Category Archives: Marketing

Dividing Your Time

A long time ago, in a writing and publishing galaxy far, far away, authors could write all the time and the publisher would do all the marketing. Not any more. These days, authors must do their own marketing.

But who has time for that?

Dividing timeWell, you’d better make time for it. Somehow. Sure, you want to spend your precious time writing and you don’t like marketing. That’s why you became a writer. Still, it turns out that your preferences don’t really enter into this—you must do most of your own marketing (or pay someone to do it for you).

Let’s assume you’re done grumbling about that fact and have reached acceptance. You know you must spend some time marketing, and now it’s just a question of how much.

After all, marketing does consume time. Book marketing activities include blogging, blog tours, author interviews, arranging for reviews, book signings, podcasts, social media, and making promotional videos.

How are you going to balance all that with your writing? Let’s take two extreme examples, those of authors Ty Prighter and Mark Etter.

  • Ty Prighter wrote all the time. He disdained marketing and refused to devote any time to it. After all, he said, that’s the publisher’s business. Ty believed the more he wrote the better author he’d become; if he became skilled enough, readers would find his books and want more. His books would market themselves.
  • Mark Etter wrote one book. He got so busy marketing it, he had no time to write another. He enjoyed the social interaction of marketing. Mark discovered which marketing methods worked best for him, and ceased the ineffective ones and focused on those that increased sales.

Which of these authors was more successful? Actually, neither writer practiced a good time management strategy.

It was a long time before readers noticed Ty’s books. He did improve his writing, thanks to the time he spent doing it, but improvement was slow due to the lack of reader feedback. He missed out on a lot of sales he could have had if he’d reached out to readers early.

As for Mark, his book did sell, but some of his readers wanted more. He had no more. Popularity of his one book didn’t rise as high as it might have, had there been a sequel, or at least other books written by that author.

Ty and Mark are fictitious examples, of course. For you, in the real world, it’s going to take a balance. More than that, you’ll have to experiment to find the optimal split of time for you between writing and marketing. You may have to force yourself to do the marketing activities, or you may learn to enjoy them.

I wish I could offer you a numerical percentage of time that has worked for me. However, I’m much closer to the Ty Prighter end of the scale. I don’t spend much time marketing, other than blogging. I do enjoy that, but the effect of blogging on sales of my books has been lackluster. I’m working toward a better balance of marketing and writing time, but it’s difficult.

May the force be with you as you figure out your proper time balance. Once you do, consider sharing your wisdom, and leave a comment for—

Poseidon’s Scribe

December 27, 2015Permalink

Dimonstrazione

We’re continuing today with my series of blog posts discussing the principles of How to Think like Leonardo da Vinci, by Michael J. Gelb, and how they relate to writing fiction. Today’s principle is Dimonstrazione, a commitment to test knowledge through experience, persistence, and a willingness to learn from mistakes.

DimonstrazioneIt’s not enough just to be curious about people and the world, as the first principle of Curiosità advocated. You must add to your knowledge and seek truth by testing and experimentation.

In our current Age of Information, it’s so easy to accept the word of experts, to trust Wikipedia, etc. But Leonardo da Vinci didn’t put his faith in the word of others. He put things to the test. He experimented and tried things for himself.

How does this apply to your fiction writing efforts? The world, the web, and even my own website are all full of advice for beginning writers. But no one knows what novels will catch on next year. Your ideas about what might become a bestseller may conflict with every bit of common knowledge out there, but you might be right.

You have to be willing to try things, different things, bizarre things. If they work, ride that wave and keep doing them, even if the professionals advise against it. If they don’t work, stop doing them, even if it means disregarding every expert in the world.

