“I just need to know: is it any good?!”

Most of the time, I work with authors from the outset of their writing journey – as a continual sounding board, mentor, coach and fount of all knowledge (or font, for those literary rebels out there).

But sometimes I’m referred to, or meet, authors who have already completed the first draft of their book and find themselves unsure of what to do next. 

Typically, these authors understand the gist of publishing and have explored different routes to market. Most realise (thankfully) that, to be taken seriously as a writer, you should ideally have a serious product – one that looks professional, and which has been produced, arranged and refined to the same standards as all the other titles on a bookshop’s shelves.

Such a question, of whether their book is any good, often stems from a lack of confidence – even if the author doesn’t realise this is the case. As soon as it comes to the crunch and their work may be judged, doubt tends to spring. They’ve lived with this book for so long that they now find it hard to be objective or to see the wood for the trees. They’re so close to the story that they can’t really tell whether it will make readers laugh/cry/squirm/wonder, etc., etc.

This is a common position for an author to be in. So much so, the sentence I hear the most is: “I just want someone to tell me if my book’s any good.”

But therein lies the problem. That’s too broad a question to answer. The book may be good at making people laugh, but if it’s meant to be a poignant, moving, true account of a tragedy, it’s not good.

If a reader finds the story does what is says on the tin, i.e. it moves or provokes them in the way the authors intends, then that could be grounds for success. But, if that same reader gives up halfway through because the book leaves them with too many unanswered questions, or they’re turned off by shallow characters, the limp plot or unrealistic scenes and situations, then it’s also not good.

If it mirrors another title too closely; if it contains material that breaches copyright; if it’s based on someone who’s still living and who can be identified through the text…it’s not good.

And the worst sin of all: if it’s simply ‘an okay read’, in my eyes, it’s actually not good. There are more than fourteen million books on the market, and I’m sure we could all point to at least a handful that are mediocre – if not more. Think about that for a minute. There are already rubbish books for sale on the open market, covering every subject; your book won’t just have to fight to be seen against popular titles, it’s got to stick its head above the crap too.

As each year goes by it gets harder for authors to realise any sort of visibility, largely due to self-publishing bulldozing its way through the industry. On the flip side, it’s now easier than ever to get your book to market, largely due to self-publishing its way through the industry. Give yourself a head start and make your book as good as it can be before you let it loose.

So who can tell you whether your book is any good – for all the right reasons, and in all the right places? After all, given that writing is subjective, isn’t it all just people’s opinion on some level?

Making headway in a commercial market is something that can be planned and measured. Your next door neighbour may think your book is the best he’s/she’s ever read, but can they tell you where your readers are to be found? Can they pinpoint your book’s USP against its competing titles? Can they structure your book promotion so that it’s appropriate and achievable? Probably not. In those contexts, only certain people can answer your question: “is it any good?” People like me.

Starting with a critique, I’ll evaluate your book against multiple parameters. I’ll help you shape your content to make it fit for purpose, polished – and above all, readable. Not in the context that the spelling is addressed, but whether a reader would get to THE END. Or if they’re more likely to ditch it halfway through.

So, you’ll understand why I may inwardly groan when I’m asked by an author whether their book is any good. I sometimes feel like replying with a question of my own: “How long is a piece of string?”

Joking aside, I get why the author needs to know this, and why it’s essential at that particular point in the process. I understand, as publishing draws near, why they suddenly feel a little protective and precious about the product of their time, energy and creativity.

It may be literary feedback they’re in need of, but what they’ll actually get is a reality check, a confidence boost and some much-needed strategic advice. 

Developmental editor and publishing consultant Diane Hall is the author of three books; she has also ghost-written books for others and created a plethora of content, on more subjects than you could care to imagine, for numerous clients since the beginning of her career. She is proud to have fundamentally shaped series of books and more than a hundred individual titles over the last decade with various authors, nationally and internationally.

Among her editing qualifications, she holds a linguistics diploma, which involves the study of language and speech. Diane employs this knowledge in the forensic linguistic work she is sometimes asked to undertake.

