Archive for category Book marketing
Sorry, but that’s the wrong way round.
Except in a very few cases, it doesn’t work.
You can build a platform with a non-fiction book. If you’re offering expertise, it’s easy to find the people who need it. If you write about a life experience, you can connect with readers who seek similar support. And there are far fewer of you – and more room to be heard.
Before you use your novel to launch your platform, go and look at Facebook. Goodreads. Twitter. Everyone is waving a novel.
The number of people you will reach by starting this way is negligible.
There are many examples, of course, of successful self-published fiction authors. Everyone has their favourites to brandish. I’m going to talk about Joanna Penn. She didn’t start with a novel. She started with a blog – The Creative Penn – and built a loyal following while she taught herself about the writing and publishing world. By the time she launched her first novel, Pentecost, she had a great relationship with a lot of people.
Relationships are what sell books, both fiction and non-fiction. That’s what a platform is.
So to build your platform, get out there and blog, tweet, Facebook or whatever. Be natural, be yourself and build relationships. It’s also much less of a strain if you’re not trying to sell something.
And since you’re not using your novel to build your platform, what are you going to do with it?
You might as well, um, query with it.
Stop grinding your teeth at the back there. We’re agreed that relationships sell books? Agents have relationships with publishers. Publishers have relationships with distributors, the press, the places you cannot get reviewed if you do it all yourself. Yes, agents and publishers take their cut, but that’s because they have a much bigger reach than one little writer on their own.
If you don’t like the way a deal adds up, you can always refuse it. Or negotiate. But if you never try, you don’t know what might have happened. If you want to have a publishing career (and why otherwise would you build a platform) it make sense to explore all the options.
‘But every agent has different taste…’
Good writing is good writing. All agents are able to spot it. If you target enough agents who are a good fit for you, you will find out whether you are ready to go into print (or pixels) – or whether you should develop more. It is worth knowing that, isn’t it?
‘But it takes time…’
You’re going to have to spend that time building your network anyway. And what’s the hurry? You can’t – or didn’t – learn to write overnight.
‘But everyone’s publishing…’
I understand you’re impatient to get out into the big publishing party. Really I do. When I first held a book that was filled with my words I felt the earth quiver.
But I’m now seeing a lot of people who have whizzed onto Kindle, are finding their novel doesn’t sell, and are getting dispirited. That’s a shame. That’s the sound of dreams shattering.
Please don’t mutter the name of Amanda, the lady my friend Porter Anderson dubbed Amanda Hocking [example of everything]. That’s exactly what she is – an example of anything you like, including holy amounts of luck (and I wish her plenty more luck, BTW). But will the law of probabilities allow that to happen to you?
Build the relationship first
Relationships sell books. Build the relationship first, in whatever way you like, partnering with whoever seems right. That may be conventional industry routes; it may be creative collectives. Then you will have a platform, and you will have readers.
Thanks for the pic, Scottnj
While we’re on the subject of being grown-up about platforms, I’m planning a newsletter! Add your name to the mailing list here.
So, agree? Disagree? Sending the lynch mob…? I’m sure you’ll have plenty to say in the comments
I tweeted this piece yesterday by agent Jenny Bent : ‘Why reader taste differs from publisher taste’. I urge you to read the whole article, but briefly, she’s talking about what’s wrong with the way the industry tries to second guess what readers should be offered – whether literature or popular fiction. A friend on Twitter came back to me and said ‘come come, surely it can’t be that bad?’
Jenny’s in the US, and I’m on the other side of the Atlantic. But here, it is indeed that bad.
I know a few agents, and they’re tearing their hair out. An agent recently told me ‘editors in big publishers are basically readers for marketing departments’. Another said in the past year she’d got more than 10 excellent books to editorial board, with all the editors staunchly behind them, but marketing vetoed them. An editor I know – very senior in terms of job title and the publisher she works for – laments that she is no longer allowed to accept the rich fiction she loves to read and has to publish shallow sure-fire supermarket titles.
Jenny says books are that too quirky or defy comparison don’t get a chance. Again, that’s the same here.
The interesting and popular authors I like wouldn’t, I’m told, get published if they were starting today. Especially not with their most ambitious work. David Mitchell would be told to take Cloud Atlas away and keep it on his hard drive. Kingsley Amis wouldn’t be allowed to hop between genres. Michael Morpurgo wouldn’t be allowed to write a non-genre novel about horses. Holes by Louis Sachar? Forget it. And David Almond’s Skellig. Readers seem to like them, though. They still buy them.
It’s the big monolithic publishers I’m talking about here. They were a good model five years ago but they’re breaking down because they can’t take the interesting books. But the smaller boutique publishers are a different matter. They can – and are being – much more adventurous. The economist Tim Harford has in fact written an entire book on this subject (Adapt: Why Success Always Starts With Failure), about how you cannot prevail in today’s business environment without a willingness to experiment and take risks.
