Time to Write

Marketing Your Writing: Focus & the Overlap (the fourth of ten things you must do)

Many writers decide to use all available means to market their books. They set up a nice web site, they write a blog, they Tweet, they put up a Facebook fan page, they offer to do guest posts on other people's blogs, they send out press releases, they do some article marketing, they put a video or two on YouTube...and often they don't get much of a result.

It's discouraging and at that point many of them give up.

The key is focus. As an example, say each week you have ten hours to devote to marketing your book. If you spend one hour on each of ten methods your efforts will be so diluted that they're unlikely to bring much of a result. But what if you chose one of those methods of reaching people and spent all ten hours on it. It's onl logical that your results will be better.

There's nothing wrong with experimenting with different approaches. In fact I recommend that, so that you can find out which ones appeal to you. Usually these are also the ones you do well. Some people hate being on camera or don't want to spend the time to learn how to edit video, add titles, etc. Others enjoy those but can't figure out why anybody would want to spend time Tweeting. 

The "overlap" I refer to in the title of this post is the one between what you enjoy doing in terms of marketing, and the channels of communication your target audience is most likely to use the most.

I happen to like making videos and I think that's a good method for reaching a young adult audience, so that's the method I will use the most when it's time to start promoting my Young Adult novel (I also have to finish writing it...). If I were targeting an older group I might focus on contacting book clubs and reading groups to offer them a sample chapter or maybe a short story with the same protagonist as features in my novel. 

Since consistent action is required when marketing a book it makes sense to focus your time and energy on a method that you enjoy and that is enjoyed by the people you hope will buy your book.

 (There are chapters on traditional and guerrilla marketing in my book, Your Writing Coach. You can get it from Amazon or your other favorite bookseller as a paperback or ebook).

Writing description: it's all in the details

Anton Chekhov gave this advice to a writer: “Don’t tell me the moon is shining, show me the glint of light on broken glass.”

The way to make a character or a setting or an action come alive in the imagination of the reader is to provide specific details. Compare these two descriptions:

Howard was a clinically obese man. He found it difficult to walk very far and stopped frequently to rest. 

Howard wheezed with the effort of carrying his weight. Every ten steps he had had to stop and lean against the nearest wall.

Not only is the second description more specific (not just stopping but leaning against the nearest wall), it brings in another sense--the sound of wheezing. The more you can bring in not only what things look like but also their smell, their feel, their taste, the more real they become to the reader.

Often the best specific to mention is one that is unexpected. For instance, it might be that despite his bulk Howard has dainty feet.

Different details will have different effects in terms of how the reader perceives the character or the setting. For example, if we want the reader to feel some sympathy for Howard, we might show him enduring the embarrassment of having to buy shoes in the children’s department. 

One warning: don’t overdo it. It’s easy to overload the reader with details. Adjectives are especially dangerous! One usually is enough. “Grimy fingernails” is fine; “Grimy, misshapen, yellowed, gnawed fingernails” is too much. 

Adverbs can be even worse--generally it’s better to describe the action rather than characterize it. For instance, instead of “He ate the donut greedily,” you might write, “He stuffed the entire donut into his mouth so fast that jam squirted out of his mouth.”

Checking to make sure that you have been specific in your descriptions is one of the key things to do when you go over your first draft. 

If you want to see how it's done, read some of Chekhov's short stories. They constitute a great masterclass.

(And to learn even more, see my book, "Your Creative Writing Masterclass," published by Nicholas Brealey. Not only does it contain more of Chekhov's advice, but also guidance from Dickens, Austen, Hemingway and many others. You can get it from Amazon or your other favorite bookseller.)

 

52 Tips for Writing Success - 23: Consider the Power of a Pause

When you have the feeling that your progress on your writing project is becoming sluggish, it can be wise to take a short break. Not a long one or you may lose your momentum totally, but a day or two of not working on or even thinking about the project can be helpful.

I have a theory about how creativity works: our subconscious mind leads and our conscious mind follows. Once you commit to writing a certain story, your subconscious mind goes to work in the background. It mulls over who your characters are and what might happen, just as it creates dreams for you every night.

During the actual writing process the conscioius mind draws upon this reservoir of ideas and brings up ones that fit the story you want to tell. 

