Archive for category Book marketing
What’s a logline?
It’s a sentence or two that illuminates the main theme or story question. Sometimes it’s included on the cover, but not always. Sometimes a subtitle performs the same function as a logline – not so much with novels, but common with non-fiction, memoir and even short stories.
Even if you don’t intend to put a logline on the book cover, it’s handy to have, because it’s a one-shot focused way to begin your sales description. And for all the times when somebody catches you on the hop with this dumbstriking question: what’s your book about?
So loglines are easy to define. And darned hard to write. Imagine your novel of 100,000 words. It’s a long and nuanced experience. I’m sure you’re screaming in your mind: how do I boil that down to one line?
Loglines are on my mind because I’ve been writing one for Ever Rest. More than 100,000 words, so I couldn’t see the wood for the trees.
But I did, eventually. Here’s how.
First, I tried to identify the novel’s central theme or question. Unfortunately, there seemed to be many. My list went: Love, loss, friendship. Betrayal. The haunting power of music. The time-capturing power of music. (Lots about music.) The cruelty of places beyond our warm territories. (Lots about that too.)
This list was not going to give me a logline.
Also, it was looking at the wrong thing.
I wrote several loglines that were very unsuitable. At the time each seemed perfect. Then I’d look again and think, that’s not the best angle.
Some were even misleading. One logline I wrote, which I seriously liked for a while, sounded like genre crime. You can see a journal of them here, in my most recent newsletter, which shows how mistaken you can be about your own book. (Click on the link to the loglines story.)
So I started again.
Find the right question
I looked for questions. This was better.
One question proved to be very useful:
What are people doing in this book that gives it its distinctive emotional flavour?
An event draws these people together. What predicament does it put them all in?
The people are, of course, the key. The main characters. Their relationships. Their biggest troubles. Their central problem, which presents differently on the surface, but deep down is the same issue seen through many windows. The things that, underneath, they need to finish.
I also needed the logline to complement the cover and the title. Your cover designer will have picked one dominant emotion for the cover, so your logline should harmonise with it. Otherwise you’ll confuse your readers and confused readers don’t buy. (I haven’t yet revealed the cover for Ever Rest, so you’ll have to use your imagination for now. But I have ensured that cover, title and logline are in harmony.)
Once you know what you want to say (a major task in its own right), rewrite the logline in emotive, teasing language. Aim for tension. Try:
Questions -‘Is it too late to tell the truth?’ Jill Mansell, It Started With a Secret.
Contrasts – ‘One library. Infinite lives.’ Matt Haig, The Midnight Library.
Conundrums and contradictions – ‘If your life now was another person’s past…’ My Memories of a Future Life (me!).
Also, learn from your comparison titles. These are books that give the reader a similar experience to yours, so study what quality has been isolated for the logline. Also look at their reviews – a perceptive reviewer might have picked words or phrases that exactly capture what you’d like to say about your own book.
Try it now. Take a book you read recently and consider: what logline would you write for this book?
PS My Nail Your Novel workbook contains exercises for writing various kinds of summary for your book, including synopses and pitches.
PPS If you’d like more concentrated writing advice, my Nail Your Novel books are full of tips. If you’re curious about my own creative writing, find novels here and my travel memoir here. If you’d like to support bricks-and-mortar bookstores use Bookshop.org. And if you’re curious about what’s going on at my own writing desk, look here (to see a very exciting announcement). You can subscribe to future updates here.
A friend has turned into a writer. Unbeknown to me, she’s been chipping away at a novel and her husband just sent this email.
Her novel is more or less finished!!! I may need to pick your brains about marketing! We also think we need to get it professionally proof-read. We tried doing it ourselves with Grammarly, but realise it’s way more complex than it seems …’
Ah bless. If you’re well seasoned in the author world, you’ll already be counting the many erroneous assumptions. Carts before horses. Running before walking.
But we all have to start somewhere. And even if you’re already wiser than my beginner friend here, you might know a writer who’s effervescing in a similar state of enthusiastic, ecstatic, multi-plinged euphoria. High on all those well-earned Es, they can’t possibly know what’s coming next.
