A Writer’s Eye View of Social Media Promotion

Social Media

Social media is great. Or is it? From a writer’s perspective, maybe a little of both. On the one hand, promotion on social media can and often does bring readers to your blog,  or book, or article, or whatever you are promoting. Some sites are more helpful than others in this regard. There is no doubt that social media promotion draws attention, but then you have to figure out the other side of the equation.

Promotion on social media takes a lot of time. And I mean a lot of time. Think about it. First you have to share a link on your timeline, or page, or wall, or whatever. That doesn’t take long. But then you have to share it in groups, and for me, there are a lot of groups to share in. Okay, so after you’ve spent between thirty to forty-five minutes or even up to two hours, (depending on how fast your internet connection is operating, how fast the site you’re sharing on is operating, and how many groups you are sharing the post with), and the post is shared everywhere you wish to share it, you’re still not done.

No. Because you see, social media is set up for social networking. You don’t want to drop into each group and post your promotion, then go about your business. No. When you join a group, you are expected to participate, rather than just promote. If you want people to like, comment, or share your posts, you’ve got to do the same for them. That’s how social networking works. And let me tell you, it is easy to get caught up thanking folks for liking or sharing your posts, responding to comments on your posts and liking, commenting on and sharing the posts of others, and before you know it, several hours have elapsed.  This part of networking needs to be done each day, even when you don’t have any promotional posts to make.

So, now consider that I spend up to two hours promotion, two or three times a week, which is what I do for Writing to be Read. You need to socialize daily. I try limiting myself to one hour of socializing online on days I’m not promoting, so I can promote my work, but not appear to be a self-absorbed spammer. Just doing that adds up to ten hours a week.

Most recently, I participated in a Book Release Event on Facebook for the promotion of my recently released western, Delilah. I was one of many authors who did either half-hour or hour long takeover slots in a two night event. In a takeover slot, the author makes posts aimed at both promotion of their own book and entertainment in the form of silly, but fun, party games and giveaways. My investment was several hours in planning and preparation, plus one evening and a partial, and another afternoon responding to comments and contest wrap-up, and it’s yet to be seen if there will be a significant rise in sales which might be attributed to the event.

Of course, it isn’t just Delilah I must promote. I also promote my short story that I have on Amazon, Last Call, and writing that I have in online publications such as Across the Margin and Zetetic: A Record of Unusual Inquiry.  And of course, I spend a good deal of time promoting this blog, Writing to be Read. It’s not that I don’t like social media promotion. It allows me to interact with my readers others in the business, and I truly do enjoy that, but it takes a lot of time. That’s time that is not spent writing.

Promotion is a necessary evil to me, and it must be done on top of writing queries and cover letters and submitting completed novels to publishers or agents, and articles, stories and poetry to the publications they might appear in, checking and responding to emails, searching the web and applying for freelance jobs, in addition to holding’s down a full-time day job. And then, I have to find time to live some resemblance of a life. Oh yeah, and somewhere in there, I have to actually sit down and write, both for my freelance jobs and my own stuff, for blog and for sale. And I must find time to read the books I review. So, you see than ten hours a week can be tough.

This isn’t the first time I’ve brought this subject up. In Today’s Authors Wear Many Hats, which I posted back in October, I wrote about the different roles an author must play and how they’ve expanded because of the digital age and the rising trends in self-publishing. Promotion and marketing are just two of those hats, but they’re important ones. Most of us are among the starving artists, and can’t afford to hire someone to do it for us, or spend a lot of money boosting posts to reach more people, and social media is an avenue of promotion which is free, or at least fairly inexpensive.

Bottom line – Promotion and marketing do require that we spend at least a minimal amount of time on them, but as writers, it’s a necessary part of the job. Like the artist, who must sell her own paintings, or convince a gallery owner to display her wares, we must peddle our creations, whether we publish them ourselves, or are picked up by a small press or traditional publisher. And social media is a big part of that in today’s market. Social media drives traffic, and we need traffic, because traffic leads to sales, at least theoretically.


Most People Won’t Put Their Money Where Their Mouth Is

Delilah Cover

Warning: Rant Ahead

I’ve been seriously writing for seven years, and I can’t tell you how many friends and family members have been there offering support and encouragement. For the last year, since I graduated for my M.F.A. with two novels completed they have all continued to urge me on with enthusiasm, promising to purchase a book if I get published and inquiring about getting on pre-order lists. I felt myself fortunate to have so many staunch supporters.