Diane has seen the introduction and subsequent rise of self-publishing, and passionately keeps abreast of its disruption of the publishing industry. She is a thought leader when it comes to the future of book marketing, fuelled by the poor results authors see when employing traditional techniques.

Thanks to graur razvan ionut at freedigitalphotos.net for use of the main image.

What happens at a writing retreat?

In the most part – unsurprisingly – writing. Who’d have thought?! In all seriousness, that’s not an easy question to answer, given the range of different retreats you may find.

The ‘get away from it all’ retreat

A popular choice for authors and would-be authors who struggle to find peace to write at home. Life’s demands, family, environment, no time, poor concentration…all can be conducive to non-existent word counts. For many authors, ‘getting away from it all’ is exactly what they need to evoke creativity, to carve out the time they need to write, and to focus on little else. Most of these retreats are in lush countryside or scorching hot countries, to enhance the ‘fish out of water’ feel. Different routine, different mind-set, different results.

The ‘learn and apply’ retreat

Some retreats include workshops, as well as ‘quiet time’ to write. With pre-arranged seminars, conferences and/or practical workshops, these can prove valuable to authors in need of feedback and direction. If you’ve read any of my other posts, you’ll know I’m no advocate of an author doing everything themselves; objectivity is hard to come by, and a third party can bring useful insights. Your readers should never be the first people to see your book, nor can you rely on the opinions of Aunt Flo or your loved ones – their lack of experience is one thing, their bias is a whole different matter altogether. If you want to create something your readers will enjoy, don’t guess. Ask for help in the appropriate places.

This kind of retreat may not dangle as much writing time, but instead, offers valuable expertise at an affordable price. Information, inspiration and motivation can then be taken home (not everyone needs to ‘escape’ to write).

The ‘authors’ get-together’

More of a social event, these retreats can also involve workshops alongside fun activities, walks/visits to places with literary connections, and creative brainstorming. Traditionally, a solitary bunch, authors can find plot inspiration, advice and solidarity amongst fellow writers. And all work and no play makes Jack a dull writer, sorry…boy.

Discussing the intricacies of, and the obstacles within, your story with your partner isn’t the same as sharing it with a sounding board who’s in exactly the same position. It’s cathartic to discuss these things with others that not only understand but actually want to hear about it.

My upcoming retreat is a mix of the ‘learn and apply’ and the ‘authors’ get-together’. During the weekend, which runs from January 29-31st 2016, myself and other writing professionals will deliver a series of one-to-one author clinics, interactive writing workshops, ‘CSI style’ writing and research classes, a murder mystery dinner event, as well as offering plenty of advice and feedback. And quiet time can be yours too! Taking place at the Healing Manor, Lincolnshire, this retreat costs £350, which includes your board, all workshops, classes and clinics, and all your food and drink – a bargain! For more information, contact me at diane@thewritinghall.co.uk.

 

The rise of the authentic author…

If you’ve read my post on the long tail of book marketing, you’ll see that I advocate the slower road to publishing success. Discounting rare phenomenon such as the 50 Shades’ palaver, a hard, bitter, but realistic pill for new authors to contemplate is that they may never reach global notoriety.

That doesn’t mean they can’t be a success. Connecting, through their words, with just one reader would light the fire of many authors, and be enough merit for their effort, because most don’t enter the industry for fame and fortune. Or so they’ve told me.

If most authors are happy ‘just writing’, tell me: why do so many insist on bending the truth when promoting their book? At what point does this desperation to be noticed set in?

I’ve been closely watching someone in my network bend the truth, promise the earth, and take shortcuts to find any kind of visibility. Often it’s been with a smile, as I know that, despite the initial spark of interest their efforts may realise, the substance underneath all their pontificating and exaggerating is seriously below par. That’s the real reason they’re not seeing success but, as their attempts to be noticed become more and more desperate, they seem increasingly blinkered (or unconcerned, perhaps?) as to why they’re being ignored.

Buying followers on social media, they believe, bumps their numbers up, but when anyone clicks on their followers’ list, they’re faced with soulless, empty profiles. On the surface, it makes them look more popular; in reality, these fake profiles are no more a buyer for their books than my dog.