So this post is a gentle reality check, a bit of tough love, a bit of hand-holding and a jolly, genuine thump between the shoulder blades to say: well done, welcome to the club.
Marketing? Proof reading?
Let me explain about those production processes.
This post is angled for self-publishers, but it explains all the work that a publisher typically does on a book. Including proofreading etc
And here’s another post about production processes
NB Do NOT rely on Grammarly! To proof-read a book, you need a knowledgeable human. Also, you need to develop good grammar skills etc yourself. This may seem unsympathetic, but if you’re not sensitive to grammar, spelling and language use, how will you learn the linguistic and lexical control to write well? Seriously, would you expect a person who is tone deaf to play a musical instrument to a listenable standard? Here’s where I rant about that
But even with all that natural prowess, you’ll still need copy editors and proof readers because they read in a highly specialised way. They look for the mistakes you never dreamed were possible.
Did you say ‘self-publish’?
Are you going to self-publish or try for a traditional deal? Is this the first time you’ve ever been asked to think about it? Here’s a post about self-publishing vs traditional publishing – the similarities and the differences. They’re no longer mutually exclusive either – there are many options in between. And as you might expect, you’ll need to spot the rip-off merchants who are eager for your £££s, so I’ve pointed to some tell-tale signs.
You’ve heard of crowdfunding? Here’s how my friend Victoria Dougherty is using crowdfunding to support a creative departure
Do people still send manuscripts off to publishers and literary agents? Yes they do. And you can. But before you send your manuscript anywhere, read on.
Before you can walk….
Now you know how a book is made. But first, is the book really ready? Have you rewritten it until your fingers are in tatters?
Here’s a post about beginning with a muddle and rewriting into glory (with a dose of disco)
When you decide to work with an editor (and I recommend you do at some point), here’s what they can do for you
How much should you budget for an editor? And how should you choose one?
If those costs make you boggle, here are some low-cost ways to boost your writing skills
Will your editor trample all over your style? No, a good editor helps you to be yourself
Have you looked for feedback and ended up in a pickle? Here’s how to find your way again.
Will your editor laugh at your naïve efforts? Au contraire. Here’s why they admire you and appreciate what you’ve already achieved.
You asked about marketing. It’s not really my sphere of expertise, and each type of book and writer will require different approaches. But yes, you do have to make time for it. Here’s a post about finding a good balance
If you’re going to get on Twitter, for heaven’s sake use your author name. Here’s why
Wait, I’m overwhelmed! There are so many books already out there….
Yes there are. But the world still needs new voices. There’s never been a person like you, with your experiences, your perspective, your curiosities. You might have the unique outlook and insight that a reader needs to hear.
PS If you’re curious about what I’m working on at the moment, here’s the latest edition of my newsletter
PPS You should start a newsletter.
This week I’m interviewing Laura Stanfill, author, all-round literary citizen and founder of the literary imprint Forest Avenue Press in Portland, Oregon. Part 1 is here. This is Part 2. Find her on Twitter as @ForestAvePress
Roz There’s no getting away from the fact that literary fiction is trickiest to market.
Laura Oh it’s so hard! Every time I create marketing plans and metadata for a new novel, I am envious of publishers putting out subject-based nonfiction books, because it’s so much easier to identify and connect with a target audience.
Novels are tools to build empathy, they are self-care objects, they are escapes and escapades and circuses to entertain your mind. There are readers out there for them, readers who need these stories, who deserve to find themselves in books and those who deserve to escape by reading about people completely unlike them. But if I were doing, say, a paleo cookbook, with a few clicks I could find statistics on the number of people eating that way, do a price comparison and fit my book into a hole I’ve identified in the market.
Literary fiction is trickier. And so many people I meet on my travels say, “How do you find time to read?”
“How can you survive without reading?” I want to ask them, but instead I shrug, and say that I make time.
Roz You’ve found readers, though. I’d guess that’s by building a reputation in the right places?