However, when you write a lot you sometimes get ahead of the subconscious mind and less and less material seems to pop into your head when you need it. 

When you take a short break and feed your head with stimuli that have nothing to do with your story, it's like filling a well. When you return to your writing, you may find lots of fresh new ideas come to the surface.

I also think sometimes when things slow down it's a signal from your subconscious mind that you may be heading in a wrong direction with the story or that something is lacking.

I've just had this experience with a children's book I am writing. Progress suddenly slowed down. Fortunately this coincided with a trip to Spain to attend a wedding. For three days I was in a new place, seeing new things, meeting new people, not thinking about the book at all. It was on the plane on the way home that I began to think about the plot and suddenly realized I'd left out one important element and came up with a solution. 

Of course I can't prove any of these theories about creativity, but if you are encountering a slowdown, consider assuming that I'm right. If it doesn't work for you, you can look for different solutions, but it may be just the thing to get you back on track. 

The future of the book in a world gone digital - James Bridle video

In April of 2012 a group of people got together at a farm in Wales to give and listen to a a series of lectures designed to inspire the audience to go and do amazing things. It's called the Go Lectures, and this one is James Bridle, publisher, writer and artist. 

Bridle helped create Nick Cave's enhanced book, The Death of Bunny Monro, which coordinated the text with the audio book, so you could switch between reading the text and listening to Nick Cave read it to you. He also wrote a special sound track for it. Bridle also was the first to publish a book of his Tweets ("I'm sorry," he says on the video.) 

What I like is that he's being very playful in exploring the boundaries between traditional publishing and digital, between the internet and the real world. Anybody can do the kind of thing he talks about. You can use Print on Demand technology to have a run of only ten books, for instance, in which you create a record of your ideas or experiment with something, and the costs will be minimal. Naturally you won't make a lot of (or possibly any) money, but it could also be a way to prototype a book that you will later publish in larger numbers. Doing this digitally is even easier.

The lecture is 20 minutes long so get yourself a cup of coffee and settle in. If you don't want to watch the video, some of his key points are below the video. I appreciated him more as the presentation went on, so give it at least five minutes, or just jump five mintues into the video.

Key Points:

Adding random bits of other media doesn't make a book better. Don't do it just because you can, do it because it truly enhances the work.

Two things people value in physical books: you can write your name in the front of them; they can become souvenirs of an experience.

Creating a tangible (hard copy) version of information on the internet allows us to examine and experience it in different ways. For instance, he published several volumes of a book consisting of all the versions of an article on the War in Iraq published on Wikipedia. By reading each one in order you can see how the narrative was shaped and how it changed over time.

To me, the biggest thing to take away is that we now have the freedom to play with, explore, and apply a huge range of media. The challenge is to keep up with what it can do and figure out how to use it meaningfully. 

(Want to expand your own creativity? Get my latest book, "Creativity Now," published by Pearson and available from Amazon or your other favorite bookseller.)

My book is Amazon.co.uk Kindle Deal of the Day

Today, Saturday 11, 2012, the new edition of my book, Your Writing Coach, is the Kindle deal of the day at Amazon.co.uk! Today only, you can get it for 1.09! 

My publisher is very happy about this, it's the first one they've had selected by Amazon. 

What does it mean in terms of sales? I have no idea, but I'm guessing it's a Good Thing.

If you don't have it yet, this would be the day to get it. Or why not plan ahead for the holidays (sorry to bring it up...) and order a few copies to give to your aspiring writer friends or to a young person who has shown some talent in that direction? 

While I'm on the topic of my books, if you've enjoyed any of them, I'd really appreciate it if you'd post a review on your Amazon (whether that's co.uk, .com, .de, or whatever)--reviews make a difference. 

Live the Creative Life - video by Steve Edge

In this very entertaining 22 minute video Steve Edge, founder of Edge Design, talks about how being dyslexic fed his creativity...how he used to ride his horse to work in London...how he got a job as an apprentice jockey...how he came to work on The Muppet Show...Star Wars...Raiders of the Lost Ark (including why he had to shave his legs and get into a snake pit with Harrison Ford)...what John Paul Getty told him about running a business...and the importance of stories in branding.

