Twittequette Tips Part 2

by Jemi Fraser

Last year, I posted some Twittequette Tips (Etiquette on Twitter). If you're new to Twitter, you might want to check some of these out, especially if you're considering interacting with agents/publishers.

Today's rant topic is DMs. DMs are Direct Messages, private conversations between 2 Tweeps.

If we've only just met (meaning you followed me, and I followed you back), there's probably no need for us to have a private conversation yet. Let's get to know each other first!

I've had plenty of DM conversations with people I know well on Twitter, but for the most part (for me at least), Twitter is about having fun and making connections with other people, and most of those conversations can be carried on in public. DMs are a great way to warn Tweeps when their Email accounts have sent me spam, to ask/send email addresses, along with other more obvious uses.

(Warning: Personal Pet Peeve Rant Ahead)

If we've just met, please don't send me a DM and:

• ask me to buy your book or other product
• link me to where to buy your book or other product 
• ask me to give you money through a fundraising link
• ask me to like your FB page

If you met someone in a coffee shop, on the street, or at a friend's house, would your first sentence to them, your first conversation, be to ask them to buy your stuff???? I sincerely hope not!

Don't do it on Social Media either.

I've bought dozens of books written by friends I've met through social media, probably well over a hundred by now. NOT ONCE have I bought a book by someone asking me to do so via a DM.

Marketing is tough. Lots of our authors here at FTWA have posted advice on that, and will continue to do so (click on the Marketing link in the sidebar!). Maybe this seems like an easy way to promote, but, for me, it has the exact opposite effect.

(Okay, rant complete)

What do you think? Are automated DMs requesting a new follower buy something okay or annoying? Have you bought anyone's book that way? Or (like me) have you unfollowed people who pester in DMs?

Jemi Fraser is an aspiring author of contemporary romance. She blogs  and tweets while searching for those HEAs.

The Stages of Grief--Um I Mean Marketing (*nervous laugh*)

It is t-minus 6 months and counting.  Another book launch for me.  There will be celebration of course.  Releasing a book into the wild is always an achievement, and an act of faith.  It must be celebrated as such.  It is also a signal to release the demon: the marketing monster.

Most of us who write do not say to ourselves, “Hey I want to be an author so I can market the hell out of my creations.  You know if I could JUST do the marketing, I’d be in heaven.”  No, what most of us say about the promotional aspects of this gig would be patently inappropriate for a blog post.  Yet marketing swiftly becomes our primary focus, our obsession, and the monster hiding under our bed—from six-months out to six-months post-release.  That’s a year of our lives mes amis.

See--this is the book.
And clearly I am a publicity whore

This morning as I sat down at my desk I found myself thinking not (with delicious anticipation) of finishing a draft of my wip (I am within striking distance), but of what I could do or say about my soon-to-release-novel that wouldn’t sound like “buy my book” and wouldn’t make me feel like I was naked on a street corner during rush hour.

And then, out of nowhere Elisabeth Kübler-Ross’s stages of grief (which I allegedly learned in a psychology class somewhere in my distant past, but which actually lodged themselves in my brain—as so many things do—only as a result of a piece of popular culture, Bob Fosse’s “All That Jazz”) popped into my mind.  In case they are not fresh in your mind, here they are, the big five: denial, anger, bargaining, depression, and acceptance.

They are supposed to describe how we’d feel if we lost someone dear to us but frankly I think they do a credible job of explaining the phases of book promotion.  Hear me out.

Denial—Good books sell themselves right? I am with a big five publisher, they will take care of all the publicity and marketing for me.  That’s their job.  Writing is mine.  It’s too early to be thinking about pre-sales/sales/reviews.  If I start this early I will burn out.  Jeez, I am burned out already and I haven’t started.

Anger—F**k this s**t!  I feel like a whore, and not even an expensive one.  I hate having to remind people that books that start their lives with strong pre-orders are printed and distributed in larger quantities, stay on shelves longer, and are displayed more prominently.  The thought of sending notes to people on my xmas-card list reminding them I have a book releasing gives me hives.  I am NOT doing this, do you hear me! Not. Doing. This.

Bargaining—Fine, I will send the post cards.  But surely I don’t need to start thinking about marketing my book until a week or two before release.  After that I swear, I SWEAR I will be all about that novel, but for the next few months I want to be about what I am writing now. Pretty please?

Depression—I am doomed.  This book is doomed.  I can’t even get my own siblings to pre-order.  They just said, “nice postcard.”  Probably, screaming, “did you order the damn book” was not the best response on my part.  I am going to be seated at the kids table for Christmas.  I am not going to be invited to Christmas.  I do not know why I am finishing my wip, because if sales are not good on the new release I will never have another published work.  I wonder if I can be a dog walker?  Too bad my own dog does not even like me.

Acceptance—Marketing, for better or worse, is a large part of what I as an author have to do in modern publishing. This is true whether I am with a major publisher, a small publishers, or I choose to indie publish.  The day of the “recluse who just writes” are past—unless and until I hit super-star status, and then I will buy a castle and let the books sell themselves. So, I will square my shoulders and divide my writing day.  Six months out it will be 75% wip and 25% laying the groundwork for launch. By the time my launch is a month out, that will be flipped.  For the last week before and the first six weeks after launch my wip will be my “treat,” and working on it will replace my other leisure activities.  I will sign books, blog, be present on social media.  I will carry a stash of postcards in my glove compartment and another in my purse.  I will support the efforts of my publicist and my marketing team at every turn and I will come up with ideas and actions to supplement what they do.  I will thank them—often.  I will thank my friends, and remind them that having bought the book they are not obligated to read it.  I will not ask them what they think of it.  I will be merciful.

Oh, and I will NOT forget all this.  I will not make myself go through these damn phases again . . . until I do ;p

Sophie Perinot’s next novel, Médicis Daughter--set at the intrigue-riven, 16th century French Valois court--will be out in December of 2015.  But you can ABSOLUTELY pre-order it now.  DO IT! She does not care if, once it arrives, you use it as toilet paper on your next camping trip.  To find out about Sophie's previous literary endeavors, visit her website, or her FB page.  You can also  follow her on Twitter as @Lit_gal

The Art of ARC-ing

by MarcyKate Connolly

Advanced review copies, or ARCs, seem to spark two distinct emotions in debut writers: elation (my book is a book!) and confusion (what the heck am I supposed to do with these?). To add to the confusion, depending on your publisher and your contract, you could get anywhere between one single ARC to 20 or more.

Once you’ve got the requisite joy out of your system and have spent some quality time getting to know your ARCs....

Sit back and relax with your ARCs....

And don't forget to show it off to your friends!

...you will likely be told to use them for publicity and outreach.

I know a lot of new authors cringe every time they hear the word publicity, so I thought I’d share some practical ways you can use ARCs for outreach that may or may not be on your radar already:

Getting to know your local librarian. If you’re an introvert (like me), the idea of cold calling/emailing/visiting your local librarian in the hopes they’ll buy your book can be terrifying. However, having something to actually give them (in this case one of your lovely ARCs!), can make that a whole lot easier. It provides an opening for discussion and there’s less pressure. And if you stop by your library and they’re not available, you can always leave the ARC with a staff member in the appropriate section along with a note, a bookmark, and your business card.

