Category Archives: Marketing

“There Is a Seat for Every Ass”

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P.T. Barnum is supposed to have said that in reference to filling up his Circus’s Big Tent with paying customers. Or so I’ve been led to believe for many years because I’ve used this quote in the past. But when I go to famous quotes websites I find no attribute to Barnum or anyone else.

Oh well. I still like it because the same could be said for antiquarian books. For every old book there is buyer. Somewhere. I bring this up because that’s what I’ve been thinking as I sort through the 3,000 plus volumes Birchwood Books acquired last month. It’s been full-stop on the novel-in-progress, Knock Softly (working title), while I get this inventory sorted. So far, the oldest book dates to 1631, is in Latin, was printed in France and is about a Spanish Governor. The newest dates to 2001. I’m only about two-thirds of the way through the initial sorting.

To sort, I separate the books into four primary categories: keep; next; too low for online; and donate. Keep means this is a book I’d still like to find on my shelf tomorrow morning, so it will be among the last books to be listed for sale. I’ve found a couple hundred of these. The largest category is next, and that is sub-divided into older and newer books. Newer being post-1960 in this case, and that’s what most of this collection is. The books that are too low for online will be sold, hopefully, in bulk to other bookstores for a few dollars each.

So far, we have donated over 400 books to the John Dingle V.A. Hospital in Detroit and to our local library. Why would you donate a collectable book? Because the market has changed over the past 30 years and these are books that do not have any true collector appeal anymore, mostly due to their condition. Today’s collector, that person who will take out their wallet for a title they really want, is only interested in good looking material. No doubt, there is a seat for this ass (the donated book), but the time and effort it would take to find makes it a losing proposition in today’s market. All collectable books fluctuate in value but they don’t always increase. With the addition of Amazon and eBay, there are more choices for any given title than ever and that has driven the market down sharply over the past decade. Better to take the donation value now and let someone else have the fun of owning it and taking a little profit years later if/when the market rebounds. If it takes another thirty years, I’ll be in my nineties, or my grave. Folks will find some great stories in these books. But in truth, nobody is collecting Christopher Morley these days, or Patrick O’Brian, McPhee, Harte or Haycraft. Their stars my rise again, but with shelf space at a premium around here, I have to be as careful with what I keep as I am with what I donate.

There is a fifth section to the sort; it’s called 2018. As in, do not open this box until 2018. There are only about 75 of these so far. They are all good, collectable books but there’s just too much competition right now. Think Ann Rice, Norman Mailer and John Updike. All shinning-star authors, all first edition books in fine or near fine condition, but only saleable at around fifteen to twenty dollars in today’s market. Their future looks brighter so we’ll hang on to them. You don’t get in the antiquarian book business for quick turnarounds and profits. Some books, many in fact, we’ve held for a decade or longer.

What’s the best thing I’ve pulled out of a box so far? On a personal note, that would be A. Conan Doyle’s The Return of Sherlock Holmes in true first edition. I’ve been looking for an affordable copy for over 30 years and I literally dance around holding the book over my head after I pulled it from the box. But from a collector standpoint, it has to be Thomas Payne’s 1791 Rights of Man. A fine example of the first edition, second printing, in the original paper wraps. It appears unread all these years. America was fifteen years old when Payne wrote this book. Born British, Payne also penned Common Sense – the book that sparked the American Revolution. For Rights of Man, England convicted Payne in absentia for “seditious libel” and issued a standing order for his arrest if he ever stepped foot on British soil again. Now, that’s a book with impact!

Special callout here to friends and fellow Author, Tony and Bonnie Virag (Stove Pipe). It was Tony who told me about this collection last September. Thank you, and, Bonnie, I understand Stove Pipe is in its second printing now! That’s the only sign of success in this business, and you did it! Congratulations. If you haven’t read her book, it’s a terribly gripping story.

Next month, we’ll get back to Knock Softly.

Read on, friends.

Insta-success with Instagram

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Twitter is stupid, and Instagram is for people who can’t read.”–Max, 2 Broke Girls

I always think of that quote when I mention Instagram to others.  Instagram is a social site for sharing snapshots.  If you don’t like imagetaking pictures, this post won’t be for you, but you should read to the end just to make sure.

