I posted a link in my Writing to be Read Facebook group a couple of weeks ago. The article discussed the new changes made by Facebook which do not allow us to post promotional materials on personal Timelines. Under the new guidelines promotional posts are only allowed to be made on our Facebook Pages, which are designed to be set up for businesses. If you break the rules and make promotional posts on your Timeline, Facebook can ban you. This information caused quite a stir in my group, and I admit it caused me quite a bit of concern, as well. I came to the conclusion that, as with everything in life, we must learn to be flexible and accoodate change. I changed the title of my Kaye Lynne Booth Screenwriter page to Kaye Lynne Booth Author and Screenwriter and set my automatic posts from WordPress to post there instead of on my Timeline and hoped for the best.
One of the comments I received was a question toward one of the group members who was upset, viewing this as a ploy to force us to purchase paid advertising. The second member asked how using Facebook’s free advertising was going and asked if she had sold many books from it. While I don’t think this change prohibits making promotional posts as long as you make them through allowable channels, the conversation made me stop and think about what we authors are expecting to achieve through such posts.
Free promotion through social media is great. It offers us, as authors, an avenue to get the word out about our writing, without putting a dent on our wallets. For aspiring authors, who haven’t made it to fame and fortune yet, like myself, that’s great. But what results are we expecting?
If you’re thinking your book will rise to the top of the best seller lists, you’re dreaming. That’s not the way it works. The best seller lists, at least those on Amazon, work on algorithms, and if you’re only one of a smattering of books in a category, it may not take many book sales to place your book at the top of the list. Authors who write romance have it a lot tougher, because there are a whole slew of romances out there, a lot of competition, so even if your book is making sales, it may not be enough to launch you to the top because it’s based on the books which sell the most in that particular category.
Likewise, most of the folks who those promotional posts reach are other authors, not the people in your target audience. Authors may buy books, but basically they want the the same thing you do. They are out there to promote their own work. Social media isn’t designed to sell books, although their paid promotions may be quite effective, and anyone who is using free promotions to try and sell books, or anything else, may be sorely disappointed. Social media, my friends, is designed to promote connections, some of which may be quite valuable, but it’s not designed to sell merchandise, hence the word ‘social’. And that is what I get from my promotional efforts on Facebook and any other social media site I use. I grow my blog following and my email list. I find a few people who are willing to review my book. I meet people who can include me in their author services as an editor. I connect with artists who can create the book covers I need. While many are fellow authors, I tap into that as well, offering them interviews or reviews here on Writing to be Read. They get some free exposure and I great content for my blog. It works out great.
That being said, I’ve come to the sobering realization that nothing is free, and I’m going to have to invest some of my hard earned money if I want to boost my book sales. While I can’t afford paid promotion on Facebook or Amazon right now, there are affordable promotions out there.
- There are some affordable avenues of promotion out there. Most recently, I found a promotional site called I Like E Books, which has promotional packeages which range from free up to twenty dollars, which seems promising. They provide promotion on social media channels and other cool stuff, depending on which level od promotion you pay for.
- Although not a promotional site, per se, Book Bub is great for featuring your books under your favorites, so folks can see that they are available. You can follow your favorite authors and hopefully gain some followers of your own. It doesn’t cost anything to join.
- On All Author, you can have your book featured on their site for six months, with twitter promos, weekly mock-up banners, and review posting for a flat fee of $24.
- It’s also free to sign up for PromoCave, which is a site for ongoing promotion via social media sites. It helps on this site to post content fairly regularly, since it will bring readers to your profile.
- BMI Books is a global book marketing site where you can place and manage a book ad for free, although I’m unsure how this one works as yet.
- You may also sign up for free on Write Globe, which has a nice book promotion platform as well as supporting other types of creativity. This site was listed as number one in a list of “Top 7 Websites for Book and Author Promotion” by Alwin Gnanaraj on LinkedIn.
- Creative Designers & Writers is a free international classified site, where you can create and post an ad. It is supportive of other creatives as well and can serve as a platform for collaborative works with graphic designers and artists.
- Books Online Best also allows you to post a free ad in addition to other author services, such as book trailers and author interviews. You can also create a freelance site here.
One day, I’ll be able to afford to play with the big boys. For now, I will be grateful for the benefits I can get from social media, but I will approach it with reasonable expectations, being grateful for every follower I gain and counting any book sales that comes from it as an extra added bonus.
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I’ve heard it asked if a reader platform is even necessary. So, let me ask you, as writers and authors, without readers what are we? Of course, we need to have a reader platform. All it is is a fan base equivilent, but it can make the difference between the success and the failure of our books. Without my readers, there would be no one to buy my books, read my books, recommend my books or review my books. So, how does one build a reader platform?
It’s a good question. And I’ve heard of many different methods of doing just that, and none of them require construction tools. Not even a screwdriver. All it takes is what we writers and authors do best: words, communication, contact.
I started out with this blog, Writing to be Read, and the number of subscribers is climbing as I work to improve the content. The thing is, there was no way for me to capture those subscriber emails or reach out to them. So, I created a monthly newsletter, and added a sign-up pop-up, offering a free e-book as a thank you for subscribing. If you sign up for the newsletter, you get a free e-copy of my paranormal mystery novelette, Hidden Secrets, which isn’t available anywhere else.
