Tag: social media

Misadventures in Marketing – Part 1

Misadventures in Marketing – Part 1

Since I was first published in June 2017 I have run the gamut of the book marketing industry. Like most newbie authors, I was extremely excited that my book was out in the world, where people could read it. Over time I began to realise it was extremely hard to get ANY attention as a new author. I tried a wide range of strategies to get my book noticed, as shown by the image below.

Running into the marketing maze was a bewildering experience. There were copious online services offering THE right strategy, or exposure, or multiple new followers. I signed up to whatever I could afford. I soon discovered that although a lot of marketing services make huge promises, it is a lot of work and money, for few results.  And when I thought about it, I HATE being marketed to. A quick survey of others revealed I’m not the only one.

Hamster writer

I started to read a lot of articles about algorithms and Amazon and marketing spin. These gave a consistent picture – the system is stacked so Amazon wins. Whenever I had the opportunity, I also spoke to authors, librarians and bookstores. I started to get a different understanding than the rosy one marketing people give you. Behind the scenes a number of authors admitted their sales did not match the rosy picture presented publicly. Nothing added up. And I saw new authors running in the same hamster wheel, chasing the same dream of getting attention by paying for retweets and other social media-based marketing.

Conducting a survey

I decided I wanted to get more information. Maybe I could help others so they wouldn’t run down the same dead ends I had. So I put up a simple survey, and asked writers in various Facebook groups to contribute. I’m sharing the results in this post and in one (or two?) future posts.

But first the disclaimer. Fifty two authors responded to the survey, but seventeen of those completed the demographic information and didn’t go any further. This means only 35 completed it which is not enough to be statistically valid. Also, because I’m a poor writer with virtually no income, I couldn’t afford to upgrade to the ‘pro’ version of Survey Monkey, so it’s a pretty blunt tool. I couldn’t ask all the questions I wanted, and I couldn’t refine the data collection as I would have liked.

Also, I’m a creative, not a marketing person. The two are very different skill sets. I hate marketing. So some bias may creep in as I present the results. So, bearing all that in mind, take away from the results what you want.

Who completed the survey? Career stage

Established author (numerous books) – 17.3% – 9 respondents
Mid-list author (3-4 books) – 17.3% – 9 respondents
Emerging author (1-2 books) – 40.4% – 21 respondents
Aspiring author (not published yet) – 25% – 13 respondents

What is their publishing status?

International corporate publisher (eg Hachette, Penguin etc.) – 13.5% – 7 respondents
Established independent publisher (eg Text, Scribe etc.) – 7.7% – 4 respondents
Small press publisher (eg Odyssey, Clan Destine etc.) – 32.7% – 17 respondents
Publisher requiring author contribution to costs – 5.8% – 3 respondents
Self-published – 17.3% – 9 respondents
Not published yet – 23% – 12 respondents

Who is in charge of marketing your books? – by author type

Responses to this question were via a sliding scale, where the author could choose 0 (all the author’s responsibility) all the way to 100 (all the publisher’s responsibility).  In graphing this, I have divided the responses up by quartiles, so the blue block represents an answer of 0-25, the red 26-50 (where the author is mostly responsible but the publisher contributes more) and so on. I’ve left off self-published authors for this graph. The more established the author, the more the publisher takes on some of the marketing. The average was 27 – that is, most of the time, the author carries most of the responsibility. This isn’t hugely surprising in a neoliberal economy where everything is outsourced to shift costs away from the producer (publisher).

Who is in charge of marketing your books? – by publisher type

Using the same data (ie the sliding scale from 0-100) I looked at the impact of publisher type. A similar pattern emerges – the larger/more established the publisher, the more they take on a percentage of the marketing. Anecdotally I’ve been told that there are still hierarchies within the big presses – if you are a ‘name’ author the publisher will do more marketing whereas if you’re newly signed with them you have to do a lot of it yourself. This isn’t surprising (follow the money…) but it is frustrating across the board, as the more established you are, the less you need the exposure, while the newer you are, the more exposure you need. It’s a Catch 22.

More next week…

I’ll come back to this topic next week, when I’ll look at how much time authors spend writing versus marketing, and what their attitudes to marketing are. It’s time for me to get some writing done.

Why we need slow art

Why we need slow art

Living fast – or slow

In the developed world levels of stress and mental illness are rising rapidly. There are various contributors to this: feelings of inadequacy that arise from comparing yourself to others on social media; the unexpressed grief caused by the mammoth in the room that is climate change; and the ever-increasing pace of life that demands everyone do more but get paid less.

