What do you write? Not so long ago, most authors had to choose a genre and stick to it. But many of us are far more versatile. Our minds and our hearts don’t stand still. Book by book, we push boundaries or leap into genres where we hadn’t previously felt at home. As life reinvents us, we move on in our work.
No-one worried about that in the Renaissance, but it rarely went down well in traditional publishing, perhaps for sound commercial reasons. But now authors have more tools to reach audiences by our own efforts. We can take charge of our careers and our creative destinies. Will this breed of polyphonic, genre-agile author finally have their day?
I do hope so.
This path isn’t always easy, and that’s what I want to explore today.
You might recognise my interviewee – Victoria Dougherty, who recently hosted me on her blog and has also been a guest on The Undercover Soundtrack.
We’ve both got eclectic portfolios. I’ve done non-fiction with my Nail Your Novel books and literary fiction that sometimes nudges into futurism. Victoria writes Cold War historical thrillers and personal essays. We’ve both written memoir after a fashion – she has Cold; I have Not Quite Lost. And Victoria has a radical new departure into young adult historical romance, Breath (coming summer 2018). What’s more, she’s having her first stab at crowdfunding – another brave new world.
We’ll come back to the crowdfunding in a bit. My first question was this: how have you ended up with such a varied oeuvre?
Victoria Honestly, I think I’m just bored easily. And I’m usually writing more than one story at a time, too. I find it keeps the creative juices flowing and also adds texture to my work.
Roz How do you manage them all?
Victoria Currently, I’m switching between Breath edits, storyboarding a new Cold War thriller, and writing essays on everything from family squabbles to creating compelling male characters.
Roz So much for versatility. What’s consistent in your work?
Victoria History, spirituality, family lore, dark humour. All of those tend to find their way into my work in one way or another.
Roz I have recurring themes too. I am curious about forces that lie beneath the surface; unusual ways we can be haunted and how we seek soulmates. At heart I’m an unashamed romantic. Places with lively pasts are often a trigger for me – crumbled mansions, houses scheduled for demolition, seaside towns closed for the winter.
Victoria I’m so with you on this, and I, too, get haunted by places. I wrote The Bone Church after visiting an ossuary near Prague with my then infant son. There were bones piled up all over the place. It occurred to me how there were so many different manners of death in that small chamber. People who had died of childbirth, a sword to the ribs, plague, a broken heart. The whole experience made me ache – but in a good way.
Roz Your latest project is for a new audience – YA fantasy. What steered you in this direction?
Victoria I never thought I’d write in this genre. Especially a romance, which is a genre I haven’t read very much of. But several years ago, I wrote a piece for the New York Times Modern Love column in their Sunday edition. It was about my youngest daughter being born with a catastrophic illness and how that brought my mother and me closer together. It was also about the curious, counter-intuitive blessings that come with tragic events. Things like wisdom, deeper friendships and getting to know people so far out of my own little universe. Hospitals are tremendously equalising that way.
I could not have imagined the response I got from that essay. People began writing to me, telling me about their stories – their love stories specifically. I have a blog, Cold, where I write personal essays, so it wasn’t entirely out of the ordinary for people to tell me about their lives, but this was different.
Without meaning to, I started training my writer’s eye on love. I noticed that every time I wrote an essay about love – especially the romantic kind – there was a swell of interest. Then I started writing little love stories for my own amusement – sometimes no more than a paragraph long. One of those, about a girl born at the dawn of civilisation, became the basis for Breath.
Roz And Breath is more than just prose, isn’t it? There’s artwork too.
Victoria I’m a very visual person. I love old photographs especially, and as I was writing Breath, I dreamed up a pre-Sumerian civilisation and imagined myself on an archaeological dig, excavating my characters’ lives. That’s when I started thinking of adding a visual component to this novel – original artwork from the world I’d dreamed up and old, brown-tinted photographs from some of the great archaeological digs, like the ones taken in Egypt at the beginning of the 20th century. And I loved the idea of writing about past, present, and perhaps even future archaeologists, as they uncovered my fictional universe and helped my characters solve the mysteries of their existence.