One of the things that’s so nice about Jenny Bent’s piece is that she pays tribute to the self-published writers who are getting out and finding their readers. That’s something we’re not hearing enough of. Some self-published authors I know who’ve been to conferences recently felt like they were about to be chased away with pitchforks.
Reviewers, who you’d think were less restricted, haven’t yet caught up with the fact that quality, competent, worthwhile authors are self-publishing. The theory goes that this is because journalism is funded by advertising and indies don’t buy expensive adverts. Whatever the reason, this industry needs to find a way to give good self-published writers a fair chance at creating a decent and widespread reputation.
But there’s no point in negativity, and ending on a whinge. The other thing I’d like to say is that the agents, editors, and publisher sales forces I’ve met are all book lovers too. It’s just their end of the business that’s broken. Thankfully, as Jenny points out, we’re all now building a new one.
(Thanks for the picture, Frankh)
Rant over. Do continue in the comments if you feel so inclined…
I’ve had this question from Cindy Richard: I have been toying with starting a blog because I would like to have a platform when I finally finish my novel. I am worried about having the mental energy for it, since I have a full-time job and am deep into writing my first novel. I have a great idea for how to focus my blog and what to write, but I am worried about starting it and then having it fizzle out because I don’t have the energy to give my best. Do you have any suggestions for making it more manageable starting out?
Great question. Here are my tips to make sure your blogging resolution doesn’t end up a sad forgotten thing, like December’s festive trees blowing down a January pavement.
Treat blogging as part of your writing work
You’ve probably got a routine for your writing – or you wouldn’t have got so far with your novel. Carve a little of that off for blogging. You can’t possibly steal more hours from the other things you have to do, so take it from your writing time.
I designate a day a week on which I am allowed to do blogging tasks – including posts, guest posts elsewhere, scheduling Undercover Soundtrack pieces. Even though those are written by guests, they are fiddly to publish. This all takes time and you need to schedule it properly so you make a good job of it.
Write a ton of posts in advance?
It’s not a bad idea to have posts prepared, but some people schedule months of them and leave the blog to fend for itself. I wouldn’t recommend that because when they end you’ll have to interrupt your writing schedule to cue up a load more – and that’s painful. It’s better to get into a regular routine.
If you do cue in advance, be prepared to rejig if you spot a trend you could post about. Often these gain more hits, more readers and more discussion.
Whatever else you do, answer comments ASAP. Blogs have to look alive and responsive – readers like contact and conversations.
Keep blogging time in check
Blogging is addictive. I could spend endless hours on design fiddles, tweaking widgets – as is probably evident in my greedy number of blogs (you’ve already seen this red one, and there’s also my website). It’s even worse when your blog is oh-gosh shiny and new. Aside from answering comments, don’t let yourself do blog stuff on other days.
Prevent blogging burnout
Many people start a blog and then find they run out of ideas. Find something you can genuinely talk about forever and you’ll never run dry. But more importantly…
Short is better
A lot of new bloggers try to cram too much into one post. Posts don’t have to be the definitive, exhaustive essay, unlike articles or reports outside of the blogoverse.
Nor does that make blog posts superficial. You can still be brilliant, useful, provocative, evocative – whatever you like – in 500 words or so.
And computer screens aren’t the easiest medium for reading – another reason why shorter posts are better.
If you think you can split a post in two, nobody minds that. The more times people come back to your blog, the more familiar they get with your blog furniture, your writing voice. That’s why people have favourite newspapers – they know where to find what they want, quickly.
And as I’ve already gone on too long, I’m going to take my own advice. I’ve got a list of fledgling bloggers’ mistakes – but that’s for another post.
In the meantime, tell me – how do you make time for blogging?
I’ve spent a considerable amount of time working across the globe as a freelance soldier. I am committing my adventures to text to shine a light on the realities of that world. Far from the blood and gore of Tony Geraghty’s Guns for Hire, I want to explore the personal torment so many go through and the struggles they face in balancing domestic life and freelancing. Would this be better written as a personal recollection or a novel like Lee Childs’s Jack Reacher series?- Michael
My first reaction is, can I be your agent? Wow, what a story. Not many people who offer themselves to the publishing world have such a unique premise. You should definitely write a memoir first. If it does very well, you’ll find yourself asked to write novels anyway. Many successful publishing careers have started with a best-selling memoir – although, of course, there are many memoirs published that don’t hit the big time.
If you have ideas for novels, work them up too to demonstrate that you can be a long-term investment. (If you haven’t, it’s not a deal-breaker. If they’re really keen they’ll send you to someone like me )
Are you legally allowed to write it?
Make sure you’re allowed to write this book. In your case it sounds as though you want to focus on the personal story rather than operational details. But many writers with dynamite memoirs can’t publish because of libel laws, the Official Secrets Act or possible death threats.
Libel is when you harm a person’s reputation. You can relate events if you can prove they’re true. If you’re delving into people’s motives you have to be careful, or get the subject’s permission. But don’t let this scare you – people do write quite searching, searing memoirs. Just make sure you’re fully informed.