The trick is to get people to read your work in the first place. You can’t have a fan or a reader unless they have read something you’ve written and liked it. Nobody will follow you, or write a review, or join your reader group, if they haven’t first, read your book. One way to do that is to identify your target audience and promote to them, offering them all the reasons why they will like your work.
Another, and probably the most important, is to be sure your writing is fun and entertaining, if you’re writing fiction. With non-fiction, you need to make the subject matter interesting and present it well. And humor never hurts, no matter what you write. Even dark works can have dark humor. In short, whatever you are writing, make sure that it is quality writing. This should go without saying, but they won’t become your loyal readers if they can’t make it through the book due to the poor quality writing.
After all, a reader platform is really just a fan base of those who are interested in your work, and by finding them and adding them to your mailing list, you are effectively building a reader platform. With this method, I had a big initial burst of subscribers following the launch of a marketing campaign, then it tapered off to a slower rate of growth. My list is growing slowly, but I’m gaining a few new subscribers every month.
Other authors I know start Facebook reader groups or ask fans to join their street teams. I don’t know how well they work, but it seems there’s always activity happening in these groups and they seem to have lots of members. I would think you would have to have a solid fan base to pull ‘groupies’ from, so perhaps this is just an additional step, rather than an alternative method. Most of the authors I know who have street teams or Facebook reader groups, swear they don’t know what they’d do without them, relying on them to spread the word on new releases, post reviews on release day, find reviewers for their books, and/or show up for support at book events. These authors are harnessing the power of their readers and directing it to where it is needed most. And I’m thinking they might be on to something.
Part of the problem may be that I’m a multi-genre author. To date, I’ve published a western novel, Delilah; a paranormal mystery novelette, Hidden Secrets; and a science fiction time travel short story, Last Call. I’ve also had a dystopian short story and a crime romance short story published in anthologies, as well as shorts and poetry online. Western readers, science fiction readers and paranormal readers are not all included in the same crowd. I’m also eclectic in my reading habits, but most folks want to read only their preferred genres. Now how do I find readers that are so hard core they want to read everything I’ve published?
My answer is, I don’t. I’m finding that I must seek out readers for each one seperately and build a seperate reader platform for each one. The western readers who liked Delilah will be interested in the sequel, The Homecoming, when it’s finished, but they may not be interested in the books for my science fantasy Playground for the Gods series, when the first book is released. And many of my readers are authors themselves and they may be interested in the content on Writing to be Read, rather than any of my fiction works. When I look at it in this way, the task at hand seems to be enormous, the goal so far away. I’m not sure where to start, but I’m determined to find out.
I think a good start would be to find out which of my works the readers I already have are interested in, so I’ve added a genre question to the pop-up for the newsletter sign-up, so that I can place readers on different lists and then new subscribers can receive notifications concerning those works that they are interested in.
All of this marketing stuff is new to me and I’m learning as I go, so if you do sign-up for my monthly newsletter, I’d love it if you’d drop me an email and let me know how the whole sign-up process went, and what worked for you and what didn’t. After all, I’m smart enough to know that without you, my readers, I wouldn’t sell any books. I appreciate the fact that you stand by me. Let me hear form you at: kayebooth(at)yahoo(dot)com.
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Everyone talks about how the rise of digital publishing has impacted the book industry and the effects it may have on authors. Some think these effects are good, while others view them as having a negative impact. It is true that digital publishing opened up opportunities for would be writers, making it so just about anyone can write and publish a book with no need to be discovered by an agent or publisher.
But, it is equally true that many brick and mortar bookstores have had to close their doors due to the competition from eBooks and the rapid growth and expansion of Amazon. And, it’s also true that because it is now so easy to publish a book and authors who publish independently are able to circumvent the traditional publishing gatekeepers, there are no gauruntees that the books we purchase will be of good quality writing. There is nothing in place to be sure the books we put out have been edited. So, it would seem that digital publishing had had both positive and negative effects, depending on which area of the business you work in.
One area of impact that many authors don’t realize or appreciate, is the fantastic promotional opportunities the digital era has supplied for us. Due to social media promotion and email, we are able to access direct communication with fans and followers that via means which weren’t available in the pre-digital era, and this is a great plus for us. We need to take advantage of these great opportunities and listen to our readers, when we’re fortunate enough to get a comment or a review. I try to respond back to every comment readers leave me, and check my reviews for new ones frequently. And yes, these days posted reviews can make or break a book’s success, influencing potential readers, so reviews do matter.
Today’s author doesn’t have a fan base of faceless readers. Today’s authors have the opportunity to make connections with their readers. Some authors have found ways to take advantage of this by gathering their followers together in Facebook groups or put together street teams who actively promote their writing or go out and get reviews for them.
I can see how beneficial these practices are, because I know how much time and energy I have to put into marketing and promotion. But even though I don’t harness my fanbase as a promotional asset, I still appreciate the chance to reach out and chat with my readers to find out what works for them and what doesn’t. And while I don’t have a gazillion reviews on Amazon or Goodreads, the ones I do have are good ones, making Delilah a four and a half star read. It’s all because of you, my readers. So, I can appreciate the impact that digital publishing has had in this area.