As a writer, or any business owner, you need to find social media platforms that work for you and your desired end goals.  The sites need to be ones that you will maintain and that are fun for you.  I think Facebook is a big time-suck with algorithms that don’t let me see the feeds of everyone I want to in the order that I want to.  Still, I have a Facebook Author Page that I modestly keep up with.  I have discovered informative people through Twitter and it seems to be popular for writers.  It’s hard to keep up with the news feed some days, but there’s some good interaction with my tweets.

What about Instagram?  I’m a scrapbooker and, by default, take hundreds of photos every month.  I’m surprised it took me so long to find the value in Instagram.  My first two photos posted the week of June 10-16, 2012 (138 weeks ago) when I was just playing around with some filters on my first smartphone.  They were pictures of teddy bears.  I didn’t know what else to do with it, so I trailed off and lost interest.  I picked it up again the week of February 2-7, 2014 (53 weeks ago, or just over a year) as an outlet to showcase my writing, initially my haiku poetry.  Now I use Instagram for my writing and…well, stop on over and check out my photos at @dwhirsch.

I use Instagram as a marketing tool as much as a social experience.  I don’t pretend to know everything about Instagram.  I read information from bloggers who have done the research, such as @jenns_trends, who is a goddess on Insta-information.  What I’m offering is my personal experiences and successes adapting those tools.

To use Instagram effectively, you have to decide what you plan to share.  This can change over time, but start with some initial rules.  My guidelines are the same ones I have for my personal blog.  I never post pictures of friends or family without first getting their consent.  I don’t post photos of my house because I have “location services” turned on my phone.  I don’t want people to know where not to find me when I’m out of town.  There’s nothing valuable, explicit, religious, political, controversial or anything my dad–were he still alive–would be disappointed to read about me.

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Instagram is Insta-easy to use, and the site’s features are relatively uncomplicated and obsessively playful.  It’s free to set up, and I recommend you snag your profile information now: create your Name (generally your real name or business) and Username (what you’ll be known @as). Photos are posted in a square, and most smartphones have a “square” option in the camera settings. If not, or if a square cuts off some important part of your photo, there are many free apps that will shrink your photo and place a border around it. To post, just upload a photo or 15-second video that you take live or have stored in your smartphone library. You can alter your media with black-and-white, sepia or color filters, with additional tools to adjust the image’s brightness, contrast or saturation level.  Finish it off with a frame or vignette, add a caption and press Share.

Now that you’re live, how do people find you?  Your 153-character bio, along with your photo’s caption, and hashtags need to be creative, potent and relevant.  Going back to Max’s quote comparing Twitter and Instagram, the latter is not restricted to 140 characters.  Your photo or video should tell a complete story, but you can use about 440 words to explain that image. This comment section is vital because you can tell your story and highlight your image using crucial hashtags.

Instagram is hashtag heaven. People with similar interests will find you based on how you tag your images.  Common hashtags reflect those you find on Twitter, but you don’t have to be familiar with Twitter to use Instagram.  Think about what your picture is about and tag your image with common terms.  As a snapshot in the moment, you can showcase a twisted #tree branch, a royal #sunset, a #selfie in your awesome new #shirt, an art exhibit or the #bananabread you’re baking.  You’ll get a feel for tags once you start using them.  Tags have no spaces and use just alphabet characters with no suggestions, so type in exactly what you’re looking for.  Much like Twitter lists, you can also create hashtags to group your own images in a somewhat folder design.  Some of mine include #iamapoetess, #SnuffletFinse and #Champsp. Be sure to check out this group’s posts, which are under the same hashtag as on Twitter: #dwriters.

The Explore tab complements tags by suggesting people to follow based on tags you use, images you’ve ‘Liked’ and people or companies that your followers follow.

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Oh, yes, companies use this.  Instagram is a successful marketing tool, a highly-used space to display products from #clothing to #cosmetics. Check out companies like @Bathandbodyworks, @Ford and @Applebees.

I sometimes stage my work because I want my followers to see the best of me.  I give my followers a peek into my writing, #Zentangle art and my overall creative process while infusing my quirky personality and personal interests.  Think about it: if I follow a particular author, I feel more connected to the “person” rather than to the “celebrity.”  Therefore, I’ve taken my book cover image and overlaid a part of a review on top of it.  I type up actual text from my latest #shortstory or #poetry.  Photo editing can be fun.