 

I’m not talking about all those folks out there that ‘like’ your posts without actually following the link and reading the blog posts, or buying the book. That kind of thing happens all the time and is to be expected, because these folks don’t really know you. No, who I’m talking about are those who actually know me, people I felt I could depend on to be there and back me up in all circumstances.

So, maybe you can see why I might experience confusion when, after my western novel, Delilah, was finally published, I expected to have a few sales, not hundreds or anything, but at least a few. When checking on it’s progress, I found Delilah had two reviews so far, with a four star rating, which pleased me to no end. In fact, one of the reviews compared me to a feminist Louis L’Amour, which is pretty high praise for a western.

However, when I inquired as two my sales, my publisher informs me that I have only two. At least both buyers wrote reviews. So where are all my avid followers who love me and couldn’t wait to buy my book? It seems all of my supporters have disappeared into the woodwork, so to speak. Not one has honored their vow to buy my book, not even my own family members.

I think the thing that makes me the angriest is the fact that they all know how hard I’ve worked to get this far, but as soon as they are asked to fork out some cash, and we’re only talking ninety-nine cents here, they vanish. I don’t see or hear from them anymore, or if I do, the subject of the book isn’t mentioned, but rather, it is skillfully danced around. And now it is apparent, they are not willing to spend a buck on my book, the work they claimed to have so much faith in. Am I wrong to be hurt and disappointed?

Since the publication of Delilah, I have worked hard to promote the book and stir up some sales. I have made blog posts talking about it, shared them all over social media like crazy, sent out ARCs to be reviewed. I did an interview with author Dan Alatorre on his authors blog, which can be viewed here. My publisher even set up two days, where readers to get the book for free, and still only two sales.

I wasn’t expecting to be an overnight best seller, and I suppose I need to keep in mind that those two sales produced very good reviews. I want to take time out here to thank those two readers who actually bought Delilah and took the time to write a review.  Because, as I’ve mentioned before, these days, reviews are everything. Not that good reviews will bring increased sales, but they do make a difference.

According to Amazon you have to have the magic number of fifty reviews before they will deem your book worthy of their promotion, and I’m learning fast that fifty reviews will not be easy to get. I’d venture that most books available on Amazon don’t make the grade, and that marketing and promotion can make or break a book, because to gain readers, people have to be able to find your book and want to read it. Because they can’t write a review, if they haven’t read the book.

I imagine many authors go through these same feelings. It’s all a part of the writing game. Now that I have that out of my system, I’ll get back to the business of writing, and promoting my writing. So, wish me luck, and if you like gritty westerns, spend a buck on Delilah.

 


Spreading the News

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Being a newly published author is a big deal. At least it is to me. Now that I have a book to promote, that’s where I’ve been spending a lot of my time. After all, I want to send my book off right. So, for the past few weeks, that’s all you’ve heard from me, talk about Delilah.

I’ve learned that promoting my book is even more work than I had anticipated, which is not to say that I’m not relishing every bit of it, even though I moan and groan about most marketing activities. I’ve promoted my heart out, appealed to readers for reviews, applied for a Goodreads author page, (next, I have to figure out how to do the same on Amazon), contacted people about release parties, and I’m doing an author interview with Dan Alatorre.

You can read my author profile, which includes that interview on Dan’s blog today, so I hope you all will check it out. You can read my author profile here. And don’t forget stop in here and read my interview with Dan, which will be posted here on Writing to be Read next Monday.


A Published Author At Last – Now It’s In My Readers’ Hands

Delilah Cover

The exciting news this week is, Delilah is now available in digital format! It’s something I’ve been waiting for for quite a while, so of course, I am ecstatic. But, something many aspiring authors may not realize is that publication isn’t the end of the road. No, it’s actually just the beginning of a new chapter in the book of writing, this one titled Sell that Book.

For those of you who aren’t familiar with my road to publication, I started Delilah back in 2012, when I entered the M.F.A. in Creative Writing program at Western State Colorado University. The assignment given by my instructor, Russell Davis, was to write an excerpt in a genre outside our comfort zone. I was assigned to write in western genre, and low and behold, I found not only am I good at it, but I like writing western. Four years later, that small excerpt, grew into a 60,000 word western novel which I’ve been trying to find a publisher for over the past year.