The negative impacts, the fading of brick and mortar bookstores, the increase in the number of poor quality books put out. They are still there and likely will be for time to come, although I’ve heard the trend for print books is rising again. Unless digital publishers implement some type of quality control system, or all authors act professionally and create quality writing that’s been edited before publication, a poorly written or unedited book is liable to pop-up here and there, being generally unavoidable.
I don’t have all the answers, and I can’t change trends that I feel are negatives on the industry, but I can appreciate the positives that digital publishing has brought with it. I like getting to know my readers. So, before I sign off on this post, I’d like to urge you to reach out and let me know who you are and what you like, or don’t like, about my writing. It only takes a moment to leave a comment, and I promise to respond to each and every one.
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We’ve reached the final segment of Ask the Authors, which will bring our series to a close. This has been a fun series and we’ve covered a lot in regards to writing. In this segment, our panel members will answer follow-up questions for each segment and wrap things up, so let’s get started. We’ll skip over the introductory segment, as there are really no follow-up questions as to the panel members identity, but if you missed that one, you really should pop in and check it out. Our panel had a great line up, with DeAnna Knippling, Chris Dibella, Carol Riggs, Cynthia Vespia, Tim Baker, Janet Garber, Art Rosch, Margareth Stewart, Chris Barili and Jordan Elizabeth.
I want to thank each and every one of our panel members for their participation. This blog is a labor of love for me, which means I can’t pay for guest posts, etc… The time and energy each author took to respond to all of my, sometimes lengthy and open ended questions is greatly appreciated. When asked if they would be up for another round in the fall, many said yes, so it looks like we have another round of Ask the Authors still to look forward to.
Our first segment takes A Look at the Writing Process, where each of our panel members found different things most challenging, from sharing and allowing yourself to be vulnerable, to self confidence, to marketing and finding readers, to the actual act of writing. The process is never the same for any two authors. Some prefer to write without distractions, while others like to write with music or other things going on in the background. Many authors like to write in public places, such as coffee shops, while others like Tim Baker find this too cliche or just need their privacy for writing, like Carol Riggs. We approach our writing in different ways, as well. While Janet Garber writes in vigenettes, Cynthia Vespia writes her first drafts by hand, and authors like DeAnna Knippling just let the characters go and see what happens, and most of our panel members are morning writers, like Chris Barili. Most of our panel members claim to lean toward character driven stories, but I’m with Cynthia Vespia in thinking that all stories must be a little of both. Most, like Art Rosch and Chris DiBella say the titles of their books just come to them, usually before actual writing begins, while the book is still in the design stage. Be sure to check it out and see what each of our panel members’ best pieces of advise for upcoming authors.
The follow up question for this segment is: What are your top five writing rules for success?
1. Write what you want, don’t follow the trends
2. Characterization is key
3. Have fun with world building
4. Think outside the box
5. And of course show don’t tell
1. Learn your craft. Whether through college studies, mentorship, reading a lot, whatever. Learn what makes good stories.
2. Learn the business of your craft. All the writing in the world does you no good if you don’t know how to get it sold.
3. Find your writing tribe. A support crew of fellow writers is crucial for keeping you going.
4. Submit. Everywhere. You don’t get published if you’re not submitting.
5. Get your ass in the seat and do the work. Don’t wait for the stupid inspiration fairy or muse to sit on your shoulder and whisper bullshit in your ears. Write. Then write some more.
1. Jot down phrases and ideas when inspiration hits no matter where you are.
2. Work on making the language sing.
3. Submit like crazy
4. Don’t take rejections personally. Just move on.
5. Don’t ever give up!
One, be yourself. Write to please yourself. There is no other way to achieve authenticity other than to make your writing a means of exploring yourself, your humanity and the nature of your life experience.
If you’re writing fiction you need a great villain. Nothing propels a story like a character that you hate, someone whom you want to see brought to justice. I pay special attention to writing my villains.
Write with feeling or your readers will not feel anything. Emotion is the fuel of story. Be a storyteller, engage readers with plots that invoke high stakes. The ultimate investment in a story can be the life or death of the characters, or the survival of a society, or the triumph of a civilization. All the elements of story break down into conflicts of virtue versus destruction. What makes a story interesting, however, is when it’s difficult to tell who is good and who is evil. Things aren’t always simple.
A good book has three attributes. It should be entertaining, informative and inspiring. I can loosely define inspiration as the evocation of insight. Insight feels good and you know when a writer provokes an understanding of the human condition.
That’s not exactly five rules, but it’s an overview of things I put in my writing.
Tim Baker: I really only have one rule…keep writing. If you want to be succesful as a writer you have to keep writing. Not only is it the best way to hone your skills, but the more you write, the more chance you have of being succesful.
Chris DiBella: I don’t have any rules for writing “success” because the term success will vary from person to person. What works for me may not work for other writers, and vice versa. There are a million blogs posting the same 5 to 10 rules for how to be a writer, but none of them seem to be putting out any books themselves, so why take advice from someone who isn’t successful doing what they are trying to tell you to do? There’s no secret magic formula, but you can’t be successful if you don’t write…..so just go write.