Laura Yes – the reputation of Forest Ave and our authors. A lot of that, especially after we went national, was connecting with booksellers in other parts of the country, so they could become fans and handsellers of our authors’ titles. Then I started going to national conferences where I could meet more book-related media and other mover-and-shaker types who might choose one of our titles to review, feature, or list in an article.
Forest Ave has gotten a phenomenal amount of press in the past year or two, but we still don’t get a lot of reviews from the established trade journals. That’s frustrating; we make it into these journals as a press, but our books aren’t consistently picked up for reviews.
Roz I’m surprised by that. And I shouldn’t be, if I think about the sheer number of titles being published. I guess this shows how much time it takes to get on reviewers’ radar.
Laura I’m not sure if that’s because we aren’t having New York lunches all the time or if the literary fiction slots are reserved generally for small presses with larger catalogs or what. But I treasure the publications that regularly cover our titles, especially Foreword Reviews, which amplifies new titles by many small presses. And I’m going to keep showing up on the scene and publishing great books.
Roz Slow and steady. Another reminder – as if we needed it – that this is such a long game.
You’ve said that getting word out about your books is essential so that you aren’t swamped with returns and the business remains viable. How do you do that?
Laura We definitely had a sales lag last year, and in brainstorming with other US fiction publishers, we have theorised it’s due to the 2016 election. Many readers started anxiously following the news instead of picking up another book. Book Riot named one of our titles from 2017, Renee Macalino Rutledge’s The Hour of Daydreams, one of 9 Debut Novels You Might Have Missed Because the World Is on Fire.
Roz You have a distribution deal – how does that work?
Laura Getting distribution totally changed my business—increasing its national and international reach, helping me grow my brand, and allowing me to fulfill my mission of urging readers to buy at indie bookstores. My field sales reps at Publishers Group West do an excellent job getting us shelf space across the US, and that allows me to say ‘find this novel at your local bookstore’. Our titles are also available online, but I want readers to go to their local bookstores, have conversations with authors and other readers, and shop locally. Without distribution, it’d be much harder to make our books available in those channels.
Roz I’m going to say a few words here as an author who’s so far been indie. With Forest Ave you’ve got something that few indie authors can. Availability is one thing – a line in a catalogue, on paper or on line. But you’ve got champions talking about your titles to booksellers, who then recommend them to customers who’ll love them. We’ll talk about this more in later posts, but I wanted to emphasise this. Certain kinds of books thrive with this personal touch; ambassadors do better for them than algorithms.
Coming next time: a week in the life of a small press
Literary fiction is much more about individual visions and the people who don’t fit. And if you’re publishing literary fiction as an indie, you’re usually a tribe of one, squeaking your tiny squeak in a roaring wind. I have friends in mainstream publishing who give me furious pep-talks about how I’m on a hiding to nothing, which, of course, is excellent for morale. Thanks, guys. (Here’s where I thanked them more extensively.)
That’s why I wanted to make sure you didn’t miss this – a campaign that aims to represent the work of literary writers, small presses, independent bookshops and anyone who struggles to be heard or find their audiences. It’s called the Main Street Writers Movement and it’s the brainchild of Laura Stanfill, of litfic publisher Forest Avenue Press.
Laura’s vision is for a number of hubs around the US with live events and networking, but if you’re not one of her geographical neighbours, don’t be put off. Wherever your desk is (I’m waving to you from London), we can blog, tweet, share, meet IRL (heavens!). And support each other to do what we must do.
It could be a lifeline for literary.
Of course, by its very nature, the term literary spans a vast range of writing. Not everyone likes all of it, or even agrees what it is. Laura faces this head on. She says Main Street Writers is for ‘Writers who are tired of writing fluffy reviews about books they don’t particularly like due to a sense of obligation. Let’s replace that instinct with better, more genuine ways to support each other.’
I like this immensely. This is about honesty; making meaningful connections. If enough of us get involved, we’re all more likely to find the people we really do click with. Writers, publishers, agents, bloggers, reviewers, events organisers – and readers.
There’s a pledge (which, alas, you can only sign if you have 5-digit zip code), but you can register separately for the blog and the newsletter. There’s also a hashtag #mainstreetwriters so we can all get – and stay – in touch.
I think it looks exciting.