You see, writing the book, while a great accomplishment unto itself, is only half the battle. It doesn’t do any good to write a story, if no one ever reads it. In order for that to happen, the book must be published, and while I could self-publish, (I had considered it), I held out hope of finding a publisher, and in the end my persistence paid off.

So, now that I got Delilah published, with the help of Dusty Saddles Publishing, I must get the word out through marketing and promotion. I must get people to read, and maybe more important, write reviews.

Reviews are where it’s at these days. According to Amazon, reviews are how you get your book promoted, and I just read somewhere that Amazon has recently increased the number of reviews needed for them to promote your book, from thirty-five to fifty or one hundred.

The question is, where do I get reviews from? Although I do honest reviews here, on Writing to be Read, I don’t know many other bloggers who do. So, it comes down to appealing to you, my readers, to buy Delilah, read it and then go onto Amazon and Goodreads, (Delilah will be listed there soon -another thing I still need to do), and leave a review.

If you are willing to go to the trouble of doing all that, I thank you, but I also ask that you leave a review that is honest. While I would love you to leave a review which sings Delilah’s praises, I want it only if it is heartfelt. If you see problems with my story, I need to know what they are, in order to improve my writing of future books, so I am asking for honest criticism, if you are kind enough to leave a review at all.

In the end, it’s up to you, the reader, how successful Delilah, or any book, will be. So, buy the books you want to read, (which I hope includes my debut novel), and be kind. Leave an honest review.

 

Kaye Lynne Booth does honest book reviews on Writing to be Read in exchange for ARCs at no charge. Have a book you’d like reviewed? Contact Kaye at kayebooth(at)yahoo(dot)com.

 

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What’s a Reviewer to Do?

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I started Writing to be Read to promote my own writing and to help other authors, through writing reflections and reviews. We’re all in the same situation. Marketing and promotion are a big part of writing these days, and authors are expected to self-promote to some extent, even if they are traditionally published. The way that books are being rated now, in many places, including Amazon, by the reviews they receive. I post partial reviews on both Amazon and Goodreads for this reason, and have even taken the time to post on Smashwords and Barnes and Nobles upon request from the author.

But, what is a reviewer to do when a book she’s reviewing falls short of all expect a film, like my review of Angel Falls Texas on Friday? Every review I publish has an end note at the bottom which reads like this:

“Kaye Lynne Booth does honest book reviews on Writing to be Read in exchange for ARCs at no charge. Have a book you’d like reviewed? Contact Kaye at kayebooth(at)yahoo(dot)com.”

I don’t believe in charging for a review because I don’t believe in paying for a review. And I don’t believe in that because I don’t think you can get an honest review when it is paid for. And I do believe a review should be honest. While I amin favor of promoting other authors with my reviews, I don’t believe in hyping up a work when it is not deserved.

Too many authors get their books on the best sellers list simply by having great reviews posted by those who love the author, but don’t honestly reflect the quality of their book. It’s sad but true. (To learn more about what that best seller label really means, check out this article by Brent Underwood.)

As I shared my post for my review of Angel Falls Texas last Friday, I reacted with a sad on each one, because I hated having to publish such a negative review. It’s certainly not going to help the author sell books, which is usually my goal. In this case, to post a review to encourage sales would have made me feel dishonest to my own readers.

I do both solicited and unsolicited reviews. Those that are unsolicited are from books I purchased on my own and I use them as fill in posts when I don’t have any solicited reviews to publish. With reviews that have been solicited by the author or I have requested an ARC from the author, which don’t rate at least three quills, I usually contact the author, tell them my assessment, and offer them the chance to not have the review published. Most authors, like my author friend Chris Tucker, opt to publish the review and take their licks, but there have been a few who have requested that I hold off publication. These authors, hopefully, then go and make revisions to improve their book and then have me give it another chance. I’d rather do that than post a review that may hurt sales.

I try to be fair in my reviews. If a book is one of a genre that is not one of my favorites, I will state that in the review, being upfront about anything that may have influenced the my opinion. But honestly, as authors who are putting their work out there, we all take the chance that someone out there will not like our work, for whatever reason, and will post an unfavorable review. After all, we are only human, and we are never going to please everyone.

As a reviewer, I know I’m not going to love every book that I review. There will be times when my reviews will be less than shining, but I have to be true to myself and to you, my readers, and publish how I honestly feel. All I can do is try and be specific about what I didn’t like in the hope that the author will take it like a critique and find something useful from my feedback to help to improve their writing or the value of the product they put out.