Getting to know your local bookseller. Depending on your publisher, your local bookstore may already have ARCs of your book, so this may not need to be high on your list if your publisher is one of the Big Five, for example. But even if they do have your ARC already, it can be a nice gesture, and again, an opening to discuss books in general, as well as the possibility of doing an event there when the book is out. Also, if you’re a young adult author, some indie bookstores have ARC buckets for teens to read and review, which is another opportunity to look into.

Send it on tour! If you’re a debut author (especially a children’s author) you might be part a debut group, most of which tour ARCs among their members. This is a great idea for a couple reasons: 1) If other authors on the tour are comfortable rating your book on Goodreads, then it can give you some good reviews early on 2) It’s an excellent way to begin word of mouth for your book and 3) when you get it back at the end of the tour, you’ll have all sorts of notes from the readers, making a great keepsake.

Give one to a local teacher. (More for YA/MG/Picture book authors, than adult) If you have children in school or know people who are teachers in your local area, consider asking if they’d be interested in reading your book. School visits can be a great way for children’s authors to connect directly with readers, and gifting an ARC could pave the way for one.

Give one to a book blogger. If you’ve made connections to book bloggers, you may want to consider one or two who are particularly excited about your book. Many book bloggers will passionately talk about books they love. This can be a great way to activate word of mouth for your book. 

Send one to your local paper. Always check with your publicist at your publisher before doing this (provided you have one). But if your local paper has a books section or highlights local people, the ARC along with a brief press release could get your book an article or review.

Goodreads giveaway. This is also something to check with your publisher about first, as many do this and you don’t want to duplicate efforts. If they’re not running one it can be a great way to connect with Goodreads users who may not yet have heard of your book.

Blog/social media giveaways. People LOVE to win stuff. You can setup a rafflecopter giveaway to make the entry requirements things like following you on twitter, facebook, tumblr, etc. The trick is to keep those new followers engaged after the giveaway is over!

Annotated ARC giveaways. Annotated ARCs are a fun thing to giveaway and readers love seeing the notes, fun facts, and behind-the-scenes info. However, they can be time-consuming because you’ll need to go through your entire book and handwrite those notes. If you have the time and inclination, an annotated ARC could set your blog/social media giveaway apart.

Blurbs. Again, depending on your publisher and agent, you may not need to request your own blurbs from established authors. But if you do, those ARCs will come in handy.

Friends and family. This may not have the biggest impact publicity-wise, but giving an ARC to your parents or best friend or whoever you dedicated your book to can be a lovely and much appreciated gesture.

This list is, of course, by no means comprehensive. Please share your suggestions and ideas in the comments! :)

MarcyKate Connolly writes middle grade and young adult fiction and becomes a superhero when sufficiently caffeinated. When earthbound, she blogs at her website and spends far too much time babbling on Twitter. Her debut upper middle grade fantasy novel, MONSTROUS, will be out from HarperCollins Children's Books on February 10, 2015!

How's Your Franily?

by R.S. Mellette

No, your franily is not some body part that you've never heard of. It has nothing to do with your furnace, health insurance, permanent record, or any of the other things we worry about in life. Your franily is the combination of your family, friends, and fans. It is where all artists begin their professional journey.

I used to think that was kind of pitiful. Poor van Gogh, only sold a single painting in his lifetime, and that was to his brother. Okay, one sale does suck, but there is no shame in it being to a family member. This isn't a starving artist thing, it's a starving entrepreneur thing. As soon as a friend or family member gets a job in sales, who is the first person they pitch? You. So why should you be worried about hitting them up to buy your book, see your play or movie, come to your opening, or whatever?  That's just the way the world is, especially these days.

Of course, the trick to longevity in any business is to increase your franily. Outside of marriage and children, your family isn't going to get statistically larger. You can grow your list of friends, but doing that for sales isn't the best thing for your soul – except on Facebook, but that's another matter.

So the best thing you can do is grow your fan base. Doing that is something people make careers out of, but the cost effectiveness of hiring a publicist is, arguably, prohibitive. If you're going to grow your fan base, how do you do it?

First, you need to find a foothold. What is your starting point?  For most, that foothold is friends and family. Each of them have friends and connections. Sure, only a tiny percentage of them will be willing to help you, so you have to figure out how you can help them. For example, many of my friends have nieces, nephews, grandkids, etc. who are the right age for Billy Bobble Makes A Magic Wand, which is 10-16. That's a tough age to shop for. My book helps them stuff a stocking or add to a pile of birthday gifts. That in turn helps me, not only with a sale, but hopefully to add a fan or two to my base.

So, great. That's one or two sales, maybe ten if you count all the friends who actually help you make a sale. What next?

When I worked at Busch Gardens as a street performer, employees used to make fun of the tourists who came to the park. I think this sort of thing happens in every business. It's an easy defense mechanism to lampoon those you have to interact with on a daily basis. I remember one day walking through the park afterhours, and enjoying the woods that surround the Williamsburg, VA attraction. It really is beautiful. The architects didn't just slap down some concrete and rides. They made a real park that happens to be full of amusements.

While I was in this little euphoric moment, I thought about the tourists. Who were these people I entertained for thirty minutes six times a day?  My answer? They were me. If I wasn't working there, I'd be playing there, and some employee would make fun of the sunburn on my growing bald spot.

Tourists are just regular people getting away from their regular lives, coming to me for some escapist entertainment. When they go back to work, I'll be going to them to straighten out some problem with my health insurance, or returning a stupid gift without a receipt.

Your fans are the same way. They are you. Obviously, they share your interests because they've read your book. As for the fans you haven't reached yet, look for them as if you were looking for yourself. When you find them, you might find something you didn't know about you and your franily.

R.S. Mellette's new book is Billy Bobble Makes A Magic Wand. He is an experienced screenwriter, actor, director, and novelist. You can find him at the Dances With Films festival blog, and on Twitter, or read him in the Spring Fevers, The Fall: Tales of the Apocalypse, and Summer's Edge anthologies. 

Writing is Exactly Like Selling Tractors

by Cat Woods

 

Tractors are my bread and butter. Not mine, specifically, as I have no experience selling them. In fact, I can barely tell the difference between a tractor and a combine. Yet, after twenty-plus years of marriage to an Ag Manager, I know a thing or two about Dear Hubby's expectations for his sales force. 

 

Basing my marketing plan off his successful sales model makes perfect sense to me. And once I’m done, you should walk around thinking tractors and books aren’t really all that different.

