You're a writer, so do you need a website? Part 1

Oh wow. Okay. It’s seriously dusty here.

I rather scared myself looking at how long it’s been since I’ve last blogged…not my last post, because that was prescheduled, but my last actual post. Too long. I hate to say stuff like “I’m back!!! ”Let me give you just a teensy update before I get on with the actual meat of things...

When I last touched base, I was not feeling very interested in writing and concluded that I was okay with that, but then realized I wasn’t so okay with it after all. I still didn’t do much writing though. This was one of those phases that I’ve learned not to push because pushing just makes them worse, and it’s best to just go with it. So these past few months I’ve been writing a little…brainstorming a little…trying to get past editor’s block in Mirrorpass and making little inroads of progress between work and now classes.

The course seems to be running itself through as more and more lately, I find myself making real, substantial progress into Mirrorpass and having cumulative moments of inspiration. I am having writerly thoughts. And, what a better place to share writerly thoughts than a blog, yeah?

Let’s talk about something that I am in geek love with. Websites! And mainly, whether you as a writer need a website or not. Marketing yourself and your book is such a huge part of the publishing industry now, that more and more writers are getting an internet presence, often long before they even sign with an agent.

If you’ve been around the nets at all lately, or heck, even reading a magazine like Writer’s Digest, you’ll know that everyone is talking about networking and platforms and buzz and such. I’m not going to go into it, because it’s everywhere. Just trust me when I say this: the web is important. And if you’re a writer, getting yourself active on it is major.

There are lots of ways to get active; if you’re networking, you want to be on forums and the blogosphere and yes, a social networking site. Those are all great ways to build connections and get your name out there and make some friend who, you will be surprised to find, you are as interested in helping as they are in helping you.

And then there’s building a platform.

Lots of agents and authors try to define this, but in simple terms, your platform is your home base. After getting your name out there people will start to recognize you. They’re interested. When they’re interested, they look for your platform—usually a website or blog of yours with more information about you, your writing, your current WIP, etc.

I know some people say you should have a platform. Like, now. I know people who have just started writing, are on maybe their second novel, and already they’re diving into the world of publishing and promotion and craft. Sounds cool. Sounds inspiring. Also sounds like they’re getting ahead of themselves. The sparks tend to fizzle out when the rate of this person’s publishing career doesn’t keep pace with their promotional efforts.

Sometimes I go to an unagented/aspiring writer’s website and I find myself wondering, why do they have this? It’s cool and shiny and all. But there’s nothing really here, nothing they’re really doing with it.

In essence, they’re trying to meet a need they don’t have yet. It’s not working because it’s not needed—yet. Before you start looking into getting a website or upping your weekly networking time or even starting a blog, pause and think about the level of your need.

I have two more posts in this short series, so in the next post we'll talk about levels of need that don't work well toward a website.

Truly and always,

-Creative A

The Interview Continues: Part 2

After breaking the ice with my first question, you may still be in the “throat clearing” stage of the interview. We’ve begun, but you haven’t gotten comfortable enough to open up yet. Question two should help you with this. That’s because question two is personal by nature. It is:

“When—and why—did you begin writing?”

This one digs right to the story behind the story. It makes it easy to give an interesting, genuine response. However, I think a lot of people read this question and realize they don’t have an interesting story. They wrote ever since they could walk. Or, they always loved books, and wanted to create their own. Or, they used to write as a teenager, gave up, waited twenty years, and rediscovered their dream. Etc.

But from the reader’s point of view, that is an interesting story. It’s the one place they will probably connect to you most: your shared love of books. You don’t need a life-changing reason why you began writing. Your personal love of books, stories, and all things fiction will be enough. It’s an open invitation for them to put themselves in your shoes. Everyone reading the interview will probably relate to your experience. It’s like magic.

From the viewpoint of an industry insider, this is their chance to connect to you on a professional basis. (Remember, “industry insider” is just a blanket term for any readers who are also involved in the publishing industry in some manner. This includes writers, editors, publishers, agents, journalists, book bloggers. You get the idea.)

Writers are the only people who actually get writers. The industry insider is looking for a professional—you—to recognize their dreams and goals in a personal way. They can compare their journey to yours and say, “if she started out with a passion for books, and I started out with a passion for books, we’re the same. I have a chance of being published too.” It gives you, the author, a new level of realism.

