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Posts Tagged how to market a book
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.
book marketing, Ever Rest, how not to write a logline for a novel, how to market a book, how to summarise your novel, how to write a good logline for a novel, how to write a logline for a book, loglines for novels
A while ago I was at an author event about book publicity. Finding magazines, blogs and broadcast media that will review our book or interview us. How do we do that? The first thing to do, said my friend Ben Cameron of Cameron PR, is to get the right mindset. Think of it as creative. And fun.
Afterwards, I fell into conversation with Tina, who didn’t see it as fun. She said: ‘I don’t feel comfortable putting myself out there. Asking people if they’ll interview me or feature my book. I just can’t. How do you do that?’
I’d just been conducting my own campaign for Not Quite Lost. It went better than I expected. I managed to pitch successfully to bloggers, mainstream print magazines and BBC radio stations. The first time I pressed Send I had to gird my courage, but after that it didn’t feel embarrassing.
I told Tina that. She wasn’t convinced.
This interested me because Tina wasn’t exactly a mouse. She taught workshops. She controlled groups of creative people and made them do stuff. She was also a playwright, and accustomed to plain-speaking feedback from actors and directors. Yet she was saying: ‘Asking for publicity … it’s like walking into a roomful of strangers and trying to talk to them. Don’t tell me you find that easy?’
I agreed I didn’t. Not remotely. ‘But that other stuff is different.’
‘Why?’ asked Tina, which made me think.
Obviously, you get used to pitching. You learn that magazines, newspapers and radio shows are looking for material. They don’t open your email and cackle at your ridiculous hubris. You’re all in a day’s work. They actually hope you’ll match their requirements.
But the biggest realisation – the one that let me pitch without a qualm – was the realisation that none of it, actually, was about me. I was not seeking attention for me. It was for my books.
So it’s not about you, tiny naked vulnerable mind being dragged into a big bright light to explain yourself. It’s not even about personal confidence, whatever that is. It’s about confidence in your work.
This week I had a book club event for My Memories of a Future Life. It went well, but last night, I had the anxiety dream. In it, I was talking to a presenter from BBC radio who said: ‘I think I’ll cancel this interview. I don’t like you very much.’
And this is the thing. Whether we’re seeking publicity or releasing a book, it will always take a little of our skin. But I think this is like the anxiety that puts a performer on their mettle, or makes a doctor careful with their responsibility for a human life. It’s unavoidable, so we might as use it as a strength.
Though I still have problems walking into a roomful of strangers – and had reason to consider this in my latest newsletter.
Give me your thoughts!
Last week I spoke at the New Generation Publishing summit and this thorniest of questions came up: how do you strike a balance between writing books and working on marketing and sales?
We had good examples of two extremes. In the marketing-gone-mad corner, we had debut author Toni Jenkins. She cheerfully confessed that when her first book launched she went to the mattresses, working until late every night, identifying possible audiences, writing emails introducing herself, following up leads. She added that her mentors at NGP, while applauding her energy, reminded her not to lose sight of her writing.
In the other corner, the ‘just-leave-me-alone-to-write’ department, we had staunch representation too. NGP director Daniel Cooke told me he has too many authors who can’t be persuaded to consider marketing at all. Joel Friedlander had a good piece about this recently by Judith Brile – is your plan for success ‘I just want to write my books’?
Clearly neither situation is ideal.
Whether we go it alone or have the backing of publishers or PR agencies, we need to accept that we have to be our books’ ambassadors. But not only is marketing a separate job that takes time to learn, we can’t easily measure what works. (This remains an eternal conundrum even for experienced marketers.) Small wonder that we either get marketing frenzy (like Toni) or cover our ears (Daniel’s authors).
If you’re writing, it’s easy to measure results. More words added to your manuscript, more scenes feeling ‘right’, more research done.
With marketing, you don’t know if you’re wasting a whole heap of time. Some activities give measurable results, but a lot more don’t. Marketing is about presence as much as sales – your Facebook adverts, social media activity, newsletters, guest blogging may not always ring the cash registers. Your shot-in-the-dark letters to book bloggers or other persons of influence might not get a reply, but they might still make an impression. They let people know that you exist; that you produce.
The rewards of marketing are long-long-longterm. Like adopting a healthy lifestyle, the most significant benefits aren’t instant, they’re cumulative. Stick at it, over months and years, and you start to see that people know of you, they’ve heard of your books. (Then you can get embarrassed when they introduce themselves to you at events, and you rack your brains in case they’re a Facebook friend or devoted blog commenter you can’t remember, ahem.)
And the converse of that is …. If you don’t do it, your book launch is like a tree that falls over in a wood with no one to hear.
Time for both
So we must make time for both marketing AND writing.