 

• Writing is a product. Books, like tractors, must provide the buyer with their heart’s desire.  Each novel, picture book or how-to has a purpose. It may be sheer entertainment, or it may have educational value. Regardless of why it is written, the end product is useful. Just like a tractor is to a farmer. The more useful you can make your product, the better opportunity you will have to sell it. Writing for kids? Why not include educational aspects that teachers can build on in the classroom--a topic RC Lewis wrote about here. Got horses? Find a way to appeal to 4H students.
• Writers must know their genres. Field marketers must know their tractors. Not that I want to buy a tractor, but if I did, I would find myself a reputable dealer knowledgeable about their products. I would never buy a tractor from a business that only sold lawnmowers and garden weasels. Likewise, I would never write a Sci-Fi on time travel using quantum physics as a basis for reality. Though I graduated in the top 10% of my class, I can honestly admit that I am physic-ally illiterate. The moral here: write what you know--or learn what you want to write. Either way, it's a win-win. Because if you don't, you will put out a sub-par product that will not withstand the test of time.
• Writers must have a brand or a platform to successfully sell their books. Tractors have Case IH and John Deere (among others). Some farmers buy on color regardless of the product–simply because of branding. Many book-buyers purchase books based on name recognition. In a side by side throw down, the familiar name almost always beats out the competition. So get out there and get known--without forgetting the power of real-world connections. I was recently asked to speak at a local women's group about my YA. Seventeen members were there. All seventeen bought a book.  
• Authors must be approachable. I would never buy my hypothetical tractor from a curmudgeon. If I walked into a dealership (and I have walked into many) and the field marketer glowered at me, ignored me or was otherwise unapproachable, I would find myself another dealership. A writer must like (or appear to like) her readership. Bashing kids as a nasty breed is not likely to endear me to my potential buyers. And if you think for a second that people aren't looking, you're wrong. How we conduct ourselves in the cyber-sphere, as well as in real life, has a big impact on the way others perceive us. As hard is it might be, we have to learn to talk about ourselves and our writing without bragging--sometimes in the least expected places. Our ability to do this smoothly and graciously can make the difference between selling or sitting on the hypothetical book shelf.
• Writers must deliver. A cool cover blurb might entice me to shell out my hard earned cash on the first book, but if the writing doesn’t equal the promise, I guarantee I will never buy from Author Anita Sell again. Ever! I’ve been married to DH long enough to know that farmers are equally demanding. Bad performance = negative repeat business. Good service = customers for life.
• Authors are field marketers. We must sell our stories, our names and our personalities. We must engage potential readers and be unafraid to put ourselves out there. On a trip up north, I walked into a bookstore and hand delivered--free of charge--one of my YA novels. The three workers--including the owner--were thrilled when I told them it was theirs to enjoy. A potential sale? Maybe. If not, I'm only out a handful of dollars. So I say to you, set aside your fears and take a chance. After all, the worst thing a farmer can do is say no. Readers are no different. 

To become successful authors, we must care about our readership and deliver the goods. Failing this, don’t bother heading to the nearest Ag Dealership and asking for a job. Their field marketers are held to the same high standards.

If we are lucky, our books will grow wheels and drive themselves right off the shelves!

What's in your marketing plan? What scares you about being a field marketer for your own product?

While Cat Woods does not sell farm equipment, she does sell her intellectual property, such as her middle grade novel, Abigail Bindle and the Slam Book Scam, which is slated for release this September. She also sells herself--as an author--and will be speaking at regional Young Writer's Conferences this upcoming year. Her words of wisdom: don't be afraid of seeking out venues for your words, because if you never ask, the answer will always be no. For more writing tips, visit her blog, Words from the Woods. And while you're there, check out the call for submissions for a middle grade anthology on bullying. Because if you never ask, the answer will always be no.

Assessing the Value of Tools

by Matt Sinclair

What sells you when you decide to buy a book? Perhaps you were drawn by the cover art. Did the title catch your eye first? Was it a blurb on the back? You may have read a review and decided long before you ruffled the pages that this was the next item for your to-be-read pile.

As an author, all these are valuable tools to employ. Some are harder to come by. Not everyone is going to see their book reviewed by the New York Times. For self-published authors, a mention there might happen only if the book becomes a surprise hit and warrants a news story. To be sure, that’s quite valuable in itself, but again not a likely outcome.

Reviews on Amazon and Goodreads are something all of us should be seeking for our books. But even these might be hit or miss. To be sure, it’s nice when people indicate a book is now on their “Want to read” list, but it’s more significant when “AvidReader123” writes a three paragraph review of glowing praise, especially if Avid has written half a ton of other reviews that people found helpful.

Let’s go back to the blurb. These are certainly nice to have. And for the unknown writer, they can be more than just nice. Imagine how helpful it would be if your publisher got Stephen King to blurb your debut psychological thriller. That could certainly translate into sales. It could even generate buzz.

But blurbs from brand name authors are awfully tough to get, too. Agents know to protect their authors from blurbing too often. I know writers who are kept on a strict one-blurb-a-year diet.

Ok, so Stephen King won’t blurb your book and neither will his son Joe Hill. But what if one of those guys tweeted your book’s debut? Might that be worth something to you? What if George Takei shared mention of your novel on Facebook? Think his followers might take notice? Honestly, I think those might be more valuable than a blurb these days.

Of course, such electronic real estate is also hard to come by. Heck, finding a twenty dollar bill on the ground might be more common. But it still might be easier to get a tweet than a blurb.

Think of your own social media habits. Don’t you share things you found interesting? You’re writers: what are you reading? That’s a form of endorsement in itself. If you tweet out what you’re reading, some of your followers might check it out, too. Perhaps you’d enjoy sharing a bevy of your favorite covers on Instagram.

The key is having a well-stocked toolbox. Some tools are sharper than others, some cost more or have limited use. But assess what each one can do for you -- and for others. In the end, you get back what you give.

Matt Sinclair, a New York City-based journalist and fiction writer, is also president and chief elephant officer of Elephant's Bookshelf Press, which recently published Summer's Edge and Summer's Double Edge, which are available through Smashwords (SE) (SDE) and Amazon (SE) (SDE), and include stories from several FTWA writers. In 2012, EBP published its initial anthologies: The Fall: Tales from the Apocalypse, (available viaAmazon and Smashwords) and Spring Fevers (also available through Smashwords, andAmazon). Matt blogs at the Elephant's Bookshelf and is on Twitter @elephantguy68.

Marketing Toolbox: Ebook Cards

by J. Lea López

Whether you're traditionally published by a big house, indie published with a smaller press, or self published, we all have to play the marketing game. So tell me: have you figured out how to hand-sell ebooks yet?

If you're scratching your head, you're probably not alone. I first heard of ebook cards a year or so ago from author Cheri Lasota. Now that I'm embarking on my own self-publishing journey, I've been looking into how this works a little bit more. Lucky you! Here's what I've learned.

The Basics

An ebook card (or ebook gift card) is a plastic card that can vary in size. The design can include things like your cover image, QR codes, a small blurb, your web site, and so on. Each card has a unique PIN for the reader to enter on the distributor's web site in order to access the book. That's really about it. Think about how you can buy a song or a whole album by picking up one of those plastic cards at the store. This is the same thing for ebooks.

Okay, but how does it actually WORK?

A reader buys the ebook card, either from you directly (at a conference or signing, for example) or from a retailer. They take it home, go to the distributor's web site - Cheri's e-publisher partnered with Greenerside Digital, but other such companies include Enthrill and Livrada - and redeem their code. Sometimes this will mean creating an account on the distributor's site, but other times it requires little more than an email and the PIN from the card. Greenerside Digital also offers a secure download widget so customers can redeem their code right from your web site.