There are some people who do have incredibly unique reasons why they began writing. For those people, the rules are still the same: Connect. Share. Tell the story behind the story.

As I write this, I realize there’s something about this question that really makes me open up to the interviewee. There’s an element of faith involved. I’m preparing to let you in, to feel like I’m understood, and that I understand you. It’s one of those moments when you can really connect with a person. If I fail to connect with you through this answer, the feeling I get is almost a kind of hurt. I knew this would happen. But I can’t help being disappointed. You’re still a distant figure to me, when I hoped I could get to know you better. The rest of the interview will be tinged with this sensation.

As for good answers to this question, here are two I really liked. The first is by Carol Ayer who I interviewed on her novella “Storybook Love”:

I'm one of those people who ate up books as a child. I learned to read at age 4; my favorite presents were always books. I loved going to the library. As soon as I grasped that it was possible to create these wonderful objects, I started "making" my own. I wrote a "novel" when I was ten or eleven and submitted it to a publisher my grandmother worked with (she's an artist). It was, of course, rejected. I was no prodigy. I also submitted short stories to places like "Cricket." I was rejected time after time, but was completely unfazed. I just loved to write. I wasn't published until I was well into adulthood (that's when the rejections began to bother me, too!)

I have added the bold here for emphasis. It’s my favorite part of the answer. Carol Ayer hits on the dreams we foster as beginning writers, the rejection we undoubtedly receive, and the original passion that keeps us writing for no reason other than there’s a story we need to tell. I was reliving my own memories, which is one of the best ways to make people connect with your writing.

Another good example is by Jennifer Ziegler who I interviewed on her book “How NOT to be Popular”:

I was making up stories by the time I was verbal. So as soon as I learned to write, I was forever coming up with stories, essays, poems, cartoons, etc., and stashing them under my bed. As to why? I truly don't know. I just have to. I come from a family of born storytellers so it's in my blood. Whenever we have reunions we talk incessantly -- reliving past anecdotes and exaggerating slightly (or a lot). I see the world in stories. It's how I understand life.

Again, I have added the bold for emphasis. This also struck a personal chord with me. I loved visiting my grandfather’s because the whole family would be there telling stories—no matter which room you went in, someone was telling about when they were kids and the world was different. I often moved from room to room as if in a delightful dream. And I, too, see the world in stories. Most people can probably connect with the rest of this answer in their own ways.

Go ahead and try answering question 2 in the comments. Like I said last time, you don’t have to be published or talk about a published work; this is just your chance to take a whack at the question and practice your interviewing skills. Think about the question. Who could relate to your experience? Why did you love books/reading/writing, and how did that inspire the writing you do today? If I get some comments, I’ll post my own answer as well.

Enjoy your Thanksgiving, everyone!

-Creative A

The Interview Begins: Question 1

We meet somewhere fun and quiet, like a museum, or a coffee shop, or perhaps a lounge. I’m the interviewer. You’re the hot up-and-coming author who’s book was acquired six months ago in a three way auction, and I’m super-duper excited to interview you because you’re book is supposed to be the next Twilight/Davinci Code/Eat Pray Love.

So anyway, we find some big comfy chairs (or benches, if we’re in the museum) and we sit down. So far you’re feeling incredibly confident and excited. You haven’t done anything stupid. I even laughed at your jokes. Yay! But then, as you cock your head and try to look all-knowing, I pull out this notepad and click on a handheld recorder.

“Okay,” I say. “Let’s begin. Soon-Famous-Author-X, tell us a little bit about your writing process. Do you outline, or wing it?" (I wave my hand vaguely.) "Do you write daily, or in snatches?”

There are a few ways you could answer this. Typically, this question will either get you to theorize about an aspect of the writing life—the difficulty of outlining, the importance of writing daily—or it will either get a very basic, honest outline of what your typical writing day/style is like. (Think “Well, normally I use a rough outline to begin with. I try to write about 2,000 words every day except for the weekends. If I didn’t meet my daily quota, then I’ll spend Saturday making it up.”)

Neither response is bad. The first response may be a little better because it gets you sharing why you outline or write daily, or whatever. The second response is “meh.” I’m not thrilled to have learned you write 2,000 words daily. It’s interesting—but not that interesting.

