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Posts Tagged Joel Friedlander
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
Social media are an inextricable part of author life these days – and for some, the value seems dubious. Writers might flog themselves to blog, tweet until they turn blue, but months in, the magic hasn’t happened. Where are the book deals, the viral quantities of fame? Is it worth all the trouble?
I am here to tell you it is. But you may be looking at the wrong things, or have mistaken expectations. Social media have been an absolute transforming force for me, and if the channels were closed tomorrow I’d be howling for their return. So I thought I’d quantify the ways I’ve found it so worthwhile.
Quick background. I’ve been on social media since 2009. My major haunts are Twitter @Roz_Morris and Facebook. And I blog, obvs. I probably get most of my results from those platforms as they’re where I’m most consistently active, but I also have profiles in the outer reaches of Linked In, G+, Pinterest and Tumblr (see my sidebar).
Building useful contacts
Networking is, of course, the number one aim. Like all professionals, we make our luck by bumping into the right person. Unless you’re born into a clan of literati, you have to build your own black book. Before social media, that came mainly from real-time encounters – book launches, writing groups, courses, conferences. Now we can strike up relationships without being on a guest list. On the internet, a cat can look at a queen (and will probably be photographed doing so).
And it’s much easier to keep our contacts warm. Quick DMs, text messages, Facebook posts are much less effort than letters, emails or – gulp – face-to-face coffee. Indeed, as most of us perform better on the page than at a party, written encounters probably allow us to be more genuine.
But Roz, you might say. What about the numbers? We might have thousands of friends and followers, and thousands we befriend and follow. Setting aside the times we might use social media just because the contact is fun, is it working for our careers? In that clamour, is anyone actually getting anywhere?
I can only speak for myself, of course. But I know this: my career under my own byline has been entirely generated from social media (if that sentence makes no sense, here’s an explanation). Because I blog, tweet etc, I have sold enough books to make it worth writing more; been offered paying jobs, speaking gigs, editing work and spots on online courses; found supporters among influential figures in the writing and publishing world. And I’ve met fantastic people who have become more than colleagues.
Social media work. But for most of us, the results are best measured in annular rings, not by weeks or months. But look back several years and you start to see a big change.
(Of course, much comes down to how you use it. What to blog about? This post has some ideas.)
But there are other benefits too, and you don’t have to wait for them to mature.
Social media helps create a work environment
Non-freelances ask me how I stay motivated if I don’t go to an office. I think they imagine I’m running amok watching Breaking Bad or surfing eBay or strolling to the shops or idling away an afternoon with my horse. Personally I’m too much of an obsessive to skive, but if you are too tempted by the distractions of home, social media can create a circle of colleagues to keep you accountable. On Facebook and Twitter, if you look, there are plenty of writers sharing their milestones or their to-do lists. They just finished a draft. Got edits back. Wrote or approved a press release. Signed up for a course. It’s like mini-Nanowrimo community, except you can use it year-round, 24/7.
If you know how to set up lists on Twitter and Facebook, you can assemble a posse of virtual team-mates whose work ethic will spur you to achieve. (And then make a separate list of people to hobnob with in downtime.)
Social media are a tool for book research
Somewhere, one of your contacts (or perhaps more than one) can verify a snippet of research or point you to a trustworthy source. Of course, you might also get misinformed nonsense, but hopefully you’ll have enough contacts for a reality check.
Social media are a resource for reliable advice on publishing, whether traditional or indie
Thanks to social media, the author corps 2016 is a savvy beast. We’re more clued up about fair book deals. We have our eyes open about the pitfalls and pleasures of the many publishing routes. We have access to fantastic watchdogs like Victoria Strauss, the Alliance of Independent Authors. Other terrific places for advice are Joel Friedlander’s The Book Designer and Jane Friedman – generous, knowledgeable professionals who are raising the general level of publishing knowledge for everyone’s benefit.
But there are so many platforms…
Well you don’t have to do all of them. Which platforms should you choose? I only know what works for me, so put these questions to social media expert Adam Waters in this edition of my radio show.
Although social media might seem ephemeral, they are actually permanent. Years on, you might feel a twitch on a thread, and hook a new person.
