Category Archives: Projects

Social media for writers

Last night, I and an extremely talented writer friend attended the Pacific Northwest Writers Association’s monthly meeting to hear former-book-agent-turned-business-development-guru-at-Penguin Colleen Lindsay and writers Nicola Griffith and Kelley Eskridge discuss social media for writers. The official name of the presentation was “The Writer as Marketer: Using Social Media and Digital Tools to Build a Platform, Connect with Readers, and Grow Your Community Online,” which also pretty much sums up the content.

As I progress through my novel and my thoughts turn to publication, I think more and more about social media. A bulk of (if not all of) the marketing responsibility for my book will fall to me, and so social media participation in some form becomes a requirement for me. At the same time, as a casual participant now, I can honestly say I despise it when authors constantly tweet, blog, Facebook, or otherwise trumpet about their novel, their novel, or hey, their novel. It’s spam, and it’s irritating. It does absolutely nothing to make me want to read the book, and instead makes me want to hide the person so I don’t have to be inundated with those messages anymore.

And that was, ultimately, the most important point the speakers drove home last night. Authors who use social media to beat their followers over the head with marketing messages have missed the boat. This isn’t “marketing media” or “business media.” It’s SOCIAL media. Writers should use these tools to engage with people socially, to create a friendly, interactive community.

Written in my notes (underlined and circled): “Most books are sold because the reader LIKES the author.” Not because the reader likes the author’s writing, but because the reader feels a connection to the author and likes the person. Social media, then, becomes an especially critical tool for writers, because it enables us to reach out and create relationships with lots of different people who may, in the future, buy or, just as importantly, recommend our books.

It’s up to me to define the community I want to create. I’m a clicker trainer, and the book I’m writing is a mainstream novel about training a curly coated retriever for a field trial. My community could consist of people who already know me, dog lovers, clicker trainers, people who love curly coated retrievers, and people who hunt with their dogs. If my novel were a genre novel — a mystery, for example, or a fantasy — I could seek out organizations or groups that cater specifically to readers of that genre. I’m not sure a group that caters specifically to mainstream writers exists, though I’d love to hear about it if it does. Additionally, my community could include writers, writers specifically of mainstream fiction, agents who rep mainstream fiction, and editors who purchase mainstream fiction.

It sounds very cold, doesn’t it, to break down my potential community in such a calculated way. If I were putting together this list to find people to spam with book news, I think it would be cold. But that’s not the point. The point is to find people with SIMILAR INTERESTS, and to seek out relationships with them. How? By commenting on their blogs, by responding to posts on Facebook, by responding to or retweeting their tweets. By reaching out as as individual who LIKES what they do and who they are. By being the friend to them that I want them to be to me. And then on my end, giving them content (targeted to the audience I identified) that engages them and encourages them to keep the dialogue going.

So if I do all that, and if I mind my social media etiquette — minding what I share, acting like a grown up, and apologizing when I put my foot in it — will I end up with a super popular blog or a million Twitter followers? Oh, I doubt it. Some people are able to create hugely popular online personas, but I don’t think it’s reasonable for everyone to expect those kinds of results. I think it’s more likely that I will meet some truly cool people, make some friends, and establish a nice-but-smallish core community that will grow after I release my first novel — and hopefully with each subsequent release.

If you find the whole social media thing overwhelming, don’t feel like you have to do it all. Pick one to be your home base. Maybe it’s a blog. Or Facebook. Or Twitter. Pick one, and put your energy there. You don’t have to be online managing it all the time. Once or twice a day for a limited time is fine. Schedule your time… just don’t forget to expand your community by giving back to others.

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Which is easier: selling a screenplay or a novel?

If you’re an aspiring novelist, you may be dismayed by the doomsday talk in and around the publishing industry. Fewer books being bought by publishers, lower advances being paid, self publishing touted as the miracle cure but paying off for only the tiniest handful. Some writers get frustrated and begin to wonder: Maybe instead of a novel, they should be working on a screenplay. Surely it has to be easier to break in, right?

I hate to break your fantasy bubble, but no, it’s not.

First of all, screenwriting is a completely different art form. Being a great sculptor doesn’t mean the artist is automatically a killer watercolorist. Nor does being deft with prose fiction mean a writer would be good at screenwriting. In some ways, the form and style of screenwriting is polar opposite of that of novel writing.