1. There ARE no rules.
2. Everyone writes lousy first drafts; get the words down on the page and learn to revise.
3. Always have other people check your work for inconsistencies, grammar, punctuation, etc.
4. If you truly love to write, never give up!
5. Not everyone will love your book; it’s subjective and there’s no way your writing will speak to every single person.
1. Write. Don´t stop.
2. Don´t copy anyone else. Find your own voice.
3. Craft your stories.
4. Be humble. Be proud.
5. Keep it up.
P.S. Just write if you have something to tell, and then forget about it all. I don´t believe so much that we can predict success though we need to do our best for it. I see authors who might be famous, and they might not be the best ones, or even the most influential ones, or the ones that are still going to be recalled a century from now. I would rather quote Jorge Amado and say that writing is like living:
“The world is like that – incomprehensible and full of surprises.” Jorge Amado – Brazilian Author.
- Never give up on your dreams.
- Write what you know. Write a book that you would want to read.
- Don’t write a shocking scene just for the shock value.
- Don’t write in a genre just because its selling; write in that genre because you’re passionate about it.
The second segment was on Character Development. Many of our author panel develop characters from real people and composites of people they know, or at least give them realistic qualities and flaws to make them feel more human, easier to identify with, and most admit to having a little of themselves in their characters. Chris DiBella, Jordan Elizabeth, Janet Garber and Art Rosch even offer up real life examples. None of them openly admited to creating characters from archetypes, but I maintain that all characters fit into archetypes, whether the author does it consciously or not. Chris Barili offers his method of character development using a character triangle to determine what the character’s motivation is, what the character’s fear or flaw is, and what it is the character truly needs. It is clear that for all of our panel members and myself, our characters often come alive and take over what happens on the page, surprising even their creators at times. While Art Rosch and DeAnna Knippling like to take a more psychological approach to character development, authors like Tim Baker use life observation to ‘keep it real’. And I don’t think any of the panel members would disagree with Carol Riggs when she stated, “The more rich development you can give to a character, the more the reader can identify with them.” After all, that is what we’re striving for – characters that readers can relate and identify with.
The follow-up question for this segment: How do you evoke emotion in your readers?
Cynthia Vespia: This is one of the most important parts of storytelling, and one of my favorite parts as well. Developing characters that readers resonate with is what stirs emotion. If they can see part of themselves in the character they will gravitate towards them more and that makes them care what happens to them in the end.
Chris Barili: You do that by creating a character they empathize with, then killing him or her, usually. No, wait. That’s the George Martin approach. Seriously–build a character about whom readers care, then put them in situations where they are threatened.
Janet Garber: This is admittedly not always easy. I concentrate on creating relatable and sympathetic characters.
Art Rosch: If you write with feeling your audience will respond with feeling. Fiction is mostly about overcoming obstacles. You cause your heroes to act bravely and unselfishly and your villains to act with malice and manipulation. If you create a lovable hero, (that is, someone with flaws who intends to do a positive thing) your readers will respond. I don’t know if emotion can be taught. Writing is a very psychological pursuit, and our emotions are unpredictable and all but uncontrollable. So…be a psychologist.
Tim Baker: By giving my characters real emotion and letting the reader see it. Whatever emotion the characters are feeling in a particuklar scene I try to have them think and react the way any of us would (as much as allowable for the story anyway).
Chris DiBella: I just try to make my characters as real as possible and hopefully my readers like them enough to care about what happens to them.
Carol Riggs: I write in first person for (what I think is) the most close, personal experience. I also try to include a lot of sensory images—smell, taste, sounds, and sights to make things more real. With crying and sobbing and sad emotions, often less is more; otherwise it starts feeling melodramatic. And if the character is going through general experiences the reader can relate to (betrayal, loss, anger at a friend or parent) that helps make an emotional connection.
Jordan Elizabeth: I rely on my own experiences when writing. Many of the emotions I write about are ones that I have experienced, so I’m able to write from the heart. If its a funny scene, then I’m laughing out loud. If its a sad scene, I have tears drenching my cheeks.
DeAnna Knippling: One of my pet peeves is when an author is obviously playing for my emotions rather than letting the combination of plot, character, etc., do the work in a more logically consistent fashion. You’ve seen it every time a beloved character gets wiped out and it really doesn’t affect the narrative, other than to “inspire” the rest of the characters to carry on or set the grounds for “anything could happen!!!!!!!”
If I want a reader to cry, I better have already wept bitter tears over the manuscript as I was writing it.
Our third segment was on Action and Dialog. While all authors want dialog that flows smooth and sounds realistic, different authors take different approaches to the task. While most of our panel members agree that listening to people and being able to hear the dialog spoken in your head are great ways to approach this, Carol Riggs offers the really great advice to read your work aloud, and Art Rosch offers the advice that dialog should always serve a purpose, rather than being just a space filler. In true life, we tend to talk just to hear ourselves sometimes. In writing, that sort of thing just takes up space on the page and the only purpose it may serve is to bore the reader, and of course, we don’t want that. Achieving a balance between action and dialog seems to come natural for many of our panel members claim the only trick or secret is to keep the story moving and not let it get too bogged down with details. Tell readers what they need to know, but keep things moving. If you missed this segment, be sure to drop in and check it out, because it features excerpts of dialog scenes from authors Chris Barili, Janet Garber, DeAnna Knippling, Cynthia Vespia, Tim Baker, Art Rosch and Margareth Stewart.
The following is a reader comment left regarding Dialog. While a couple of our panel members replied directly in the comments, DeAnna Knippling’s reply seemed spot on to me and I wanted to include it here.
