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Posts Tagged marketing
I’m slightly early with my post this week. On Saturday I’m an author in residence at Barton’s Bookshop as part of the national Books Are My Bag celebrations this week. After that, Morris HQ is on cyber-shutdown for the weekend as we celebrate a friend’s 40th. Just as I was wondering what (on earth!) to post about, this question popped into my inbox:
‘I have to give a presentation about my novel at college. Could you give me some tips on what to talk about? Thanks, Fahim’
Thank you, Fahim. Since I’m going to spend the day explaining my books to complete strangers (and hoping not to frighten them) I could do with thinking about this. So whether you’re wooing a class, an agent or just one interested book lover, here’s an express guide to pitching your book. It’s a brief post, but attention spans are short… ooh, tree mammal.
1 The novel in a nutshell
First, they want to know what it’s about. Orientate them with a polished one-liner that gives a clear idea of the kind of characters and the story – eg ‘it’s a novel about five friends at college who murder somebody and have to live with the consequences’.
2 Get the title in early
Make sure your one-liner explains the title, or makes the title intriguing. Your audience will probably remember no more than a couple of details. You want one of them to be the title and its tantalising promise.
3 Get personal
Tell them why it became your personal mission to write the book. If you have an anecdote about your initial inspiration, that helps pull the audience on board. Hint about where your research took you and why there’s much, much more than you could say here. Single out key characters with strong dilemmas; people are more memorable than themes. Weave in comparisons with other novels or films if they’ll help make your point more strongly, but they’re not essential.
4 Is there scope for a reading?
Obviously you won’t give a reading if you’re buttonholing an individual. But if you’ve got a bigger audience, it might be natural to round off your talk with an excerpt. If so, context is everything. It’s hard for listeners to plunge into the middle of action, or adjust their minds to a section of dialogue. Whatever you choose to read, make sure it continues the threads you’ve been tempting them with so far. Perhaps a tricky, cruel character, or the awesome difficulties of spending the night in the same house as a dead Mafia boss. You can find more tips here on choosing a passage to showcase your book.
It’s a national campaign to celebrate bookshops. If you’re in the UK, drop by your local bookseller and see if they’re breaking out in bunting, orange cake and sloganed T-shirts. Chances are, if you buy some books, they’ll give you a smart tote bag. If you don’t, they’ll probably set their pet authors on you…
Thanks, Fahim, for the inspiration. (And thanks Alexisnyal for the pic) Do you have any tips to add?
agents, attention spans, authors, Barton's Bookshop, book marketing, Books Are My Bag, express guide, how to pitch your book, how to sell your book, how to write a novel, initial inspiration, marketing, My Memories of a Future Life, personal mission, publishing, Roz Morris, self-publishing, what on earth, writing business, Writing Characters Who'll Keep Readers Captivated: Nail Your Novel, writing life, Writing Plots With Drama, Depth & Heart
All the scribbling world is going indie. New, unpublished writers are, to establish themselves – even if they’re agented. And experienced, well-regarded authors are leaving their imprints – either being dropped or deciding to seek a better way to release their work.
While publishers are probably not short of new material, we know they watch the indie scene to see who does well. At the moment they pounce on the Hocking and Howey high fliers, but in a few years’ time they’ll have a different breed of writer to consider: the well established indie with a clutch of books and a growing audience. The kind of author who used to make up the midlist. I’m wondering, what deals would they offer?
For most of us it’s unlikely to be bidding wars. But one thing’s sure. It’s really going to test the industry because it can’t be a standard midlist deal. Most indie authors will have outgrown that.
Help with production
How much production help will a competent self-publishing author need? Of course, some writers loathe production and will be glad to hand it over. Others, though, relish the control (like yours truly) or will have it so smoothly managed that they’d rather hire the help themselves than hand over a bigger share to have it arranged.
A publisher might be able to offer an economy of scale – although they have often cut staff so much they are using the same freelances who are hired by indies.