Here are several ways you can employ Dimonstrazione in your writing life:

  • If you’re trying to find out writing habits that work the best for you, try writing at different hours of the day, in different locations, for different lengths of time, using different word processors (or even pen and paper), etc. Find what works best and stick with that.
  • Realizing that some people accept the principle of Dimonstrazione and others don’t, make that a contrasting trait between two characters in a story—one who won’t accept authority and puts established knowledge to the test, and the other who accepts the word of authority as fact.
  • To determine what your ‘voice’ is, try different voices. See which one your readers respond to best.
  • If money or fame are not important to you and you only write for enjoyment, find those genres, plot types, themes, settings, and character types that give you the greatest pleasure to write about.
  • If you’re trying to increase your readership, experiment with the various elements of fiction (plot, character, setting, theme, and style) and see which stories sell the most copies.
  • What are the best conferences for you to speak at? Try several, and see which one causes the biggest uptick in sales.
  • If you don’t know what type of free book giveaway will result in the largest e-mail list, try different types of giveaways—different rules, etc.
  • Study the market and see what’s working for other authors. Don’t copy everything they do, but consider changing your methods to get a little closer to their way of doing things.

The important thing about Dimonstrazione is its philosophy, its approach to understanding knowledge. When you read or hear the advice of an authority, be skeptical and apply some critical thinking. If you believe the truth is different than what the authority says, test it for yourself. If the experiment proves you wrong, admit your error and adjust your beliefs.

Through persistent application of Dimonstrazione, you’ll start to think more like Leonardo da Vinci, or at least more like—

Poseidon’s Scribe

September 6, 2015Permalink

Writing Blurbs

Whether readers buy books online or in a bookstore, they look at the cover first and the blurb second. If the blurb doesn’t grab them, they move on. Don’t kill that sale with a bad blurb.

BlurbA blurb is defined as a short description of your book, written for promotional purposes and appearing on the back cover. That definition sucks all the life out of the word, though. Scratch out “written for promotional purposes” and substitute “written to seize the prospective reader’s attention and imbed an irresistible desire to possess the book and read every word.”

My primary publisher, Gypsy Shadow Publishing, asks for two blurbs for each book—a long one that’s less than 150 words, and a short one no longer than 25 words. Both of these are difficult for me to write, but the short blurb is the toughest.

What should be in a blurb?

  • Hint at the plot or main conflict.
  • Name and mention distinguishing trait of main character(s).
  • Describe the setting or ‘world.’ This is vital in science fiction and fantasy.
  • If available, include quotes about this book or your previous books.
  • If space available, include an author bio.

How do you write one?

  • Study other book blurbs in your genre. Learn the common words and language.
  • Write a summary of your book (if not done already), then shorten it down to its essence. What’s the book’s “elevator speech?”
  • Use image-laden words, those powerful words that speak to readers of the book’s genre.
  • Ensure the tone of the blurb matches that of the book.
  • Write several blurbs and combine the best features.
  • Set it aside for a few days, then read it again. If meh, rewrite.
  • Ask your critique group to comment on it. You are in a critique group, right?

Further Reading

You can find out even more about blurbs from Amy Wilkins, Marilynn Byerly, and the master of writer advice, Joanna Penn. I’ve shamelessly stolen from them in writing this post.

Examples

Here are three of the 25-word blurbs from my most recent books. These don’t contain all the elements noted above, but the 150-word, lengthier versions do:

  • “Ripper’s Ring:” The ancient Ring of Gyges grants the power of invisibility to Jack the Ripper. A Scotland Yard detective tracks a killer who can’t be seen.
  • “Time’s Deformèd Hand:” Time for zany mix-ups in a clock-obsessed village. Long-separated twins, giant automatons, and Shakespeare add to the madcap comedy. Read it before it’s too late!
  • “The Cometeers:” A comet threatens Earth…in 1897! Of the six men launched by cannon to deflect it, one is a saboteur. It’s steampunk Armageddon!

With some practice and creativity, your blurbs should be even better than any written by—

Poseidon’s Scribe

August 23, 2015Permalink

Writing and the Black Swan

My question is, once you understand how the Black Swan relates to writing fiction, will you be so dejected that you’ll abandon any idea of becoming an author?

black swanNassim Nicholas Taleb wrote The Black Swan: The Impact of the Highly Improbable and it was published in 2007. A statistician, the author was trying to get readers to think about low-probability events and our estimation of their risk.