Reader Ken Hughs said:
Lots of excellent advice there.
I’m always on the lookout for ways to analyze dialogue a bit deeper than that. For instance:
Who talks more? Does she say a lot on her favorite subject (an expert, or just concerned about it) and less on other things, or is she nervous or social enough to chime in a little after everything– or so full of herself she does both?
How organized are his sentences? A longer sentence can mean he has a more complex complete thought, unless it’s a run-on; several short sentences could each mean new thoughts still coming in behind the last ones. Or the most eloquent person might be the one with the simple line that says it all.
Adjectives and adverbs? Someone passionate, or more in tune with their senses, is more likely to pile on the modifiers, while others are plainer-spoken. Similes and metaphors take this even further– if you can keep someone from becoming cliche about using their job or background to compare things too.
DeAnna Knipling: It sounds like the commenter, Ken Hughes, is doing some good things with pacing. Huzzah! Once you get past the point of being able to make dialogue that sounds natural and gets the point across in a scene, the next step is to start working on the pacing of the dialogue–and all the issues Mr. Hughes mentioned are relevant there.
To back up a bit for writers who aren’t quite down in the weeds of studying pacing yet:
- Pacing is the art of connecting content (what you’re writing about) to form (the layout of the little black marks on the page, for writers). When the word lengths and patterns, sentence lengths and patterns, scene lengths and patterns all line up with the meaning of the story somehow, the story is “paced well.” Pacing is about building your story like a woodworker, choosing your material and construction techniques to fit the final purpose of the project. Any element of a story can have pacing.
- Each character’s dialogue will also have its own pacing, just as Mr. Hughes says, and it should depend on the nature of the character.
- The examples that Mr. Hughes gives are excellent examples of what to consider with pacing dialogue.
- I’d like to add that anything that you add between pieces of dialogue also reflects the pacing of the dialogue, so if you have chunks of description between bits of dialogue, the reader will take them as pauses in the conversation, or as the POV character’s mind wandering during the conversation.
Mr. Hughes and DeAnna bring up another issue here, which we haven’t really touched on.
Naturally my follow-up question is:What methods do you find effective in controlling your pacing?
Cynthia Vespia: I don’t. I just write what comes to me.
Chris Barili: I don’t know. I just go with what the characters are feeling, I guess. Their tension tells me how to pace a scene.
Janet Garber: Ah. You must make every scene count. Have it lead readers somewhere, to the destination you intend.
Art Rosch: I’ve watched a thousand Samurai movies. They’re great for offering templates for action sequences. Samurai didn’t waste effort in useless display and they were completely focused on surviving the next duel or battle. Unless you’re writing about super-heroes your characters need to operate within reasonable physical parameters. I act out movements and gestures at my chair in front of my computer. Does this look reasonable? Can my characters do this-and-that?
In my novel Confessions Of An Honest Man, I have a 70 page battle sequence that takes place in Afghanistan. It’s a much admired passage with editors and readers. It has an arc, or several arcs. There’s the build-up to an initial confrontation. A mini-climax occurs early in the scene. But it doesn’t end there. A greater threat appears unexpectedly and my hero must cope with expanded dangers. Each time a resolution seems to occur another and greater threat appears. The point of this sequence is that my hero learns things about himself, learns that he has more courage than he thought. There’s outer action but there’s also my hero’s thoughts and emotions as the scene(s) unfold. This pendulum between action and a character’s inner dialogue offers a means of pacing.
Tim Baker: When writing action I try to write only the action. By this I mean if I’m writing an action packed scene I don’t stray away from the action with anything that will slow the reader down. I want the reader to be able to be in the action.
Chris DiBella: I’ve never thought about trying to control my pacing. When I get to action scenes, I just try to write them in a way where I’m describing enough that it paints a picture for my readers. I don’t have a formula for how many pages an action scene should be. I just write them until I feel it’s time to move on with the story.
Carol Riggs: I try to keep some sort of tension, question, or compelling forward movement on every page, whether internal for the characters or external to them. I use cliffhanger-type chapter endings to keep the reader turning pages. It’s also important not to rush the “big moments”—sometimes the pace needs to be drawn out on powerful scenes to heighten the impact or emotions. In an action scene, short punchy sentences help move the pacing along.
Margareth Stewart: Word count and daily targets; otherwise, it does not flow. Sometimes, I feel like I am a General to myself: “for instance, no chocolate if I don´t finish 2.500 word count today”, and there it goes. Other times, I need to be a little more flexible because things do happen in between word counting, not with the plot or story itself, but in terms of living – ordinary living – bills to pay, a tire to fix, and so on. Another good and productive management is during November Writing. Besides that, I use the same method for editing – this week I have to review 50 pages and by the way I am late, so I will have to do extra work at the weekend. Therefore, I have told my kids, we can only go to the cinema if I can complete the goal before Sunday. By the way, that´s another point about being a writer, we feel quite weird and funny.
Jordan Elizabeth: I tend to just write, write, write. I don’t plan my stories ahead; I just go off a basic plot idea in my mind. Pacing falls naturally into place.