Claiming thousands of downloads sounds impressive, but figures were calculated when their book was free – something they seem reluctant to point out in the same brag. When used strategically, the ‘try me free’ can be a useful tool in an author’s box; however, when people fail to follow up from their freebie with a genuine, unbiased or disinterested review – or the purchase of book two/three/four – what does this initiative bring?

Talking about the importance of reader connection on social media is belittled when their next fifty Tweets talk ‘at’ the public, asking them to: buy the book, review the book, share the post. Ultimately, why the hell should they?! The whole aim of ‘reader connection’ is involvement, inticement, engagement. If you have to ask your reader for something, do it AFTER they’re engaged.

All this leads me to believe there’s even more call for the authentic author. Not just authentic through the words in their book, but in their actions, post-release. Authors with the confidence that their book is an excellent product in its own right, that warrants little or no promotion.

Of course, in an ideal world, these works would be seen no matter what, but I admit, there is a problem with noise throughout the literary world. However, my advice in this regard is not to join in, not to try and shout louder, but to build your foundations quietly, with respect, with confidence and with some integrity: authenticity rules.

Both online and offline, aim to reach a target market, not a mass one – the smaller the better, really. Your readers aren’t to be sold to, they’re people that deserve your respect for their literary tastes and choice. Be humble that they’ve found you, thankful that they’re choosing to follow you, subservient to their wants and needs. 

Instead of asking them for a review for the world’s benefit, start a dialogue – a conversation – about what it was they liked (or disliked) about your book. Use this to improve your writing skills and to identify the common threads your readers mention. These are the USPs to produce when you do talk about your book – but only, through research, to people interested in hearing about them. You’re there to do your readers’ work… they don’t have to try to find good reads.

Keep in touch, but not just to flog things. Ask them about their day, their amibitions, whatever – just encourage them to respond. It’s relationships that will see your platform grow, not the amount of Tweets you spout to strangers or the discounts you offer. Let’s face it, there’s more free content out there than any one reader can get through in their lifetime – you’ve to make readers feel really special if they’re to invest their attention and money towards you.

Authenticity cannot be bought. Confidence is not hiding in your activity if you insist on talking at people. And whatever marketing you do, if your product’s not up to scratch, the short-term interest/hits will fade away as time marches on. A good book has to be the starting point for any author.

Be prepared to stick your neck out. Don’t piggyback on someone else’s ideas. Don’t be afraid to give your opinion, carve out space for your voice. Don’t spend your time trying to pull the wool over your readers’ eyes; put that energy and effort into writing books that sell themselves. Authentic, unique stories that will see your readers wanting to help you, leave them wanting more, more, more.

There are no short-cuts.

Developmental editor and publishing consultant Diane Hall is the author of three books; she has also ghost-written books for others and created a plethora of content, on more subjects than you could care to imagine, for numerous clients since the beginning of her career. She is proud to have fundamentally shaped series of books and more than a hundred individual titles over the last decade.

Among her editing qualifications, she holds a linguistics diploma, which involves the study of language and speech. Diane employs this knowledge in the forensic linguistic work she sometimes undertakes.

Diane has seen the introduction and subsequent rise of self-publishing, and passionately keeps abreast of its disruption of the publishing industry. She is a thought leader when it comes to the future of book marketing, fuelled by the poor results authors see when employing traditional techniques.

 

 

 

Handing your ‘baby’ to a writing coach and mentor…

It’s a scary prospect, sending over those pages. You know, the ones that kept you up at night and which gave you little else to think about during the day. You’ve sat with your story for months – years, even. It’s a part of you. You care about your book as much as your offspring; in many ways, it’s as cherished as another child would be.

So, it’s nerve-wracking indeed to show it to someone else. Not just your other half, who will support you no matter what. Not your mum, who thinks you can do little wrong; or your writing group, who, though they may mean well, are rarely best placed to give you advice (some may have an agenda attached to their comments; all are nurturing their own ‘baby’ and negotiating the author road too). Offering your precious work up to someone with true objectivity can feel like sticking pins in your eyes.