Here’s an added complication. The book needs to look professional. How would a deal legislate for a situation where a writer’s production values look like a home haircut? Spin it the other way: what would stop a publisher vetoing an outside editor to keep the work themselves and accrue extra percentage points?
I’ve already made this more complex than I imagined. Suffice it to say: production costs will become a negotiation point.
Help with promotion and marketing
I’m guessing that one of the prime reasons for partnering with a publisher is to gain kudos, exposure and credibility in places we can’t reach by ourselves.
We all know that if a publisher pulls out all the stops they can make a huge difference to a book’s fortunes. But most of the time (ie if they haven’t paid big bucks for the author), they can’t afford to.
What most non-starry authors get is a few mentions in the national press. That can certainly send an indie author reeling with delight. But does it sell copies? The evidence is that it doesn’t. Most books don’t sell unless you keep them constantly on readers’ radar. A splash in the press is short term. Indie authors know they have to keep a sustained campaign of advertising and promoting. The midlist author launch package is little more substantial than a token cork-pop at the book’s birth. It won’t keep the book alive, month in, month out.
There’s worse. At the moment, when you sign a deal, publishers are often secretive or vague about what marketing they will do. They’re used to the writers being so overawed that they never have to explain what exactly will happen or how brief the publicity flare will be.
Indeed, it’s shocking how meagre a publisher’s marketing plan might be. One writer I know was asked for a list of blogs the publisher could contact to run posts about the books. Up until then, the writer had believed the publisher would use their own special contacts, not people the writer already knew about. Another author friend, after two successful books, was sent on a social media course. He learned nothing he couldn’t have gleaned from reading a few blogs.
However, many of my writer friends are excited about the Amazon imprints – even authors who feel they’re finished with traditional publishing. Why? Because Amazon have developed and honed an amazing machine for finding readers. What’s more, the algorithms can work long term with emails and targeted deals. That’s the kind of help we would all take seriously.
I haven’t even mentioned ebooks. As ebook formatting is one of the simplest things for an author to do or source, few of us will need help to make them. Where will a publisher add value? Publicity? The trouble is, their publicity machine is still wedded to print territories, whereas indies are already marketing on the, ahem, wordwide web. Perhaps publishers will start to think globally. Or perhaps ebooks will be left out of publishing deals with indies, as those markets may already be well served.
Getting copies into bookshops is one area where indies struggle – and traditional publishers are acknowledged masters. However, go into your local Waterstones or B&N and you’ll be bewildered by the acres of book spines. What’s the likelihood of someone finding your book by chance, even if it’s there? Except for prominent displays (which aren’t given to every author), publicity is what makes readers pick up a book or ask for it to be ordered – and indies can already get onto the wholesale lists at very little cost. We don’t even need to buy the ISBN. So it is my contention that well targeted, long-term publicity is more significant to an author than distribution to a lot of shops. Do feel free to disagree.
Help with development
It probably seems cockeyed to consider this last. We can’t deny that editors can add a vital nurturing influence. Although successful indie authors will already have their infrastructure for making a book good, few of us would dismiss the chance to do it better. Or am I dreaming?
At the moment a publishing deal is like a fixed-price menu. But the authors of the future will be savvy about publishing. They’ll look for equitable arrangements and publishers will have to be flexible for each situation. A la carte.
Publishers will also need to be more transparent. Right now the culture is to keep the author in the dark. A business relationship can’t be vague like that.
Ultimately a fair deal will take account of what each side puts in. Who, in a publisher, is equipped to strike a fair deal with the entrepreneurial author or their agent? The editors? They know about nurturing content, being its shepherd and handling production. But they aren’t skilled in converting this into workable contract terms and profit shares. And why should they be? That’s like expecting your plumber to be able to fix your computer. The other option is the contracts department. But they’re in a legal ivory tower, away from authors and the realities of book production or selling. It’s as if we need a new kind of job in publishers – a professional who can grapple with all of this.
UPDATE: To be fair, many editors do recognise the need for change. But they don’t necessarily have the skills, systems or company culture to reinvent their relationships with authors. They’ve usually got enough to do keeping up with their publishing schedule – having managed an editorial department I know the realities of getting books out, and how diktats often come from lofty management levels that are impossible to fulfil while making the daily deadlines. So this kind of change is going to take time.