With Livrada, the customer will be redirected to Amazon or Barnes & Noble based on the ereader they own. From there they will be able to have their ebook delivered wirelessly to their reader. With other ebook card companies, the customer will have to load the ebook to their reader themselves, through USB connection or email.

Give me one good reason...

Ebook cards have a lot of potential uses and benefits. The most obvious is being able to reach digital customers in a physical retail space. Here are some other scenarios:

• Instant gratification for fans at a signing or in-person event who want to buy your book, but whose preferred medium is digital rather than print (yes, those people are out there, even if you aren't one of them!)
• Where you might usually drop a few business cards or bookmarks as a marketing tool, try dropping a handful of ebook cards for curious folks to download a short story or two. It may be a little more expensive than giving away bookmarks, but maybe it will be more effective, too.
• You can set up ebook cards to hold more than one book/file so you and the customer get maximum bang for your buck.
• While a small or independent bookstore may be reluctant to stock a book by a relative unknown and unproven talent, they could be more open to selling your ebook cards. A small easel stand near the register takes up less space, and you could offer a no-risk consignment deal.
• Ebook card companies will also sell batches of PINs, sans cards, for use in online promotions, newsletters, etc.

What's the catch?

Probably the biggest question mark here is cost effectiveness. Prices vary widely. For instance, 500 wallet cards from Livrada will cost you $599. I don't know what, if anything, that includes beyond the printing of the cards themselves and setting up the logistics of your digital files and PINs. On the other hand, Greenerside Digital offers a range of sizes and thicknesses for you to choose from. Cards roughly the same size as Livrada's wallet cards will cost you less than $300 for 500 cards.

Depending how the cost of the cards works out for you, and how much you would sell them for, your profit margin could vary greatly. I think they would be more cost effective for book bundles that have a higher price point, since you could sell your series of six ebooks on one card for a higher retail price, but with the same production cost as ebook cards for a single title.

What do you think? Have you used ebook cards? Would you give them a try? And what do you think are the benefits or limitations of this media?

J. Lea López is a shy, introverted writer with a secret world of snark and naughtiness inside her head. She writes character-driven erotica and contemporary new adult stories. Her first novel will be available soon, and her short story collection, Consenting Adults, is available as a free download now. She'd love to tweet with you.

Buzz vs Word-of-Mouth: What Hollywood Could Learn From Publishing

by R. S. Mellette

I moderated a conference of film industry professors a while back, and when one of them said that Hollywood relies heavily on word-of-mouth marketing, I laughed.

I couldn't help myself. Here is an industry that considers a 20% or 30% drop in sales a success! That's not word-of-mouth. Or if it is, good words are not being spoken.

Interestingly, the Hollywood insiders on the panel thought I was the crazy one for doing a spit-take with the Koolaid they were serving. But of course, none of them had theatre or publishing experience.

In those disciplines, word-of-mouth marketing means sales INCREASE with time, not drop. A play that is worth the time, money and effort of going to see will build an audience. A book worth the read will see an increase in sales.

In Hollywood, my filmmaking brothers and sisters have forgotten the difference between Buzz and Word-of-Mouth. So let's take a look at them side-by-side.

Buzz: "I want to see that movie," says one friend to another before it premieres. "Yes," says the friend, "I've heard it's good."

Word-Of-Mouth: "I saw the best movie this weekend, you should see it."

In writing, we call that passive vs. active voice. In court, it's called a firsthand account vs. hearsay.

Marketing generates buzz. The product itself creates word-of-mouth.

Why is that a distinction worth discussing? Because buzz owes only a passing fealty to the quality of the product. Producers in Hollywood will actually judge a script on "trailer beats," meaning juicy stuff they can put in the preview to create buzz. A script that tells a good story but has no trailer beats will be passed over in favor of another script that is more easily marketable.

Compare this to the world of self-publishing today. Sure, sure, there is a sub-culture of writers trying to get good reviews—or spam their competition with bad ones—in an effort to increase buzz. There is nothing wrong with an honest pursuit of good buzz, but the runaway hits in the self-publishing world come almost exclusively from word-of-mouth marketing.

And word-of-mouth marketing is entirely dependent on the quality of the work. It is first-person, active, marketing. One friend telling another, "I enjoyed that, and I think you'll like it, too."

What does this product-oriented marketing technique look like on the sales charts, graphs, and tables? That's easy. No drop off. Sales go up the longer the product is available. And when the same people create a new product, their sales start higher because they have become a trusted brand. As long as they keep up the quality, then their work will generate its own buzz.

And the opposite is also true. How many of us have been fooled so many times by a great preview for a lousy film that we no longer trust the studios? Like so much of the rest of American Industry, studios have lost sight of long term success in favor of instant gratification. They have confused buzz with word-of-mouth.

So the work suffers. We, as consumers, suffer. And worst of all, we artists who must try to make a living in this environment suffer.

R.S. Mellette is an experienced screenwriter, actor, director, and novelist. You can find him at the Dances With Films festival blog, and on Twitter, or read him in the Spring Fevers and The Fall: Tales of the Apocalypse anthologies.

WHAT IS YOUR STORY WORTH?

by R.S. Mellette

The best advice I ever got on writing was from an acting teacher my freshman year.  I asked her about playwriting.  "I don't know anything about writing," she said, "but I know that a Broadway play costs $50."  (Okay, I just dated myself).  "You have to write a story worth $50 to the average working person."

That always struck me as an excellent test of quality.  Can I tell a story that is worth the audience's cold hard cash?  That's a standard that is visceral.  It's real.  It cuts through all of the literary, English major crap and gets right down to nitty-gritty.  The most important critical question I have for any reader is, "did you get your money's worth?"

That question has become top of the list in this digital day and age.  What is a story worth?  Is it $2.99?  $9.99?  $13.99?  Will amateur authors flood the market with such low-priced material that professionals can no longer make a living?  Is it better to sell ten books at $2.99 or three at $9.99?  If you do sell a lot of books at a low-price, should you then raise the price?

And there is the question of the value of a publisher's stamp.  When Harper Collins publishes a book, they are saying, "Out of the thousands of books we've screened, this one is worth your time and money."  What is that recommendation worth?  As publishers put out more books on the e-market, do they de-value the worth of their stamp?

In talking about traditional verses e-publishing, the questions of value centered around hard costs like paper, printing, art, etc.  Now, of course, we're learning that e-packaging – metadata, formatting, meeting platform requirements – come at a cost.  But the real question is harder to answer.  What is the story itself worth?  Storytellers are unique to our species.  We are not human without them, but how much are we willing to pay them?

I don't have the answers.  Do you?

R.S. Mellette is an experienced screenwriter, actor, director, and novelist. You can find him at the Dances With Films festival blog, and on Twitter, or read him in the Spring Fevers and The Fall: Tales of the Apocalypse anthologies.

ASKgiving: Writing and Publishing Q&A

By the whole From the Write Angle crew (compiled and condensed by Jean Oram so any omissions leave her to blame)

As part of our AskGiving (Happy Thanksgiving weekend!) here on From the Write Angle, we took our reader's burning questions about writing and publishing (there were some good ones!), and put our group brain together to come up with some sage advice from the fifteen of us.