He defined a black swan event as having three properties: (1) it is very rare, to the point of being almost impossible; (2) it has a huge impact on people, either positively or negatively; and (3) people do not (or cannot) predict it in advance, but after it occurs, everyone sees that it should have been predicted since it was obvious all the time.

By the way, Taleb chose the metaphor of a black swan because most swans are white, and black ones are very rare. In fact, people were convinced that all swans were white, until proven wrong. That’s part of Taleb’s point. If a rare event hasn’t occurred today, or yesterday, or for your entire life, you come to believe it cannot happen. Since black swans have a massive impact when they do occur, there is a huge difference between impossible and improbable.

I read the book about two and a half years ago, but I recall Taleb discussing success in writing as a black swan event. For our purposes, let us define success by the amount of money earned from writing. Success in writing, therefore, is rare, has a huge impact on a few writers, and is difficult to predict in advance but obvious afterward.

Taleb would conclude that if we could compile the relevant accurate statistics, the resulting graph would look like this:

black swan and writingThe vast majority of authors earn very little money, while very few earn a large income from writing.

Why is that? I believe Taleb would say that an author’s income is related to the popularity of his or her books. That popularity is determined by readers when they hear about the book, learn that their friends like it, and when they read it and recommend it to others.

People hear about books from various media outlets, so the media plays into book popularity. Luck has a role too, since poorly written books sometimes become bestsellers despite the writing quality.

Let’s say you’re an aspiring author, and let’s assume all the above is true. Does it depress you to know how much the odds are stacked against your success? Does it make you want to give up on your dream?

If you truly are writing for the money, there are things you can do to position yourself for the black swan. You can become really good at marketing; you can seek out (or pay for) media attention. You can practice your writing until you become more skilled at it.

No guarantees come with any of that, but your odds of success will improve a bit. The trouble is, you could strive for years, doing everything right, and still not achieve success because that intangible luck eludes you. That’s disheartening.

Alternatively, you could redefine what success means for you. You could decide you’re not after money, but seeking the pure enjoyment of writing, or the thrill of seeing your name in print. That’s a much more probable event, not a black swan at all.

Still, it’s my hope that the black swan of financial success from writing pays a visit soon, to both you and—

Poseidon’s Scribe

July 12, 2015Permalink

Join Me at BALTICON this Weekend

b49_banner_1

All right, Poseidon’s Scribe fans, here’s an opportunity for you. I’ll be speaking, and generally causing trouble, at BALTICON this weekend. BALTICON is the major science fiction and fantasy convention near Baltimore, Maryland.

Here’s my schedule (subject to change):

Date Time Topic
Friday 10:00 PM Being Out in Fandom
Saturday 10:00 AM Engineers Can’t Write? Some Known Counter-Examples
Saturday 1:00 PM Do You Want Pulp with That?
Sunday 11:00 AM Readings
Sunday 4:00 PM Autograph session
Sunday 8:00 PM Bars, Inns, and Taverns: Fiction and Reality
Sunday 9:15 PM Book Launch: Ripper’s Ring
Sunday 10:00 PM Knowing That I Know That You Know: Xanatos Gambits and Chessmasters
Monday 12:00 PM Long YA, Short YA
Monday 1:00 PM Tropes In Young Adult SF/F

For some of the panels I’m the moderator and for others a panelist. After years of sitting in the audience at these events, now I’ll be one of the authors doing the yakking. A new experience for me.

Stop by, say hi, and listen to the wit and wisdom of—

Poseidon’s Scribe

May 20, 2015Permalink

Video Trailer for Avast, Ye Airships!

Here’s a marvelous video trailer for the anthology Avast, Ye Airships! 

 

The trailer was made by d chang, and the original music composed and performed by Dan Bernardo.

The music and video have a nice, ethereal quality. I love the sounds of—well, it sounds like rope tightening, or planks creaking—interspersed with the rush of wind. You really feel like you’re aboard a steampunk pirate airship. You may even be overcome by an urge to drop everything and buy the book.