Given my goals, I show images of blue-inked-up work as I edit my current draft.  I show the #coffee shops where I #amwriting. I show the stages of my Zentangle #wip so people can see my creation from start to finish. I have too much fun with it on the go not to let it be organic.

Remember, social media is social. I share my work and myself because like Max on #twobrokegirls, the experience on Instagram is more social. I comment more than I Like because the image doesn’t always grab me but the story in the caption section does.
image When someone takes the time to comment on my work, I respond to every–and I mean every!–comment made to me even if that person replied with a smiley face emoji.  I appreciate the time that person spent appreciating me, similarly the gratitude when I receive a #bookreview on #Amazon or #Goodreads.  If nothing else, I reply “Thank you.”  People like you when you like them.

What are the benefits?  The most important is meeting people with similar interests.  I’m reading a #memoir recommended by a follower who is #writing her own memoir. I’m inspired by new #art and #painting techniques.  I’ve been challenged to take pictures in #blackandwhite.  I could meet any number of them for #coffee if I was in their area.  I have a connection to these people. You can do the same with your peers and have fun doing it.

How Important is the Title?

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What weight should we give to the title of a novel?

If the sum of a book is 100%, is the title worth 20% or 80%? On the one hand, if the title isn’t catchy then potential book buyers may never pick it up. All the efforts the author has put in will never be tested. What a waste for both author and reader. On the other hand, if the title is too convoluted readers may not understand the direction the author is taking them. Like a four-star chef, authors want readers to finish their creation. Putting it aside half-finished is worse than having never started. It is the difference between telling the waiter, “I’ll try something else, thank you,” and telling your friends, “I’ll never eat in that restaurant again.”

This question has been weighing heavily on my mind for the past few months as I turn the final corner on writing Knock Softly (working title). I’ve asked a few fellow writers – those who are in my writing group and have read the manuscript so far – to think of something better. Nothing is sticking. I try not to fret about it, tell myself it’s not important until you finish, but that finish line is now in sight and the fret is turning into sweat.

Let’s look at the responsibility of a title. That’s right, a title has responsibilities. First and foremost it has to succinctly sum up your story. It also has to be catchy enough to cause a reaction. It should say either “pick me up” or “not for me.” But is that all? Shouldn’t the title also come into to play at the end of the read? Shouldn’t the reader be able to see that title again on someone else’s shelf and be able to recall the entire story? Have an engaging conversation with that person over the book? Gone with the Wind does that. So does Hunt for Red October and To Kill a Mockingbird, and numerous others. That’s my dilemma with Knock Softly. I want a title that will recall the entire tome when next you see it again.

I came up with Knock Softly strictly as a constant reminder to myself that no main characters die in this story – there are things worse than death. Cancer is the villain. Curing our heroine is the story’s master thread, and keeping that central to the other events in the story hasn’t been difficult. Those other events include our heroine’s infidelity and a tortured past life she’s kept secret from her husband and children. Only mitochondrial DNA can save her now. To get it, her husband must delve into her dark past. Her desire to die with her secret is almost as strong as her will to live for her children and the child she carries. Knock Softly doesn’t convey any of that.

In Knock Softly, we have a mother of two, pregnant with another man’s child and suffering stage-4 cancer. She refuses to abort the baby, even though it increasingly diminishes her own chances of survival. Her husband rides the full length of the emotional rapids as he discovers there is so much more to the woman he married.

I don’t have the answer to my question; what weight should we give to the title of a novel?

I suspect it’s a squishy number, based on how strong the author’s own name is. Steven King could call his next novel Untitled and it would sell out. I doubt 100 copies would sell if my name were on it. For someone like me, a mild-mannered suspense writer whose day job is composing coherent internet ads in forty characters or less, I suspect the title is worth nearly half of everything written. It is in advertising, and in selling newspapers.

Now taking good suggestions for A.K.A. Knock Softly. Anyone?