I think the number one thing we, as writers, can do is remember what one of my Creative Writing professors, Russell Davis, said when talking about receiving critiques from our cohorts,

“Remember, it’s not about you. It’s not personal. It’s all about the writing.”

 

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“Horror 101: The Way Forward” Offers Good Advice for Authors and Screenwriters

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This is the longest book review I have ever written. This book was so packed full of useful information for rising authors and screenwriters that I felt I needed to cover it all. If you are an upcoming horror author or screenwriter, trying to figure out how to get a foot in the door or where to start in the matter of launching your career, Horror 101: The Way Forward offers “career advice by seasoned professionals”. Different writers will find different essays useful, so I’m giving you a rundown on all the informative essays included.

Compiled by Crystal Lake Publishing, this collection of essays has something for every writer. The anthology features quotes from the masters such as Stephen King, Ray Bradbury, Isaac Asimov,  J.R.R. Tolkien, Jack London, Clive Barker, H.P.Lovecraft, Edgar Allen Poe and many others. Advice from professional writers and editors covers all aspects of the horror writing business, and the business of writing, in general. From submitting your work, to marketing and promotion, to self-publishing and building your writing business, to crafting your work and the writing process.

The answers to many questions on the topic of submissions and all other aspects of writing as a business are found within its pages. Not getting positive response from your queries? First read Rejection Letters – How to Write and Respond to Them by award winning author Jason Bark, which offers an attempt to write a rejection letter that doesn’t sting, (at least, not so much). Then, flip to Seven Signs that Make Agents and Editors say “Yes!” to learn what agents and editors look for. Buttoning Up Before Dinner by horror author Gary Fry also offers advice to put you in the good graces of publishers and editors and create well-written stories.

Unsure how to submit your work? Submitting Your Work: Read the F*****g Guidelines by freelance writer and editor John Kenny offers tips for making a professional submission from an editor’s perspective. And What a Short Story Editor Does by horror, fantasy and science fiction editor Ellen Dallow explains the responsibilities of short story editor.

Looking for sound career advice? Be the Writer You Want to Be by television writer and novelist, Steven Savile recycles the best writing advice the author was ever given. The Five Laws of Arzen by award winning dark fiction author Michael A. Arzen offers hints to help you survive a writing career. How to Fail as an Artist in Ten Easy Steps: A Rough List Off the Top of My Head, by Confirmed Failure… by horror author John Palisano provides a reverse list of things you should do to be a successful writer.

Wondering if you need an agent to get your work in front of editors and publishers? Do You Need an Agent? by author Eric S. Brown is a discussion about the need, (or not), for an agent and relates the personal experience of how the author became successful without one. Also included are essays on building your writing business in Balancing Art and Commerce by author and screenwriter Taylor Grant , offering a look at various mediums one can write in and earn a living & advice in the business of writing. There are even essays offered on the lucrative business of ghostwriting, with a personal experience as a ghostwriter shared by dark fiction author Blaze McRob, and Ghostwriting: You Can’t Write it if You Can’t See It by award winning author Thomas Smith instructs on how to step into the author’s shoes and write like them.

If you are hoping to find some help muddling through the vast world of marketing and promotion, The Year After Publication by horror & thriller novelist Rena Mason offers an account of what to expect once you publish your first book and a walk through the exhaustive process of book marketing. How to be Your Own Agent, Whether You Have One or Not by horror writer, editor and publisher Joe Mynhardt offers tips for marketing your stories and yourself.  Reviewing by founder of Ginger Nuts of Horror, (one of the most viewed resources in horror fiction), Jim McLeod discusses getting your book in the review pile & what the writer should do while awaiting publication of the review.

If you’ve  not attended a conference or convention before, Pitch to Impress: How to Stand Out From the Convention Crowd by editor R.J. Cavender provides a guide to making a pitch that will snag agents’ and publishers’ attention. Tips for networking at conferences are offered by dark fiction author Tim Waggoner in You Better (Net)Work, and Networking at Conventions by Bram Stoker Award winning author Lucy A. Synder offers a look at the benefits conventions have to offer and a breakdown on some of the major ones for horror writers.

There is a plethora of advice offered on publishing, including a comparison of traditional publishing vs. digital publishing in Weighing Up Traditional Publishing and Ebook Publishing by award winning author Robert W. Walker; Publishing by editor and publisher Simon Marshall-Jones compares publishing in the digital arena with the way it was done in the past & how to become an independent publisher; and Glenn Rolle Toes the Line with Samhain Horror Head Hancho, Don D. Auria by Glenn Rolle with Interview that maps Auria’s rise to the top.