I hope you do, and that you enjoy one story in particular, “A Clouded Affair,” by—

Poseidon’s Scribe

March 5, 2015Permalink

It’s All You, Dave

Remember ‘Dave’ from the Staples™ TV commercial from a Dave - Staplesfew years ago?  The guy walked into an office where everyone looked suspiciously like him, and they all greeted each other by saying, “Dave.”  The commercial closed with the voiceover saying, “In a small business, it’s all you.”

If you’re a writer these days, you’re much like Dave.  After all, in your corporation of one, you fill the following positions:

  • President.  Congratulations! You made it to the top, the big cheese, the high muckety-muck.  The company bears your name.  You’re praised when it succeeds, and blamed when…well, let’s not focus on that.
  • Vice President of Purchasing.  In days gone by, this job entailed keeping your business furnished with a functional typewriter, paper, pens, a nice desk, and a comfortable chair.  Now the job responsibilities have shrunk to ensuring a functional computer and a solid Internet connection.
  • V.P. of Research & Development.  This is one of the best jobs in the company, the department doing all the research for your stories.  If you write historical fiction, this is particularly important.  It’s so much fun, however, that this job will take over your company if left unchecked.
  • V.P. of Contracting.  You may not be a lawyer, but you’re going to have to know some basics about contracts.  Just reading the darn things can be tedious—nothing at all like reading fiction.  Once you sign, you’re bound by that agreement.
  • V.P. of Production.  Finally, a fun job.  This is the one you signed up for.  You manage the mental machinery that takes ideas from the R&D department, plus some coffee, and produces polished prose.
  • V.P. of Marketing and Sales.  Your company won’t promote itself, that’s for sure.  If you contract with a big publishing firm, they’ll take care of this, but with smaller publishers or with self-publishing, you’ve got to get your name out there by yourself.  You’ve got to work the social media, speak at conferences, arrange book signings, etc.
  • Chief Financial Officer (CFO).  Unless you’ve got someone else handling the books, the ledgers, the taxes for you, it’s up to you.  Skill in accounting doesn’t always go hand in hand with skill in writing, so your on-the-job training better not take too long.
  • V. P. of Customer Service.  When your customers (readers) complain about the product, to whom do they turn?  You.  Although there’s no need to respond to negative reviews, you should respond to comments on your blog posts, and e-mails from readers.

All those fancy job titles lose some luster when they’re combined in one person, and that’s you.  However, look at the bright side:  decisions get made quickly in your company of one.  All those departments see eye-to-eye; they’re on the same page, so to speak.  No in-fighting, no hidden agendas, no stabbing in the back.

Unlike the conclusion of the commercial, there is no Easy button to push.  Purchasing is the only department Staples™ can help.

However, there are Help buttons, many sources of information to help writers figure out all these specialized jobs.  In fact my blog is dedicated to providing that information.

So, ‘Dave,’ get back to work.  It’s all you.  And I’ll return to my work, too.  At my company, it’s all—

                                                          Poseidon’s Scribe

February 9, 2014Permalink

The Publishing Times, They Are A’Changin’

To distort a line from a Bob Dylan song, times are indeed a’changin’ in the publishing industry.  In the long march from storytellers to clay tablets to papyrus scrolls to bound books to electronic books, each technology has brought a revolution and we’re now in the middle of one.

Publishing

After Gutenberg’s printing press and right up until the Internet, the book publishing industry had optimized into a fairly lean and stable operation, full of specialized tasks.  Each task was fairly well understood.

The writer wrote, and sought an agent.  The agent sought a publishing house and handled all the contractual details for the writer.  At the publishing house, of which there were only a few big ones, the editor polished the prose.  Upon agreement about the text, the publisher took care of cover design, printing, distribution, and marketing to booksellers.  The bookseller catered to the reading public, offering books for sale from their stores.

Despite all the middlemen, that process had been pretty well honed such that readers could still obtain books inexpensively.