So how would you respond to this question in an interesting, memorable way? What’s really being asked here?

When I (an industry insider) ask this question, I’m thinking two things: How is this person different from me, and, how does this person compare to me. Perhaps your answer can give me insight to my own writing process. Perhaps your answer will get me excited about the way I write.

A reader may be wondering what it took to write the book that love. What actually went into it? How does the mystical process of writing books happen? Most readers have very little clue what goes on in the crafting of a book. Learning about it can be fascinating.

Also, this question is an opportunity for you to connect with readers in a real, concrete way. You may not think that your daily writing habit is interesting. And your habit itself probably isn’t that exciting. However, why this process works for you IS interesting. It’s food for thought. It’s a “huh” moment on our part. Outlining isn’t new; pantsing it isn’t new. But if you outline because the story takes on a three-dimensional shape to you, that is definitely new.

As I said in my post about why we like interviews, the two keys here are that you share, and that you tell us the story behind the story.

When I interviewed Mandy Hubbard, this was her response to the question:

Me: Tell us a little about yourself as a writer. Do you outline, or wing it? Do you write daily, or in snatches?

Mandy H.: I wish I was one of those writers with detailed outlines or stacks of notecards or at least a bunch of post-it notes and highlighters. Sadly, I just wing it, and when I’m done, I have what I call the “Word Vomit Draft”. From there I go back through it 2-3 times, adding scenes, deleting infodumps, etc, until it’s reasonably readable. Then I send it to a critique partner or two, and then I revise again, then I send it to my agent. That usually triggers another revision.

You can see why it takes me multiple drafts. But it works for me, and I don’t really like knowing where I’m going before I get there. What’s the fun in that?

I write basically whenever I can, but mostly that means 20-30 minute increments on the train or a lunch break. I promise—you really can write a whole novel without every sitting down for more than thirty minutes.

Also, I usually don’t touch my writing on the weekends.

This is one of my favorite answers to question #1. But what makes this answer so great?

A) Personality. She’s not just answering a question; she engages you, the reader. “Word Vomit Draft” is not something you hear a lot – it’s totally Mandy Hubbard.

B) The story. She doesn’t just say that she writes a bad first draft, edits, sends to agents, and edits again. She walks you through it and highlights the points that are personal to her. That way everything else gains more meaning. When she says she wings it, we know it’s because she’s not a post-it kind of girl.

C) Connecting. This answer connects with me. I have reasons why/why not Mandy does what she does. Now I can compare it against my own writing style and say, “Hmm, I like to know where I’m going before I write, but I’m not a detailed outliner, either. Interesting.”

So let’s get back to the scenario on the comfy chairs. The tape on the recorder is spinning. My question – “Tell us a little about yourself as a writer” – hangs for a moment in the air.

What’s your answer?

The comments section is waiting. :)

-Creative A

Why We Read Interviews

This was going to be the post that kicked off my Interview Question series, but when I was writing about why I asked X question, I discovered there was a lot to say about why we—readers, writers—will read an interview, and what makes an interview good. So I thought it might be worth doing a post about this all on it’s own.

Let me say really really quick that this is not some kind of admonition or criticism of all the authors I’ve been interviewing lately. It’s the opposite. I’ve had so many awesome interviewees that it’s gotten me thinking about my own reaction as a reader, and what made these interviews so good. Why does one interview make me add a book to my to-reads list, and another, make me take the book off? That’s what I want to answer.

Let’s look at what an interview is, fundamentally. It’s a promotional device. It’s a way to learn more about someone else. Through an interview, readers connect with the author. The author shares about themselves and hopes to gain more readers. But, also, an author shares so they will be understood. (Think about that. Our core goal as a writer is to have our story be known the way we’ve known it, right?)

Based on these above speculations, we can say that there are some basic goals associated with both parties involved in the interview. We have:

The interviewee. Their goals are –

1. To create buzz/name recognition/readers/(and ultimately) sales.

2. To be known/understood/respected/get an ego boost.

3. To have their work be known/understood/respected/enjoyed better.

The reader. Their goals are –

1. To prolong the reading experience by learning more/understanding better/seeking clues about unresolved plot points, characters, etc.

2. To gain information about books in the series/author events/kind of person who wrote book/author’s agent/any information related to book but not about book.