The arena of self-publishing is also explored in Make Your Own Dreams by horror and suspense novelist Iain Rob Wright. Besides being a plug for self-publishing’s evening of the playing table. It relates personal experience and advice for self-publishing, walking us through the self-publishing process. Self-Publishing: Thumb on the Button by author Kenneth W. Cain gives a list of things to think about before you choose to self-publish.

Also included are essays on the different mediums for horror: Poetry and Horror by Blaze McRob, and Horror for Kids: Not Child’s Play by novelist Francois Bloemhof offers guidelines for writing horror for youth. Several essays on comics and screenwriting, (one of the biggest outlets of horror today), are also included.

Horror Comics – How to Write Gory Scripts for Gruesome Artists by novelist Jasper Bark discusses the craft of writing horror comics and the relationship between writer and artist. Some Thoughts on My Meandering Within the World of Dark and Horror Art by artist Niall Parkinson offers thoughts on creating dark and horror art. So You Want to Write Comic Books… by novelist C.E.L. Welsh discusses what goes into the making of a comic book.

From Pros to Scripts by author and screenwriter Shane McKenzie talks about the many challenges of screenwriting. Writing about Films and For Film by award winning writer, editor and screenwriter Paul Kane gives the story of the author’s rise to success and tips for learning the lingo of the business. Screamplays! Writing the Horror Film by award winning author and screenwriter Lisa Morton offers the basics of screenwriting, description and dialog, and tips for getting your screenplay made into a movie. Screenplay Writing: The First Cut is the Deepest by author, director and editor Dean M. Dinkel recaps of the author’s experience at the Cannes Film Festival.

Essays on writing a digital world include Running a Webserial, or How to Lose Your Mind, One Week at a Time by Southern author Tonia Brown, providing a brief history of serials and a rundown of what goes into running one on the web; Friendship, Writing, and the Internet by Bram Stoker Award winning novelist Weston Ochse with reflections on online connections with like-minded writers, and Audiobooks: Your Words to Their Ears by horror novelist Chet Williamson discusses what it takes to create and audiobook and what to expect from the effort.

Of course, there is also plenty of advice on crafting a quality story. What is Horror? by author and novelist Graham Masterson offers general writing advice which could be applied to any genre and instructs on how to push your writing to the edge. The Journey of “Rudy Jenkins Buries His Fears” by author Richard Thomas takes us on a walk through of the writing, editing and submissions process of a story. Writing Short Fiction by horror and thriller novelist Joan De La Haye offers tips to tighten your writing and move the story forward, and discusses where to look to sell your story and how to choose where to submit. Ten Short Story Endings to Avoid by Scottish horror novelist William Meikle supplies a valuable list, if you want to avoid having readers feel cheated. From Reader to Writer: Finding Inspiration by publishing and editing consultant Emma Audsley  offers advise for attacking the blank page. Writing Exercises by horror writer Ben Eads  provides exercises in description and dialogue. Writer’s Block by short fiction writer and novelist Mark West discusses how to keep the creative juices flowing. Editing and revision are covered with Editing and Proofreading by author and editor Diane Parking presents good reasons not to send out a first draft, and How to Dismember Your Darlings – Editing Your Own Work by Jasper Bark gives a brief guide on how to self-edit.

A few essays outline the needs of a writer and suggestions on how to meet them. Filthy Habits – Writing and Routine by Jasper Bark  offers a look at the benefits of creating a daily writing routine. A Room of One’s Own – the Lonely Path of a Writer by horror and fantasy writer V. H. Leslie discusses the need for solitude and space to write in. Writing Aloud by screenwriter and author Lawrence Santoro outlines the benefits of reading aloud as a part of the writing process.

Also included are Partners in the Fantastic: The Pros and Cons of Collaborations by novelist Michael McCarty, which looks at the views of various authors on collaborations, and Writing the Series by series author Armand Rosamilia, which explains why Rosamilia writes series.