Imagining Fiction in the Electronic Age

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I received a good response to last month’s apocalyptic post on pulp, mostly notes of reminiscences. I had no idea people time-stamped their best reads like they were best dates. Two folks thought enough to put fingers to keyboard and tell me just how wrong I was, and one good friend about chewed my ear off with the same message. But one woman wrote about following a person off a subway, up a flight of stairs and all the way to the crosswalk without that person ever looking up from their Kindle. She didn’t say if they were male or female, old or young, but earlier she had seen the same thing play out from subway to crosswalk, only this person was reading a paperback. What she noticed was how engrossed both readers were in their stories, not the format they were reading them on. To her, and to me, it proves that Content will always be King.

Thanks to all who commented.

 

Tomorrow’s bestselling fiction authors need to wade through new and exciting waters if they want readers to enjoy their digital content. The future fiction story has to be engaging on every page. Good news! Authors can now use more than just words to engage their readers!

Meaningful graphics strategically placed in the body of the works is soon to be the new norm. Children’s fiction has always been picture book format, so it will just be business as usual for that age group. Adult fiction authors, however, strive to paint just enough of a character or a scene, yet still leave something for the reader’s own imagination. We want to draw characters that remind readers of someone they’ve known: the bitchy boss, the nearsighted neighbor, the real estate lady who knows no quit.

Authors run great risks in the future if they use the wrong graphics. This becomes a fault, graphically speaking, when authors use a well-known person as a metaphor. For example, one of my references to Elizabeth, a main character in my upcoming novel, Knock Softly (working title), says she looks like Little Orphan Annie in one childhood photograph. The reader already knows that Elizabeth is a redhead so that is all I say. I leave all her other attributes to the reader’s imagination; young Elizabeth’s height, voice, dimples or not. Adult fiction readers can color in all the “known” minutiae much faster, and clearer, than the author can. In this case, any companion image of a young Elizabeth would spoil the reader’s own imagination.

Other trip-ups include using well known locations, like Disneyland or the Grand Canyon for example. You don’t want to alter whatever image your reader already has; you want them to recall it. Authors can only do that with words that metaphorically develop their characters against such landmarks. The great e-novel of the future will illuminate the text with images that only the author can bring to life.

Color, not black and white, will adorn future e-pages. Without ink, there is no cost consideration for digitally printing in color, so descriptive hues, shades and shadows will matter as never before. For that reason, future authors need to be just as considerate for what they choose to leave out as what they choose to spell out. Even the very colors that illustrators use have to complement the scene’s mood and drama, otherwise the visuals will wind up competing with the words. It’s a subliminal thing, but ad agencies have been refining the use of color for decades to convey stature, sensuality and attitude. This is nothing new, it’s just found a new home. Black and white will only be used to depict dark and dreary scenes, or to shadow horror too repulsive for vivid interpretation.

Here’s the rub: e-novel readers cannot see how “heavy” a tome is before they buy it. There is no page count. Robert Frost’s The Road Not Taken weighs as much as James Joyce’s Ulysses in e-book format. Instead, there is an indicator at the bottom of each page showing what percentage you’ve completed. It feels like a journey, not a read. Authors need to be aware of this from their first draft onwards. That indicator is like the kids in the backseat of your mind asking, Are we there yet? There is less time for a story to “breathe” in the future e-novel, where pictures purpose the pauses. Each page has to be reason enough for the reader to carry on. Authors are going to have to make the journey just as entertaining as the destination if they want to shut up the brats in the backseat of their reader’s mind. The percentage indicator is neither good nor bad; it’s just a new way of telling time in a novel. We’ll all get used to it. By next Thursday.

E-novels will probably be 75,000 to 100,000 words with a dozen-odd illustrations to richen up the read. Last chapters will be written like soap opera; effectively, lead-ins for tomorrow’s adventure in a continuing series. Authors who create quirky characters that readers want to follow from adventure to adventure will do well.

Paper’s First Mass Extinction

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The digital age is upon us, it’s everywhere we look today. Literally, no industry is safe when doctors can now print 3-D parts for a heart valve repair minutes later. What possible chance do printed books have by the year 2025? Slim to none, sorry to say.

By then, publishers will only print Limited Edition books that authors and illustrators will sign and that collectors and fans will treat like trophies. Books will only be purchased – and thus printed – for their beauty or their collector appeal by 2025. Attractive, leather bindings with inlaid gold designs touting popular titles will command hundreds of dollars, but the “trade editions” will all be ninety-nine cent digital versions.