And we must make sure that one doesn’t swallow the other (barring exceptional circumstances like a book launch, or the final push to polish a book for press).
But so many possibilities…
The trouble is, marketing could drive us bonkers with possibilities. Every week I trip over several new wonderful things I could consider. To evaluate them takes time – and I might end up discarding them because they won’t reach my audience. This is why we get so overwhelmed, because we could do this 24/7 and never, ever get to the end of it. Then we enter a panic cycle of thinking we’re not doing enough, or not doing the right things, or everyone is somewhere we’re not.
But it’s possible to develop a sensible approach.
This is mine. It has two principles.
1 A formal list. Each Friday, I make a to-do list for the next week. It includes the marketing tasks I’ve decided are worth doing, balanced with my writing, editing and mentoring commitments. (This also allows you to audit how much time you’re spending in the marketing and writing camps.)
2 Obey the list. Do not do any task unless you’ve added it to your list. Have you stumbled across a Brilliant New Thing? Do not do it this week if your dance card is already full. That great new gimmick, website, social media platform, hot books blogger will still be there in seven days’ time. It will not leave the planet. So whenever you read about a new wonderful opportunity, resist the urge to do it immediately. Unless it has an urgent deadline – eg a competition – put it on the list for next week. You already have a plan for this week. Continue with that. And remember: you’re working on long-term presence as well as short-term sales.
It’s actually bleeding obvious, isn’t it? Again, I’m going to use the comparison with diets. Diets work if you stick to the rules. They don’t if you don’t. And the great thing about this marketing/writing diet is that you’re allowed as much cake as you like.
And the other part of the plan, of course, is to have a solid writing process that leaves you free to create. So allow me to discreetly mention Nail Your Novel, a system I developed from the questions I’m most commonly asked by writers, and still use now, with many books behind me. Even more audaciously, allow me to suggest that Nail Your Novel trio make groovy gifts for other scribblers you know.
Have you hit on a plan to balance marketing and writing? Let’s discuss!
book marketing, how to find time to write, how to manage time as a writer, how to market a book, how to use social media successfully, Joel Friedlander, Judith Brile, New Generation Publishing, social media for authors
Once upon a time, authors could get a great start if they made their book available free. Back in 2008 and 2009, I got huge traction for the original Nail Your Novel when I offered it free as a pdf. There wasn’t much free material out there, so it got attention. Indeed, as far back as the early 2000s, science fiction writer Cory Doctorow had been giving away digital copies of his novels on a Creative Commons basis, famously saying that his chief problem was to battle obscurity.
But times change. ‘Free’ soon became a deluge. If readers grabbed them in the digital equivalent of a supermarket sweep, they probably didn’t even remember they had them. In all likelihood, those books sat unnoticed in the bottomless vaults of their Kindles.
I flirted briefly with free when KDP Select started. Indeed, I organised a free event to coincide with World Book Night for Authors Electric, a group blog of published authors I used to belong to. We each gave away a book for five days, campaigned our socks off, tweeted until we grew beaks, watched the tallies mount in our KDP dashboards… and virtually nothing came of it afterwards.
Now, is a giveaway the way for authors to get noticed? I contend it is not for everyone.
Where free works
I’ll admit that I worry we give away our work too easily. If we create a culture where a book costs less than a sheet of gift-wrap and a greetings card, there’s something badly wrong. An ebook may not have material form, but it does give you more time and experience than something you glance at and throw away. And tellingly, the people who get cross with me for speaking out are the ones who say they refuse to spend more than a couple of dollars on a book, or berate me for not putting my books into Kindle Unlimited.
So that’s my rant done. However, free does work in some cases – where it adds value, rather than dilutes it.
Lest you think I’m waxing hypocritical, with my WordPress blog and Hootsuite account, let me state that I think free works very well with certain kind of services.
And certain kinds of book. In the kind of genre markets where the series rules, making the first book free can work very well. The authors who do this have plenty more titles to offer once readers are hooked. (Joanna Penn has had great results giving the first book of her series away free, and offering free books as incentives to sign up to newsletters – her post about it is here.) These authors are using free books in the way that WordPress and Hootsuite give starter packages free – to build long-term trust and familiarity. (When I want to upgrade my web services, WordPress and Hootsuite will be my first ports of call.)
Where ‘free’ may not work
But outside those genres, how do readers decide to try an unfamiliar author? Especially those who write the more individual kind of book, perhaps not easily pigeonholed? Usually, it’s by deciding if they like to spend time in that author’s company.
How do they do that? By reading something that sparks their interest. That could be anything. It doesn’t have to be a book. If you’re one of those authors, every post you write, every meaningful conversation you have on social media is already giving a sample of your voice, your personality, your tastes, your passions, the workings of your unique mind. The books you write will be made from that same material. If that doesn’t persuade readers you are fascinating and intriguing, giveaways and free books won’t make much difference.