Over to you. What social media platforms do you like? How do you use them? What works for you and what doesn’t? If you look back over the long term, what have social media helped you accomplish? Any questions? Let’s consult the hive mind.
I’ve had an email from writer/poet Philippa Rees , who is weighing up whether to use CS or LS for her book. Dave and I have published with both for a number of years, so here’s what we’d say from personal experience…
Philippa: My book is a poetic history of scientific thought. It’s a dip-in-and-return work, most likely to be read in print (although I will put it out as an ebook too). I have seen some VERY amateurish CS-designed books, fairly dire, and some acceptable ones.
Eek, I take it you’re referring to the covers?
CS offers templates for covers and urges you to use them, but I recommend you don’t. For one thing, they’re familiar enough that they yell ‘CreateSpace!’ to anyone who’s been on the CS site. Not that there’s any stigma, but you want your cover to yell about your book, not the company whose rather recognisable template you used.
You don’t have to use CS templates. You can upload a PDF, created by any package you want, either by yourself or a designer, so long as you leave space for their barcode and calculate the correct spine width from your page count. They give you an easy help page to get this all right – and indeed they have excellent help resources in the CS Community.
Although covers may look easy, if you don’t have experience, please, please use a designer. Your book is intended to be taken seriously and it needs a cover to do your words justice. The wrong design, even if it looks nice to you, might send the wrong message to readers. If you’re prioritising what to budget for this is a one-time investment that will do your book endless good.
So far, I’ve designed my own covers, but if I found I was out of my depth (which is extremely likely with my next novel) here’s where I’d look.
- 99 Designs – a design site that lets you host a competition to find the ideal designer for your book. Post your requirements and budget and professional designers will pitch for it. You only pay if you commission a suggestion.
- Smashwords has a list of cover designers that other Smashwords authors have used and would recommend, both for ebooks and for print – email firstname.lastname@example.org and ask for ‘Mark’s list’ (that’s Mark Coker,the very approachable inventor of Smashwords).
- The Book Designer – fantastic site by design veteran Joel Friedlander. He holds monthly book design competitions, so you can browse and find a designer whose work hits your sweet spot. He also writes some of the help entries on the CS site, though he’s not affiliated with them. He’s just a generous-spirited, knowledgeable guy.
When talking to a designer, make sure they know the book will be print on demand. POD processes sometimes don’t crop a book straight, or line up the spine precisely – so you need a design to forgive that kind of error.
Interior design CS also provides a Word template for the interior. Dave tried it, and while it was quick to use and saves you worrying about page sizes and margins, it has glitches. For instance, it insisted on an ‘acknowledgements’ page and when he tried to delete it everything else went haywire. But again, you can upload your interior on a PDF – and that way you have complete control.
Dave and I create our book covers and interiors on Serif PagePlus – much cheaper than the top-end packages like Adobe InDesign, and more versatile than Word. Here’s my post on formatting the interior of My Memories of a Future Life. It’s fiddly, but if it gives you an attack of the vapours, freelance designers can do it for you.
Europe, Australia etc
Philippa: I understand Amazon is difficult about stocking books put out by LS, yet LS may be better for distribution to Europe and Australia.
We’ve frequently found our Amazon listings for LS books are quoted as out of stock or ‘available in six weeks’, for no reason. When queried, Amazon reply that they get the data from the supplier. The supplier said the book was available. In fact, when you do order, the books arrive as fast as any other book. But buyers don’t know this. The same used to happen when I published Nail Your Novel with Lulu.
Pause a moment to growl and stomp.
Initially, LS gets books to the European Amazon sites more quickly. When you approve for press, the cover artwork goes up within a week. With CS, books go to Amazon.com immediately but expanded distribution to the UK site and further takes a good two weeks, sometimes more.
Some writers make CS editions to sell on Amazon, and LS editions for other channels. I’m not sure about the logic of that because once the book is up it’s up.
You make more profit per copy on LS than you do on CS, but LS charges setup fees – GBP£42 to set up each title, and a handsome hourly fee to give you proof copies. If you want to make changes on LS books that can get you into more expense and if there’s something wrong with your files they’ll charge you while they fret about it. As their PDF requirements are a lot more strict than CS, you could find yourself spending a lot of time and cash if you’re new to this.