One thing’s for sure. The current standard publishing deal isn’t going to cut it.
Thanks for the dream team pic Permanently Scatterbrained
Let’s discuss this brave new world. Do you self-publish? If a publisher came calling, what would you appreciate help with? What do you want to handle yourself? What do you think would make you attractive to a publisher in return for their help?
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I’ll leave the story to that post, but briefly, I saw an interview on the Writers & Artists Yearbook website, responded to it, and seem to have woken them up to the fact that indie authors are rather more advanced than they hitherto thought.
Even better (and this isn’t in the post) Bloomsbury then asked me to call them. They’d had a rummage through my blogs and wanted me to write for their website and newsletter. (Wow. Big smiles at NYN HQ.)
So W&A – the bible for creatives in the UK – is expanding its coverage of self-publishing as a serious and respectable option. But I detected they’re a tad nervous about it. The editor I spoke to asked if I ‘minded’ writing about self-publishing. That suggests he’s encountering more negative attitudes than positive. No matter. They’re responding to what’s happening in the creative world.
I also have to relish a sense of a circle closing. Years ago, when I was a beginner querying agents and publishers, W&A was my route map for what seemed an audacious and mostly impossible dream. When I wrote the querying section of Nail Your Novel, I recommended using them. Now, thanks to a tweet that alerted me to their post, and a tweet I sent to them, I’ve flipped to the other side and they’re introducing me to their audience. In our online, endlessly connected world, new opportunities might be only a tweet away.
In other news, tomorrow I’m skyping into the Grub Street arts centre in Boston as a guest expert in a seminar on creative book marketing so you’ll get a proper post from me about our discussions. And next Saturday, I’m on a panel at Stoke Newington Literary Festival in north London, talking about multimedia self-publishing. Both those opportunities sprang from relationships made completely on social media. In fact, everything has. Before that, I was an invisible editor and a concealed ghost.
So tell me – what opportunities have come to you from social media? And what tips would you give to help people make the best of it? (Oh, and here’s the Independent Authors Alliance post, in case you’re curious about the W&A Incident… )
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As indies get ever more professional, an entire service industry is springing up to offer us services for every occasion. At this year’s London Book Fair, the Authors’ Lounge was heaving with suppliers, and no shortage of willing customers. While it’s great to have access to these, authors are ripe for rip-off.
This week David Gaughran highlighted unscrupulous companies that charge exorbitant prices, or hoodwink authors into paying for services that could be obtained for very little or no cost.
So this post is a self-publishing 101; a catch-up for those who are wondering what they need to spend money on. In some cases, knowledge is the answer; all books, authors and genres are different, and one supplier does not fit all.
It’s virtually impossible to publish a book without any expenditure, but we can make sure we use our budgets wisely – and stop writers filling the pockets of unscrupulous suppliers who are getting rich on our dreams.
Some authors don’t know they can create their own user accounts on Smashwords, Kindle Direct Publishing, Kobo and CreateSpace. Or how simple it is – basically, no more difficult than entering your details in a mail-order website.
Some companies offer to upload your books through their account, but this is unnecessary. Even if you don’t make the files yourself, you can still upload them. If your service company went out of business, what would happen to your book listings? Moreover, if a third party controls your access to these publishing platforms, it’s harder to adjust your book’s appearance and description – which as you’ll see is essential to successful self-publishing.
This week, as you may have gathered, I published the follow-up to Nail Your Novel. I was rusty with the e-platforms, but it didn’t take long to get reacquainted.
Basic ebook formatting is dead simple if you can use Word on an everyday average level. You don’t need to be a wizard, but you do have to be meticulous. The best instructions are at the Smashwords Style Guide, a free book with diagrams and reassuringly clear instructions. There are a couple of other useful links in this post I wrote 2 years ago when I first ventured onto Kindle. I reread them when I uploaded my new book last week and it all went smoothly.