While this is based on our experiences, you may have had (or will have) different experiences. Feel free to weigh in and comment on these questions (and our replies) in the comment section. Power of the crowd!

All righty… Let's talk turkey. (And maybe grab an extra slice of pumpkin pie, we've got lots to say and we don't want you starving while you read.)

Am I Too Late to the Party?: Market & Timing

This reader has a project they first queried three years ago and has recently been drawn back to it. Their project has a male vampire antagonist and neither young adult nor a paranormal romance. "It leans more toward the horror category, or at least dark urban fantasy." Over the past few years, the market has become over-saturated with vampires and this reader wonders if an agent might oval-file their query without even a glance as soon as they see the word "vampire."

In today's market, is it even worth my time to query this story, even though it is different than the "norm?" I know about subjectivity and the "you never know until you try" thing, but I would really appreciate your honest take on this, as far as traditional publishing goes.

Marcy Kate O'Connolly steps to the plate with the real reason vamps are out: It's because of an oversaturation in paranormal romance/urban fantasy novels (both YA and adult categories). Your book sounds (from your description) as though it is more likely to be horror and I've heard that that genre is starting to make a comeback. Agents are actively seeking it out. You'll do best with a fresh plot that is not paranormal romance-y. Be sure to position the book in a way that makes it clear it's horror.

J. Lea Lopez shares some Twitter expertise from #tenqueries and #10queriesin10tweets on why agents pass on queries: Familiar tropes without anything to make them truly stand out. You have something familiar with vampires, so you'll likely need a unique twist and compelling voice/style of writing to grab an agent's interest. Make sure your query pitches the story in a way that emphasizes the horror genre and what's unique about your story so the last thing an agent will think of is any of those other vampire stories.

I Want to Share: Permissions & Copyright

I'm getting ready to self-publish my novel but I need to secure permission to three songs and two poems that I quoted within the text. However, upon conducting research to find the original publishing dates and the publishers of these works, I am stumbling. Is there a particular website that is devoted to helping contact these places to ask permission to quote their work? Or do I have to hunt them down one by one and somehow find the right source to ask permission? I know the easiest thing to do would be to just give up and delete the non-public domain poems, but at least one of the songs I need has to have a quote because that's where the novel takes its title from.

Using her librarian charms, Mindy McGinnis dug up this article which has lots of links and will walk you through it: http://www.copyright...information.htm. She also found this link for your poetry issues: http://www.audensoci.../copyright.html.

Marcy Kate, using her librarian-in-training charms, suggests you start looking here: http://www.copyright.gov/records/. They have a searchable database, but it only goes back so far digitally.

Meanwhile, J. Lea provides some optimism: We've all seen at least a few books that quote songs or other authors, so it's obviously possible. I'd pursue it as far as you can, and then if you go the traditional publishing route with an agent, they may have additional knowledge or resources on the subject.

Help, I Genre Hop!

What if you have very different books? Should you sacrifice an agent who would be PERFECT for the first book, in exchange for an agent who would be mediocre for both?

The general consensus on this one was best put by Sophie Perinot: You really can't "have your cake and eat it too" right out of the gate. You need to pick a genre, build a brand and THEN branch out.

Jean Oram added: "You never know if an agent is 'perfect' until you have had a conversation with them and they have read your work."

Marcy Kate: Don't rule an agent out based on what they state they rep initially as long as they rep the genre & category of your strongest project. When you get The Call, I can almost guarantee you they will ask about your other projects and where you see your career headed.

Matt Sinclair reminded us that: Some agents might think of writers who genre jump as dilettantes.

Jean says the real issue sounds like you have two very different books. This may actually mean you will need a pen name and have two 'careers' on the go--build two different brands. When you have very different books the issue becomes building an audience. This is the TOUGHEST part of being a new 'unknown' debut author and particularly if you genre hop. If your first book is in one genre and the second book in a different genre, it is going to be difficult to build a loyal audience who buys all your books--publishers like to see an increase in sales between books one and two (which leads to more book deals!).

Sophie Perinot has heard of well-established authors being told by their publishers to set aside some of those genres and get back to basics. "ANYONE who wants 100% control over what book (as in plot) and what genre they write next needs to stick to Indie publishing."

Game plan: Take your 'best' story (or the one you are most likely to be able to write a follow-up story genre-wise) and get an agent for that book. Worry about the other book later. You never know. The agent might be just as pumped about the 'other' book.

As Marcy Kate reminds: Most agents want to represent you for your career, not just one book. And your books may not be as different as you think. For example, if you write children's books (PB/MG/YA), you may have more wiggle room between age levels and genres than say a writer trying to launch a career on chicklit novel and a hard sci-fi space opera.

This Plot's Got it Going On… and Then Some

What if you have too much going, plot wise, in your book, but one event leads to another which leads to another; in other words, it's all connected. How do you pare it down?

Riley Redgate suggests looking for shortcuts. In other words: If you have a plot that goes from A to B to C to D, try looking for a smooth transition from B to D instead. Sometimes that'll involve cutting out plot locations or introductions of new characters - but then again, sometimes you never needed those locations or characters in the first place. I'd say the key to streamlining a twisty, convoluted plot is to think about the straightest logical path from your beginning to your ending. The plot points that deviate the furthest from that path are the things you should consider compromising.

J. Lea adds, See if there are characters or portions of your plot that can do double duty instead of having lots of little things going on. Also, take a long hard look at some of those subplots and twists and ask yourself two things: 1) do they really feel organic to the story, or do you get to a point where it feels like a soap opera, with yet another over-the-top complication before every commercial break? and 2) are they actually important plot points that need to be shown to the reader, or can some of them "disappear" into backstory that is only alluded to after the fact, when necessary?

Marketing My Own Work… Do I Have To? (Two for One)

Our readers realize times have changed in the publishing world and that publishers expect authors to help with marketing and promoting their own books.

What sorts of things do you do to promote? I'm guessing you can't rely only on your own social media. You have to go beyond that to reach out to people who are unknown. How do you get yourself in front of readers?

AND...

How important do you think it is to be a worldly, sophisticated, charismatic type of person when you are an author, in order to succeed? Do you think getting published is in the end more about good writing, or about being this charming sort of person?

J. Lea: The writing is always the key.

Marcy Kate warns: Social media is NOT for marketing. It is for engaging with other people and being part of a community.

Sophie says, being visible to the reading public these days means things such as getting reviewed by popular bloggers in your genre and setting up a blog tour, using Google ads, Facebook ads, trying author buzz, or doing a traditional book tour (signing and speaking at numerous indie stores). It can also include blogging and/or guest blogging.

But, she says the keys to whatever marketing you do are: 1) set a budget (minimum is generally suggested as 10% of your advance, but many debut author go higher); 2) make sure you KNOW who your reader is (write out a description of your target reader); 3) don't be scatter-shot in your efforts-- pick marketing outlets (real or virtual) that will expose you to the target reader you have defined (and that means not accepting every blogging invitation and not wasting time on promotion that will largely reach people outside your ideal audience).