He believes you should dress for a party every day, the party will come to you; if these stories are anything to go by, the party does come to him every day! I think he's my new hero.

(One way to make every day a party is to exercise your creativity. Get great tips on getting into a creative mindset, generating ideas, and turning ideas into reality--they're all in my book, "Creativity Now," published by Pearson and available from Amazon or your other favorite bookseller.)

Want a more creative life? Dress for a party every day

I included this post in my Brainstorm e-bulletin but didn't want anybody to miss it so I'm including it here for writers and others who want their life--as well as their writing--to be more creative.

Why to dress for a party every day

I came across a video of a talk by ad man Steve Edge the other day. He was home-schooled so he didn’t learn all the “rules” other kids were programmed to follow. He was an apprentice jockey, he worked with Jim Henson making props, and he worked with George Lucas and Steven Spielberg. In the first Indiana Jones film the double for Karen Allen wouldn’t get into the snake pit with Harrison Ford, so Edge shaved his legs and put on a skirt and did it. Eventually he got into the ad business and brings his offbeat lateral thinking to that.

One of his mottos is, “Dress for a party every day, the party will come to you.” He does that literally, wearing gold shoes and colourful jackets, trousers,and shoes, but it’s really more about your state of mind. I think he’s right—if we look and act like we’re ready to be open to the wealth of experiences out there, we are more likely to attract them.

If you’re not ready for gold shoes and jackets made out of curtain material, maybe you could wear or carry just one thing  to remind you to be receptive to the party. Here's the one I'm going with:

If you want to see the Steve Edge video, I'll be posting it here in a couple of days. 

(If you want to be more creative, that's what my book is all about: "Creativity Now," published by Pearson and available from Amazon or your other favorite bookseller.)

What's your writing plan for the next few months? Here's a suggestion!

As I write this we are more than halfway through the year and I wonder how your writing plans have been coming along? I know mine have gotten derailed more than once.

What's a constructive way forward in terms of our writing for the rest of the year (or any period of the next few months, whenever you are reading this)?

Poets and novelists know the power of metaphor. How we see or characterize what happens to us has a lot to do with how well we deal with it. Right now most people are experiencing (or at least fear experiencing) tough times economically. Some will consider this a trial by fire. Others will think of it as a trip through the jungle to find a greater treasure. Can you imagine how different their journeys will feel, even if exactly the same things happen to them? It can be very powerful to select a metaphor for your writing journey, too.

Decide on a metaphor for how you'd like your next few months of creative activity to be. 

You can choose a song title, the name of a film or book, or your own phrase. (Hint: "Climb Every Mountain" or "Surfing the Waves" might be better than "Gone With the Wind"...).

Write this phrase or sentence somewhere that you'll see it every day or at least every week. As things happen, consider how they fit into this metaphor and what you can do next to keep the metaphor apt. 

By the way, this method also can help if you encounter writer's block. What's a good metaphor for the block? Let's say the phrase that comes up is "a brick wall." What the are ways somebody can get past a brick wall? Smash it with a big hammer? Climb over it? Dig under it? Make a hole in it? Go around it? Chip away at it? 

Consider how each of those could be translated into a practical action on your part. Then pick the most appealing one and act on it. If that one doesn't work, go to the next one. It may be the after you've tried one or two, the metaphor for the block may change. If so, repeat the exercise until you're on the other side.

(For practical help managing your time and making sure your environment and the people around you support your goals, see my book, "Focus: Use the Power of Targeted Thinking to Get More Done." It's available from Amazon or your other favorite bookseller.)

 

Marketing Your Book: Activate your fan club (4 of 10 things you must do)

You may not know it, but I'm pretty sure you have a fan club that will help you market your writing.

OK, it won't be the size of Lady GaGa's or Justin Beiber's, but that's OK. What we're after is just a dozen people willing to help make the people they know aware of your book. 

Some will be willing to do it because they like your blog or web site, some may be fans of other things you've written, some may owe you a favor, and some will do it because they're family. 

Here's the secret to making maximum use of this resource:

You have to tell them what to do and when to do it.

Do not just say, "I'd really like it if you told all your friends and contacts about my new book." They'll mean to but they'll forget, or they won't know what to say, or they'll mention it once in a Tweet and that's it. 