3. To recapture the magic they experienced while reading by learning about the writing process/authors experiences/plans for characters/next book(s) in series/backstory/inspiration/information related directly to book.

And also we find the industry insider—typically writers who also read. Their goals are much the same as the normal reader’s. However, an industry insider is going to read a book, experience a reaction, and then want to know how the author made them have that reaction. Thus –

1. They want to learn about: the magic they experienced/the characters/the plot/author’s writing process/authors success/what made the book good artistically.

These lists makes it all sound a bit dry, but really, it’s not. Authors want to share. Readers want to know more. Writers (or industry insiders in general) want to know about.

Logically, we can assume that the best interview is one that meets these goals.

Ahh. And how, dear Sherlock, does one do that?

This is where I’m going to step out on a limb and toot my own horn a little bit. I think one of the keys to a good interview is asking the right questions. When I started out interviewing, I looked at which questions were asked the most, and what kind of answers they got. I noticed that the best questions were ones that took the typical question and gave it a new angle or slant. Somehow, this encouraged authors to go deeper than usual or share more than they had before.

I’ll give an example of this when I get into the actual interview question series. But for now, let me just say that slanting a question can get to the root of it. Many questions are in some kind of disguise. They ask for the product – (what inspired you? How long did it take you to write X?) – when what they question actually wants is the story behind the story – (what brought you to the point of inspiration? What were you going through when you wrote X?)

That’s one of the keys to a good interview: asking the right questions the right way. The second key is solely on the author’s shoulders. And it is, dum dum dum, answering questions the right way.

Logically, we may stipulate that this means meeting the author’s goals. But again, it’s not so simple. (If only if only, the woodpecker cried.) Oftentimes we don’t know how to meet our goals. Sharing is not easy. This is why so many writers want to write in solitude and never come out, except for coffee and fresh ink. They’ve done all their sharing already – it’s in the book. Duh!

But remember, readers want to understand better. Writers want to know about. They both want the journey behind the book, the story behind the story. When an author shares, they must give something that sheds light on everything they shared before. When someone asks, “how do you manage your writing life and your personal life?” they don’t want you to say, “It’s easy/hard/I don’t know, I just do.” What they want is for you to say, “Well, it’s hard because…”

Did you catch that? Because. BECAUSE. As one of the most magical worlds in our industry, a quiet little “because” will dig straight to the marrow of whatever you’re about to say. It gives your answers meaning. Without meaning, the answers become…well, meaningless. Empty. Disappointing.

Disappointed readers is a Very Bad Thing. They readers don’t subscribe to your RSS feed or comment on your interviews or pre-order your next book. They sigh, linger a moment on how good your book was, and then they move on. To some other book. To some other author who can reframe the magic of reading for them.

Not cool.

In upcoming weeks, as I post my interview questions for public response, think a moment about what the question really means, what you as a reader like from such a question, and what story you as a writer have to share. This is supposed to be a promotional exercise. Go ahead answer as if you’re published, regardless of your actual situation. (It’s really fun! Trust me. You can even use a fake WIP if you’d rather not risk getting plagiarized.)

One more thing – most of this is based on my own experience. I could be completely missing an important aspect of the reader/interviewer experience. What do you all like in an interview? What do you look for?

Look for the interview question series kickoff this week!

-Creative A

Book Promotion

Guest speaker for today is Raymond Wong, author of The Pacific Between. After publishing his first novel, he did a lot of self promotion. Here's some of what he learned.

So you've signed that coveted contract and your book's been edited, produced and schedule for release. Congratulations! You've made it so far.

What's next?

For some writers, especially if they're being published by a big house, there's an idea that they can just sit tight and collect the royalty checks, and perhaps go on the occasional book tours or signings. The publicity and marketing machines at the publisher will be do all the work to create buzz and excitement and demand. Promotions are for those without a marketing budget.

While it's partially true, the reality is that it's a very competitive business and there are a lot of authors and books out there. Even named authors have to compete with other distractions such as movies, TV, and the Internet. Advertising can only go so far; and if you're not a brand, advertising doesn't really work. Not to mention publishers are cutting back on marketing and promotional costs. 

It's an increasingly challenging market and the publishers do rely on the authors to do their share selling their books. After all, who can do it better than the authors who know their own books inside and out, and who have the most enthusiasm about the work they produced?