Giveaways as prizes
Indeed, I have evidence that free giveaways with delayed prizes aren’t working any more. Every week I offer a guest spot on The Undercover Soundtrack. In past years, book giveaways got good uptake. Now, they hardly get any. The blog’s readership has grown enormously, but no one’s bothering to contend for prizes.
Perhaps it’s partly impatience. If a reader likes the look of a book from its Undercover Soundtrack, they don’t want to wait a week for the giveaway result. They buy it immediately. So who’s left to take part in the giveaway? The people who don’t much mind whether they read it or not.
Even giveaway campaigns to well-targeted readers don’t seem to produce much return these days. I recently donated copies of Nail Your Novel for a fellow writer’s launch campaign, which should in theory have resulted in more exposure for the series. I saw no increase in sales afterwards.
I have, however, had great results when I’ve done a giveaway of something special – like the NYN notebook or the My Memories of a Future Life antimatter edition. But those were specially made prizes, limited editions. Readers will pitch up for a unique prize, but they seem pretty indifferent to an ebook they might or might not get.
Spend your free books wisely
I know this is contentious. But I see a lot of writers who think they’re not trying hard enough if they don’t give books away and don’t examine whether the tactic is working for them. I think we have to look hard at every free ebook we spend. If we get a worthwhile return, that was an ebook well spent, no doubt about it. If not, we should stop.
So let’s discuss. Where do you think free works and where doesn’t it work? How has this changed over the years? Do you think authors are being pressured to do giveaways all the time?
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Last year I wrote a post about whether I’d advise an author to publish or selfpublish. A year on, the landscape for authors is remarkably different – or perhaps not remarkable if you’ve been waiting for a bubble to burst.
Indie authors have seen sales plummet because of the sheer numbers of books available, and subscription schemes such as Kindle Unlimited have created a breed of readers who won’t shop outside a limited free list.
Might this mean it’s better to be traditionally published?
Not from what I’ve seen. My friends with trad deals aren’t having a good time either. Leaving aside royalties and advances (which seem to offer little financial reward for all the hard work writing), their books aren’t getting a decent chance for a long-term future.
A friend whose first novel won a major award in 2012 has just watched his fourth novel launch with no more fanfare than a tiny paragraph in a Sunday paper. His only other support was a training day on a social media course. And don’t even ask about rights grabs – where authors might wait years to reclaim a book to publish it themselves.
Tough times, my friends. So savvy writers will be looking for smarter ways to publish.
Since my last post about this we’ve seen a growing trend for indies to work in collaboration, teaming up with similar authors to release box-sets of ebooks, finding partners to exploit other rights such as translations or audio (either via ACX or other means – here are my posts on my own collaboration with my voice actor Sandy Spangler). Collaborators might be paid up front or in royalty splits. Further back, indies have collaborated by teaming up to create products (like my course with Joanna Penn, now unfortunately nuked by EU VAT rules) or forming long-term collectives (Triskele Books, itself a collective, has been running a series on various well-established collectives ). Joanna Penn has a mighty post about joint ventures with other creatives.
And that’s just the start. I think the authors of 2015 will be watching out for advantageous ways to partner up and we haven’t seen the half of them yet.
Indies who collaborate get
• shared marketing muscle, to connect with more readers
• shared expertise (editorial feedback, blurb and press release writing)
• shared contacts (editors, proof readers, designers)
• a shoulder to cry on, behind the scenes – and tough love when necessary too.
Does it sound familiar? Indie author collaborations are attempting to create the best of what a traditional publisher does. And this means we should…
View traditional publishing deals as collaborations
And so this means the smartest way to suss out deals from traditional publishers is to consider them as collaborations. What will they do for you that you could not do yourself? What are they asking from you in return? Is it reasonable?
No one I know writes a book to sacrifice it to a bad deal (see my remark about rights grabbing above). On the other hand, no one wants to turn down an opportunity that would be good, as far as can reasonably be forecast in a world of fickle readers and luck.
So this is what I’d say to the 2015 writer who’s asking my advice on whether to selfpublish or query traditional publishers.
1 Whether you intend to go indie or not, learn about selfpublishing
– then you’ll know how to weigh up the value of a publishing deal. As well as the advance (which usually won’t cover the time you spent writing), a publisher offers editorial guidance, copy editing and proof reading, cover design as appropriate for the audience, print book preparation, publicity using their contacts and reputation, print distribution.
Some (not all) are easy to source yourself or make good decisions about. Some can’t even be priced, like the publisher’s reputation – but see my remark above about the award-winning writer with his latest launch. Some of that value might be emotional – the confidence that everything has been done properly. This may not be as guaranteed as you think. There are traditionally published writers who sell enough to get meticulous attention from publishers, and others who get a tired, overworked editor who simply doesn’t have time to do the job as well as they’d like.
