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Posts Tagged author platform
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.
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.
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
Alliance of Independent Authors, author platform, Breath, Cold, crowdfunding, Instafreebie, Kickstarter, Kickstarter for authors, Kutna Hora, marketing for authors, memoir, Orna Ross, ossuary, Prague, self-publishing, The Bone Church, Victoria Dougherty, YA, young adult
Are you using Twitter to build your online presence? If so, what’s your handle? Is it your author name or a readily recognisable variant? If it’s not, you could be wasting your time.
I love Twitter. For discovering lovely distractions, uniting in the face of shocking news, tripping over quips that restore faith in the human spirit – and, in a professional capacity, for networking. I’ve had numerous good opportunities that started with a humble tweet. And when I meet a writer I might get on with, I naturally seek them out on Twitter.
But sometimes that’s not straightforward. Eventually after a bit of a hunt and a beakful of guesswork I might track them down and discover they have a name that’s many species away from the name they write under.
Forgive my blue-faced cheek, but this seems to be a mistake.
1 It makes you hard to find
On Twitter, you really want to be found. That’s how the Twitter world revolves. Somebody shares your blogposts, or talks about your work. They use your name, which brings others to you.
So you want to make sure that any stranger could find the ‘right you’. And thus you can be introduced to a new and eager flock. This is incredibly powerful – unlike other social networks, you don’t have to already be friends with a person to start tweeting to them.
It’s as easy as calling their name.
Here’s how it goes. I’ll look up Jane Austen and find @JaneAusten – but she’s an estate agent, unlikely to be my author. I ‘ll look down the list at the other users whose real names are all Jane Austen. Which one is mine?
I squint at the avatars and the biographies. If I’m lucky she might be @AuthorJaneAusten or @JaneAustenAuthor, in which case, all is good. But she might be @Bonnetgirl5, or @InventorofElizabeth. Or @WriterInFarthingaleLane.
Finding her handle has now proved quite the expedition – which is not ideal in our attention-deficit world, and especially not in the 140-character-squeezed bird-brain world of Twitter. If I’m on a slow connection, or using a fiddly device that won’t tolerate a lot of searching and footling, I might not persevere any further because Jane Austen has made it too hard.
2 The much more important reason to use your name
You know how comedians traditionally sign off a set with their name? ‘Thanks for being a great audience, I’m Joe Bloggs.’ It’s the last thing they do before they leave the stage – make sure you remember their name.
They’re not going to trust that you’ll look in the programme, or the sign outside the pub, or that you’ll remember how they introduced themselves at the start. Their last task before they leave you for the night is to TEACH YOU THEIR NAME.
This is one of the reasons you’re putting yourself about on social media, talking to strangers. To teach them you exist. To teach them your name as it appears on your book covers.
So why teach them @WordHoarder, @PagesBeforeBreakfastAtHelens, or @ToastAt10am? You may laugh, but these are name-forms that I see used by otherwise respectable authors on Twitter. Every day.
So can you change your Twitter name?
Yes, it’s easy. Just open your profile, type the new name in and see if you’re allowed to take it. Start at your profile page and look for your icon at the top. Hover over it and you’ll see ‘Profile and settings’ appear. Then look for ‘account’.
What if your name is taken? Yep, I have that problem. Read on.
Can’t use your actual name? Good solutions and not-so-good
Here are some of the tactics authors use to convert their name for Twitter.
By far the easiest thing to do is to put an underline in the middle. It’s as close to your real name as possible and doesn’t eat up many extra characters. That’s why I’m @Roz_Morris. Out there on the wires there’s another @RozMorris – who is actually rather quiet, but that’s another story.
Underlines in other places – beginning or end, or a double underline in the middle – are trickier for users to spot. A double-underline is hard to type reliably on some devices. If the underline option is already taken, you might be better adding something that makes it clear you’re the writer Jane Austen, not the vet or whatever. You could also preface with ‘author’ – @AuthorJaneAusten. Or put it afterwards @JaneAustenAuthor.
Initials – if you use initials I think you’re becoming harder to remember, but @AuthorJAusten at least looks professional. However, an initial is straying away from the name on the book cover (is she Jane, Jean or Josephine?). @JaneRRAusten gets both elements of the name in, but might be tricky to pick out from search results and autofills, or difficult to remember if typing from memory.
(Scenario: ‘oh darn, she’s JaneRR, not Jane like she is everywhere else – I always forget that’.)
Reverse your names – @AustenJane – Just my personal opinion, but I find this is easier to recognise at a glance, and have no problem remembering it the proper way round. Maybe that’s just the way my brain works. Your grey matter may differ. But – another point in favour of this format – Hootsuite seems to include swapped names in search results quite readily.
Numbers – you could add a discreet number – @JaneAusten1. Again, this is a personal view, but I find this to be a good solution that doesn’t interfere with the readability or memorability of the name, and it doesn’t cause search problems.
Character names or book titles – I don’t think this is such a good idea. Certainly it’s useful for people to know your books. But social media are about people, not products. Readers would rather connect with a person, not a figment, although @MrDarcy would probably be a notable exception, especially if tweeted from @RealJaneAusten’s brain.
(That’s another option if you have the chops for it: Real. Or Himself.). Back to book or character names, think long term – do you want to build a presence for one work when you might one day something completely different? For instance, if, like me, you swerve into a completely different bookwriting lane with a travel diary (which is coming along quite nicely, now you ask). But build your platform in your name, and you can use it for anything.