And finally, she cautions: DON'T COUNT YOUR PUBLISHER OUT! They can get you reviewed places you likely cannot reach on your own and MOST IMPORTANT OF ALL they can get you coop (paid space on the "New Release" table or an end-cap or window). A lot of authors will tell you that the weeks they spent in a featured location were by far the best selling weeks of their early release period.

MarcyKate throws a little research to back up Sophie's experiences: Studies have shown very little correlation between a social media presence and sales. HOWEVER, those same studies have shown that it is a fantastic tool for building brand awareness which is why having a social media presence is important and recommended. In other words, if you join Twitter, do not repeatedly link to your book on Amazon, or retweet your own blog links all day. Talk to people. Interact with them. Tweet about what matters to you or what you find interesting. In other words, be sure your profile (or timeline if you're on Facebook) isn't all ME ME ME.

Jean chimes in to add: Think of the 80-20 rule. 80% about others and unrelated-to-you stuff, and 20% about you. (It's easier to piss off your audience than to win them over.)

Marcy Kate also suggests you reach out to your local area. If you have local papers that review books or list events, send them (or have your publicist send them if you have one) a press release about the book's release and any local book signings or launch events you might be doing. You never know what might lead to an interview or profile, and that could definitely generate both sales and attendance at those events. Even if you don't have a big budget and don't have the advance funds to reach a national audience in a big way, there are still lots of little things you can do locally that can have a positive impact.

J. Lea: Being brilliantly charming with a mediocre or poor product won't get you very far. If you have a wonderful book but maybe you're a bit shy or introverted, don't worry. Let your words speak for themselves.

Your take-away--as put by Marcy Kate (but definitely echoed by all of us): "The book is the most important thing… That said, you still should keep your public-facing persona respectable and in a positive light."

Look Into Your Crystal Ball: What is the Future of Publishing?

With all the merges/acquisitions going on in the world of publishing, where do you see the literary future? In the hands of megapubs or in the hands of those who march to their own drummer (self-pub)?

J. Lea believes traditional publishing isn't going anywhere. It may change, but it won't go away. Self- and indie publishers are seeing wonderful growth right now, and digital publishing is giving voice to experimental or edgy writing that might have been overlooked in the traditional model.

Jean thinks that those who treat book publishing as an ever-changing business and are willing to change things up are more likely to succeed.

Sophie suggests that the best things a writer can do are: 1) write the best book he/she can; 2) keep up with the industry--developing your craft isn't enough you have to build your knowledge of the business side of things; 3) be flexible and ready to roll with the punches--if you have your mind set as to how things are going to be then chances are they aren't going to be like that at all; 4) know when to walk away--everybody has a point at which the rewards of writing might be outweighed by the hassle. As in any career/profession you are not an indentured servant. Know what your personal limits are and be ready to enforce them (for some this may be a dollars and sense equation for others a satisfaction vs. aggravation balance).

J. Lea also adds: What I think (or hope) will happen is that both the traditional and the indie sides will continue to grow, change, and thrive. I think the traditional model is going to have to learn a few things from the indies, especially concerning time from acceptance to publication. Likewise, there might be something in the gatekeeper model that can benefit readers who love indie books, but would like a better way to easily identify quality. Traditional and self publishing can certainly coexist happily in the same publishing marketplace. It's my hope that we continue to grow together, with each facet of the publishing world learning from the others, and continuing to produce quality books for readers.

To Hire Or Not To Hire: Editors Pre-Queries

If our manuscript has been edited by several critique partners, is it okay to submit to an agent as is (traditional publishing), or should we hire an editor prior to submission? Or would professional editing be handled after agent accepts your manuscript?

Sophie provides the short answer: It is in vogue. But a good editor can cost thousands and less editing is going on at the agent and editor level.

She adds: "If you have the discipline to rewrite and edit then surely you can find some good critique partners and get your manuscript in query-ready shape."

Jean says that if you feel it is strong enough, then submit. But if you get a lot of rejections, looking at your manuscript again might be the thing to do. Some good editors will give you an overall story report/critique ($300 for 90,000 words) which is handy if you feel it is something with the story and not the writing.

Help! I'm a Nobody in my Query Bio

In a query letter, especially in the instance of having no previous publishing experience, should we include a personal paragraph? I.e. What we do for a living, interests, etc. Some agents say they like to get to know the author, whereas, other agents say keep it strictly about the book.

One word that shouted through our conversation about this one: NO.

And a bit of… maybe.

Sophie's rule of thumb: When in doubt leave it out.

Or as Jemi Fraser says: Unless your bio is relevant it's okay to skip it.

Some exceptions:

Marcy Kate says that unless it is directly relevant, no do not worry about it. If you have professional marketing experience in work life, or have worked in publishing in some capacity, that's appropriate.

Jemi says, that if you feel naked without including one, a short one-liner would work - try to use your voice to your advantage.

Sophie: An agent who becomes enthralled with your query and subsequently your manuscript can have his/her curiosity about who you are satisfied when he calls to get acquainted. Bottom line: In fiction the work has to stand on its own. It either captivates or it doesn't.

The End: Should it Be in Your Query?

If the query letter is supposed to hit the main points of the story, does that include the end, or should we save that for the synopsis?

Short answer: No. (Don't include the end.)

R.C. Lewis: First off, I would never say a query letter is supposed to hit the main points of the story. Definitely not the end. A query doesn't summarize the story. It introduces just enough of it—the protagonist, the conflict, what's at stake—to become an enticing bit of agent-bait.

Sophie puts it another way: The query is about piquing interest. Details/events just need to be carefully selected and pithy.

Marcy Kate gives you a formula to help you out: A good rule of thumb is to cover approximately the first 1/3 to 1/2 of the manuscript in the query. By that point the story should have covered the inciting incident, the antagonist and the main conflict. When to give away the farm (the story's ending): In a synopsis.

Short & Sweet Credentials: The Short Story

Can/should writers self-publish a short story on Amazon? (I have this one story I want to put up because I don't want to go though the hurdle of selling it--I want to concentrate on my current work in progress. If I do end up publishing it, I plan on making it free.) Will agents be more attracted or repulsed by this? If its a short story and free, is there a chance they'll read it, find it engaging, and have more interest in your manuscripts?

Jean fires a few questions back to help you figure out what is right for you: "Why do you want to do this? What is your purpose? What do you hope to achieve?"

Our resident short story expert, J. Lea, says, I don't think it's likely to sway an agent. If you continue to publish short stories on Amazon, at least some for actual sale, and have good results, that might be something an agent would look at. A free Amazon story is no different than something you post on your blog, other than having the potential to reach more people. If you're interested in using short stories as a publishing credit to include in query letters, you're better off seeking publication in magazines or literary journals. Checkout duotrope.com for a searchable database.

R.C. adds: Some genres put more weight on having short stories published than others. Whether they care about it being published by a magazine vs. self-published probably varies by individual. I'm not sure not sure how many agents cruise around self-published short fiction—but I doubt it'd hinder, either.

Jean says if you are hoping it will pave the way for your manuscript, it likely won't. (Sorry!) If you hope it will build audience... it could. However by the time you have put out your ms, it is likely that you will have missed the timing in terms of converting the short story readers into novel readers.