Second, far fewer screenplays are purchased than novels. A fair number are optioned. That means that someone in the industry pays for what in the book publishing world would be an “exclusive” while he tries to put together a package (director, actors) to sell. The price for options is usually extremely low — often less than $1000, and sometimes even free. Only a tiny percentage of optioned screenplays are actually sold, and only a truly minuscule number of screenplays sold are actually produced.

Who are the lucky stiffs who sell their screenplays? Nearly always it’s someone who has already sold a screenplay — someone who is already known in LA. (Someone who, not incidentally, also probably lives there.) Obviously that’s a catch-22. In order to sell a screenplay, you have to have sold a screenplay. The movie industry likes to work with people they know. That means they go to people they’ve worked with first, and then they go to people who’ve worked with people they’ve worked with. New writers (and new directors and new producers and new actors) have almost always gotten on the radar by living and working in some other capacity in the movie industry — as a production assistant, for example — or by working somewhere influential Hollywood people will be.

They network and meet people and pitch anyone who will listen until they get a chance to work on something. That “something” isn’t likely a brand new script. It’s a rewrite of a script already purchased. Maybe a rewrite of a rewrite of a rewrite. Which is then rewritten several more times. These rewrite assignments — given only to residents of LA who can attend meetings face-to-face — may be the bulk of a working screenwriter’s work. If their work is looked upon favorably, they might be chosen to be the first writer when a director or producer has an “idea” and needs something on paper to shop. More creative, more responsibility, but ultimately still work-for-hire following someone else’s outline and making their rewrites.

But wait… surely some original scripts are purchased and produced? Sure. Most of them were written by working screenwriters. Some of them weren’t even sequels or adaptations or assignments. But not many. And even fewer are purchased from people who live outside of LA or are completely unknown to the buyers.

Fewer doesn’t equal zero. It’s possible. It happens. So you decide to pursue it, even though you live in, say, Chicago. What do you do? What you don’t do is write a screenplay, pitch to screenplay agents (as you would book agents), and wait for the agent to sell the screenplay for you. Hollywood is different. There are several possible strategies you could take:

  • Enter (and win) big contests. Win a Nicholl Fellowship or a Disney Fellowship. The big ones have launched careers, but they’re extremely competitive. The smaller ones… well, do your research.
  • Produce your screenplay independently. It’s extremely expensive, and you might want to start with a (big) contest-winning short first, but independently screenplays have opened a lot of doors.
  • Pitch your screenplay to production houses yourself. This is similar to sending your manuscript directly to a publisher, except you shouldn’t send it until it has been requested. Call them — another departure from book publishing — and find out who you need to talk to  in order to pitch a screenplay. You might be given an e-mail address, but more likely, you’ll pitch on the phone. Be prepared. If you get a request, then your screenplay becomes part of the slush.

If you *do* manage to sell your screenplay, you’ll likely make more money on the sale than you will for a novel, but you’ll lose control. Completely. You won’t direct. You won’t meet the actors. You likely won’t even be asked to do the rewrite. And there will be rewrites — lots of them. If your screenplay hits the screen, it probably won’t look anything like the darling you poured your heart into. And if you want to keep working in the industry, you’ll need to move to LA and do the work-for-hire that fill the coffers of other working screenwriters.

Novel writing is, in contrast, easier to break into, and you’ll have a lot more control over your story throughout the publishing process. It will still be your baby in the end, and you have the luxury of living anywhere you want to live.

Pros and cons to both. In the end, each person needs to research the possibilities, be realistic about his strengths and limitations, and then… follow his passion. There are no guarantees. Only dreams.

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Is Amazon Publishing good for writers?

A couple of big articles, including one in the New York Times, have come out touting the new publishing branch of Amazon and proclaiming it wonderful for authors and terrible for traditional publishers. But is it? I found a lot of hyperbole in the articles and a lot of red flags that leave me with some serious questions.

First, let’s look at the article in yesterday’s New York Times. It says:

Amazon will publish 122 books this fall in an array of genres, in both physical and e-book form. It is a striking acceleration of the retailer’s fledging publishing program that will place Amazon squarely in competition with the New York houses that are also its most prominent suppliers.