Roz So the visuals will be published in the book? Or will they be a separate special edition?
Victoria Both. I think prose and images go together like a face and a voice and can really enhance a story – especially if it’s a planned epic, where a whole world is being created. This isn’t to spoon-feed a certain aesthetic to a reader, never that, but to enhance their experience with elements of beauty and mystery that go beyond the written word. Take their imaginations even further.
Roz Let’s talk about crowdfunding Breath. How did that happen?
Victoria I’m one of 10 authors selected by Instafreebie – a company that connects readers and authors – to pilot a program that teaches authors how to use crowdfunding not only to fund projects but to energise and expand their fan base.
Roz To me, crowdfunding has one rather offputting aspect – having to push for contributions. But obviously you’ve found a balance that suits you. Tell me how you do it – and how other authors might be persuaded to embrace it!
Victoria This is without a doubt the hardest thing to get over. I’ve come to look at it this way: crowdfunding is a bit like venture capital for artists. No-one blinks when any other business raises money, but somehow artists are expected to self-finance, often work for free and even give their work away without any compensation. I don’t subscribe to that way of thinking and in fact find it untenable.
Roz I’m totally with you there. I’ve blogged about it at length elsewhere. We can’t give the impression that books can be produced out of fresh air or just for love, like a hobby. Even priests and doctors get paid. All the other people who work for us need to be paid. Creating books is not free. And writing them isn’t either.
Victoria For most artists, entrepreneurship is the only way we can continue to do what we do. We need to move beyond our own reticence and value what we offer. Joy, meaning, reflection, empathy, and entertainment are worthy and important elements in our lives. They should never be taken for granted.
You mentioned doctors, so I’ve got a good analogy for you: I remember my doctor, who was from Sri Lanka and used to run a medical clinic for the poor there, telling me how once they started charging patients, the entire dynamic of the clinic changed. They were serving the poor, so they only charged a pittance, and were barely able to buy coffee with what they took in, but both the function and the spirit of the clinic changed remarkably. Not only did the patients become more vigilant about their health, they trusted the doctors more and were far more likely to listen to their advice and change unhealthy behaviours. The overall health of the clinic population improved as a result.
The same is true with us artists and the people who consume our work, I think. It’s a pretty basic human response – to invest in something that means something to you rather than just be a passive observer.
Roz I want to do some tyre-kicking here because what you say is so important. A lot of crowdfunding campaigns don’t meet their targets. How do we get people to care enough? Especially as readers could buy a book that’s already finished and have it immediately. What makes them want to pledge money and wait for the product? How are you tackling these challenges?
Victoria Not only has this crowdfunding process forced me well beyond my comfort zone, it has illuminated how to deepen my relationships with present and future readers so that they feel connected and my characters begin to feel like a real part of their lives. Like family.
Roz How are you doing that? Can you give examples? You’ve mentioned to me that it’s already been a formative and amazing experience. Tell me how! And what feedback have you had from supporters to show that it’s working?
Victoria For me, it’s about creating value and making the experience as interactive as possible. Writers spend a lot of time alone and most of us are interior people, but we’re not necessarily introverts. We love being able to talk to readers and feel honoured when they share their stories with us. In fact, I truly consider readers like friends. We confide in each other, support each other, and are there during times of loneliness and self-doubt. The rewards I’m offering in my Breath campaign reflect that. It’s not only a matter of offering advance copies, which are great, but deleted scenes from the novel, personal emails, an exclusive short story and even story-consulting.
Roz Are there any common mistakes that authors make with crowdfunding and community building?
Victoria The first mistake is that they won’t try it. I can tell you without reservation that even if my campaign isn’t a funding success, what I will have learned and experienced in this process has been worth it. As for campaign mistakes – there are a lot of them, and I would have made them all if I hadn’t gotten such excellent advice from Instafreebie.
Videos are crucial. People want to know who they’re dealing with. It builds trust and makes your page more interesting. Really thinking through rewards you offer, so that when people get involved, they feel like they got something substantial in return for their support. Always, always focus on the reader. That’s probably the most important part.