CS don’t have any hidden charges. Proof copies don’t cost any more than ordinary copies. However, CS quotes long shipping times (6 weeks) in the hope you’ll stump up for express shipping – especially if you’re eager to get your proof. Ignore those quotes and get the cheap option – it’s never taken anything like 6 weeks for me to receive a proof copy.
Advance review copies
Philippa: I plan to print pre-publication copies to get (and then add) endorsements for the final edition.
As I said, proofs cost you dear on LS. So I’d set up a rough ARC edition either on CS or Lulu, where proofs are cheaper. Then if you’re still keen on LS, save your proofing budget for the final, sparkling copy. If you want to stick with CS, changes are easy – upload a new PDF, wait a day or two and check the proof either on line or order a copy.
Don’t try to do without a hard proof copy entirely. Margins in the printed book may not look as you expect. Cropping can make cover proportions look totally different. Colours can look sludgy or gaudy in the flesh, even if the PDF looked luscious.
Use Amazon Marketplace
Do you know Amazon Marketplace? Individuals can sell anything that’s on the Amazon database. A lot of people use it to resell secondhand books, but authors often use them to offload surplus contractual copies and online shops also sell that way. I have a stock of my CS books and put them on Amazon Marketplace to fill supply gaps, for instance –
- – for limbo days when my print copies are unavailable because I’ve updated the cover or interior.
- – for distributing my books to people who are outside the usual Amazon areas; if people contact me saying they can’t get my book, I direct them to Marketplace or sell them a copy directly using Paypal.
Philippa: What about the tax issue for a non US writer publishing with CS?
As with Kindle, CS deducts 30% from your earnings unless you send an exemption form, for which you need a US tax code. Here’s how you get it. I’d advise you sort the paperwork before you start selling, as CS can’t refund you the tax. You have to apply to the IRS, which by all accounts is like shutting your eyes and wishing really hard.
Phillipa: What’s CS service like?
I’ve been pleased so far. Their support team are quick to answer questions, and patient with what must be moronic queries. Mind you, I haven’t had any real problems, which is usually the acid test. Dave had mighty problems with a graphic novel he was producing with LS, and found their UK help people were clueless and obstructive. But that was a full-colour book with high-resolution graphics. With straightforward text we’ve had no problems.
Is the Amazon connection with CS a genuine benefit?
Undoubtedly. As we’ve seen, it seems to be ‘easier’ to keep a CS title in stock.
I find my CS titles regularly get promoted in ‘three-for-two’ offers (see pic) – especially Nail Your Novel. It gets offered with other top-selling writing titles – priceless promotion that you couldn’t buy. This never happened – ever – when my print edition of Nail Your Novel was on Lulu.
Philippa: My book is probably the most unmarketable book ever written. I believe it will have a market but it will be up to me to find it. Do you know of anyone who has signed up for CS ‘marketing’ help?
I don’t, and I’d like to hear from people who have. But I would be wary of standard packages, especially for unusual works such as yours. Expert help is always worth paying for, but it has to be the right expert.
What works for one book won’t work for another – as I know from the vastly different experiences of marketing an offbeat novel starting from a writing advice platform! To be honest, I’m still guessing – I’m soaking up lessons from novelists who have marketed successfully but the less easily you fit a widely read genre, the fewer equivalents you have. Bide your time, understand who your audience is, and find out how similar writers have reached theirs. If an expert for marketing your book is out there, one day you’ll trip over them.
And – good luck!
Any further questions? Share them in the comments! And comment if you have any further answers, or particularly if you want to set something straight
99 Designs, Amazon, authors, blogging, book covers, book marketing, bound books, covers, CreateSpace, design, ebooks, how to find a book designer, how to find a cover designer, how to write a novel, Joel Friedlander, Lightning Source, literature, Lulu, making a print book, Mark Coker, My Memories of a Future Life, novels, Philippa Rees, publishing, Roz Morris, self-publishing, Smashwords, writing a novel - Nail Your Novel, writing business, Writing Characters Who'll Keep Readers Captivated: Nail Your Novel, writing life, Writing Plots With Drama, Depth & Heart
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