The more you know about selfpublishing, the more you can assess a publisher’s value as a partner. If you have tried to produce a quality book yourself, you’ll have a realistic idea of the value a publisher adds – or whether you can do well without them.
2 Be aware of the limits of traditional print and distribution
Distribution of print books is an area where traditional publishers have a clear advantage – (however, the Alliance of Independent Authors is working on a print sales project for indies ). Books in a publisher’s catalogue get promoted by a sales team. You get the heft of their mighty reputation! Result!
But let’s have a reality check. Go into Waterstones or another large book emporium. Look along the shelves where the books are spine-outwards. How many are there? Which ones catch your eye? Probably none of them. They’re the store’s wallpaper. You’re already cover-drunk by the time you’ve passed the books on the tables or in the window or in special display boxes.
A book in a store needs more than a meek slot in the alphabetically-ordered shelves to be discovered by a casual browser, no matter how beautiful its title or cover. So even if your book is going into big stores, it’s unlikely to be found unless it gets special prominence – both in the store and in the wider world. For that, the publisher has to spend money. Independent bookstores are a different matter as the selection is smaller and more personalised, but you still have to hope your book gets emphasised by the sales reps or the store will never hear about it.
3 It isn’t either-or
Whether you start as indie or traditionally published, you won’t always stay that way. Traditionally published authors might leave their publishers (or be dropped) and go it alone. They might selfpublish their backlist. Indie authors might begin on their own, then strike a deal. Some do all of it concurrently (hybrid authors), choosing what’s best for each project.
Some publishers are experimenting with partnering deals, where an author who is experienced in production keeps control of some stages of the editorial process. I like this model very much – it seems a good way to use everyone’s strengths.
Publishing and selfpublishing is now a spectrum. Most writers will zip up and down it, according to where a project fits.
3 Selfpublishing your first book
Don’t be in a rush! Although modern selfpublishing tools let you revise and tweak a naive edition, you cannot edit your reputation. Take your time. Do it properly. You’ve got a lot to learn – about writing to a publishable standard and about publishing itself. The world will wait – but it won’t forget if you mess it up. See my post here about leaving enough time to use editorial feedback.
The selfpublishing world is maturing. Suddenly I notice there are a lot of us who have been in this game a few years now, building solid reputations and devoted audiences. I think 2015 will be the year of the exciting collaboration – with other authors, with translators, with artistes from other media (such as voice actors). Perhaps with editors too.
We’ll choose what’s best for each book. We’ll also get more expert at putting a realistic value on contributions, including those of traditional players in publishing, both imprints and agents, and with luck this will lead to deals that are fair and fruitful.
Writing may be solitary. Publishing – and selfpublishing – doesn’t have to be.
Thanks for the dancer pic Lisa Campbell
The ebook of Writing Plots With Drama, Depth and Heart: Nail Your Novel is now available on pre-order. It will go on live sale on Twelfth Night, 5th January, and if you order beforehand you can get a special pre-order price.
Have you collaborated on selfpublishing projects – or struck an unorthodox deal with a publisher? Are there any success stories or cautionary tales you’d like to share? How do you feel about the prospects of the solo selfpublisher for 2015? Optimistic? Pessimistic? How do you feel about traditional publishing? Let’s discuss!
AFTERWORD Since I first published this post, Peter Snell and I recorded an edition of the radio show in which we interviewed two founders of an authors’ collective, Triskele Books. They gave us the lowdown on how they formed, how the collective works and the pros and cons. Listen by clicking the clever thingy below.
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This seems to be ‘back to basics’ week on this blog. On Thursday I scrambled out a fresher’s guide to ebooks in response to questions at a speaking engagement. And this podcast, recorded the previous week, seems to be the perfect complement. It’s with Nick Thacker, who has a regular show called Self-Publishing Answers, where he endeavours to discover the secrets to writing, publishing and selling successfully.
I’ve answered many of these questions before, but I found it interesting how my perspective on some of them has changed with experience. Especially book marketing. Normally when I’m asked about selling books, I find I run out of useful advice very quickly. I don’t buy advertising, I don’t game the charts and I don’t price strategically – all things that most indies do to get the best marketing advantage. The marketing I do is guesswork, whim and finger-crossing, mainly. Even so, I’ve noticed certain patterns that work – which I didn’t realise until I started discussing them with Nick.
We also chatted about the long-term mindset when it comes to writing – how it’s more important than ever to learn your craft and be patient before you publish. Nick confessed he’d learned a few lessons in that direction too. Anyway, if you’re looking for a bit of advice on writing, publishing and marketing, head this way and listen immediately or download. And he asked about ghostwriting too 🙂
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