Roz You mentioned that Instafreebie is helping with tactics, especially in terms of using the campaign to establish a long-term fanbase. How does that work? Can you tell us a few surprising things they’ve taught you? What is the basis of their expertise?
Victoria First, they will be featuring our books in their newsletter and then sharing our campaigns with those who expressed interested in our genres. They’re doing their best to create a virtuous circle for us. Most importantly, they’ve taken us through – step by step – the way to build a successful campaign page. That doesn’t mean the campaigns themselves will all be successes – even veteran campaigners have unsuccessful campaigns under their belts – but it helps us minimise mistakes, certainly.
Roz I want to return to where we started – the author who doesn’t fit into tidy boxes. There supposedly are two ways to market books – by category and by author. The latter is the slow road, because we have to seek commitment on a deeper and more individual level.
But whatever we write, I think community will become more significant for all of us. And everything you’ve been saying here chimes with this prediction by Orna Ross at the Alliance of Independent Authors.
More and more authors will embrace the craft and trade of publishing and business as well as that of writing, and develop sustainable author businesses that allow them to make a living from their writing. At the heart of this will be working out their offering to readers and how to build a community around that offering.’
I love this emphasis on community. Although writing is apparently a solitary activity, we have phenomenal resources for harnessing the positive energy that readers give us if they like our work.
I think readers enjoy keeping in touch and – like you say – feeling involved. I’ve particularly noticed it after publishing Not Quite Lost. People feel they know me. It opens a conversation and they want it to continue. And that’s lovely. It’s not cynical, about selling.
Some authors are setting up private Facebook groups – though I feel that’s risky because Facebook likes to move the goalposts if they think they can monetise. I’ve started using my newsletter much more. In that past, I didn’t know what to do with it.
I used to send newsletters only when I had a book or a course to launch. A year could go by before I had a piece of news, and all the while I was losing touch with people who hoped I was working on another book. So I decided I’d try writing more regularly, about the in-between times while a book is taking shape. Sometimes it’s about making progress; sometimes it’s about life and going round in circles. Like a blog but more personal. Some people unsubscribed because that wasn’t what they were expecting, or they’d forgotten why they were ever interested, but most have stayed with me. (Winning smile: if you want to try it out, it’s here.)
What I’ve described here is slow, of course. It has to grow organically. And here’s where I guess crowdfunding creates an occasion, a way to invite people in because it’s the start of something. It not only kick-starts a book, it can kick-start your community.
Have you got any final thoughts on this?
Victoria You said it so well. We’re in this for the long game and it’s not cynical. It’s actually very special and deeply gratifying.
You can tweet Victoria on @vicdougherty, find her blog here, here books here, and her Kickstarter campaign here.
Thanks for the ossuary pic Davis Staedtler on Flickr
What am I up to behind the scenes? My latest newsletter
And this blog begins 2018 on two lovely best-of lists. Both The Write Life and Feedspot nominated it as a Top 100 site for writers and self-publishers. If any of you were instrumental in this, xxxxxxxx
Nail Your Novel 
Reblogged this on Anna Dobritt — Author.
Thanks, Anna!
An excellent and apposite interview, coming as it does just as I’m into the first week of launching myself on Patreon to crowdfund my work in the very niche field of wargaming and military history.
Having taken the ‘traditional’ route in the past of creating and publishing a printed magazine – a path fraught with difficulties and severe financial challenges – I decided to follow the lead of other creatives I admire and simply market myself and my creativity. It takes a certain amount of guts and planning, but in the end, there’s nothing to lose: people will either support you, and you can fulfil your ambitions that way, or they won’t and that’s the end of it.
In my case, I’ve been bowled over by the strength of the support and the speed at which it has arrived. being noisy on social media and having a strong core following from previous work definitely helps as, in effect, you are marketing your reputation to produce high quality content.