In reaction, there has been a growth in social movements that promote a more considered pace of life. The slow food movement encourages the appreciation of real food, cooked in a considered way that takes time to draw out maximum flavour and nutrition. Slow living has come to the fore as part of voluntary simplicity, encouraging a lifestyle based on returning to more traditional ways of doing things, such as baking your own bread or making your clothes. Another movement that could sit side by side with these, that is desperately needed, is a return to slow art.

Churning through life

The pace of life has been carefully sculpted by large societal forces: Capitalism and social media. Social media works on principles identified by Pavlov. Every like and smiley face is positive reinforcement that keeps us scrolling. Each new piece of information keeps us hooked to our feed. We get a little dopamine hit every time we get something new, so we have become attuned to needing constant input. This results in churning. There always has to be something fresh to catch our attention.

Capitalism reinforces this. Capitalism only works if everyone keeps shopping, which requires a constant flow of new products. After all, people won’t buy things they have already bought. This is noticeable in the book industry. The time a book spends in a book shop has been getting less and less over the years. New books now are given very little time to make an impact (ie sales) before they are removed, returned and pulped. When I was told this by a bookseller, that time had shifted from three months to one month. It could be less now. New authors get very little opportunity to be noticed – the briefest window before everyone moves on to the next big thing.

The Netflix effect

The other thing that works against slow is the Netflix effect. Being able to binge-watch a show means people no longer want to wait for the next instalment. This is true of books too. I have spoken to authors who are under pressure (and contract) to get the next book in a series out as quickly as possible. Otherwise the readers’ attention and dollars might go elsewhere. The industry seems to believe readers don’t have the patience to wait, and sometimes they don’t. Nowhere is this more evident than in the case of Patrick Rothfuss, author of the Kingkiller Chronicle, a marvellous fantasy series. The third and final book has been a long time coming, and Rothfuss has been subjected to significant online abuse for keeping people waiting.

Why this is a problem for art

Is this just how the world works now? Should we just accept it? I don’t think so. Because art takes time. Art is the expression of a human life. Through art a soul is bared on canvas or on the page or through a dress design. The creative process isn’t just the moment when paint is applied or words are written. It is the research that allows a piece to have depth and substance. It is the many hours spent developing technique. And it is that magical, alchemical time when the creative imagination is allowed to daydream and wander, transforming experiences and inspiration a creation that will reach out to others.

Why slow art matters

According to Celtic tradition, the Poets who guard the fountain of knowledge, known as the Aois Dana, give the gift of insight and creativity to artists, poets, story tellers and bards. These people are chosen so they can imbue their art with the memories and wisdom of their culture*. Artists create works that express the soul, that speak of what it is to be human, that provide connection and meaning to those who experience them. But art that is thoughtful and beautiful, and says important things, takes time. It must be nurtured carefully so that it emerges in the best form to express its truth.

We live in an era where truth is fragile and meaning is reduced to marketing catch-phrases. More than ever we need art that speaks to us, reminding us of the wisdom that is missing from so many public conversations. The greatest gift we can give the artists and creators is time. Time to research, time to dream, and time to create art that will speak to us.

 

* See the wonderful Celtic Folk Soul: Art, Myth and Symbol, by Jen Delyth

The Introvert Paradox

The Introvert Paradox

When I was a child, I worked out pretty early on that I didn’t relate to the world the way the majority of people did. I didn’t like crowds, or too much noise. While I wanted party invitations so I wouldn’t feel excluded, I didn’t want to actually go. My happy place was at home, reading a book, in the quiet. Big group get-togethers were a nightmare – I much preferred one-on-one conversations. And I wasn’t good at chit chat. I wanted my conversations to be meaningful and authentic. People didn’t seem to want to have discussions at the deep level I wanted. They didn’t seem to notice or think about the same things I did. I felt things ‘too deeply’, strongly affected by what happened to myself and others. People often labelled me shy, but in reality I was highly introverted.

Perhaps if I’d had parents who recognised my fundamental nature and didn’t try to force me to be different, I would have been able to accept who I was. But at home and in the outside world I was constantly told I was ‘too serious’ and ‘too sensitive’. I was often forced into situations that I found deeply uncomfortable. I quickly learned there was something fundamentally wrong with me.

When I went to university I studied social work. I learned I was a very empathic listener, but I hated the role plays that were a big part of my training. Once I started work my sensitivity was valuable in working with people who were at a crisis or low point in their lives. But I would end my workdays completely exhausted, overwhelmed by other people’s emotions. I knew I wouldn’t be able to stay in the profession long term as the emotional cost was too high.

The book that made a difference

In 2013 I came across a newly published book, Quiet, by Susan Cain. This book was a revelation for me. It grabbed me from the first blurb, when I read:

‘Sensitivity and seriousness are often seen as undesirable. Introverts feel reproached for being the way they are.’