The writing coach/literary consultant is free to be as critical of your work as they like. They’ll be able to tell if your book is indeed ‘any good’, and whether it is truly saleable via a bookshop or digital shelf. They’ll be able to spot your story’s flaws as well as its moments of brilliance. They may hate it. They may love it. Either way, until you’ve received this level of feedback, you’re just feeling your way through.

No one likes to feel judged, but that’s not what I do. I don’t place any opinion on the author. All I concentrate on is the book in its raw state, the areas that need work, and where it fits in the proverbial field of commercial or literary work. I may measure it against similar titles – just as your readers will do when looking for a book like yours to read. I may suggest rewrites of parts that confuse the reader, if only so, by the time they get it in their hands, they’re left with a seamless, flowing tale that draws them in.

I’m honest and fair, but above all, constructive. I’ll help you shave away blind spots in your manuscript, enrich your characters so that they’re as lifelike as can be, and add the right amount of pace to keep readers turning page after page. Together, we’ll erase stilted dialogue, extraneous exposition and description, and the mountain of unnecessary words.

Tackling self-publishing alone is not just unnerving, but bordering on foolhardy too. You can’t see your book through your readers’ eyes, you really can’t. Invest in your book. Invest in your writing skills. Ask for help.

Developmental editor and publishing consultant Diane Hall is the author of three books; she has also ghost-written books for others and created a plethora of content, on more subjects than you could care to imagine, for numerous clients since the beginning of her career. She is proud to have fundamentally shaped series of books and more than a hundred individual titles over the last decade.

Among her editing qualifications, she holds a linguistics diploma, which involves the study of language and speech. Diane employs this knowledge in the forensic linguistic work she sometimes undertakes.

Diane has seen the introduction and subsequent rise of self-publishing, and passionately keeps abreast of its disruption of the publishing industry. She is a thought leader when it comes to the future of book marketing, fuelled by the poor results authors see when employing traditional techniques.

Thanks to Serge Bertasius Photography at freedigitalphotos.net for use of the main image.

How I contradicted myself…not that I want to make a habit of it

I admit that my reading list is longer than both my arms, my torso and legs combined. Given that I read throughout each week in my role as editor, literary consultant and writing coach, picking up a book for my own pleasure at the weekend, well, isn’t so much of a pleasure after all – it feels more like torture.

Some titles make it through – usually trashy novels I don’t have to think too hard about. It’s certainly rare I pick up – and enjoy – a book that doesn’t have me as its target market.

In every workshop I hold for budding writers across the UK I iterate over and over the need to pin down your target reader. To describe them to such an extent that they could almost become tangible. How else, in such a saturated market, will you even begin to find readers? Knowing a little about your book’s hook and its appeal goes a long way towards understanding who would pick it up, for what reason, and where these lauded people can be found.

So when, as part of a promise I made to a regular attendee of my workshops (with someone I already consider a friend – I associate with the loveliest people), I read their book, I didn’t expect to even finish it. It couldn’t have been further removed from my interests or my personal experiences, and aesthetically, it needed work (a real turn-off to me)…all in all, I expected to endure the author’s work rather than devour it. Not because it wasn’t any good necessarily, but because it definitely wasn’t for me.

My thoughts sitting here now? They’re along the lines of: “What the hell do I know?” I more than enjoyed it – it made a huge impact, and had me analysing how I live my life; it led me to consider what legacy I’ll leave on this world. Pretty powerful stuff from a book I would never have picked up in a million years.

So, where does that leave my advice regarding finding the perfect reader? I still think it’s relevant. After all, few readers will stumble over you, and you have to start promoting yourself somewhere – why not aim first at the group(s) of people most likely to love your book?

But, it’s worth bearing in mind that if you can persuade, through any means, someone outside your ‘target’ market to take a chance on your book, they may find a little gem they’d have otherwise missed. And they may be so shocked at the fact they liked a book they wouldn’t normally choose to take a punt on, that they become an even greater advocate for its existence than the ‘perfect readers’ swamped – surrounded, even – by books similar to yours. Think about it: how hard must your book have to work to stand out amongst books that compete against it? It’s easier to stand out if it’s already different. A change is as good as a rest, they say.