Make it easy for them. If you know they're on Facebook, give them the core message to post. They can add the compliments. What you give them is something like this:

My (friend/sister/mother/whatever) has just published her book on Kindle! It's called Make Me an Offer and it's a funny novel about a single Mom who who has to decide between two offers of marriage--one from the guy who brings excitement into her life but is hated by her kids, the other from the man she thinks is super nice but not Mr Passion, who is adored by her children. Here's the link to use to buy it,  it's only (price) and I think you'll love it (link to Amazon or other sales site).

Let them know they can change the wording if they want to. Most of them will use it just as is. Suggest the day and time for them to post this on their Facebook page.

Check who did it and who didn't. For the ones who didn't, send them a cheerful email a couple of days later saying something like, "Sorry if I'm being pushy, but I noticed you didn't have a chance to post that message about my book on your Facebook page. If you could do it in the next day or two, I'd really appreciate it."

Now that they know you're watching, most of them will do it.

Do the same with Twitter, and friends who have a podcast, or who use Pinterest or any other social media sites or belong to a book group. 

You're not done. A week later, send them a jpg of your book's cover and ask them to post a message like this:

Thanks to the people who got behind my (friend's/sister's/etc.) book, (title of book). I meant to send you a picture of the cover, and here it is now. It's a great funny book that I think most women will find all too accurate about men! You can get it here: (link)

There's more. You can send a message like this:

I had a great response from the folks like you who were kind enough to mention my new book. I'd love it if you could post this message on my behalf: "I just wanted to thank all the nice people who saw the mention of my book, (title of book) here and bought it. I hope you're enjoying it! If you have any questions--other than which bits of the book are autobiographical!--I'd love to hear from you. You can email me at (email address). If you don't have the book yet, this is the link where you can get it: (link)

You're still not done. The next message goes out when you get a review. It can be from a blogger, or a local paper, or a magazine, or a reading site, but of course it should be a positive review. Then you hit them up one more time:

A little while back you were kind enough to help spread the word about my (sister's/friend's) book (title of book)--thanks. Look at the great review she got! I think the best part is where they say " (quote of best part of book--could be a phrase or a sentence)! You can get the book at (link). 

Is this a little pushy? Sure. Do you want to sell books or don't you? Besides, most of your contacts will not mind. You're giving them content for their Facebook or Twitter feed or podcast, and they get to say they're associated with a real, live author. 

(There's a lot more about marketing your book in "Your Writing Coach," published by Nicholas Brealey and available from Amazon or your other favorite bookseller.)

52 Tips for Writing Success - 20: Use the power of setting

One thing a lot of writers don't use to its full advantage is the power of setting. Where your scene takes place can add a lot to the reader's experience. Naturally your plot will be the main thing that determines where the action takes place, but often you have quite a bit of leeway. 

Here are a few questions to consider when thinking about where to set a scene:

1. What does the setting tell us about the character? 

Does your protagonist hang out at seedy bars? Does she make her local Starbucks her second home? Is he used to eating in the finest restaurants or at the local burger joint? Put the protagonist in places that let the reader draw some conclusions about the character's values and habits.

2. How does the character feel about the setting?

If you want to put your characters under extra pressure, put them in settings that make them uncomfortable. If he's a member of Alcoholics Anonymous and worried about being tempted to backslide, make it necessary for him to go into a bar. If she's desperately trying to lose weight, put her in a cafe that features the best cakes in town.

3. How does the setting relate to that action of the scene?

A husband meets the man he thinks is cheating with his wife. That will play out differently in a classroom on Parents' Night, with lots of kids and parents around, than if he meets him in a parking lot, for instance. You can use the setting to heighten the drama or to provide some comic relief. It can create an ironic effect--e.g., one crook tells another that they have to stay out of sight, and the setting is the TV department of a store with 50 sets all on the same channel--which features a newscast and a mug shot of the two.

4. How are changes in your protagonist mirrored by changes in the setting?

Many stories have a character arc--a sequence of events that transform the character. For instance, it might be a romantic comedy in which a woman scared of committment eventually takes the risk of falling in love. At the beginning, her apartment is totally neutral, there's nothing that reflects who lives there. As the story goes on she puts some pictures on the wall, gets different furniture, etc. She may think it's just to please her new boyfriend but we also get the idea that she's getting more confident in risking letting others see who he really is.

