hours laid out, it will be easier to focus my ideas and get things done.

Marketing Hot Blacktop is something I’ve been doing throughout 2017, but I don’t think I’ve been as consistent as I can be. I could be using Facebook more efficiently plus all the other media platforms. I need to plan time to watch some tutorials. I need to link my Twitter, Pinterest, and Snapchat accounts to ramp up my marketing presence. Each one is part of my story, and I need to use them the best that I can. Here’s a helpful video I’ve watched regarding scheduling for a marketing focus by author Hildie McQueen.

And for the developing of stories, this planner system will allow me to add pics and fun notes about characters I’m developing, story ideas, arcs, and other tidbits. There are extra pages to use just for this purpose.

Now I have a plan. Here’s to being more efficient in 2018. Happy writing!

Editor’s Note: Author Promotion Strategies

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Sisyphus, from Greek Mythology, rolls a boulder uphill for eternity. With each attempt, the boulder rolls back downhill and Sysyphus must start the task anew. This is the author’s task once a book is published.

Some authors think that the publisher does (or should do) most of the promotion to sell their books. They might reference the Bestseller’s List for authors who’s latest book cover is promoted in stores, mailers, and social media. Places like Barnes and Noble and Books A Million have posters of books and authors to entice shoppers. As of this writing, Amazon is promoting books recommended by their editors. How do these books get on the ad banner, much less make the list?

I don’t have the answer. My publisher for So All Can Learn: A Practical Guide to Differentiation (see description) has not told me, but is it her responsibility? The answer to that question is what I’ve been told by other authors before me, and when I did book publicity for a friend and excellent writer Phil Rosette: The best person to promote an author’s book is the author.

Publishers do promote the books. They have many that they must get air time on their website, mailings, and at the relevant book events. For most authors that’s as good as it gets. The few with high advances on royalties might get more investment in marketing. Again, a publisher has many books to promote. Considering the books you see on an end shelf, or display tables. Many are not rotated so that different authors are on display for the consumers. Likely, the same books will be presented week after week, because the publisher paid for the service. This practice is not exclusive to the book industry, as the same is found in many stores from clothes to groceries.

The author must be proactive in their book promotions. Sylvia Hubbard, author and book marketing coach, was once asked how long should an author promote their book? She responded (paraphrasing), how long do you want your book to be read?

If the best person to market and sell a book is the author, what should the author be doing? A few ideas include:

  1. Use social media to keep the book in people’s minds. Keep the message fresh. Connect the book content to events or special dates throughout each year.
  2. Share ideas and content that others would be interested, and find relevant ways to reference your book. For example, So All Can Learn can be purchased at Rowman & Littlefield for 20% off using the code: RLEGEN17 OR the Kindle version (as of this writing) is on sale for $9.99.
  3. Present at events such as conferences, stores, and schools. Again like item 2, use topics that interests potential buyers, and that also tie-in to your book.
  4. Recruit and invite people to read and write reviews for your book. Have them post the reviews where potential readers look, such as: Amazon, Good Reads, Barnes and Noble, and other sites. When potential buyers see that others have read your book and posted a positive review, they might be more likely to buy the book.
  5. Create a website for your book. Here is mine for So All Can Learn.
  6. Write a blog with new ideas and insights. Include links to your book. Write weekly, advice I’m working on for myself 😉
  7. Establish a listserv that you can share content you’ve posted on your blog and social media. Send out once a week or 2-3 times a month. Find the balance that works for you and your listserv. The key is content that they find relevant.
  8. Give your book to key influencers. If they like the book they might share it with their networks as recommendations.
  9. Use images related to your book where possible.

Many of these suggestions require you to put yourself out there. Some have suggested that self-promoting one’s book may be seen as negative. Who is best to sing the merits of a book other than the author? There may be a line between hard sell and convincing others that your book is worth the time. Being subtle all or most of the time will leave you with a dusty pile of untouched books. The result is that a publisher will wonder why you didn’t do more when sales are low. Most authors on the best sellers list started without name recognition, and had to become known. Those who were already known, likely had to establish themselves within their respective field. An author who chooses not to promote their book may become a best-kept secret, and lots of unsold books.

There are more ideas to try. This is a beginning. It will be time consuming, yet how important is your book? Catch your breath, and start rolling that boulder uphill–again, again, and again…

 

 

So, I Asked Alice…

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Here comes fall. What an appropriate name for a season in which the leaves drop as fast as the temperature.

AliceUnderground1My blog last month talked about possibly using crowdsourcing to publish Broken String, my new novel that is now in final edit. I received several comments at Deadwood Writers Voices and thanks to all of you for that.

To better understand Kickstarter.com, I decided to “back” one of their book projects. To get a feel for how this might work, I backed the 150th Anniversary Edition of Alice’s Adventures Under Ground. It is being produced in Australia under License from the British Library.

This is Charles Dodgson’s original version of Alice and it includes the 37 illustration Dodgson did himself, with the story in his own hand writing. Lewis Carroll was a pseudonym for Charles Lutwidge Dodgson. His penname was derived from the Latin spelling of his first and middle names, and then reversed and translated back to English.

This 150th Anniversary Edition is leather bound with gold embossed titles with black and white and two-color illustrations. I’m looking forward to seeing it on my classics shelf, after I’ve read it.