Several essays offer advice specific to writing in the horror genre. Making Contact by award winning novelist Jack Ketchum discusses how to turn what you know into a horror show. Bitten by the Horror Bug by horror author and screenwriter Edward Lee looks at what motivates us to write horror. Reader Beware by author Siobhan McKinney explores the role fear plays in horror. Bringing the Zombie to Life by author Harry Shannon maps out four components of a good zombie story. The Horror Writers’ Association – The Genres Essential Ingredient by author and President of the Horror Writers’ Association (HWA), Rocky Wood gives  a rundown on the HWA

What’s the Matter With Splatter? by horror writer and Vice-President of the AHWA, Daniel I. Russell discusses the use of blood, gore and splatter in horror fiction or screenwriting, gives tips on how to use it to gain the desired effect, and discusses why some gore doesn’t get a second thought. Avoiding What’s Been Done to Death by British horror writer Ramsay Campbell defines good horror fiction & emphasizes originality. The (Extremely) Short Guide to Writing Horror by dark fiction author Tim Waggoner offers an introduction to writing horror, including techniques and brief definitions, and a list of good resources for horror writers. Growing Ideas by horror writer Gary McMahon offers a look into the author’s writing process. Writing Horror: 12 Tips on Making a Career of It by horror novelist Steve Rasnic Tem instructs on building your own writer’s toolbox and advice for entering the profession of writing horror. The Cheesy Trunk of Horror by international best selling author Scott Nicholson provides a look at both writer and reader perspectives on horror and dark fiction. Class: Vaginas in Horror by science fiction, urban fantasy and horror novelist Theresa Derwin offers an overview of women in the horror industry. And the afterward by Crystal Lake Publishing’s editor, Joe Mynhardt, includes his own advice for writing horror.

Horror 101: The Way Forward is based on the sound advice of seasoned professionals that is useful to horror writers in any stage of their careers. I recommend it with four quills for anyone who wants to write horror in either fiction or screenwriting.

Four Quills3

 

Kaye Lynne Booth does honest book reviews on Writing to be Read in exchange for ARCs at no charge. Have a book you’d like reviewed? Contact Kaye at kayebooth(at)yahoo(dot)com.


It’s All in Finding the Right Market

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My friend and cohort, author Jeff Bowles wrote a post Choosing to Become a Better Writer vs. the God Complexwhere he offers advice on what to do when your novel hasn’t been picked up by a literary agent as soon as you’d hoped, as is currently the situation with his thesis novel. I had to chuckle when I read this, not because the post was meant to be funny, (it wasn’t), but because of the timeliness of the post, as I find myself in the same situation and I have been pondering what to do with my own thesis novel, Playground for the Gods: Book 1: The Great Primordial Battle.

Jeff’s advice is sound. Revise. Submit. Repeat. And he’s right in saying that to achieve success in writing, as in most things in life, you must persist in your efforts and endeavor to persevere. In fact, I’d decided on the same course of action for my novel, with a slight twist and a lot of determination. So, my first 2017 New Year’s writing resolution is to get my thesis novel published in the coming year.

Since completing my thesis novel, the first novel in my science fantasy Playground for the Gods series, I’ve submitted it to seven publishers and four literary agents. It was rejected by two agents and four publishers, and is still waiting for word on three publishing houses and two agents. I don’t hold out hope of hearing from the agents, many don’t even bother to respond unless they’re interested, but the publisher who has had my submission the longest has had my submission for six months. There may still be hope there, but I have to wonder.

I’ve been feeling a bit discouraged with these results, so I started thinking about why my novel wasn’t catching the interest of publishers or agents. e first thing I looked at were my query letters. So, the first thing I looked at were my query letters. As I said, I’ve sent out multiple queries for the first book and been rejected multiple times. I looked at all my queries to see if the problem might be in my presentation.

The query letter is an author’s introduction and it is very important. It’s the first thing an agent or publisher sees, and it determines whether they chose to get to know you and your work better. A query should look professional, and it should tell the publisher or agent about the work you want them to buy into and about the author. It raises their interests and gets them to ask for more than just the excerpt you sent with it. A request for a complete manuscript is the ultimate goal.

Some of you may know the story behind this novel, but for those who don’t I’ll relate it briefly. The summer I presented the proposal packet for my thesis novel was the worst summer of my college career. I had this great idea for a story about a species from a different planet, who come to Earth and present themselves as deities. It was to be a science fantasy novel with a strong female protagonist, Inanna. I presented my idea to my cohorts and nobody got it, (this was partly because I was trying to cram way too much into one book, but at the time it just felt to me like the idea wasn’t well received and I was crushed). So, maybe publishers and agents weren’t getting it now, the same way my cohorts and instructors didn’t get it then?