With the advent of the Internet, much has changed, and it’s got all of the middlemen wondering what their future role will be, if any.

For the writer, there are software word processors and Internet research options, but not much else has changed.  A writer still must create the prose.

At the other end, the reader has more options, including e-readers and audiobooks, but for the most part reading is unchanged.

But agents, editors, cover designers, marketers, distributors, and booksellers are all left wondering what’s going to happen to them.  These days, writers can connect directly with readers, bypassing all the former steps.  An author can work with a single website such as Amazon, Smashwords, Kobo, and others, to get e-books directly to the reading public.

These websites offer many services, but the writer must do most of the tasks formerly accomplished by middlemen.  This includes reviewing the contract, editing, cover design, and marketing.

So where is all this going?  At what sort of equilibrium state will all this turmoil settle out?

It may be too early to tell, but I think there will be places for all the publishing middlemen in the future, assuming they adapt to an Internet-based world.  Some writers still need agents, editors, cover designers, and distributors.  Some readers still want bound books.  Much like the continued (but low) demand for horseshoes and oil lamps, there will be niche markets for all these functions.

As for me, I have yet to take the full plunge into self-publishing.  So far, with my short stories, I’ve been dealing with an independent ebook publisher, and with publishers of anthologies.

If Bob Dylan’s right, and the times they are a’changin’, where do you think the book publishing industry is headed?  What change would you like to see?  Leave me a comment and perhaps we can change things together, just you and—

                                                  Poseidon’s Scribe

December 29, 2013Permalink

The Life Story of a Short Story

AlexandersOdyssey9Hello.  I’m a short story.  Since Poseidon’s Scribe never got around to blogging about the whole short story process, he invited me to guest blog today.  My title is “Alexander’s Odyssey,” and I was written by Steven R. Southard.  My life story is typical of other tales, and might be obvious to many of you, but the steps weren’t clear to Steve when he started.

Idea1.  Idea.  I started as an idea.  You did too, I suppose, but with stories you only need one human with an idea, if you know what I mean.  Getting a story idea isn’t as difficult as most believe.  Ideas are all around you.

Outline2.  Outline.  This can take many forms, not just the standard I-A-1-a-(1) type.  It can be a mind-map, for example.  An outline can keep you focused as you write, but don’t be afraid to deviate from it if the story takes off in a different direction.  Steve used an outline for me, but if you don’t want to, just skip this step.

Research3.  Research.  You might have to conduct research for your story like Steve did for me.  Use the most authoritative sources you can.  Steve didn’t include all the researched data when writing me, just a tiny fraction.  You might enjoy research, but don’t get stuck at this stage.  At some point, enough is enough.

First draft4.  First Draft.  Steve wrote my first draft fast, without caring about quality.  He didn’t even stop to correct typos.  He got it all down, the emotions, the drama, and the character interactions.

Edits5.  Edit.  Steve did several drafts of me where he corrected typos; deleted extraneous stuff; added in foreshadowing, metaphors, similes, and symbolism, etc.  Don’t get stuck at this stage either; some stories never even get submitted.

Submit6.  Submit.  Steve located a suitable market, and had to modify me a bit to conform to the submission guidelines.  After much hesitation, he submitted me.   These days, you writers have the option of self-publishing us stories, so you could skip this step.

Reject7.  Rejection.  Actually, I didn’t get rejected the first time, but I know the feeling.  I don’t understand why writers take rejection so personally; the editor is rejecting me, not you.  Just shake it off and submit your story to some other market.  Keep us moving!

Accept8.  Accept.  I was pretty happy when an anthology editor accepted me, but Steve was positively giddy.  I’d never seen him so thrilled and, frankly, the details are embarrassing, so I’ll just move on.

Rewrite9.  Rewrite.  The editor suggested Steve change me a bit.  He agreed the changes would do me good, and made them.  I’ve seen Steve agonize over suggested changes to other stories, though.  I’ve even seen him push back against the editor.  In the end, they always reach agreement and Steve signs the contracts.  I guess he could always refuse and walk away if he wanted.

