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When Anne Goodwin rode up to Carrot Ranch with her first flash fiction challenge, I knew she was competent in the saddle — Anne knows her craft. With 61 short stories published, it’s no surprise Inspired Quill picked up her debut novel. However, like many skilled writers, Ann was reluctant to promote her work. In her guest post, Anne addresses how she mastered the launch of her debut novel.
Anne Goodwin, Guest Blog:
I’ve enjoyed Charli’s posts on writer branding, even as I bristled at the idea of considering myself, or my output, a commodity. Yet now I have a genuine product to sell in the form of my debut novel, some of Charli’s expertise must’ve rubbed off on me, because I’m determined to do the best job I can in getting my book to readers. This is very much an idiot’s guide cobbled together from the things I’ve done, or wished I’d done, in the process, and is particularly targeted at the anxious writer who balks at the idea of self-promotion (i.e. most of us, at least in the beginning). I can’t guarantee that following these steps will result in phenomenal sales. I can’t guarantee that it will remove all discomfort from the process. But I do believe that by confronting and managing our anxieties as outlined here we can be confident we’ve given ourselves and our books the best possible chance of success.
1. Cultivate your communities
This isn’t about forging friendships to flog your books. Not only is that slimy and cynical, it’s probably ineffective. But, on the other hand, there’s no point being a shrinking violet. Your relationships, both on and off-line, are an important conflict between you and your readers. This doesn’t mean, as an introvert (as many writers are), you’ve got to transform yourself into a socialite. It’s more a matter of not neglecting those ordinary human qualities of generosity and friendship. I’m not a great networker, but it turns out I have sufficient social capital to generate a mammoth blog tour that’s now in its fourth week and two launch events with forty or more people at each. If I, with a little thought and preparation, can achieve that, just think what Charli Mills, lead buckaroo of the Congress of Rough Writers, could achieve with all the goodwill she’s generated through her support of other writers.
2. Edit your way to a book you can be proud of
Let’s assume you’ve written the best book you possibly can and have secured a publisher or made the decision to self-publish. Isn’t it strange that, no matter how many edits you’ve gone through already, as soon as publication flips from an impossible dream to impending reality, you notice all kinds of new problems with your novel? Now’s the time to bring all those niggles to light and address them, not only for the obvious reason of enhancing your readers’ enjoyment, but also because anything that makes you feel awkward or apologetic about your words will be a barrier to promotion.
So, whether you’re publishing yourself or traditionally, you need to make full use of your editor. Their role needn’t only be to point out what they think can be improved, but to help you sort out any areas with which you aren’t one hundred percent happy. In my own experience, my editor’s suggestions enabled me to look more critically at my novel and make cuts and amendments to sections where she hadn’t felt it necessary to wield her virtual red pen. My editor was also able to reassure me about sections I thought were perhaps a bit iffy; if you trust your editor (and if you don’t perhaps you should find another) it’s a marvellous boost to the ego to receive her enthusiastic endorsement of your words.
3. Work through the limitations
A thorough edit should lead to a text you can be proud of (at least for the moment; many authors report still finding fault with their novels years after publication). Yet perhaps there are still aspects that make you cringe when you think about it making its way in the world? You might worry that you’ve tackled a controversial issue in a way that might upset some readers. You might fear that certain experts will criticise the shallowness of your research. You might be anxious about the overlap between the events in your novel and your own life: will people misconstrue your fiction as autobiographical or will you struggle to keep the personal personal in discussing your book? You might just be concerned that your mother, your hairdresser or your next-door neighbour will think it’s a load of crap.
It’s important not to dismiss such concerns; if you deny or belittle them, they’re more likely to hold you back. Discuss your feelings with trusted friends, your editor, other writers, a therapist. Go to events and observe how more experienced authors manage these areas in relation to their own work. For example, I found it extremely helpful to watch local author, Eve Makis, respond to a question about Armenian history (featured in her novel, The Spice Box Letters) from a reader with an Armenian background (and to discuss the parallels with my own novel afterwards with a close friend).
Your book, especially if it’s fiction, is not the definitive take on a topic, and nor is it meant to be. (It just feels like that, because you’ve spent so much time absorbed within it.) Readers are free to take from it what they wish – and that’s a good thing. But it’s worth addressing your anxieties about creating the perfect book so that you can allow it to be different things to different people.
4. Identify your potential readership
Make a list of everybody who might be interested in reading your book – and I mean everyone! Don’t limit yourself to people you can be fairly sure will like it, or like you enough to pretend they do. Think big and, at this stage at least, don’t let thoughts about the awkwardness of contacting them get in the way. Potential readers include, but are not limited to, anyone who knows you, in whatever role (not only writing), or has known you in the past; people who read your genre; people local to you or to your novel’s setting; and, for an “issue” based novel like mine, communities with a personal interest. I’ve been surprised by pockets of support in places I didn’t expect it but, two and a half weeks post-publication, I’m still knocking on doors I thought would be easier to open.