She continues, as for impressing agents and publishing editors... it probably won't. Even if you get a ton of downloads they tend to disregard it because you are giving it away. They want to know how many people will pay for your writing. But if you put it up as paid, and it is a short story and you are an unknown... well, chances are you aren't going to get a lot of purchases.

So FTWA (From the Write Angle) readers, what do you think? Did we look at these questions from the write angle? Or are there things to add? Be heard in the comment section.

From the whole From the Write Angle crew, thanks for reading. We hope you've had a wonderful Thanksgiving.

Rude Drunk People & Why You Don't Want Them On Your Team

by Mindy McGinnis

First off, I want to be quite clear that it's very possible to be drunk and not rude, and also to be rude and not drunk. I have nothing against drunk people, but I do dislike rude people. This is just a general, for the record comment before I get to my point. Ahem...

There's been a lot of talk among authors lately about about the usefulness of street teams as a form of marketing and promotion. In theory, I like this idea. It's grassroots, it's out-of-the-box, it's people telling people about books, and hey—that's what I do for a living in the 40/wk.

But there's a drawback to street teams that I want to mention here, as it's relevant to our nation in general at the moment.

I live in a swing state. Anyone in Ohio will tell you that if we took all the political ads in our mailboxes alone and mashed them into paper mache we could have a decent facsimile of the Trojan Horse. It goes without saying that the TV, radio, billboards and yard signs are as clogged with political yeas and nays and Vote This Way Not That Way information than the nose of the average person with a sinus infection.

And then there's the people—the campaign teams of citizens who are donating their time to promote the ideals of someone they believe in, to raise the awareness of their candidate and platform. And good for them, I applaud the people out there who have that kind of conviction and selflessness to do that.

Except for the ones who are kind of assholes about it.

Not that long ago I went out to eat and as I was walking through the parking lot a carload of young political types came roaring through, a big fat sticker on the passenger door of their car loudly proclaiming who they supported. They drove too fast in the parking lot and parked crooked so that whoever was next to them had to slide through about two inches of space in order to get into their own car (no doubt noticing the sticker as they did so). Then the group went into the restaurant, drawing attention to themselves even as they walked by nature of how loud and abrasive they were, particularly their laughter, clearly designed to broadcast exactly how much fun they were having and precisely how clever they all were.

And trust me, they weren't.

And then the behavior continued inside, where they got nice and drunk and everything went up a notch, except of course the cleverness which continued to degrade.

Here's the thing. I'm not a prude. I get drunk. I can be loud. I know that in their minds these people were off the clock and just out being young and awesome. Their goal of having fun had no political agenda—but the car they were driving automatically associated them with someone who needed to make a good impression on the public, and the connections being made by that particular group on that particular night with that particular candidate were not so positive.

I think for authors street teams are open to the same connotations. Especially as debuts, we're excited to have people who want to promote us. It has so many attractions—free labor, word-of-mouth for audiences beyond or below your age range, no geographic limitations, etc. But you can't control the actions of your volunteers. Even your most enthusiastic reader and supporter might make a side comment to her friend that a pedestrian overhears and dislikes. What will they remember? The face of the girl, or her words in connection with the shiny swag with your name on it?

I'm still split on the idea of street teams for this reason.

What are your thoughts?

Mindy McGinnis is a YA author and librarian. Her debut, a post-apocalyptic survival tale, Not a Drop to Drink, will be available from Katherine Tegen / Harper Collins in Fall 2013. She blogs at Writer, Writer Pants on Fire and contributes to the group blogs Book Pregnant, Friday the Thirteeners and The Lucky 13s. You can also find her on Twitter & Facebook.

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GET YOUR QUESTIONS READY

In an upcoming post From The Write Angle contributors will answer your questions. What's it like to "get the call" either from an agent or a publisher? How do I get my MS in to Hollywood? How do historical writers do all of that research? 

What are your questions for our contributors? Keep an eye out for our upcoming call for questions. 

S(*)#$it You Don't Want—And S@#*it That You Do

by Mindy McGinnis

Too many authors think of self-promotion as the equivalent of a used car salesman. I can't tell you how often I've heard writers say they just don't feel comfortable pushing themselves—or their book—at people.

There's a neat little trick to get around that feeling of icky—give people something they already want and make the fact that it has your book, your links, or even your face on it just a useful sidebar. They get something free, you're giving away yourself without feeling pushy.

That sounds totally easy, right?

Ugh.

Not a Drop to Drink is fast approaching, which is exciting and intimidating at the same time. I need to start thinking about innovative ways to get my book out there, without rehashing the same stuff that everyone has seen a thousand times over.

There are options, sure. Pens, pencils, band-aid dispensers, t-shirts, personalized mints, postcards, bookmarks ... and everything else you've seen a dozen times and conditioned your mind to stop noticing. Drink is a genre-buster; I want something new and fresh.

Unfortunately the rest of the world has already discovered what I had originally wanted to do for DRINK—customized water bottle labels. How perfect is that for a book built around the idea that the world has run out of fresh water? However, I recently took an author branding class that addressed swag. One of the big rules for swag is that in order for it to be cost-effective it should be something that the recipient will use more than once, not toss away.

I don't know many people that use a water bottle more than once, but I think the simple idea of tying my book to the idea of a water bottle could have a heck of an impact. The obvious water message is an easy association, and even if they throw away the bottle I put my cover on, the next time they take a drink out of a bottle they might think ... "Oh hey! That book looked pretty cool. Too bad I threw the bottle away..." But with a name like Not a Drop to Drink they might be able to remember it in connection with water, and a Goodreads or Amazon search might just land them in my lap.

I don't see this working for bookmarks in the same way. Someone might think, upon seeing another bookmark, "Gee I wish I hadn't thrown away that other bookmark..." but unless the name of the advertised book was Not a Bookmark Remains I doubt their brain will be able to make the association leap for a good Google result.

And giving away water would hardly make me feel smarmy. Everyone needs it. Most people like it. It's very useful, and I have yet to meet someone allergic to it.

What do my fellow readers and writers think? Is there a magic swag item out there that you've always wished someone would put your brand on or that you've wanted to see handed out?

Mindy McGinnis is a YA author and librarian. Her debut Not a Drop to Drink—a post-apocalyptic survival tale—will be available from Katherine Tegen / Harper Collins Fall 2013. She blogs at Writer, Writer, Pants on Fire. You can also find her on Twitter and Facebook.

Mind the Gap

by Stephen L. Duncan

One of the nice things about landing a book deal is that you’ll be afforded some time to bask in all the glory and excitement that has built up during the grudge of getting the darn thing published. Usually, it's enough time to foster a healthy and inevitably debilitating fear of your book being ‘Out There.' But it's also a good time to prepare for the madness of your book's release and your debut as an Author.

For me, that stretch of time is two years from contract to publication.

Did I hear a penny hit the floor somewhere out there? (BTW - where did that phrase come from? The penny dropped? Well, then, pick it up.)

So after you tell all the people that two years ago you drunkenly let in on your dirty, little book-writing secret (the same ones who, every day since, have been asking with only the hint of Schadenfreude, “Hey – what’s going on with your book?”) and once you’ve had a moment to reflect on what any of it means in the metaphorical sense, you might find that the days between contract and publication dwindle down both at a molasses creep and faster than Mario Andretti in a cocaine-powered Ferrari.