Indeed, if you have Scrivener, it will format ebooks for you.
Print book interiors
Print books are more tricky than ebooks, and amateur ones can look dreadful. But there are various tools to help beginners do a good job for very little money.
I recommend you read Catherine Ryan Howard’s book Self-Printed, which I used the first time I ventured onto CreateSpace and I still keep to hand to remind myself how to set up a book. She also has a ton of other useful guidance on book formatting.
How do you make the interior? CreateSpace provides Word templates, if you need help (although I make my books in a design program and upload a PDF). CS templates are pretty plain, and Word isn’t ideal for interior formatting, but it’s fine for novels, which require hardly any design. In any case, a neat finish isn’t created by fancy typesetting, it’s from consistency and readability – and you can find a post I wrote on that here.
If you want a slicker look for little money, try Joel Friedlander’s book design templates for use in Word. Joel has created interiors that you graft your text into – which is exactly what happens when books are designed in mainstream publishers (although they don’t use Word).
Which print-on-demand company should you use? There are two main options: Lightning Source and CreateSpace. LS isn’t suitable for beginners. It costs to start a book project and proofs are expensive. CS, though, is free to set up and holds your hand. Here’s a post I wrote comparing the two for novice publishers.
A great cover is money well spent. But you need to take creative control because you could end up with something unsuitable, horrible, or even illegal if the designer downloaded images from Google instead of sourcing them legitimately. This happens.
When you hire a cover designer, you need to know how to choose them and how to know when the job has been done properly. Identify your genre, familiarise yourself with its most successful covers, then you’ll know how to judge which designer is right for your book. Here’s a post I wrote recently on getting a cover designed.
At LBF I talked to a publicity company to find out how they’d publicise a literary novel. They hadn’t tackled literary fiction before, and seemed unwilling to admit it until I pressed them hard. If I’d been a newbie, they’d have been selling me expensive packages that were unsuitable for my book. (I wasn’t looking to buy anyway; I was asking out of curiosity.)
With marketing, learn as much as you can before you hire publicists or buy advertising. I’ve learned a lot from Joanna Penn’s blog, and this is where I’d send you too.
Not all marketing has to cost money. Book descriptions, price point, tagging, titling and categorisation will all affect whether your book can be found by its ideal readers and you can experiment and tweak ad infinitum. (Remember I said you don’t want to have to ask a third party whenever you adjust your book’s back end? This is a good reason why.) You might find you know more about marketing than you realise, as I did when I was asked to write this guest post.
- Choosing a Self-Publishing Service by the Alliance of Independent Authors
- and Let’s Get Digital by David Gaughran
psst… Editorial services
First, of course, you need a book that’s fit to be published. In a publisher, there would be a team of people handling different editing stages:
- developmental (the big picture: book structure, characters, narrative voice, plot etc)
- copyediting (niggly details like plot consistency, names, timelines)
- proofing (looking for typos and other mistakes)
It’s worth hiring expertise to help you with these and it’s unlikely that you can do it cheap. But you can choose wisely: here’s my post on issues to be aware of.
What other warnings and tips would you add to my self-publishing 101?
Alive and sparking now on all ebook formats
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Not sure how to market your book? Maybe you already know… guest post at Michael Schein Communications
To my surprise, I find myself guesting today on the blog of marketing and communications consultant Michael Schein. I thought I knew zilch about marketing; certainly not enough to share with those who possess business genes. But Michael contacted me after reading Nail Your Novel and asked if he could pitch me some questions.
Once I got my teeth into them, I realised that storytellers and advertisers run on adjacent rails. The sensitivities we use as novelists could serve us well when we have to intrigue the world about our books or write blurbs and pitches. Although we still have to identify where our readers hang out, writers of fiction are well equipped to sell ourselves and our work. Come and see.
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Sorry, you got two trailer posts from me today. It’s my turn at Authors Electric, where I’m wondering how relevant SEO is for fiction writers and readers.