A recent initiative I thought particularly creative was a bookshop’s move to cover various titles with brown paper, then inviting book buyers to choose a book blindly. Removing any assumptions or prejudice the cover would usually evoke allowed readers to enjoy the content on its own merit. A literary curved ball, if you like.

Perhaps, more often than not, books you choose in this way, with no preconceptions, turn out not to be for you. But maybe, just maybe, your literary tastes widen; you begin to realise that books outside of your chosen genre can still stimulate, excite, compel, entertain. Is that really so inconceivable?

There’s so much of our lives that’s predictable and routine. Make it a priority when you’re next book-buying/browsing, or visiting the library, to pick up a wildcard. And remember to review it for the author – not if you can’t take to it, as it wasn’t written with you in mind, but if you love it. Spread the word, move that gem further towards others who may appreciate many things about it they didn’t think they would.

Go on, live dangerously.

The moral of this tale to readers is clear: take a chance on a book you wouldn’t normally pick up every now and again, if only to prevent your reading tastes from turning stale.

To authors, well, I’ve contradicted myself. “Find your target reader”, yet encourage anyone to try out your ‘curved ball’ – what kind of advice is that? Real life, I suppose. Author platforms aren’t always built of perfect readers. You need a little literary hardcore in your foundations as well.

Developmental editor and publishing consultant Diane Hall is the author of three books; she has also ghost-written books for others and created a plethora of content, on more subjects than you could care to imagine, for numerous clients since the beginning of her career. She is proud to have fundamentally shaped series of books and more than a hundred individual titles over the last decade.

Among her editing qualifications, she holds a linguistics diploma, which involves the study of language and speech. Diane employs this knowledge in the forensic linguistic work she sometimes undertakes.

Diane has seen the introduction and subsequent rise of self-publishing, and passionately keeps abreast of its disruption of the publishing industry. She is a thought leader when it comes to the future of book marketing, fuelled by the poor results authors see when employing traditional techniques.

Thanks to Danilo Rizzuti at freedigitalphotos.net for use of the main image.

Author Expectations vs. Reality

Success on a level such as that realised by J.K. Rowling and E.L. James, whilst it happens, is rare. There’s no reason why you can’t acquire a publishing deal and build a longstanding writing career, but there’s no guarantee this will happen. Self-publishing has empowered any author to chase their dream, and their readers. Though it has its own pitfalls, ‘do it yourself’ has welcomed a tide of new writers and their work.

It’s important that your dream of writing a book has some grounding. It takes hard work and continuous self-promotion to find and keep a readership you’re able to build on. Much of an author’s success can be down to chance, the right connections and a story that fills a gap/sparks a trend – these are all things that can make the difference between the average career of an author and the household names you read about.

Many authors don’t start to see continual revenue from their writing career until their seventh book. The first release has to work on finding some visibility, although the release of the second helps in this regard. By the time the third book is published, previous buyers of your book will have decided if they’re loyal to you, and your name will also start to become more visible to the wider world. If you’re still writing and continuing this momentum, by your seventh book, you’ll likely to have passed the tipping point, where you can spend more time writing than promoting, and a steady income comes in of its own accord.

For most, the writing of the book is the easy bit. Finding a voice and any sort of notoriety is the challenge. Fans on social media sites mean nothing unless they’re putting their hands in their pockets. Reviews are only useful if people see your book’s listing in the first place. My advice would be to try everything and measure what sticks, which is what marketing is largely about.

The promotion of your title can be helped if you understand your book. Yes, you wrote it, but by doing so, you can never put yourself in the position of your reader. However, you can try.

Ask yourself: why should someone pick up your book? What does your book say that another doesn’t? What do you bring to a subject that hasn’t been said time and time again? Perhaps your book is a ‘romp through time and space’ – so are thousands and thousands of others. ‘It’ll make you laugh; it’ll make you cry’ – so what? Isn’t every book’s mission to move, evoke, touch, inform, educate or entertain? WHAT MAKES YOUR BOOK SPECIAL?!

Who will read your book? What’s their age, social group, status or stature? Are they time-pressed, or do they enjoy long stints by azure pools? What do they look for in a book – knowledge, a thrill, to work out whodidit, or just some escapism from the barbarity of life?