Slow because, TWO YEARS! And quick because if you’re like me, you’ll procrastinate during all of them, wake up on the eve of publication and realize you haven’t done squadoosh to prepare yourself for authordom.

A Lesson: Don’t be like me. There is a lot to do.

So what all needs to get done?  I’ll throw out a little of what I know. My agency, Dystel & Goderich, sent me a nice little ‘How To’ booklet on things that are helpful. Let’s discuss some of what I’ve ventured into.

SOCIAL MEDIA

Right. So, Facebook, Twitter, that Google thingy, Pinterest and tumblr. Those are the main ones, right? Am I missing any? I’ve opted into Facebook and Twitter with personal accounts. One of the stupid things I’ve managed to do is not open author accounts for both earlier in my quest for publication. Now, most of my friends and followers are following the wrong account. Another idiot move? I’m on the fence with my author name. I’m thinking about using S. L. Duncan to separate my legal career from my author career.

Some more advice: think ahead.

Pinterest and tumlr are both media-oriented social platforms. Lot’s of pictures, see? Videos, too! I haven’t figured out a decent way to incorporate either in a way that would draw attention to my books (Read: The Whole Point), but I can see them being very effective if my stories were more subject matter oriented. Like, if I had a book that was about pretzels, I might showcase the different knot styles. Like a Windsor. I think they do that. Or whatever. You get the point.

BLOG

I started a blog and have failed miserably at keeping it up. But – TWO YEARS, right? I’ve got plenty of time. Still, it’s never too early to get a following. But what to write about? The old stand-by is the process of getting published. That’s cool, I suppose. The thing is, there are loads of authors with really good publishing blogs. What if I blogged about me? Boooooring. I’m not interesting for another two years. And even then…snooze.

Industry stuff? This is good, too, but again – lot’s of people are out there doing it and doing it well. L.L. Cool J style, I guess. And really, unless you’re in a position to be an actual journalist, you’re kinda just reposting stories from Galley Cat and Publishers Weekly.

Have you got any good ideas? I’m hovering somewhere around a behind-the-scenes blog and the author’s life.

If you can, jump into one of these Author Commune type blogs, like From the Write Angle. It’s a great way to connect with other writers (and their followers) and the Kool-Aid is FANTASTIC! Matching Nikes, too! Another popular trend is to start is a debut blog with authors who are releasing their book in the same year. Because everyone knows 2014 authors are better than 2013 authors. Oh, snap. Come at me, bro!

WEBSITE

If you’ve got nerd skills, use ‘em. I, on the other hand (and being a mere lowly dork), have trouble plugging electronic things into power sockets. A website, for me, is going to cost. Luckily, publishing houses like to shower their new authors with some spare scratch to pay for it all. Oh, wait. They don’t .

What I have done, while waiting to win a website from an unsuspecting digitally competent friend in a hand of Texas Cheat’em, is minimal but important. I’ve reserved website names. INKROCK.com. StephenLDuncan.com. SLDuncan.com.  See what I did there? All bags covered. As for character names - I’ll leave that to the publishing house’s prerogative.

OTHER STUFF

Conferences. Writer conferences are good for meeting people and glad-handing. You might even grab a few readers. If your genre allows for it, comic book or fantasy conventions are very good ways to get your name out there.  There are big conferences and little ones. I’ve managed to squeeze into a panel or two at a local regional. You’d be surprised at the popularity of the literature tracks.

Right. So, what am I missing to get done during the gap years? (TWO YEARS!!!) Any ideas?

Stephen L. Duncan writes young adult fiction, including his debut, the first book in The Revelation Saga, due in 2014 from Medallion Press. You can find him blogging on INKROCK.com and on Twitter.

Amazon is Like a Chowder Festival

by Pete Morin

Like most self-published novelists looking to crack the Amazon sales riddle, I’ve spent some time in the Kindle customer forums, and trawled the myriad of eBook sales websites that offer freebies, near freebies, advertising, interviews, etc. After nearly a year of it, I can confidently say that I have no better idea today how to sell successfully than I did the week before I uploaded Diary of a Small Fish.

And that’s okay, because the playing field is different today than it was then. Hell, it’s different than it was yesterday, and it’ll be different tomorrow.

But while I have been unable to extract any stone tablet Strategies for Novel Marketing that apply across the board to all fiction, I do occasionally come up with a nifty metaphor to keep my blogging active and current.

Amazon is a chowder festival.

For those unfamiliar with New England clam chowder (I shall not abide a diversion to that inferior stepson, the Manhattan clam chowder), it is a recipe with base ingredients of clams, potatoes, onions, and cream (or milk), and has been around in limitless varieties for hundreds of years. You can add dill, or rosemary, or coriander, or chocolate—anything—but the bottom line is, if you haven't used the magic 4 ingredients in roughly correct quantities, your chowder will fail.

In summer months, many seacoast communities have Chowder Festivals, where local restaurateurs compete for the prize of Best Chowder. I was, for a time, an avid participant in the Cape Cod Chowder Festival (now in its 32^nd year!). The winner of the contest is not chosen by culinary experts of the chowder genre, however.

The winner is chosen by customers.

This is where the Amazon-chowder metaphor works, I think.

Chowder eaters come in all varieties. Some understand the fundamentals of chowder (can’t have too many potatoes or too few clams, can’t use too much pork fat or bacon, and for god’s sake, forget about the corn starch!), and some haven’t a clue what good chowder is, they just like to taste. I overheard one “judge” express his adamant preference for chowder thick enough to stand a spoon upright. This is utter heresy, as chowder aficionados know, but as the old saying goes, the customer is always right.

Still, while clueless chowder judges may indeed outnumber the culinary experts (you can tell by the plaid shorts and sunburn), never do they elevate a pasty gruel to the top of the chowder heap. Why?

Just because. No product ignorant of cooking fundamentals tastes good. Crap chowder always tastes like crap, even if you salt the hell out of it. People will taste it, go “Ewww” and move on. They don’t have to determine that the potatoes were mushy, the onions were undercooked or the clams were spoiled (I’ve seen that train wreck before). They just “know.”

A novel is like chowder. It has clams (plot), potatoes (characters), cream (voice) and onions (structure). In a good novel, each ingredient is of good quality, and in proper proportion to the whole. Too little of one (or more) results in a reader’s diminished enthusiasm. Too little of all is a revolting experience.

There is a lot of bad chowder out there on Amazon. But Budweiser isn’t the #1 selling beer in the world because beer customers have discriminating palates. A Burger King Whopper isn’t made by a graduate of the American Culinary Institute. But damn, it tastes good.

You can’t worry about that, though. You can’t make a sublime paella and expect it to sell better than a Big Mac. The numbers just don’t work in your favor.

But you can always make a good chowder, if you just get the basics down. Then you can add whatever you want to make it your own.

Amazon is the ultimate test kitchen. There is always a multitude of tasters, looking for cheap eats. Give them more for their money than they expect, and you’ll do okay.

Just don't add corn starch.

Pete Morin is the author of Diary of a Small Fish and can occasionally be found swimming in his own pond.