We’re Teaching Failure by Linda S. Glaz

We’re teaching not only the next generation, but our friends who are writers as well:

Failure!

On a recent FB post we were discussing min wage and various other topics that brought about some interesting responses. It went from working hard to get ahead so a person didn’t need to accept min wage, to going into the military to get an education, to whether or not kids deserve trophies merely for participating. Are we telling the next generation that simply “showing up” is enough to get the reward, the paycheck, the diploma, the win?

And for our discussion here let’s ask this? How honest should we be with our writer friends? Do we do all 5-star reviews just because they’re friends? Do we give super high scores on entries for writing contests because we don’t want to discourage new authors? Do we gloss over mistakes for our critique partners so we don’t hurt feelings?

What good are we serving in any of these three capacities if we aren’t honest?

I am guilty of every one of these things at one point or another. Okay, as a soccer board member, I didn’t vote to give trophies to everyone just for showing up. In fact, our region fought to keep competition an important factor in play. And we were stronger for it.

However, as a writer, I have glossed over someone’s work, particularly in the beginning when I didn’t realize that I was doing more damage than good.

While defending my post stand on FB, I was honest when I said that I waited 18 years from the time I started to write until my first publication. And part of the reason was that I wasn’t listening and needed more honing of my skills, but also because a lot of friends, family, as well as my early crit group simply were not being honest with me. I had a LONG way to go and I needed to have that pointed out to me.

So I ask it again. Are we teaching failure by not being brutally honest? We don’t have to be cruel, but we have to help people grow instead of stunting their growth by giving everyone the trophy without having to play the game.

The Weakest Link by Jim Hart

I recently read this in a proposal’s marketing section: “Marketing any book, particularly an author’s first writing, is where I believe an agent should play the most important part in publishing and earning their fee. Therefore, I expect that this area will be heavily focused on by the agent. This area needs to analyzed and discussed in greater detail.”

What this particular writer failed to recognize is that their marketing strategy should have already been analyzed, prepared and included in the proposal that was in my hands.

While the entire proposal should be strong, this is one section that should not be the weakest link, and the responsibility to create a realistic marketing plan begins with the author. A literary agent will certainly jump in with thoughts that will strengthen any section of a proposal.

Last week I was looking at a message board and found this statement on a thread that someone had posted from a smaller publisher’s web page: This means that much of the promotion and marketing for your book will be on your shoulders. Therefore, we ask authors to present a marketing plan for each book we accept. We will support your efforts as much as we can, but it'll be a while before we can cover a world tour. In reply one person posted: “I don't like when publishers ask authors to create the marketing plans. That's the publisher's job.”

This is another example of not clearly understanding the author’s role in creating a credible marketing strategy. The industry continues to experience change and competition for a shrinking amount of publishing slots is extremely fierce. Publishers are keenly interested in the details of a writer’s marketing strategy.

A weak marketing section will contain phrases like “I plan to create a web page for my book” or “I plan on contacting organizations that will host book signings”.

A strong marketing plan will contain phrases like “I currently have a web page for this book” (and a link is supplied) or “I have contacted, and have commitments from, these books stores, book clubs, churches, etc. (and provide a list of actual places). If possible, also note the anticipated size of the audience at each event.

Overall, it’s important to communicate what you now have in place, and what you are certain that you will be able to accomplish, not just what you hope to do.

While it would be great to include a ridiculously large number of social media statistics in your proposal, the reality is that not everyone has thousands of Facebook friends, or thousands upon thousands of Twitter followers. What can get attention, however, would be statistics like:

·         54% of my posts are re-tweeted

·         82% of my blog posts are commented on

·         39% of my subscribers leave a comment

As you become better at engaging your current followers and subscribers, there’s a good chance that you’ll see your social media numbers grow. Engaged social media readers are also more apt to attend a book signing, or other speaking engagements.

In a recent interview Zondervan executive editor Carolyn McCready said “The platform issue is very important, but it doesn’t have to mean that you are the pastor of a large church or a speaker for major women’s conferences. You do have to show that you are working hard to gain a following and that you have made progress in that arena. Speaking, blogging, writing for magazines and newspapers, leading workshops on your topic—all can be really important to a publisher. Then give us a marketable topic, and the reasons that it is—do your research!”  (link-to-her-interview)

One thing I picked up when I was learning to write proposals for a non-profit organization is that people give money to other people, rather than to an organization.  It’s important to have potential donors connect with you on a personal level if you wanted them to support your organization. You can’t discount the power of connecting with others.

But you have you to give people a reason to connect, and that’s through the strength of the content that you offer. Next Friday we’ll discuss some ideas on how to connect and engage on social media.

How have you been successful with connecting with, and engaging your readers?

The Shoe on the Other Foot by Diana Flegal

I thought today I would ask you all a few questions.


What inspired you to write your first article or book?


Was it a person, a title that came to you, or a personal experience.


Please share it here with us.


And have a great over the hump day!

Use Your Real Name by Andy Scheer

Unless you have good reasons not to.

Because your author platform is essential to selling a book to publishers, then readers, your name is one of your strongest assets. It’s key to developing your author brand.

Unless it isn’t. In which case, be prepared to explain to an agent why you want to build your brand around a pen name.

If you’re looking for a precedent, check this infographic: “Here's Why Famous Authors Chose Their Fake Names.” You’ll see the often-obscure identity behind many famous authors—and their reasons for sailing under a different flag.

I hope your motive isn’t that of one short-story author, who chose a pseudonym “to escape his past as a convicted embezzler and former felon.” Or that, like some past women authors, you want to use a male name to avoid discrimination.

Some reasons from the infographic still make sense for contemporary authors:

To Make It Easier to Spell and Pronounce

The Heart of Darkness writer Joseph Conrad was really Józef Teodor Konrad Korzeniowski. And bestselling thriller writer James Rollins is really James Czajkowski.

To Build a Brand in Different Genres

Besides a simpler name, Czajkowski wanted another pseudonym to distinguish himself in a second genre. So when writing fantasy, he’s James Clemens.

Dr. Barbara Mertz took this one step further. When writing nonfiction about Egyptology, she used her real name. But for her Gothic novels, she was Barbara Michaels. And for her mysteries, Elizabeth Peters.

To Simplify Authorship

If you’re one of two authors writing jointly, a single pen name may simplify your branding. So a mother-and-son team write mysteries under the name Charles Todd. In the CBA realm, Dennis E. Hensley and Holly Miller wrote novels under the name Leslie Holden. And the novels of Hannah Alexander are the work of a husband-and-wife collaboration.

Just be prepared to establish that joint name in your online presence. To see to ways to do that, check the websites for Hannah Alexander and Charles Todd.

Other reasons for a pen name?

When is it Time to Say Enough by Linda S. Glaz

You’re pouring over your original novel for the tenth time. You love it! Your mother loves it! Your friends ALL love it! But no one in the literary world wants it.

How long do you continue to spend time writing, editing, rewriting, and sweating blood over it?

When is it time to say enough and put it away forever?

There are hours, days, months of work it that baby. Can you let it go?

Is it even relevant anymore?

Sometimes there is a difference between a work we are truly called to write, and a work that we want to write. Do we understand that difference?

Maybe you simply wrote it for a chance to learn something in the writing process. Maybe to encourage yourself to keep writing. Maybe just because it seemed like a good idea at the time.

When is it time to say enough?