Another example would be a change in the kinds of places in which a man hangs out as his life falls apart. He might transition from coffee shops to nice bars to not so nice bars.

To get the full impact of a setting, refer to all the senses. What does it look like, what sounds are there, what odors? What kind of feelings does it evoke for the character (and maybe for the reader, too)?

(The best writers of all time used the full power of settings. What advice do they have for you about how to do the same? It's in my book, "Your Creative Writing Masterclass," published by Nicholas Brealey and available from Amazon or your other favorite bookseller.)

Childhoods of famous authors cartoon: Francis Bacon

                                                    The source of this cartoon is Jurgen Wolff's writing blog:                                                                            http://www.TimeToWrite.blogs.com

 

Writing scams are changing--here's how to avoid being taken

Victoria Strauss, who runs the valuable Writer Beware blog, has this assessment of what's happening in the world of writing scams:

"Now, in 2012, Writer Beware only rarely hears about brand-new agent scams; even inquiries about well-intentioned amateur agents--which once made up a large percentage of our correspondence--have dwindled to a trickle. By far the most frequent questions and complaints we receive involve small publishers, various flavors of vanity presses, self-publishing services, and marketing or other so-called services aimed at small press and self-published authors."

As they say, one door closes, another door opens--even for scammers. Before you spend your money on any services, I suggest you do the following:

1. Read the fine print. Often there are traps buried in the text of a contract. Things to look for:

    * If it's a time-based service of some kind, for how long are you obligated?

    * Is there a way for you to cancel the service if you're not happy?

    * What's the refund policy?

    * Does the copyright stay with you? It should.

2. Do a Google search about the company, the individuals running it, and the products or services they offer. Go past the first page so you get past the fake sites.

For instance, let's say the Fraudentcheat Agency is a scam. They set up a bunch of websites with names like "Fraudentcheat Scam?" or "Fraudencheat Fraud?" These look like legitimate review sites and--surprise!--they conclude that Fraudencheat is a fine company that has been unfairly accused of shady practices.

They use SEO to make sure these sites occupy most of the first page of results. Any legitimate reviews are pushed to the second, third, or fourth page of results, which few people bother to check. Be the one in a hundred who digs deeper.

3. Check with others who have used the service. If possible, go beyond the endorsers who are cited on the web site of the people providing the service. Be aware that testimonials can be fake or can have been sent before things went sour.

I've written in the past about a publicist who ran glowing endorsements from clients--who, when I contacted them later (hindsight in action!) were not happy with his services at all. Later I found out he'd never paid for the big ad that attracted me in the first place. 

4. If things that were agreed upon are not delivered, complain immediately and document every contact. By the time I caught on, several thousand pounds had changed hands. When I sued in small claims court I won but the company went bust and I was never able to collect. If you move quickly you may have a chance to get your money back before the house of cards collapses.

Bring in some bigger guns; for instance, mention that unless you get a refund you will notify the Writers Guild and name some other organizations they don't want to have snooping around. It couldn't hurt to mention that you're friends with (name of editor of publication the scammer is most likley to fear). It's not a lie--go to the editor's Facebook page and "friend" him or her...now you're friends!

Be prepared for some return fire from the scammers but don't let them intimidate you. When I named and shamed the publicist he left a message on my answer machine claiming that he'd notified the police that I had sent him death threats! He made the mistake of even making up the name of a detective he'd supposedly talked to and gave a case number. When I phoned the police they told me there was no such detective or case number. They asked me to notify them if he contacted me again so they could investigate him. He didn't call again. 

Another common practice is for the scammers to threaten to sue you. Some even go so far as to send fake letters supposedly from their attorneys.

If you get one of these, stay calm. First check whether the law firm on the letterhead even exists. If it does, phone them and ask if they are actually acting on behalf of the person who sent the letter. If they do, all that means is he or she paid them to write the letter, not that there is any serious intention to follow through.

Remember, the scammers don't want to be exposed to the light of day so going public via a court case often is the last thing they want.