It all started when I saw a link to a post on Problogger which advised bloggers to stop running guest posts with a lot of links because of new Google algorithms. Undercover Soundtrack host, please note. This led to a fun, fulminating conversation with Facebook friends Cyd Madsen, Vivienne Tuffnell and Beth Rudetsky about tails wagging dogs. But getting our work discovered is a real issue for writers, and at Authors Electric I’m wondering how that’s done. Come over and join the debate.
(Thanks for the pic Daveynin)
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Everyone’s writing prediction posts right now. I wouldn’t have dared, except the website On Fiction Writing asked what I thought might happen in the industry in the next five years.
Obviously writers can’t be oblivious to what’s going on in publishing, but if you look at what’s changed in the past two years, do we have a hope of predicting anything with accuracy? Anyway, who would trust the predictions of anyone who makes things up for a living? Worlds, economies, social movements roll out of our imagination to suit whatever story we want to tell. (And I see they put my interview next to a novel called The Mad Scientist’s Daughter. Adorable cover anyway.)
The only certainties I can predict – for myself and for other writers in 2013 – are these.
- I will need to weigh up several new social media environment and decide if they’re worth the effort. I will need to remind myself that once upon a time I was scornful of Twitter, Facebook and even – gasp – blogging.
- I’ll need to embrace at least one new platform for publishing, on a device that I don’t see the need for. I will have to remind myself that putting Nail Your Novel on Kindle turned out to be a brilliant move.
- I’ll never decide what’s worthwhile unless I have help – which I will probably find by firing off a tweet or a Facebook post to all you guys.
- I’ll get stuck on the novel I’m writing, and when I think all is irretrievably lost the answer will fall effortlessly onto the page. (I talk about writer’s block in my interview, in case you’re wrestling too.)
- I’ll discover several writers whose work contains such insight, I will not know how I did without them (I talk about favourite writers too)
Predictions aside, I’m also talking about self-publishing, publishers developing new roles as partners for indies, finding readers – and ghostwriting. Do join me there and if you’re in a predictive frame of mind, leave a comment here with conjectures, projections and outright fabrications and fantasies for writers in 2013.
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How to self-publish an ebook and get a traditional book deal – guest spot on The Write Lines podcast
When I was first discovering blogs – and looking for a home for my own fiction – I discovered The Write Lines on BBC Radio Oxford. Presenter and novelist Sue Cook brought together experts from UK publishing to give advice, information and resources for new writers.
Fast forward through a few revolutions and the latest series (now a podcast) is exploring indie publishing – both as a leg-up to a traditional deal and a viable option in itself. Some of the authors whose blogs I was reading as the first series aired are her experts this time – including Nicola Morgan and Catherine Ryan Howard – and me. I feel like I’ve graduated. Exciting times…
In my episode I’m sharing a studio with indie superstars Mark Edwards (one half of the Edwards/Louise Voss partnership) and Mel Sherratt. You can either listen on the site or download….
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If you have to showcase your novel – perhaps for a reading, a book trailer or as an excerpt on a blog or website, how do you choose a piece to do it justice? I recently gave a reading at a book event in London – a landmark as it was my first – and choosing an excerpt was a little more tricky than I anticipated.
Not the beginning
I’d assumed I’d read from the beginning. Surely that was a no-brainer. There would be no need to explain anything. It introduces the narrator, charms you into the story world.
But then I was listening to Radio 4’s Film Programme and noticing how they teased a movie they were about to feature. There would be a short spiel about the premise and then a clip. It wasn’t the beginning, but the first plot point, the first irrevocable step into a new and perilous situation.
So although we hone our beginning so that it grabs, it’s perhaps not for a live situation. It’s for settling down with, not standing up.
So I looked at my first plot point. Out of context, it was too baffling. I tried my narrator’s first hypnosis session when she goes to the future. It was spooky, but much of its power came from the interplay with the two characters. It was as much about them as it was about what they were doing, but if you hadn’t got involved with them I feared it wouldn’t sizzle.