In our third segment, our author panel members discussed Setting, where author Carol Riggs suggests basing fictional worlds on real life places as a good method of world building, and travel for authors is recommended in order to expand on their true life experiences that shine through in their writing, although most of our panel members have written about places they have never been or don’t really exist, like Jordan Elizabeth, who writes YA fantasy. DeAnna Knippling loves to write about Victorian England, and all agree that sensory details should be added to make the setting feel more real. This segment also features setting excerpts from Cynthia Vespia, Art Rosch, Chris Barili, DeAnna Knippling and Janet Garber. (Strangely enough, I just realized I gave no follow-up question for this segment, although we could do a whole series on world building and setting. Wow!)
Our fourth segment covered the topic of Publishing, which many authors opt to do themselves these days. Our panel members were a nice blend of traditional, small press and self-published authors, with three strictly self-published authors: Art Rosch, Chris DiBella, and DeAnna Knippling; one author who is strictly small press: Jordan Elizabeth; and five who have done a hybrid combination of small press and self-publishing in one form or another: Cynthia Vespia, Margareth Stewart, Tim Baker, and three authors who have done a combination of traditional and self-publishing: Janet Garber, Chris Barili, and Carol Riggs. Together, they bring their own experiences to the table to talk about the pros and cons of each publishing venue.
I have two follow-up questions for this segment:
Are your books available in print or digital format, or both? Why?
Cynthia Vespia: Both. Because I like to have my work available in as many formats as possible to appeal to different readers. Next I’ll do audio books.
Chris Barili: Both. And why wouldn’t you do it that way? You’re robbing yourself of readers if you ignore one medium.
Janet Garber: My books are in print and in digital form and the first traditionally purchased book is on audiotape as well.
Art Rosch: I need to emphasize a huge fact with regard to the whole publishing venture. It takes money to market books. I don’t have money, I’m living on a fixed income. I started my enterprise by going to Smashwords.com and e-publishing three of my books. I did the same at Amazon. An author can publish digitally for free. I designed my own book covers, using my stock of personal photography and my skills in Photoshop. Such as they are.
I am now about to turn my novel, Confessions Of An Honest Man into a paperback on Amazon. I have no illusions about getting sales. I just want to have a physical object, MY BOOK, in my hands and have it be available to people in my environment.
Tim Baker: My books are available in print, digital and audio (not all of them are currently available in audio, but the ones that aren’t are in production.) The reason why is simple…give more options to people and increase your chances of being read.
Chris DiBella: Both. There are still people out there (somewhere) who like to read physical copies of books.
Carol Riggs: All my books are available in both print and digital formats. This is important, because some readers prefer print and some prefer digital.
Jordan Elizabeth: Both (except for Kistishi Island. I have to sell 500 ebooks before it will be in print). I like having a combination of formats. Some people prefer print and some prefer ebook. I’ve heard from a lot of readers that they have to use ebooks because of eyesight problems. Print books are great for book signings.
DeAnna Knippling: Yes and yes. See writing rule #5. I really ought to be working on audio as well. Readers should be able to read conveniently.
Which publishing platforms do you use? Which do you recommend? Why?
Cynthia Vespia: I’m focused on Amazon at the moment because that’s where the majority of buyers/readers go. I’ve also used Smashwords and Barnes and Noble for digital.
Chris Barili: Amazon and Smashwords for my self-published stuff. I prefer Smashwords because they distribute to a bunch of other retailers, saving me time.
Janet Garber: I used Lulu.com and was satisfied with their speed and the look of the final product.
Art Rosch: I think Smashwords is great. There’s all the support and information you need. Amazon is, of course, the giant, but as with everything in digital publishing, it’s all automated.
Tim Baker: I use CreateSpace, Kindle Direct Publishing and ACX (for audio). Since those are the ones I use – those would be the ones I recommend.
Chris DiBella: I use Amazon and CreateSpace. It’s easy to set up and get my books out to potential readers from those sites.
Carol Riggs: Three of my books are traditionally published, and the publishers distribute in various ways (Entangled Teen uses Macmillan, for instance). For self-publishing, I use CreateSpace and Amazon KDP; it’s relatively easy to release a book on these platforms.
Jordan Eizabeth: My publishers use Ingram and CreateSpace. I can’t speak to the ease of use.
DeAnna Knippling: It’s not so much which ones, as how you decide which ones to use. I’m starting to look at these things as, “How does this company treat its readers? Are the readers happy with the experience?” Another good set of questions is, “How does this company treat its writers? Does it pay them promptly? Does it have good reporting? Do they have good avenues for books that aren’t bestsellers to reach readers? Is the damn site hard to use?”
Our fifth segment of Ask the Authors covered the topic of Genre Differences. Again, we had a nice mix for this topic. Among our author panel members we had: Jordan Elizabeth, who writes YA Fantasy and Steampunk; Carol Riggs, who writes both Fantasy and Science Fiction; Tim Baker, who writes crime action adventure novels; Cynthia Vespia, who writes speculative fiction for adults and teens; and those who dabble a little in all of them: Janet Garber, Chris Barili and DeAnna Knippling. They discuss the use of tropes when writing in the different genres, and also the differences in the creative process, the different types of research required, and the differences in audience and marketing. No follow-up questinos for this segment.