So what's a writer to do?  Well, it's actually a good problem to have, because it means you've "arrived." You've crossed that bridge. You're now in the business of writing and selling books. After all, we all want readership, and book promotion is just that, from the author's perspective -- to create interest and readership.

So how do you go about doing that?  There are many ways, but they all take certain energy, enthusiasm, and ingenuity. The idea of promotion and marketing is to create an awareness about you -- the author -- and your product -- the book. 

The more you're out there telling people about yourself and the book, the more people will be aware of it, and the more they're will remember it. It's about penetration and saturation. The reality is that not many people will buy immediately, especially sight unseen. There are ways to entice someone to buy a book, and hopefully the publisher has done their job:  the cover, the title, the jacket blurb, the shelf placement, advertising, etc.  So what can a writer add to this to entice a reader to check the book out?

 

1. Press Release

- Normally, the publisher will do all that, and preferably on a national level. But it's really important for the author to at least do his or her own press releases at the local or regional level. It is the author's home turf, and the author knows it best.

Press releases can be really effective if you're local, and you have a compelling story to tell that relates to your local area.

Try to focus on a "news" angle instead of simply telling people, "hey, my book is out. Buy it."  An effective press release is one that tells an interesting story that is "newsworthy." If your novel or book is about divorces, for example, tie it to something relevant for your readers. Find a local angle. Refer to your own experiences.

Journalists are interested in a unique story they can sell. For example, I was able to create interest for Stories of Strength with a press release that focused on the Katrina disaster relief, and tied it back to the disasters Hurricane Ivan did to my local community. For my novel, I was able to create a human story that relates to multiculturalism and immigrants.

Some more tips on creating an effective press release:

a. Limit it to one or two pages. The media are busy people. They don't have time to read pages and pages of drivel.

b. Create a catchy headline.  Study newspapers and magazines. The headline is one of the most important things.

c. Write the content as if you were writing a news article. The media are busy people; they're looking for something that is near-print-ready, that they can just lift off the page.

d. Make your key points stand out. Don't bury them in paragraph after paragraph of stuff. The media is looking for something that just pops and grab your attention.

e. Create something on the human level. Like any news story, the human angle is what makes people care.  Use anecdotes, dialogue, excerpts that make people care.

f. Make sure your contact info is clearly printed on the press release. If you have a publicist, use that information -- it's more professional looking.  If you don't have a publicist, use your publisher.   Using your own name and number gives off the impression that you're "self-published."

 

2. Trinkets

- People like stuff. If your publisher has the budget for it, get them made with the book title and your name on it:  bookmarks, postcards, pamphlets, keychains, pencils, buttons, mugs, T-shirts, etc. etc.  If you can't afford it, do it anyway.  Bookmarks and postcards and business cards are relatively cheap -- some places such as VistaPrint even offer "free" stuff plus shipping.

- It's all about branding. Even if people are not interested in buying, they still get something back and everyone likes to have stuff. And who knows? Maybe some day they'd come across that notepad and wonder: Hey, what is that book about? Who is that writer?  Again, it's about awareness and the pervasiveness of branding.

- It's always good to have things to pass out or give away at conferences, book signings, tours, etc. So the little bit of investment can go a long way.

- Make posters. They come in handy at events and you can also pass them out.

 

3. Interviews and Book clubs

- Part of the purpose of press releases is to get you some media coverage.  Whether it's a blurb in the local newspaper, or a TV interview. And it's not that difficult. Again, you need to play the local angle. Even a relatively unknown man like myself has done TV, radio and print interviews. I'm also a guest on a local radio station from time to time. It's about exposure.

- Any time you find an opportunity to get your name out there or get an interview, do it.  It includes networking with people, getting involved with local groups, working the social networks such as Facebook or MySpace.

- Check out the local literary circle, including radio shows (book talks, etc.) and writers groups. Introduce yourself to writers groups and see if they would be interested in having you to come in and give a talk.  Who knows? Maybe they'd be interested in getting you into their book club.