Text books – all learning material for that matter – will fall like dinosaurs during the first mass extinction of pulp. These books will die out because of their sheer weight alone, but so, too, will all sci-fi, suspense, mystery and romance stories. Novels will lose out because they hold no advantage on paper. They are more expensive and take longer for everyone involved, from author to publisher to seller to readers. In the end, economics rule. Without some other inherent value, there will be no reason to keep a novel once you’re done reading it. If that’s the case and e-books remain cheaper, then print is dead. Long live E!

Some genres should survive until 2025. Children’s books will still be in print because they are illustrated, but their days are numbered, too. Biographies with their childhood photographs, documents, maps, and other such supporting evidence have a home on the future bookshelf for those very reasons, at least for a while longer. Religious material will continue in print because you take this Book with you to Church to read along with the faithful. Even so, at some point, churches, too, will be distributing prayers, sermons and missals on e-readers left in the pews.

Cookbooks and other reference material – the kinds of books that people dog-ear and write in the margins of – will continue to be printed because we treat them like tools while working on related projects. It’s hard to see other formats surviving, though. How are you going to convince today’s youth to put down their iPhones and pick up something printed on paper?

The year 2025 is only a decade away. For the first mass extinction of paper to come true by then, all these dire predictions will need to travel at the speed of light.

Exactly!

A decade from now, authors, Amazon, and the publishers who are sure to follow, will be too busy translating their e-novels into other languages without making embarrassing mistakes. That will be everyone’s main concern. The war over “cover price” will be long over. Free market enterprise will set the price. It always does in the end.

I think third world countries will be the new marketing frontier ten years from now, not just for books but for e-everything. Authors and publishers could thrive with the Polaroid Theory of Marketing in those countries by providing them with cheap e-readers and free internet.

Dr. Edwin Land’s marketing strategy in the 1960s was to effectively “give away the camera to sell the film.” This was akin to financial suicide in an industry where cameras cost hundreds of dollars and the photographic film costs pennies to turn into pictures. But Land had a theory, which was this: people will pay dearly for instant gratification.

Land priced one version, the Polaroid Swinger,  under $20.00. Cameras were not household items in the 1960s until Land’s affordable entry pricing made them popular. But, where 35mm film was cheap – $4.00 to develop a roll of 36 photos – it had to be mailed to a company to be turned into pictures. It took about a week to process, and sometimes you got someone else’s pictures back instead of your own. That could get embarrassing. Polaroid sold ten pictures for $7.00, but you held your Polaroid picture in your hand one minute later, while the moment was still fresh. It was our first taste of instant gratification, and we showed great marketers like Edwin Land, Bill Gates and Steven Jobs just how much more we were willing to pay for it.

Create a $20.00 e-reader today and the Polaroid Theory guarantees that everyone of age in Africa, Asia and the poorer parts of the Americas will have access to all kinds of books. With today’s technology, all it requires is a few drones parked in the sky to gain access to millions – billions – of potential e-book buyers. This means instant global gratification for e-books and global extinction for print. A $20.00 e-reader could conquer the world with ten books for seven bucks instead of ten pictures. Everyone from author to publisher makes more money with the Polaroid Theory because millions of more copies are sold. The costs to create more copies spiral down with the economy-of-scale, and if the novel never catches on, the cost of failure is survivable.

Think bigger than that. It is possible bilingual e-books could give rise to English as Earth’s common language by 2025. It almost is now. Think of what that means to all fiction authors, regardless their native tongue.

Printed matter’s second life is destined to become firewood at some point during in the next decade. Even something as sought after today as a first edition of J. K. Rowling’s Harry Potter and the Goblet of Fire, I’m sorry to say. As an antiquarian dealer, I worry about this a lot. I’ve stopped investing in modern classics produced after 1980.

Tomorrow’s bookshelf is today’s trophy cabinet. By 2025, we’ll keep our treasured tomes locked behind glass and out of direct sunlight. When someone asks if they can take one out, we’ll smile and say, “I’ve got that book on my iPad, too, if you’d like to read it.”

Next Month: Back to the topic of writing. If the future of fiction novels is strictly digital, how will that affect the way authors pace their stories? Are we headed for the 140-character novel? Will an author need to work with an illustrator to have any chance of success? Is writing a novel morphing from solitude to team project? And, if so, then whose e-voice is this, anyway? Stop by next month and explore these thoughts with me.