I’ve heard some wonderful claims from authors:

“Should I order 10,000 copies or 20,000? It seems silly to order too few when I’ll be back within a month ordering another 10,000.”

“I don’t have to know who will buy my book – it’s one that’s suitable for everybody.”

“I don’t like selling.”

“I don’t want to use the internet to sell my book. I’ll just stick to other methods.”

To the first: If you want to actually use your garage whilst you slowly get the message about how hard it is to sell your books, be my guest. Personally, I’d order 150 and see how you go.

To the second: Oh dear. Marketing to everyone will be less successful than picking a particular audience and talking to them one-on-one. But you’ll find this out yourself, eventually.

To the third: If you think of it as selling, you won’t ‘sell’ any books. If you think of it as telling someone who might be looking for a book just like yours that your book exists, then you may find things a little different.

To the fourth: Good luck! Though I always advocate building a network of readers, book buyers/shops, and influential contacts offline, ignoring the online world is crazy in 2015.

I know I continually burst people’s bubbles about how harsh authorship is, but I feel it’s necessary. Otherwise, people could waste thousands of pounds, unnecessary time, and swathes of effort as they find this out for themselves.

Reining in your expectations will get you to that ‘seven book tipping point’ far faster than if you wait for the jackpot, a la Ms Rowling and her more successful peers. Chance and fortune don’t strike that often, best opt for Plan B.

Developmental editor and publishing consultant Diane Hall is the author of three books; she has also ghost-written books for others and created a plethora of content, on more subjects than you could care to imagine, for numerous clients since the beginning of her career. She is proud to have fundamentally shaped series of books and more than a hundred individual titles over the last decade.

Among her editing qualifications, she holds a linguistics diploma, which involves the study of language and speech. Diane employs this knowledge in the forensic linguistic work she sometimes undertakes.

Diane has seen the introduction and subsequent rise of self-publishing, and passionately keeps abreast of its disruption of the publishing industry. She is a thought leader when it comes to the future of book marketing, fuelled by the poor results authors see when employing traditional techniques.

Diane lives in Ackworth, near Pontefract, with her husband and two teenage daughters, Caitlin and Zara.

‘Author delusion’ – it can happen to anyone…

There’s one thing I can say about my job: it’s interesting. For instance, the plots I read, the promotional creativity I encounter….and the people I meet.

I genuinely love my clients – they’re talented and fascinating. However, I do sometimes come into contact with writers of a certain breed that don’t become clients (and it’s probably a good thing) but who end up as ‘near misses’. Those suffering from what I playfully call ‘author delusion‘.

This condition doesn’t derive from the authors’ talents necessarily, but their attitude and approach. “I’ve written a book, now where are my millions?” is a common cry. As is the belief: “My story doesn’t belong to a genre, readership or audience – it’s for everyone.” Okaaay.

Hand in hand with their beliefs is their ‘blinkeredness’ (this may be just a term I’ve invented). These authors don’t need advice. They’re so sure they’ve a best-seller on their hands because their friends and family have told them so. As have a handful of ‘professionals’ keen to get their hands on the author’s budget. (It’s easy to tell someone what they want to hear when you need the work.)

It’s a condition that seems to favour the novice. Once an author has had a few titles out and been round the block a few times, they tend to rein in their expectations for a vision that’s a little more realistic. They begin to understand what bloody hard work it is to promote a book and gain readers; writing the book, in comparison, is the easy part.

Years ago, I used to try and help authors suffering from this affliction, but it soon became obvious to me that they’re best left to it, to wander the corridors of obscurity alone.

Occasionally, a suffering author breaks through and gains a little notoriety, but their perception of the industry eventually alters and becomes more humble, especially once peer reviews and reader feedback arrive. There are only so many voices you can drown out with naivety.

I’m lucky that so many writers I work with and guide are eager to hear thoughts and feedback on their productions, because they know it will ultimately help them improve, and further improve. They’re keen to master new techniques, new concepts and learn from others. They’re aware of the uphill, but not insurmountable, climb ahead. They understand that readers are to be cherished, interested and engaged, not sold to or dismissed as ‘just another sale’. They ‘get’ how authorship is in this age of digital and social media, and how connections and relationships are tantamount to the longevity of their career. They look beyond their book.