A grounding scene
But not long before that was a scene where my narrator’s best friend is hypnotised back to the time of Jack the Ripper. This is the way hypnotic regression conventionally works, and I’d written it partly to ground the reader, to present them with the idea in familiar guise before I started to warp it. This excerpt is easy to understand if you come to it cold, it has plenty of drama and it’s narrated by a horrified friend. It’s self-contained. Perfect.
I had to fit into a strict five-minute slot. Reading at a pace listeners can keep with, that’s less text than you might think – though it seemed for ever with all those faces watching me. Five minutes gave me two sides of text from my print edition.
I didn’t use the excerpt exactly as it appears. I removed sections that you could only understand if you’d read the earlier scenes. An audience’s attention will wander easily and if you confuse them, you lose them. I also trimmed the description of what the hypnotised Jerry sees in the regression. In the book, it’s part of the veracity of the experience and the details are significant later, but in radio drama descriptions tend to be shorter. Writing that works for the eye doesn’t always hold the attention of a listener. But even if your excerpt will appear in print, consider whether you need the extra details that only make sense in the full work.
Write an introduction
I had to allow for an introduction in my five minutes as well. My usual back cover blurb was too sweeping so I simplified to give my excerpt maximum impact: The narrator is Carol, a classical pianist, who is forced to stop playing because of a mysterious pain in her hands – and fears she may never play again. Her closest friend, Jerry, also has a secret burden – he has crippling panic attacks and is convinced they are caused by a trauma in a past life. In this scene Carol accompanies him to a secret theatre under a house in London, and a stage hypnotist. (If you’ve read the story you might spot I’ve taken liberties with my own ‘facts’. In the novel, Jerry’s curiosity about past lives isn’t as straightforward as this introduction suggests. But it’s all a listener needs to know for these purposes.)
Dammit, be a storyteller
As I said, I’d never read my work out loud before, even in the writer-friendly confines of a bookshop. This event was taking place in a pub. Not a place where people go to read. We had a stage and a microphone, but the crowd had their cronies and beer. They were too nice to heckle, but we had to win them over.
Delivery made a huge difference. Some readers kept their noses in their novels and never looked up. Their excerpts might have been great, but they were reading to themselves and after the first sentences the general rustle of conversation rose. The readers who commanded attentive silence looked frequently into the crowd and told their stories with a bit of swagger.
Dammit, we’re storytellers. We hold our reader with our conviction on the page, and stand-up reading needs that confidence too. (You can guess which option I favoured. It worked.) Afterwards I talked to a seasoned pro who had roared and waved through his piece and he confirmed that you could never overdo the drama.
Of course, take copies of your books. But those of us who were new to the crowd didn’t sell many copies, because people don’t usually buy the first time they hear about you. Or they might want ebooks. But they will take other souvenirs and it’s worth cramming in as much as you can – bookmarks, catalogues, flyers. I had dinky Moo cards, beautifully printed slivers the size of a French train ticket. All of them disappeared.
If you’re doing a reading, here are my tips for success
- Choose an excerpt that shows off your hook
- Re-edit your original text
- Take ‘souvenirs’
- Tap your inner show-off. There’s no such thing as too much drama
Thanks for the bookshop pic, katclay
Such was my experience. Have you got any tips to share, either as an audience member or from reading your own work at events? Share in the comments!
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Yesterday I discussed why an author might not want to self-host their blog and how to make the best of platform-hosted blogging. But many authors strongly advocate self-hosting – so today I’m going to ask two of them why.
First up is author-entrepreneur Joanna Penn of The Creative Penn. Joanna has built a formidable following among writers who want to take charge of their publishing careers and make the best of what the internet can offer. She also develops multimedia courses and she’s hit the bestseller lists with her two thrillers.
Joanna, why did you chose self-hosting?
I have control over everything – including affiliate sales and plugins that you can’t use on free blogs. Google takes you more seriously so you get better SEO results and rank better on Google.
You use a paid-for theme, don’t you? Why?
I use Thesis, which has SEO design in the back end and is very easy to customise so it looks professional. I model success and all the top blogs are self-hosted and use premium or custom design themes. Why look like a second-rate blog?