122 books? Array of genres? That’s rather ambitious for a fledgling publisher. Exactly what makes Amazon qualified to pick quality submissions out of the slush? Who will be editing these books (and what are their qualifications)? Who will be designing the covers? What kind of publicity/marketing plan do they have? According to the article, publicity plans are top secret, as are details about the deals they’re setting up. That secrecy is NOT normal within the industry. Big red flags.

What the article conspicuously fails to mention at all is distribution. It plans to publish books in both print and digital form, but does it plan to sell those book anywhere other than Amazon.com? Will those books be available on bookstore shelves anywhere? Oh, I have no doubt that they’ll be *available* to stores, but will any actually choose to shelve them? If you were Barnes & Noble, is there any long-term benefit AT ALL to shelving books published by Amazon? Amazon is not their partner — it is their competitor, and a damn powerful competitor at that.

Next, the article discusses the case of Kiana Davenport. It presents an extremely biased version of the events. It claims that Ms. Davenport lost her contract with Penguin because Penguin is shaking in its boots about a collection of short stories she self-published on Amazon. They say:

“They’re trying to set an example: If you self-publish and distribute with Amazon, you do so at your own risk,” said Jan Constantine, a lawyer with the Authors Guild who has represented Ms. Davenport.

I… disagree. You can make up your own mind, however. I recommend reading Kiana’s original blog post on the subject AND all the associated comments (oh wait, she deleted the ones that disagreed with her, so that may not be worth your time), and then reading the thread on Absolute Write. Or just read Absolute Write. One thing I love about the people on that site, is that they have a wide range of experience (published authors, unpublished authors, agents, and editors), and so they look at situations like this from all sides.

Bottom line: Lots of authors self-publish and traditionally publish at the same time. But if the books overlap, the authors work with their agents and publishers to ensure they are not breaking their contracts or damaging the future sales of the book under contract. Those contracts are not set up to stifle a writer’s ability to write and publish but to protect the publisher’s investment. Publishers want to ensure that when their book is released, it is the newest, shiniest, best book a writer has to offer at that time so they can maximize sales. Oh yes, how evil and unreasonable those publishers are. </sarcasm>

The article then discusses a deal made with Laurel Saville. Well, sort of, since details are secret. Apparently Laurel wasn’t paid an advance. The question then becomes, what is Amazon offering her as a publisher that she wouldn’t get by self-publishing with Createspace, particularly since she seemed to be doing just fine on her own? I can’t help but wonder how Amazon picked its 122 books, and how many of them are of high enough quality that they would have been picked up by a traditional publisher — and how many non-celebrities will get a super-high advance.

Next, there was an article published in The New Republic today called, “Why Writers Should Embrace Amazon’s Takeover of the Publishing Industry.” I don’t for one second believe Amazon is taking over the publishing industry. Agents will happily tell you that there are more publishable books out there than there are publishers to sell them. Publishers can pick and choose and easily fill their lists. They are not begging for submissions, hoping for a breadcrumb. Contrary to what articles like this would have you believe, publishing is doing just fine, thank you very much.

Once you get into the meat of the story, the writer lists three services that have been “neglected” by traditional publishers. Let’s review her arguments, shall we?

  1. Discovering new authors. First, she says that agents can take six months to respond to a query. Nonsense. No agent takes that much time with queries. Not even close. She then mentions “unconnected authors,” which implies that writers must know someone to get picked up by an agent or publisher. Bullshit. Unknown writers are picked out of the slush every single day. I see nothing in what I’ve read about Amazon to make me think they’ll be better at picking books than anyone else. They’ll have winners and losers, just like other publishers. If they woo away experienced writers who are proven best-sellers, Amazon may appear to have “picked” more winners, but really that just means they have deeper pockets. Those writers weren’t exactly picked from the slush, and Amazon’s association with them means nothing for aspiring writers.
  2. Creating beautiful books. The writer claims that big publishers no longer edit the manuscripts that come to them. More bullshit. They do. They spend an extraordinary amount of time with their writers. We know nothing about the Amazon editors. We don’t know who they are, or how many books they’ll be assigned, or how talented they are. We don’t know if the big name writers will get more editing attention than the newer writers.
  3. Getting the word out. Amazon’s publicity plans are “secret,” so I’m not sure how any claim can be made that it will be better than a traditional publisher’s plan. Will their marketing dollars be more heavily invested in those proven authors or in the newbies? Gee, let me take a guess. The writer of this article complains that traditional publishers don’t market the newbies enough, but I think that depends on the book and the publisher, and I see zero evidence that Amazon will do better. I would also point out that not being able to get the book anywhere but at Amazon is a pretty significant handicap at this stage of the game.