One thing I have noticed is that it’s easy to underestimate how much admin and chat the process generates very quickly. I admit I was slightly unprepared for the level of personal interest being shown by my patreons, and their desire to send messages of congratulations, best wishes and general goodwill, as well as the anticipated queries from newbies to the medium. Devising goals and rewards is also a nice business, and my next lesson is this: I had expected lots of people to come aboard at a low pledge level, which are easy to administer because in essence, it just involves giving them access to the content you are going to produce anyway; however, in fact, a surprising number of pledges have arrived at much higher reward levels much sooner than expected, meaning that I have an instant backlog of more personalised stuff to produce!
I’ve hear this happening to people launching Kickstarter gigs as well. I should have paid more attention!
But the points you made about community are bang on target. A project like this creates a tribe, and as long as you keep them happy, they are likely to be fiercely loyal and your greatest advocates when you launch other projects and publish other work.
Henry! Good to see you here. Glad you enjoyed the interview.
You’ve raised so many good points. Not only is a campaign a lot of work, you have to give yourself time to nurture the relationships that result. It’s excellent that you’re getting such good uptake. You’ve obviously struck just the right note. Power to your Patreon. xx
Fascinating interview, Roz. Victoria, thank you for sharing your insights.
From the beginning of my experiences in self-publishing, starting with nonfiction POD in 2006, I’ve felt that authors could not rely on any third party to develop their brand and build a connection with their audience. I’m a proponent of the hub concept, where you develop your presence with your web site or blog and spoke out to the social networking sites and book/ebook vendors of the moment. “Of the moment” is a critical qualifier. Building your writer’s “platform” in an environment controlled by a third-party puts it on shaky ground. It’s important that you, the author, own the connection to the reader.
However, building a community is harder than it sounds. No, let’s be truthful: it’s exhausting. If you think you don’t have time to write now, just try taking on the added responsibilities of building and maintaining a community. For a true introvert, and I mean this in the MBTI sense, interacting with the community can be draining rather than energizing. As Orna Ross suggests in her predictions, you can conserve some energy by outsourcing parts of the administration, but you can’t outsource *yourself*, the main reason those readers have come.
I agree that it is incredibly rewarding on a personal level to build relationships with readers. That’s the value you have to balance against the loss in writing productivity and frustration of managing a platform. It can’t be about only money or sales because the connection between effort and income is too tenuous to offer much in the way of inspiration. I love that Victoria says it’s all about the reader. Or as Joe Konrath puts it, “It’s not about what you have to sell: it’s about what you have to offer.”
I’m probably coming off negative here, but all I’m really suggesting is that we manage our expectations. Building a platform is hard, and it won’t automatically be lucrative. But the long-term benefit of owning and enjoying that direct connection to your audience can’t be overstated.
So many good points here, hooded man. You don’t come off negative at all. We have to be realistic.
Publishers used to do the job of building the fanbase – or rather, we hitched onto the fanbase they already had. And fanbase-building was another entire job in itself, separate from writing and production. Now we’re required to do it all and it’s hard to make two jobs go into one. And if we’re adding the production workload as well, self-publishing authors are doing three publishing jobs instead of one – writing, production, relationships. That’s tough.
I think it helps to think like a traditional publisher – for each book, allow time in the schedule for all the elements. That way, it doesn’t feel like time is being stolen from the writing. And remember you can outsource the middle one.
I think it also helps to think of the platform as part of your creative life, with huge advantages that we’ve never had before. In the past, we only had a chance to reach readers when a book came out. That might have been once a year, or even less frequently – a tiny amount of time, then the world moved on to the next book from the next author and we went back in our box. Now we can stay in contact with our audience – which may sound exhausting, but it means we can get results with slow, steady work. With websites and all the infrastructure that leads to them, we have the equivalent of an artist’s studio. We can invite people in at any time, show them around, get to know them. We can show what’s on the easel. Or we can talk about the in-between times when we’re refilling the creative well.
Roz said: “I think it also helps to think of the platform as part of your creative life…”
Absolutely. You have to integrate it into your publishing process somehow. That means setting goals for your platform and scheduling tasks that will help you reach those goals.
I like your comparison to an artist’s studio. It’s a space that is both personal and public. It requires a willingness to share what makes us unique and wonderful with fellow humans who are genuinely interested in what we create and why we create it. In a way, we are building our own creative support group, which can be extremely valuable during challenging times.