 

4. Events

- There are many different kinds of events, and they're all good exposure for a writer. Obviously, you don't have to do them all -- they're time consuming and may be costly. But when you have the means, these are great opportunities to get you out there and meet people and talk up your book:

a.  Book tours - yeah, we all dream about going on a cross country or international book tour. Such glamour!  The reality is they're not that glamorous. Just a lot of work, traveling, public speaking, and repeating the same thing over and over again.  But they can be a lot of fun.  Most often, it's not something we should worry about anyway because book tours are expensive. Even big name authors may not get to have their tours.  But if you're traveling anyway, it's not impossible to schedule something.

I was able to schedule a "mini" tour in California while I was out there in September, 2006. And yes, every time you have an event, send out a Press Release to the appropriate market and locations.  I was able to get print coverage and a TV interview for my California trip. Work with the local book stores (independents or chains).

b. Book signings - that's the necessary evil, especially when your book is just coming out. They're really not that bad. Work with the local stores and libraries to arrange for the signings (either you or your publisher can do it).  Be punctual, courteous, and approachable. You want to be able to be invited back. Also, don't get too comfortable and just sit there waiting for people to buy your book.

You're not there to sell books. You're there to talk about your book.  Make sure you talk to people, and introduce yourself especially if you're not John Grisham or Stephen King. People don't know you. Be approachable and friendly and drink a lot of energy drink -- you'll need it. Do a book reading instead of a book "signing."  Readings are more interesting and will attract more people anyway.  I once had a reading at a library and there were over 20 people there -- no one had heard of me before. It was great.

c. Library events -- work with your local libraries to sponsor or participate in local events such as book groups, book fair, etc. It's a great opportunity to introduce people to you and your book.

d. Writers' Conference  and book fairs -- they're just another venues to do book readings and signings. I find it more enjoyable to actually be on panels or give workshops. Some conferences will pay you, and some don't. But the idea is, again, to get yourself out there.

 

5. Awards

- Awards are also good promotional assets. Granted, most people don't really care unless your award is the Nobel or Pulitzer or a prestigious genre award.  But what is important is that you can put "Award-winning author" in front of your name!  That also gives you some kind of credibility whether you're doing a book reading, going to a conference, or getting on a TV interview.  Plus your local media love success stories -- and an award sounds like success to them (especially if it's a national award).

 

6. Reviews

- It is really not part of "promotion" or marketing, but a very vital part of the business.  Trade reviews (and not a thumbs-up from your mother) are very important for a book. It gives the book industrial credit.  Whether it's a good or bad review, at least it's garnered attention. Of course, a good review is preferred.  Still, reviews can be used in EVERYTHING related to promotions and marketing:  press releases, author bios, trinkets, posters, book jackets, websites ... anything you can think of.  Good reviews and blurbs (from another author or reviewers) is the ultimate word of mouth. 

 

7. Online

- It's become more and more important to have an online presence. That's your billboard. If you can, register your own domain name (I have mine:  www.raymondwong.com). Make your website and keep the content updated, and make them professional.  This is where the readers can come and check you out.  This is all about you -- so make it shine.

- Social Network sites, such as Facebook and MySpace and Twitter are gaining popularity, and they're great places for authors to hang out, and to advertise their books, and to interact with fans. If you already have a personal account, you may create one just for professional use.

- Blogs -- blogs are great in that they can be easily updated, unlike websites. And they're great for fans to visit and check you out and see what you've been up to, or gain some insight into your process, your career and your personal life (if you let them).

- Online resources are great to keep your fans and your potential readers informed and connected to you.  They can disseminate information such as future events, news, promotions, writing samples, etc. etc.

 

So the idea of promotion and marketing is to get your name and your book out there, in as many venues as possible, and as often as you can.  It's about being "viral" without being in your face.  It's a delicate balance.  One can do too much or too little, or get too carried away.  

The thing is, the author's #1 priority is to write great books. That should be our main focus. But it doesn't mean we can sit on our hands and not promote our books. Publishers have been known to drop an author because he or she doesn't do squat in helping promote their own books. So don't make the same mistakes.

The bottom line is, have faith in your work, and have some fun with it.

 

Raymond Wong is the author of THE PACIFIC BETWEEN, and co-author of the STORIES OF STRENGTH anthology. Besides writing, Ray is also an actor and a musician. You can learn more about Ray on his website, or on his blog I, the Author. 

Other resources:

A Newbie's Guide to Publishing - blog

Writerly So - blog

Booksignings: All You Need to Know - thread