Bottom line, I don’t think we know enough about the Amazon publishing venture to know how good it will be for writers or readers or whether it will, in any way, impact publishers. I’m willing to keep an open mind, but I’m definitely not drinking the Kool-Aid yet.

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The Professional Writer: Accepting Rejection Gracefully

If you’re a writer, you will be rejected. Your critique partners and beta readers won’t “get” your manuscript. You will be rejected by agents. Once you have an agent, you will be rejected by publishers. Then once your book is published, you will be rejected by book reviewers and by readers themselves. No book in the history of the world has been universally adored. No matter how blessed you are, you *will* be rejected, and it will hurt.

There are right ways and wrong ways to deal with the pain. Eating an extra brownie [pan] and having a cry fest with your best friend is a good choice, particularly when you dust yourself off the next day and get back to work. Taking the rejection personally, blaming the publishing industry, and  complaining about the rejection online is… not the best strategy.

I stumbled onto a terrific article today that looks at some rejection letters that writers posted online and then complained about:

http://nielsenhayden.com/makinglight/archives/004641.html

This article was written in 1984, and the site it pulled the letters and comments from no longer exists. But the bitter comments the writers made are still out there. Yes, the writers posted “anonymously,” but some of those rejection letters were personal. Do you think an editor won’t recognize them? The Internet lives forever. Remember that before you post snarky comments to your blog or on a writers’ forum.

Publishing is a business. It’s highly unlikely — no matter how it feels — that an agent or publisher or reader is rejecting you as a person. They are expressing an opinion: that they didn’t like your book. That’s okay! This is a subjective business. Just keep working on your craft, keep making your writing better, and keep learning about the industry.

Like a professional.

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Looking forward to 2011… and beyond

I’m probably not the only person who has been reflecting on the past year and looking forward to the next one. As I’ve thought about and planned my writing goals for the next year, I’ve been trying to put them in a more big-picture context of a writing career.

My first goal is to finish Doubting River. I should have finished it this year, but I completely overwhelmed myself in the latter half of the year. I backburnered it for a while, and then had trouble getting back on track.

THIS WILL CHANGE.

I know I’m busy, so I’m going to be realistic. Desired word count per day: 500 words. Absolute minimum, must-accomplish-or-else: 250 words. If I do more than 500 words, that’s gravy.

Second goal is to update this blog twice a week. Sunday and Thursday, I think. I’ve been thinking about how to focus the blog in a way that will satisfy my current readership and, hopefully, increase it. The feedback I’ve gotten is that people seem to like the writing-related posts, which is good, because there aren’t enough dog- or farm-related events to warrant regular updates.

My plan, then, is to continue to blog about my novel and the industry, but to focus the bulk of the posts on “A Plotter’s Guide to Novel Writing.” I am a plotter to the extreme, and because I first wrote screenplays, I’m passionate about structure. Those “Just write and see where it takes you!” pantser types will no doubt feel ill at the thought of putting so much planning into your first draft. Keep an open mind though. You might find something helpful for your editing rounds!

Those of you who want to read more about River, Pax, Pflouff, and the rest of the critters, don’t worry! I haven’t forgotten you. I’ve needed more photos and videos on the site. So I think I’ll make a goal of including a dog pic (or video) with each post, plus a short anecdote or update. If you think about it, you’re probably going to get more content than if I targeted the blog around the dogs!

My remaining writing-related goals are dependent upon the completion of goal number one:

Goal #3: Get an agent. I want to attend at least one conference this year — preferably two — and I want to get another partial critique from an agent during Brenda Novak’s charity auction in May. I did that last year, and the agent has requested the full. I will definitely send it to her as soon as it’s complete.

And finally…

Goal #4: Start a new book! I already have the premise. I’ve been anxious to write it for a long time, but I refuse to do so until Doubting River is out on submission.

I’m really looking forward to 2011! What about you? What are your goals?

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