5. Identify ways of connecting with your readership
If you’ve done Step 1 and cultivated your communities and Steps 2 and 3 to produce a book that people will be happy to champion, you will have a lot of people who genuinely want to get the word out. But going beyond your immediate circles takes a little more courage. To get author and expert endorsements, you need to make contact well in advance of publication and to risk (as with those initial submissions) them telling you they don’t like your book. To get reviews, you need to approach reviewers in a courteous manner and accept that they’ll tell the world what they don’t like about your baby, as well as what they do. If you’re self-published, or with a small press like me, it’s amazingly difficult to get your books into bookshops, but often worth approaching your local favourites to give it a try. If they won’t stock your books, they might host you for a signing session, although with the big chains, even this is proving difficult. Some libraries are more amenable, however, especially if you’re doing author events. Don’t forget the local media, both print and radio. They are always pleased to celebrate an achievement, especially if you can demonstrate some connection with the area. I’m expecting to be in my local newspaper this week, in time for a library event the following Tuesday. I also had a feature in a newspaper that had previously published my short stories as part of a regional competition.
6. Make those connections in as pleasurable away as possible
You won’t be able to do everything, so you need to prioritise. If you’re time poor, you might feel it’s not worth your while to write lots of guest blog posts, as I’ve done. On the other hand, if you enjoy writing articles, or want the opportunity to develop your skills in this area, it might be something to invest in. For the things I found tedious (e.g. contacting a local printer to produce some flyers for my launch events) or scary (having a slot on local radio) I focused on the learning opportunities afforded rather than enjoying it or doing it well.
If you’re particularly daunted by the whole thing, perhaps you should go for quick wins to build your confidence. A launch party is great fun, even for shrinking violets, and I was touched how far my guest had travelled and how pleased they were to have been invited to mine.
Making it pleasurable for your supporters is bound to pay dividends. Write good content for those guest posts (obviously, this one is an aberration). Respond promptly to any queries and thank them for their contribution, however small. Because after all, a writer needs her readers. And you might want to do the whole thing again with your next book.
What strategies have you found most useful in promoting your work? What has been most difficult?
Anne Goodwin writes fiction, short and long, and blogs about reading and writing, with a peppering of psychology. Her debut novel, Sugar and Snails, was published last month by Inspired Quill. Catch up on her website: annethology or on Twitter @Annecdotist.
It’s no mystery that if you are going to be a writer who wants to be read you will need to establish a writer’s platform. In fact, a platform is a vital component to getting published. Literary agents, publishers and even indie or hybrid outlets will most likely expect you to have one established.
Craft is what you write whether you compose graphic novels, memoirs, poetry, genre fiction or academic literature. The end product in print or online is your creation. Platform stands in the balance between craft and creation:
With my first manuscript up for sale, I’ve given much thought to my own writer’s platform. Because I have a background in marketing communications, I have an understanding about basic marketing principles.
A platform launches one’s writing the way a rocket platform launches a space shuttle.
Despite the abundance of media on the subject of platform, I still felt that some areas were nebulous. How can my platform be a shining star for my career if its obscured in space fog? I need to clarify just what my platform is and how it can be effective to my goals.
And let’s pause and consider career and goals for a moment. The reason platforms are different is because different writers have different goals; different publishers have different expectations; thus different platform serve different roles. As you read, consider where you are at on the writing career spectrum:
There’s no right or wrong to why you write. It might satisfy your need to express and you enjoy creating word art among other word artists. You might have a compelling story to share. Maybe you’ve harbored a dream to be published one day. You might even decide that an income-generating career from written communication is one to pursue.
Be clear and know why you write. It matters to your platform.
March 28-29, 2015 I attended the LA BinderCon, “a symposium to empower women and gender non‑conforming writers with tools, connections, and strategies to advance their careers.” I was a scholarship recipient and expressed my need to better understand where I was in my writing career. I built a social media platform, a literary community and have a publishable manuscript. What next?
My biggest light-bulb burning moment clicked when I recognized certain repeated themes, community being one. I also asked questions, listened and came home with gaps in my knowledge filled. I was inspired to return to my personal essay roots after believing that outlet was long dead. I better understand how the markets have shifted, not declined.
Richard Bach once said, “We teach best what we most need to learn.” With that thought in mind, the best way for me to assimilate all the knowledge and information I gained in LA at BinderCon is to break it down into a series of posts. After much consideration, I see that decoding the writer’s platform is essential to my success and most likely to yours.
In fact, many in my community are deliberating issues stemming from platform building. Some mention the workload and others question its effectiveness. Norah Colvin wrote recently about Making Choices. Yes, we do. And I hope I can share timely and practical insights so that you can feel confident and good about the choices you need to make regarding your writer’s platform.
Therefore, I’ll combine what I gained with what I know about marketing in a series, Decoding the Writer’s Platform. Here is what I’ve outlined:
- The 4 Building Blocks of a Writer’s Platform
- Building Block 1: Branding
- Building Block 2: Community
- Building Block 3: Credability
- Building Block 4: Audience
- What You Do with Your Platform
- Time Management & Effectiveness
- Keeping Craft Creative
- Why Community Matters
- Platform Tips From the Stars
As this develops, I welcome comments to foster discussion of this topic. Examples of what you’ve learned, stories of success and questions will help us all as we decode the foundation of our careers as writers, whether we write for fun, business or realms in between.