In the sixth segment, our author panel discusses The Business of Writing. According to Jordan Elizabeth and Carol Riggs, marketing can make or break you in the world of writing, and in today’s digital world, much or all of those duties fall upon the author, requiring us to treat writing not only as a job or a passion, but as a business. Today’s author may be responsible for everything about their book, from writing the book, to editing and cover art, to publishing, to marketing and promotion, and everything in between. While many of these tasks can be hired out, not all authors can afford to do so. I didn’t have any follow-up for this segment, mainly because the next two segments were follow-up to this.
For the seventh segment of Ask the Authors, our author panel discusses the many ways there are to Building an Reader Platform. Most of our panel members prefer face-to-face events, over online activities, but it seems they continue to use the Internet and social media to promote their books, feeling that both are needed. Some panel members come up with some very creative ideas, like Tim Baker, who had a tire cover made for the spare on his Jeep with his logo on it, or Chris DiBella, who had customized tee-shirts made telling the world that he is their next favorite author. Who knows? It might work.
The follow-up question for this segment is: What methods have you found successful for obtaining reviews?
Cynthia Vespia: Asking. I ask other writers, or I seek out bloggers who do reviews.
Janet Garber: Approaching authors who write in a similar humorous fashion; writing reviews myself as a pay-it-forward tactic; bugging people who enjoyed the book.
Art Rosch: I completely suck at this and it’s my own fault. I must have social media halitosis. There are billions of people who don’t know about me. I’ve been hammering at this for many years and haven’t cracked the code yet. I do recommend one author-marketing guru (among the many who haunt my email inbox). That’s Mark Dawson. He refunded my money long after the expiration date for one of his courses and he didn’t have to. He teaches at a good pace and he has much to offer to authors who want to market independently.
Tim Baker: I haven’t found a successful way to get reviews. People generally don’t like to write them. I’ve done everything from blog posts, social media requests and even offered to include people in a book if they wrote enough reviews. It’s the thing I find most discouraging about writing.
Chris DiBella: I don’t like to hound people for reviews. There are some authors who post constantly about it, and I find it annoying. We all want reviews, but it seems some authors will only ask for reviews from people they know will give them a favorable review. I simply do not like that approach. The way I look at it is the reviews will come in time – or maybe not. They’re nice to get, but I don’t stress about it. I also have my own little rule of thumb of not to trust any book with less than 15 reviews of all 5-stars (unless there’s some bad reviews in there too). Anyone can get 15 friends or family members to write a good review. It’s that first bad review I usually trust the most. Same goes for my books. My first bad review was actually pretty spot-on with the critique. She liked the story, but drilled me on editing. No friends or family members would have left a review like that. I pulled the book and re-edited it. Of course it sucks to get bad reviews, but they can be turned into a positive. And for the love of everything you consider holy, please stop arguing with readers who give you a bad review. Let your fans battle it out for you.
Carol Riggs: My publishers used NetGalley for obtaining reviewers from bloggers. A newsletter also works decently for requesting reviews. I try not to ask for reviews too much, however, because it’s off-putting. Either a reader will leave you a review or he/she won’t. No one should be obligated; an author doesn’t get honest reviews that way anyway.
Jordan Elizabeth: Author friends have told me they have good luck when posting free books on Facebook in exchange for reviews. I haven’t had luck that way. I usually reach out to bloggers. Most of the time, they are willing to review.
Just a note: I also see the other side of this issue, as I do honest reviews in exchange for ARCs right here on Writing to be Read. The problem I’ve run into is that since I’m supplied with a free copy, at times Amazon will not aknowledge my reviews because they can’t verify the sale. I imagine those exchanging reviews on Facebook might run into the same type of issues. So, even if you can give away some e-copies in exchange for a review, there is no gaurantee that Amazon will acknowledge it.
DeAnna Knippling: Asking nicely. I was using Instafreebie for a while, but I think that exhausted its readers fairly quickly, because it was mostly a platform for trading newsletter subscribers, not a sustainable model. What new readers was Instafreebie bringing to the table? Not as many as the authors themselves had brought. I did well by it, but I think that was a matter of getting in at the right moment and not “what a great site for reviews!”
I think your best bet is to treat reviews like a pyramid. At the base, write good books and make it easy for readers to read more. Next level, make it easy for your newsletter subscribers to get review copies. I have an ARC list. Up from that, whatever social media sites you’re on, keep an eye out for ways to attract reviews OR newsletter subscribers. At the top of the pile is a review that will be seen widely, a review on a radio show or in a newspaper, things like that. Go for it when you see it. But be more loyal to your base of writing good books and making them easy for readers to read them.
In the last segment, our author panel members discussed many of the issues involved in Book Marketing and Promotion. This is a big topic for many authors, including me, because unlike writing, it does not come natural to us. It is such a big issue that a couple of our panel members, DeAnna Knippling and Janet Garber, bowed out of this segment, rather than express the frustration of not having the answers. But those panel members who did participate had some insightful things to share. They talk about their favorite social media sites for promotion, marketing and giveaway sites, marketing platforms, the effectiveness of author websites and blogs, newletters, press releases and interviews. Be sure and catch this segment, or you’ll never know why Chris DiBella’s mother is his greatest marketing tool.
The follow-up question for this segment is: Many of you said in last week’s segment that you preferred face to face events over Internet and social media marketing and that you found face to face marketing to be more effective. What type of face to face events have you found to be effective?