Is self-hosting and/or using a paid-for theme more hassle? Do you need to be more tech literate?
I have Joel the Blog Tech guy as help but once the site is set up, the back end is the same as WordPress. So no, you don’t have to be tech literate.
How much does this all cost you?
My hosting is less than USD $10 per month, my premium theme was USD $70.
How much do novel-writers need to worry about search engine optimisation (SEO) and what key things should they do?
You need basic SEO – good site design, so that spiders can crawl you. Free themes have a particular SEO rating and my first blog was really crappy for this until I learned about it. Then you should use an SEO plugin. I use All-in-One SEO. Also you should use consistent keywords for your niche and have a lot of relevant content.
My second self-hosted blogger is Jane Friedman, web editor for the Virginia Quarterly Review. Jane is a former publisher at Writer’s Digest and a prolific and respected speaker on writing, publishing, and the future of media. Her expertise has been featured by sources such as NPR’s Morning Edition, Publishers Weekly, GalleyCat, PBS, The Huffington Post, and Mr. Media. She has consulted with a range of nonprofits, businesses, and creative professionals, including the National Endowment for the Arts, the Creative Work Fund, and the Contemporary Arts Center in Cincinnati.
Jane, prevailing wisdom seems to be that self-hosted is always better. Why is this?
Because not self-hosting means:
- You’ll have a weaker functioning site overall (customisation is usually quite limited)
- You rarely have access to advanced analytics unless you’re allowed to install Google Analytics (which can be important, see below)
- You’re not fully in control of what happens to your site. Over time, services ARE discontinued, bought, changed, etc.
Whether self-hosted or not, why might authors use a paid-for or upgraded theme – apart from being able to look distinctive? How much does it generally cost?
The cost is very little (generally less than USD $100), given that a premium theme offers robust or improved functionality, as well as better looks (and often better readability). Also, premium themes generally have better SEO tools.
How much do novelists need to worry about SEO? Do readers really find them through Google searches?
If readers buy your book, or hear about your book through any medium, they might be likely to google your name – in which case, your site should be easily found. Often, you don’t have to ‘worry’ about SEO for this to happen as long as your site meets basic standards (usually the case with any premium-theme sites) and you don’t have an exceptionally common name.
I like to say that if no one can find you through Google, it’s like you don’t exist.
Is Google all there is to SEO? What key things should writers do to increase visibility?
Not exactly, but Google is 70% of the search market. The best thing to do is to use a premium theme that focuses on SEO, which will help ensure your site is looking its best when search engine crawlers visit.
This is my SEO strategy – how does it look to you? I write attention-grabbing headlines with key words, and use plenty of tags, including my name, my book titles and keywords for my subject area (in this case ‘writing a novel’).
This looks fine! There are other steps, such as making sure your site’s meta title, meta description, and meta tags are appropriate for the type of reader you’re trying to attract. These things are also adjustable on a post-by-post basis if you’re blogging. When you get a premium theme focused on SEO, generally these fields are available for you to adjust as needed. It helps you customise what exactly appears when your single posts (or when your site) comes up in Google search (site title, site description, brief description of post, etc).
How can writers check how well their measures are working?
You can tell whether your efforts are working if you improve your search ranking for your name or book titles (how high in the listings you appear), and/or if you see your organic search results increase—something you can watch, over time, in Google Analytics.
Thanks Joanna and Jane – and thanks also to Catherine Ryan Howard for helping me argue for platform-hosted blogs yesterday.
Anything to add? Cautionary tales, theories…. has your mind been changed by anything you’ve read here? I’m sticking with WordPress hosting for now, but Jane’s suggestions have sent me back to my site descriptions to make them work harder at grabbing readers. If you’re going to do anything new, tell me in the comments!
If you are thinking of upgrading to a bespoke theme, you might like this by Dan Blank – How I redesigned my website.
Joanna has scores of helpful posts about blogging – starting here. (And we’ve joined forces to create a multimedia course How To Write A Novel. More than 4 hours of video and audio with 86-page transcription and slides)
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