Publishers will not protect you
Writers often think that if they have a publisher to hide behind, it will protect them. It won’t. Although publishers have lawyers they can show manuscripts to, they usually only do that with the famous or infamous – otherwise it’s not worth paying the fees. (Sorry.) Publishing contracts always have a clause that makes you responsible for any harm (ie legal harm) caused by your book. Even if it’s only a twinkly fairy tale.
Be honest – do you want to be honest?
Are you willing to write honestly and fully about the experience? This is going to be a story about the effect on your family and friends. They won’t all be angels – and if they are, the book won’t ring true. Will they mind if you peel them in public?
I’ve seen many manuscripts from writers who are examining traumatic periods from their lives. While they delve truthfully into their own hell and bad behaviour, they balk at doing the same to their loved ones.
We novel-writers are frequently asked by friends or family if we’ve put them into books. If we deny it, they often don’t believe us. In a memoir there is no cloak of fictionality. They know, without doubt, that you did.
Should you write a fictionalised memoir?
This is the hybrid option – not quite truth, not fully invented. You take a real experience apart and make a story that is true in essence, even if not keeping to the precise detail.
I get approached by a lot of people who want to write about a major change in their lives, such as unusual travel experiences or giving up a high-flying career to start anew in a foreign country. Speaking with my cruel marketing hat on, these are not as unusual as Michael’s story. It’s probably better to mine them for a novel instead, where you have licence to make something bigger and more distinctive than reality. In that case fictionalised memoir might be a good option.
From the moment you cross into fiction, fiction rules apply. Start with what really happened, but do not shrink from adding, cutting and inventing until you have the best story and the most usable characters. What’s the difference between that and ‘real’ fiction, if there is such a thing? Probably not much.
Fictionalised memoir is mainly a label to get more attention in an overcrowded market. It says ‘this is a story, but it is written from what I truly lived’. Some readers like that; some are profoundly irritated and want either truth or fiction. They certainly don’t want to question whether you made the best bits up.
The problem with being a debut writer is getting attention. Readers – and publishers – buy the author’s story as much as they buy the book. For that there’s a pecking order.
1 – Memoirist – translates as ‘read my book because this is my extraordinary life and it’s fascinating’
2 – Fictional memoirist – ‘read my book because it’s fiction based on my inimitable experiences’
3 – Novelist – ‘read my book, I made it up from extensive research, the depth of my human understanding and the pure dedicated application of my craft’
Believe me, it hurts to write that list. It’s not a comment on quality, simply on the volume of writing that is out there.
The bottom line
Memoir comes with the marketing built in. If you have enough usable material to write a straight memoir, go with the memoir. You’ll start at the top of the debut writers’ pecking order.
You guys may, of course disagree! What would you tell Michael? Share in the comments!
How to write a novel – in-depth webinar series with Joanna Penn of The Creative Penn. Find more details and sign up here.
I have tools for writing novels in Nail Your Novel – my short book about how to write a long one –available from Amazon.My own novel, My Memories of a Future Life is now available. You can also listen to or download a free audio of the first 4 chapters over on the red blog.
One of the hardest things about being an indie author is getting reviewed in the same places as traditionally published books – especially if what you write is non-genre fiction. Here are a few that came up trumps for me, so I thought if you’re in the same boat you might find them helpful.
Bookviews - to request a review, email firstname.lastname@example.org
For Books’ Sake – email email@example.com
If your novel also carries a frisson of supernatural and darkness, you might also snag the attention of Deb at Pen In Her Hand and BJ at Dark Side of the Covers – who also very kindly gave me reviewerly attention.
And if it flirts with SF and fantasy, you might get lucky, as I did, and find yourself evaluated alongside mainstream-published SF and fantasy, both modern and classic, at Critical Mass. (My review is pasted here.)
Have you found any useful review sites? Leave their URLs in the comments!
About a month ago, I launched My Memories of a Future Life on Kindle in 4 parts. A Dickensian adventure in serialisation, rekindled for the ebook generation.
I had great fun and plenty of hair-tearing. For instance, it was never clear exactly how long the Kindle store would take to make the episodes live, so I had to publish days in advance and keep them quiet until the witching hour. (Some of you still seemed to find them…) My computer was starting to look like a duplication hallucination with multiple covers, textfiles and whatnot.
Not that Jane?
Jane is a former publisher at Writer’s Digest and a prolific and respected speaker on writing, publishing, and the future of media, including South by Southwest, BookExpo America, and the Association of Writers and Writing Programs. Her expertise has been featured by sources such as NPR’s Morning Edition, Publishers Weekly, GalleyCat, PBS, The Huffington Post, and Mr. Media. She has consulted with a range of nonprofits, businesses, and creative professionals, including the National Endowment for the Arts, the Creative Work Fund, and the Contemporary Arts Center in Cincinnati. It says it all that one of her nicknames is ‘Not-that Jane’.