Author delusion, thankfully, is a short-lived condition, and usually brings no lasting damage to an author’s career or platform. Vodka is a quick-fix remedy, but a hearing test is advised if authors think they’re suffering from the disease. Other senses may compensate, though rarely that of the author’s humour, and a blindness to reality is seen in most cases. Exposure to beta readers, writers’ groups and professional critique would reduce symptoms drastically.

(This tongue-in-cheek post is written to entertain, not offend. If you’re affected by this post, there is a helpline available.)

Diane Hall is a literary consultant and developmental editor, who offers a suite of self-publishing services and support to new writers serious about producing a quality product and entertaining a long-standing career. A published author herself, over the last decade, she’s transformed more than a hundred titles, and was among the first wave of authors to dip their toe into self-publishing. Contact her via diane@thewritinghall.co.uk for more information.

Thanks to hin255 at freedigitalphotos.net for use of the image.

The shoulder for the author to cry on, the board upon which to sound off….

Last week I watched Gok Wan on ‘The TV That Made Me’ show. I’m not normally an afternoon telly viewer, but I was sat with my husband as he recuperated from an accident the previous weekend….(it’s been a very stressful week).

Enjoying the rare downtime, I listened to Gok’s ramble through his screen loves and hates without paying too much attention, until he talked about his ‘big break’, on the show ‘How To Look Good Naked’.

In his honest, straightforward manner, he acknowledged that his role on the show as a stylist wasn’t out of the realms of what any other person interested in fashion could do. It was just making people over – hardly rocket science.

The extra magic he brought, however, wasn’t focused on the now-trendy clothes, per se, but the boost his intervention gave his female subjects. Suddenly, they were no longer ‘frump woman’, but confident, stylish ladies. He’d given them confidence, and the tools to recreate this when dressing themselves at home.

You may wonder what the link is here, or why this hit such a nerve with me.

Lately, I’ve spent time defining my USP, as someone who helps authors self-publish their books. I’ll tell you here and now, it’s a burgeoning market; everyone and their dog is setting up as an author’s adviser, or someone who can project manage the production and printing of a self-published book.

14 million books. That’s how many are out there. 99% of authors sell fewer than 100 copies. With odds like that, the chances of an author writing a compelling, unique book is slim to start with, let alone finding readers to love it. DIY isn’t all that, in these scenarios. Sometimes, you need someone to help you stand out. Someone to give you the confidence you need to find and connect with your readers. Someone who’ll help you develop your style. Someone who has the necessary skills and talent.

Writing a book is a hell of a journey. There’s no wonder that some authors feel they’re qualified to advise others after going through the process. But what if their book wasn’t the greatest in the first place?

The studying I’ve done and the research I’ve carried out cover many years. The amount of books I’ve edited and developed, as well as the experience promoting and marketing titles, form the foundations of my developmental intervention. The help I know I bring authors when they work with me is hard to document, but it’s there. The confidence they feel about their writing is intangible, yet both the author and I can feel it. Clients leave me with focus, clarity, drive and inspiration – as did those ladies after Gok had been to work.

Books have been my life since…..well, forever. This is not my hobby. Being able to write is not beyond people; think about it – Gok’s ladies were perfectly able to dress themselves on a physical, basic level. But as for bringing that little ‘extra’, the sunshine and sparkle…sometimes you need the professionals’ help.

There’s no doubt that you could study your craft and find a longer route to goal, if you knew where you were headed and what you were looking for. We don’t know what we don’t know. I represent a shortcut, the informed voice from the other side of the fence. The mentor, the coach…someone to chivvy, critique, interpret, suggest. I imagine Gok wants everyone to feel good about their appearance, I want every author to feel confident that what they’ve produced is nothing short of brilliant. Can Joe Bloggs, author of ‘I only sold 20 copies’ do that? Does the hobbyist adviser know enough about the industry, different genres, readers’ preferences, commerciality, and more, if they’re only a part-time player?