5. Let others know about your unhappy experience. Keep it professional and stick to the facts, don't make it personal and don't do any name-calling. It's better to say, "I paid (amount), in exchange for which (name of company) agreed to (specifics of the service). This service was not provided and they have refused to refund my money"--rather than--"(name of company) are bunch of scumbags who cheated me out of (amount of money)!" I know it would feel better to say the latter, but your case will be stronger with the former.

Use the forums of appropriate web sites, your own Twitter feed, your Facebook page, etc. The more you stay factual and avoid personal attacks, the more serously people will take you. You might at least save someone else from being cheated. 

You'll find more questions and answers about how to avoid being ripped off, in this case by people who steal your material, here: http://timetowrite.com/protecting-your-material/

The difference between drama and melodrama--which are you writing?

In this brief video interview Simon Beaufoy, who wrote The Full Monty and Slumdog Millionaire, answers three questions: how he got started, his influences, and his advice for writers:

http://bcove.me/8dc5yxmt

I think the key tip here is the difference between drama and melodrama--a point that's well illustrated in Slumdog Millionaire. Although the story could sound like a melodrama (which makes it easy to pitch), it was successful because it had the added dimension of what is driving the character.

Related posts you might find useful:

Do You Want Your Readers to Identify With Your Characters? Do this!

Ask These Questions to Get to Know Your Characters

(For writing advice from the top writers of the past and present--including Chekhov, Twain, Hemingway, as well as Martin Amis, Stephen King, and many more--get my new book, Your Creative Writing Masterclass, published by Nicholas Brealey and available from Amazon or your other favorite bookseller. Also see the website: http://www.YourCreativeWritingMasterclass.com.)

How Terry Gilliam got started writing & making films - a great tip for all writers

It's VideoTips time here at the Time to Write blog! Over the next few weeks I'm going to feature videos, mostly short, featuring some of the most accomplished writers who have advice writers can use.

To start us off, Terry Gilliam answers three questions: how he got started in film, his greatest influences, and his advice for aspiring film writers and filmmakers.

I think the best tip is actually part of his first answer. He learned by doing. If you want to make films, you can do exactly what he did. If you want to write but not direct or produce them, you can do the same thing by substituting the word "script" for the word "film" when he talks about the weekend projects he mentions:

http://bcove.me/qfnj6jmz

(For advice on writing from the very best classic and modern writers--Twain, Austen, Chekhov, Fitzgerald, Hemingway, and many more--get my new book, Your Creative Writing Masterclass. It's published by Nicholas Brealey Publishing and available from Amazon or your other favorite bookseller.)

Another non-fiction author gets caught (and how to catch plagiarists)

Jonah Lehrer is the author of the very successful book, "Imagine: How Creativity Works." It turns out he was a little too creative in his own book. It has been revealed that he fabricated quotes attributed to Bob Dylan. When he was called on it by another writer he repeatedly lied over a period of three weeks.

Finally he confessed and apologized and resigned from his position as a staff writer with the New Yorker.

Houghton Mifflin, the publisher, took the e-book version off sale and stopped shipping physical copies. They haven't yet decided what to do about the copies already in stores.

It's not the only time Lehrer has been in trouble lately. Last month it was revealed that for his New Yorker work he had recycled his own blog posts and parts of essays he'd written for the Wall Street Journal. There's no problem with recycling as long as your employer knows what you're doing, which the New Yorker didn't.

Of course there's a big question of ethics in all this, particularly in relation to making up quotes. But even leaving that aside, how can somebody who is very tied in to new media not understand that these days fabrication and plagiarism are easy to discover thanks to the power of the internet? (I'm not suggesting that Lehrer plagiarized anybody other than himself, but there have been several high profile cases of it exposed recently.) 

TIP: if you want to see whether anybody has plagiarized your work online, find an unusual phrase or sentence from what you wrote and search for it via Google. Put quotes on either side of the phrase or sentence so that the search engine looks for it as a complete unit, not the individual words by themselves.  If somebody has copied (or quoted) that phrase or sentence, it will show up. 

(My book, "Creativity Now," is guaranteed not to contain any made-up quotes! You can get it from Amazon or your other favorite bookseller. I'm not lying.)