Cynthia Vespia: The reason conferences don’t work is because there are waaaayyyy too many writers all vying for attention at these things. Also, the majority of the writer conferences only alot 1-2 days for signings and sales that are usually only a few hours long. That is not enough time to make a dent in sales or really do any type of networking with your readers, especially when there are so many other authors there doing the same thing. Some of the more popular ones get all the attention. So imagine you’re a little fish in a sea of whales…how do you get noticed? I’ve run into some very bad etiquette at some of these things before, as well. The guy next to me would skate every sale I tried to make by talking over me and offering a free book. How do you compete with free? You don’t.
So the face-to-face events I prefer are my own individual signings, smaller book fairs, or (and I hate to mention this because it was a well guarded secret before) but I do the comic conventions and they work the best. Plus, they’re alot more fun.
Chris Barili: I’ve found genre cons to be MUCH more effective at selling books and gaining followers than writing conferences, and if you think about it, it makes sense. A genre con is full of fans of whatever genre you like. They’re LOOKING for genre stories. At a writers conference, writers are there looking to SELL stories.
Janet Garber: I find book fairs and readings most enjoyable as I get a chance to speak with the potential readers. Being a guest at a book club meeting is great too because you hear your characters discussed as if they were real people and you learn what readers liked and didn’t like.
Carol Riggs: I personally like/prefer book fairs or festivals over bookstore signings, because they’re more informal. I feel less “on the spot,” and I don’t have to make a microphone presentation. Instead, I can conversationally chat with people who come up to my book table. It feels more like a relationship that way, instead of a “buy my book” spiel. For instance, last summer (as well as this coming summer) I will be participating in the Lane County Fair in Eugene, Oregon, with a book table. Last fall I was also part of the Literacy for Libraries author event in Eugene, and I enjoyed schmoozing with fellow authors and with the crowd who wandered through the building. Sometimes authors can band together and create their own events at libraries and bookstores; it’s less intimidating than going it solo. The purpose of these events aren’t to sell as many books as you can, but rather get to know your readers and get your name out there—that’s an important marketing tip that a seasoned author shared with me.
Jordan Elizabeth: I prefer craft shows and library events. The crowds are manageable, and as I write young adult, many teenagers and children come with their parents. Parents and grandparents are also eager to buy gifts. Because these events are smaller than most conferences, you’re able to have a one-on-one conversation. You get to really understand what types of books these people read and you can gear them toward the book like might like the best.
DeAnna Knippling: Some people are great salespeople. I am not. That’s not some kind of subtle insult or anything. I’m learning. But I’ve always found networking more valuable to me than selling per se. If a sale comes out of it, great. And I’m not like, “Here’s my business card, call me!” To me, a face to face event means that people are far more likely to put their hair down and tell me things. Interesting things. Gossip. Rumors. Scandalous lies! And I love connecting other people and providing a safe place to talk. I have a SF/F/H writer group, the Colorado Tesla Writers, that is basically just a Facebook page and a monthly meal for people to hang out and feel like Real Writers(tm) and let our hair down. That’s it. I’m not sure what it’s effective at, but people tell me that it is, so I keep doing it.
To wrap up this last segment, I want to thank our panel members for the great writing rules. If you create characters who are not only realistic, but who the readers can identify and empathize with, and if you write with emotion which comes from your soul, you can evoke in your readers and make them care about your characters and your story. And while pacing is important and can be controlled with tension, conflict, action and dialog, most of our author panel don’t consciously write with pacing in mind, but rather it seems to come naturally. Also, we may need to pace ourselves to get the story out, as well as controlling the pacing of the story itself.
It does make sense to offer your books in as many formats as possible, because readers aren’t all the same. Amazon and Smashwords appear to be the favorite for digital publishing and CreateSpace was preferred for print publishing, although I believe they have made some changes and now Amazon is also providing print books as an option, so that may change.
Reviews are an author’s calling card these days, and it seems the best way to get them is to ask, whether in a newsletter, in person, or in the book itself, but it’s best not to be pushy. Genre conventions, book fairs and festivals, book signings, and library events are the preferred face to face events to make connections with readers.
Well, it’s time to bring our time with our Ask the Authors panel members to a close. I do hope we’ve provided some helpful information and advice for all you authors out there, and maybe even made you smile once or twice. Thank you all for joining us. Be sure to watch for round two, this fall, where we will have several of these panel members back, as well as inviting other authors to join our panel. The best way to be sure not to miss out on this and all the other great content here on Writing to be Read is to sign up for email notification of follow me on WordPress. I hope you all will drop in frequently.
Next Monday, on Writing to be Read, I’ll be interviewing author Mark Shaw, who has optioned his book, The Reporter Who Knew Too Much, for film. Something all authors dream of and some actually get the opportunity to do. How exciting. We’ll also be talking about his new book, Courage in the Face of Evil, which is to be release in June. Don’t miss it!
I want to extend a big thank you to our panel members, Carol Riggs, Tim Baker, Jordan Elizabeth, DeAnna Knippling, Chris DiBella, Art Rosch, Janet Garber, Margareth Stewart, Chris Barili, and Cynthia Vespia. You guys and gals were a great panel and together we created a great Ask the Authors series. I feel it was very successful and I had a lot of fun with it. I hope all of you did, too. Until next time.