If this post sounds like a rant, I guess it is. It’s like saying that just because I managed to change the tyre on my car, I’m now a fully-qualified mechanic. Of course, that would be rot, but it’s amazing what claims I see on my literary travels.

I acknowledge that writing is subjective, and that there are niche markets springing up everywhere. What one person hates, another loves. In a similar vein, there’s good advice and bad advice. Who would you rather listen to: a qualified editor and consultant with years of experience in the industry, or Joe Bloggs who’s only had his eBook up a fortnight?

The shoulder for the author to cry on, the board upon which to sound off….that’s me. The Gok Wan of the literary world.

Diane Hall is a literary consultant and developmental editor, who offers a suite of self-publishing services and support to new writers serious about producing a quality product and a long-standing career. A published author herself, over the last decade, she’s transformed more than a hundred titles, and was amongst the first wave of authors to dip their toe into self-publishing. Contact her via diane@thewritinghall.co.uk for more information.

Publishing: That’s Not How It Works #rantaliciousness

Approaching Twitter as a first-time author…

This is the last in journalist Rebecca Whittington’s series of author basics. In this post, she talks about social media, an often intimidating aspect of book promotion, and one that’s easy to get wrong. I believe that the mindset of what the author wants to achieve through social media is hugely important, as is thought on the content you post. Rebecca explains here how discipline is good practice, and the different platforms authors could use, with a focus on Twitter. Enjoy!

If you want to promote your work to the masses without paying a fortune, one simple way to reach people is through social media. However, be warned, this method, though free, is not always easy; it takes work, time and effort to get results.

The best way to get social media to work for you is to start out with a plan. Identify which social media platform(s) you want to use to begin with – the main contenders, due to popularity and ease of use, are Facebook and Twitter, but there are other social media opportunities out there, like YouTube and What’sApp. I’d suggest starting simple and building on your offering if you want to later down the line.

It’s worth setting up new profiles for your project, even if you already have social media accounts in existence. This will allow you to build a tailored audience for your publishing project and also allow you to use your personal platforms to share and spread the word about your book without the boundaries between work and your own social media blurring.

It takes time to build an audience on social media, so don’t expect miracles overnight. On Twitter, the first thing you should do is follow other people, i.e. those who might be interested in your book, and people who are relevant and who interest you – these may provide you with inspiration about how to promote your own work. Get tweeting too, with links to your website and blog; some of those you follow will follow you back and other followers will find you through searches and retweets.

The key to Twitter is to not let your account lie dormant. If you want people to follow you the trick is to tweet regularly and make sure that your tweets are engaging and interesting. Try and include links back to your website or blog here and there – ultimately, you’re looking to forge relationships with people via social media, but they also need to know your sites/book(s) exist. Balance is key; think about what your followers would want to read. Your endless promotion is unlikely to be their preference.

Don’t rely on ‘bots’ to do the job for you, they will produce dull, uninspiring tweets that will see more people unfollowing you than following.

What works for Twitter often doesn’t work for Facebook, so if you’re sharing an update or some news make sure you tailor your offering for each social media account – remember your audience on each account is different and expects a different style of writing from you, depending on the application.

Use images where you can. Research shows that people are more likely to click on a tweet or Facebook post when a picture is used alongside it – just make sure the image you do use is legal; you don’t want to get sued for copyright misuse. Use pictures you have permission to share or that you have taken yourself, or make sure you source copyright-free images if you don’t have something yourself.

A top tip for social media use is to set aside some time on a weekly basis for social media management. You can schedule tweets using applications like Tweetdeck (www.tweetdeck.com) and there are loads of useful applications that can help you manage multiple platforms. Finally, do your research and set up a plan – and try to stick to it!

Rebecca Whittington is a former newspaper journalist who specialises in media consultancy, media strategy and social media and website management. She is available for media training, writing for the web and assistance on setting up projects on websites and social media networks. For more information and to see Rebecca’s own webpage and blog go to http://www.rebeccawhittingtonmedia.com

 

Thanks to Master isolated images at freedigitalphotos.com for use of the main image.