Abbreviations – @JaneAstn. The other day I came across an author who dropped some characters from her name to make a Twitter handle. It was infernally difficult to find her. What’s more, the result was so unintuitive that I kept mistyping – had she dropped the second r, or the vowels ….?
The abbreviations were probably logical, but people in the rush of Twitter don’t have time to learn the rules you used to create your name. Copying letter by letter is laborious and squinty. And anything that creates an obstacle might be enough to make a person lose heart in trying to contact you. Although Twitter and Hootsuite has an autofill option, you only have to misremember the contracted version to be tweeting the wrong person.
Cutesy or oblique versions of your name or anything that makes sense only to people who know you or your books – these are the most difficult of all. They’re fine if you only want to be found by your personal friends – and that’s how some people use Twitter. But it’s not ideal if you want to be visible to the wider public.
And yes, I’ve flirted with less suitable Twitter names. For a while I was @NailYourNovel, because I was dividing my teaching side from my fiction-writing side. For my fiction I had a separate account, @ByRozMorris – more here about that, and why I stopped it).
My first Twitter name, though, was the epitome of unsuitable, and if you’ve been with me for a long time you can enjoy an in-jokish kind of chuckle. We live and learn.
Other tips to help good Twitizens
Anyone who mentions you on Twitter is doing you a favour. Help them to help you.
- Make sure your description includes as much identifiable stuff about your writing as possible, not just who you read or how you take your tea. Make it absolutely obvious – if you put ‘changing the world, one word at a time’ people might think you’re just a sweet teenager, not an author.
- Use a consistent headshot so that people who know you from your blog or Facebook recognise you instantly on the list of possibles.
- Put your Twitter handle prominently on your blog and in the byline of your blogposts – change it in your blog settings). Like this:
But most of all, make us remember your name.
Thanks for the peacock pic Jamain. And, update, in case you’re curious about Not Quite Lost, you can now get it at your favourite book outlet.
Tomorrow (or maybe today or last week, depending on when you’re served this post) I’ll be taking part in a Book Industry Communication debate on the future of ISBNs. I’m providing the author perspective, so as part of my research I canvassed opinions to see what the mood is.
Much of the feedback centred on whether authors should buy ISBNs or use the free ones from CreateSpace, Smashwords et al. There were sound arguments on each side. But what emerged for me was the way self-publishers view ourselves. It’s a snapshot of our times that goes a lot further than a little piece of industry bureaucracy.
For and against
Julia Jones, one of my co-conspirators at Authors Electric, said she bought ISBNs ‘to behave like a publisher in every way’ – a view shared by many. Plenty of authors feel to have their own ISBN is more professional, lets you be seen and counted, and gives you control.
Other writers – among them author-entrepreneur Joanna Penn – feel having their own ISBN makes no difference: ‘I can’t see any benefit, or evidence that having a paid ISBN helps you sell more books’. As Joanna sells whopping numbers of her novels and non-fiction books, we certainly can’t argue with that. (I agree with her. Personally I’d rather put the money towards a better cover or more editing time.)
But it was a comment from Michael N Marcus, who writes and publishes books about self-publishing that hit a bullseye for me: ‘If you want to be known as an author, the ownership of the ISBN is unimportant. If you want to be known as a publisher, own the ISBNs you use.’
Now that’s a very interesting view. We’ll return to that in a moment.
But look, no ISBNs at all
Most striking was Dan Holloway, who publishes experimental fiction and poetry – both his own and that of others. He doesn’t use ISBNs at all – even for printed books. He says: ‘I write and publish for a niche, dedicated audience, providing an experience they can’t get elsewhere. I work with selected independent bookstores and galleries and send customers to them for my books, rather than having my books available everywhere.’ He’s not even on Amazon.
Dan is a firm believer in direct selling: ‘We should be trying to get our fans to buy direct from our websites if we can to foster community – we want to nurture fans with stickability, who will become our bedrock over the years, and the best way to do that is to have a hub that exposes them to us, our ideas and worlds, and all that we have to offer. I buy all my music direct from bands, for example.’
You might think this is a recipe for obscurity. Au contraire, Dan’s ISBN-free books have twice received special mentions for the Guardian‘s first book award, been shortlisted for the Guardian‘s Not the Booker Prize, and been voted ‘favourite Oxford novel’ by readers at the Oxford branch of Blackwell’s.
Author or publisher? Or something else?
I keep coming back to Michael’s interesting distinction and I think he’s nailed something important. Certainly I put most effort into building an identity as an author rather than a publisher. Like Dan, I am most keen to find people who like my imagination and preoccupations, my way of thinking. Having said that, I like publishing and I want to publish myself; I enjoy the control and creativity. I can also, if needed, wave a CV that demonstrates years as a production editor/chief sub/editorial manager, so perhaps that’s why it’s no big deal for me and you should discount my view as I’m not typical of self-publishers.
Other authors feel ISBNs are an important part of their brand and image – one of many signifiers of their professionalism.
Now, more than ever, there is no ‘one right way’ to self-publish well. We’re all finding our own paths. You might be a Dan, a Julia, a Roz, a Joanna. Most probably you’re something else again. I’d love to know. Oh, and wish me luck tomorrow.
What kind of self-publisher are you?
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