This led me to take a hard look at the audience which I thought I was writing for and the types of agents and publishers I’ve been pitching to. I’ve sent out my queries for my science fantasy novel to publishers and agents who handle both science fiction and fantasy. Something I had overlooked was that the biggest audience for science fiction and fantasy are young adult readers.Epiphany! I’ve been pitching to the wrong audience!

Because of the summer from hell, mentioned above, my thesis novel has turned into a four book science fantasy series, Playground for the Gods. Book 1: The Great Primordial Battle shows the destruction of the Atlan home planet, which explains the reason they are searching for a new home and chose Earth, and how it was almost destroyed before they could make it their home. Book 2: In the Beginning tells the story of how the Atlans made Earth their home and cohabited with humans, and how Inanna becomes the goddess of war and love, forcing her to deal with the dualities within herself. The hero’s journey that Inanna takes in my original story will now be the Book 3: Inanna’s Song. In Book 4: Enki’s Folly, Enki, (the sort-of anti-hero), tries to fix his past mistakes by traveling through time.

By the end of my courses, I had Book 1 and it’s complete submission packet, Book 2‘s chapter outline, synopsis and partial first draft, along with the outline, synopsis and a few chapters of Book 3 completed. If I could do that major transformation in less than a year’s time, I’m thinking I should be able to transform my books into a YA series with minimal revision.

Next, I took another look at the story itself, and I realized that aside from a few instances of harsh language, this book almost reads like a YA novel. Most of the characters are teens, although Atlans don’t experience time the way humans do, (what passes for a year for us is comparable to a millennia for them), and still, some are more mature than others. The series has many of the YA tropes already: a young female protagonist who is idealistic,  (Inanna); a perfectly perfect Mary sue character in Inanna’s BFF, (Ki);  missing, or at least distant parents (Atlan familial units are pretty messed up); plenty of half-human/half-something else characters – mermen and Minotaurs, the characters are diverse;  and there’s a rebellion against the existing power structure, (in reverse).

The one thing that might prevent Playground for the Gods from becoming a successful YA science fantasy novel is the degree of sexual content, which is actually vital to the story line. We’re not talking about unnecessary sex here. We are talking about the story doesn’t work without it. Although it could be toned down some, I imagine I would have several parents who were hot, should I try to market this series as YA, even though it has a lot of the expected tropes. So, I had to look once more at audience, where I took an in-depth look at a market called New Adult.

New Adult has protagonists aged 18-24, and is aimed at audiences aged 18-30, but may appeal to readers of 30 or more. Just as some YA may appeal to adult readers, so New Adult may appeal to older readers, as well. It carries steamier sexual content, that you probably wouldn’t want your thirteen year old reading, but is perfectly acceptable for older readers. In a 2014 article on Book List Online,  YA or NA?, by Michael Cart, Harliquinn Senior Editor Margo Lipschultz points out that “NA rose to popularity as a subgenre that bridged the gap between contemporary YA and contemporary romance, it’s gradually expanding… ” NA is not just a romance market any more, and I’m thinking that the steamier scenes in the PfG series could find a home there.

Another 2014 Book List feature article, What is New Adult Fiction?, by Gillian Engberg, Donna Seaman and others quotes Neil Hollands, adult services librarian at the Williamsburg (VA) Regional Library as stating,

“…librarians talking about NA are often thinking of books that appeal to “both male            and female readers, in their late 20s and 30s. The books we’re looking for try to capture        the feel of a generation, including integrating technology’s effects on communication          and relationships, new outlooks on a range of political and social issues, and more                  recognition and blending of the genres that younger readers are most familiar with.”

Now that sounds like my series. While it still has some of the YA tropes and qualities, it also has more mature content and deals with social and relationship issues, the value of technology for better or for worse, and characters in the right age bracket basically, (give or take a few million years), and would appeal to an older audience of new adults.

From my very first M.F.A. class it was drilled into us the important of knowing your audience and doing the research. And I did do my research in the adult market, and now I’ve done my research in the YA market. But, after discovering that it’s a little too steamy for YA, I’ve gone back to research the NA markets, and I’m currently revising The Great Primordial Battle for an NA audience. When I’m done, I plan to promote to the NA markets with high expectations, while I get busy on Books 2 and 3.

Leave a comment to let me know if you think I’m on the right track with PfG: Book 1: The Great Primordial Battle.

You can find updates on the Playground for the Gods series on its Facebook page, here.

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