AliceUnderground3If you are not familiar with the backstory of Alice, Dodgson originally wrote it as a short story for his College Dean’s daughter. After hearing him tell the tale, twice, during two rowboat trips, Alice Liddell, asked him to write it down for her. He wrote it out in long hand and did his own illustrations, then he had it bound together and gave it to Alice as a Christmas present in 1864. He was encouraged to have it printed for sale and so expanded the story from 15,000 words to 27,500, and brought in renowned illustrator John Tenniel to do better illustrations. He self-published the story, retitled, one year later. That 1865 typeset version is now known as the first edition of Alice in Wonderland. One hundred fifty years later, we have a finely crafted tome of the author’s original words and illustrations, as he presented it to twelve-year-old Alice.

AliceUnderground2Participating with this project has given me insight in how a successful program works. Their costs were projected at AU$20,000 and they raised over AU$109,000 from 1,081 backers worldwide. During the six weeks, I received several emails with updates on the project, complete with pictures of set pages and workers busy on the production. It was a very easy process and it gives me some hope.

Now, I’m not the British Library and my story hasn’t been loved by children of all ages for 150 years, but seeing how they organized the campaign and how they grew interest from under 100 the first week to over 1,000 backers by the end is encouraging.

For my project, I’ll first need to gather a core group of readers, friends and fellow writers to back the project once the campaign does start. Kind of give it a push out the door. Getting that core group to reach out to the friends they know who might enjoy a suspense novel like Broken String is critical to the overall success. Backers of my project would receive deep discounts on signed, first editions of the printed book and first day delivery of the e-book, much like the Alice project offers. I would like to offer versions in limited edition, hard cover, trade paperback and e-book to have the widest price range for backers.

It’s still just an idea germinating in my head. I’ll keep you updated, but I would love to hear from more of you as far as what you think of this idea. What kind of a discount would entice you? Or, what else would be enticing enough for you to back a project like this?

Wanted: Graphic designer for the cover art. Can you recommend anyone?

Typo!

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Every novelist needs a copy editor. Why? Because a copy editor makes sure the author is wearing his pants before he steps on stage, makes sure the author doesn’t have a trail of toilet paper stuck to her high heel as the lights come up. Yes, typos are that glaring.

Novelists cannot correct their own typographical errors because they know too much. Knowing what was meant to be said, the author reads what’s in their head not what’s on the page. It’s not a fault, just a fact. A copy editor will not have those preconceived blind spots. They will catch where you wrote breathe instead of breath. Copy editors will see the wrong use of their, they’re and there where your eyes will not. They will find your misplaced commas and misused semi colons and correct grammar where necessary. They will pick up on common wrong-word errors that spellcheck cannot, like typing were when you want where. And at finding missing little words like, for, an, and, at, or and so. Your mind’s eye does not see these kinds of mistakes, either.

Your copy editor is the last person to edit your story before you send it off to your publisher, so you’ll want to entrust this person with as polished a manuscript as possible. The best way to do this is to re-read your entire novel one last time, only lip-syncing it from start to finish.

You don’t have to say the words out loud, but you do need to move your tongue, lips and jaw. What happens is your mouth slows down your mind and forces you to say and see what is on the page. You are also likely to discover syntax errors, run on sentences, passive voices and homonyms, all the stuff that trips up coordination between the tongue and the eye. You’ll discover errors in pacing and entire passages that, really, can be cut. Your only criteria at this point is to clean up and clarify; everything else should be done. Reading like this will catch most of these common errors.

A good copy editor is essential today, whether you are self-publishing or have an agent. What comes out of his or her hands is what will stand the test of time. You, the author, will make all the suggested changes (or not) and correct the typos before submitting it, so in that sense you always have the last word. But by lip-syncing your novel one last time, you will make the copy editor’s job much easier, and much faster.

Who should you hire for this? Yes, I said hire, not ask as a favor. If you are really serious about wanting others to recognize your work, don’t skimp here. Ask other writers who they’ve used and who they would recommend. When you find someone you hear is good, and available, take them to dinner. You don’t have to wine and dine them, but get to know them and what they like to read. Ask them about their funniest stories with editing. That will tell you how much they like their job. Offer a few quips of your own about your research or who your protagonist is based on. At the end of dinner, you’ll both know each other better. You’re looking for someone who wants a personal stake in your novel, who wants to be as proud as you are to see their name attached to it. What they charge, what you pay, should be secondary to that.

How much you should pay is entirely up to you and your copy editor. Somewhere between a dollar a page and three dollars a page seems to be the going rate. The two copy editors I have worked with both charged a flat rate. I paid $250 for my first novel and $350 for my second, but they both moonlighted and neither could be bound to a timeline. The first time I hired a librarian, the second time an accountant. Both were equally methodical. I discovered accountants are very good at finding words that don’t add up, if you hire one who has a good command of the English language.  English teachers are another good source. An editor who reads your genre can be helpful, but don’t make that your only criteria. Critical editing is not what a copy editor edits for. All of your plot development, character development and timelines should be nailed down long before a copy editor sees it.

One final word on typos. No one gets them all, and that’s a good thing if you are in the antiquarian, collectable book business. If you don’t believe me, just go ask Alice. Or Huck. Or that “fool Red Cross woman” in One Flew over the Cuckoo’s Nest. True first print runs of these classics, identified by their typos, are selling for several times what a second printing will fetch. But that still doesn’t bode well for the author.