Launch10.  Launch.  These days, publishers don’t just publish us, they launch us.  It does make me feel like a rocket going off, sort of.  Again, Steve seems really happy when a story launches, and again it’s awkward to watch.

Market11.  Market.  If I’d been picked up by one of the top publishing houses, they’d spread the word about me.  Steve didn’t send me there, so he had to do it.  Boy, does he hate that part, though I’ve heard some authors like marketing.  Use social media, newsletters, writing conferences—anything to advertise.

Read12.  Read.  My favorite step.  When a reader buys me and reads me cover to cover, that’s what I live for.

Reprint13.  Reprint.  When the rights to me reverted back to Steve, he submitted me for publication as a reprint.  After three rejects, another market accepted me, but asked for significant changes.  My reprint version states where and when I was published the first time.

Spin-off14.  Spin-off.  Oh, I hope, I hope I can get spun-off into a novel, a play, or even a movie.  Hey, a story can dream, can’t it?

That’s my story.  Forget about Steve, or Poseidon’s Scribe.  Address your comments to—

                                            Alexander’s Odyssey

December 8, 2013Permalink

Your Author Platform

Several years ago, the writing world buzzed about the concept of “author platform.”  Here I’ll briefly define the term, state the purposes of these platforms, describe mine, and offer thoughts on yours.

There are many sites where you can get a good definition of author platforms, notably here, here, and here.  Basically your platform consists of the ways you use to stand out in the crowd, the methods you use to attract a fan base of readers.

An author platform starts with your stories, your books.  From a platform point of view, it’s best if they have something in common—genre, theme, style, etc.  But the other aspect of the term platform is how you connect with readers.  Not just how you connect books with readers, but how you connect you with readers.

There are many ways to do that, including appearances at conferences and other venues, interviews, and your web presence.  Web presence includes blogs, social media, e-mailed newsletters, etc.

What’s the purpose of this platform?  In the ‘old days’ publishers would build a platform for the author.  No more.  Now it’s expected the author will take out saw and hammer and construct it herself.  If a publisher or agent sees that a writer has an existing platform, that represents a low business risk, an established product that’s ready to sell to already-waiting customers.

Readers don’t need to know about platforms, but they do enjoy connecting with authors they like.  When they take delight in a book and do a web search for the author and find a rich and varied web presence, they feel they can join the author’s circle.  When they find the author has other books just as good and similar in some way, they feel comfortable shelling out money for them because there’s a familiar consistency there, a set of established expectations.

For authors, the platform serves the purposes of connecting to both readers and publishers in the modern, web-based world.

Author PlatformAs for me, my platform is still under construction.  I’ve mainly been working on writing stories, as many as I can.  Although I’ve dabbled in different genres, I’ve found I enjoy writing about the problems of people dealing with new technology, especially in historical and foreign settings.  The stories in the series What Man Hath Wrought, put out by Gypsy Shadow Publishing, are the best examples.

My web presence is slowly increasing, by means of this blog, Twitter, and my author page on Amazon.  I’m still working on Facebook and other venues.

What about your platform?  My advice is to do what works for you.  Start with writing stories; hone your writing skills.  If you can get some of them published, even at non-paying markets, that at least gets your name out there.   Then work on the various marketing methods.  As you try things, pay attention to sales and spend more time on things that increase sales and less time on things that don’t.

As with any trend or movement, a backlash is forming with respect to platforms.  See section 3 of this entry.  I think Jane Friedman’s advice to new fiction writers (for whom I write my blog) is sound.  Just write.  Think about writing, focus on writing, enjoy writing, and let the marketing develop later.

What are your thoughts on author platforms?  Feel free to leave a comment and let me know.  In the meantime, see that guy trying to erect some sort of raised dais there in the middle of the internet, using two-by-fours and bailing wire?  Don’t laugh, that’s—

                                                              Poseidon’s Scribe

April 14, 2013Permalink