That was me.

Cain’s book outlines how the brain chemistry of an introvert is different to that of an extrovert. Research shows that sensitivity, the tendency to notice more and to feel and think deeply are all hardwired into the introvert brain (p. 103). Yet society does not reward or even cater to introverts. They often feel like fish out of water. Cain made me realise there is nothing ‘wrong’ with having an introvert brain. (If you want to know more, start with her TED talk – follow the link.)

From the age of eight I wanted to be a writer, and the more I understood my nature, the more I thought this was a job that would suit me. (Which is not to say I chose it for that reason – it chose me really, because I always had stories running around inside my head, and I HAD to let them out, but it helps to find work that suits your personality.) Alongside my sensitivity, I was highly imaginative, and could easily work on my own for long periods of time. At school I was always daydreaming, creating places and characters and stories.

I achieved my dream of being a published author in June 2017. And almost immediately descended into a pit of despair. Because somehow being an author now seems to require a high degree of extroversion.

Extroversion Required

I don’t have a problem with giving talks or being on panels. I have a background in improvised theatre, and as someone who thinks deeply about all sorts of things I have a lot of ideas I can talk about. So I actually love that side of being ‘an author’. What I have a problem with is the regular social media socialising and the requirement to be a marketing person.

Authors are constantly told now that they must have a strong social media presence in order to sell their books. They need to join and actively engage in numerous groups and platforms. The risk is, if you do this just to sell books, you’re not being authentic and you are using the people around you.  Social media can allow for authentic and meaningful engagement. I wouldn’t want to do it otherwise. But that takes time. I run my own editing business and parent two teenagers whilst being an author, so time is in short supply. The more time I spend on social media, the less I have to write or be with my family. And as an introvert, I recharge my batteries through time alone. So social media is a constant weight on my shoulders.

As for marketing, this requires an extrovert approach. You need to be willing to draw attention to yourself and talk up your author ‘brand’ and your books. This might be in person, such as at a market stall, on social media, or through writing copy. And I really, really struggle with this, for a range of reasons, but fundamentally because it’s like asking a fish to climb a tree – it goes against my introvert nature to the point where I feel sick and anxious. I am often torn between the expectation that I do ‘marketing’, and my overwhelming need to run screaming in the other direction. I could do a whole other blog post about the damage that is done to introverts by expecting them to behave like extroverts but I’m already over my word count so I’ll come back to that.

So where is the paradox?

Well, the thing is, I think my introvert nature is an asset to my actual writing. My hypersensitivity – my tendency to notice things others don’t and to think and feel deeply about them – all help me paint my stories with vivid colours. I think these personal characteristics make me a better writer.* But in the last year I’ve spent a lot of time sobbing quietly to myself at the realisation that either I have to actively undertake marketing, the mere thought of which escalates my anxiety to ridiculous levels, or come to terms with the fact that my stories won’t be noticed in a book market that is crowded with authors going ‘look at me!’.

I definitely haven’t found any answers to the paradox. All I know is that some days I can live with the tension between who I am as an author and who I’m supposed to be, and other days I can’t. But if you’re an introvert author, please know you’re not alone. Maybe we can have a deep and meaningful chat in a quiet corner at a writers festival some day soon.

 

* I am not comparing myself to anyone else here. Just to myself. I am not in any way putting down extroverts or saying I’m in any way better. And there you have a classic example of the introvert tendency to worry about every single thought that comes out of my brain, and whether I’ve upset anyone and… argh!!! Overthinking is definitely an introvert thing.

Are you the boss of social media or is it the boss of you?

Are you the boss of social media or is it the boss of you?

Once upon a time, when a group of writers got together, they would talk about their WIPs (works in progress), or the difficulties with their publisher/not having a publisher, or how good the coffee was. Nowadays, apparently inevitably, the conversation always seems to end up on social media. What’s the best one? What gets the best sales? How do you manage having so many different ones? How often should you blog? And so on.

In the discussions I’ve had with various writers, many feel social media is necessary but a pain. Necessary, because we all want to be noticed in the sea of writers out there. A pain, because they’d rather be writing. As far as I can see, that means there are two challenges to social media:

  1. how to get noticed
  2. how not to give your life over to it

There are lots of posts and training courses out there offering advice on point 1, so I’m not going to answer those questions. Instead I’m going to look at:

How NOT to get stuck on the social media roundabout.

First of all – keep in mind the WHY, not just the HOW. Why are you on social media? It’s incredibly easy to get caught up in all those questions I mentioned, like finding the best platform, how often to post, trying to turn posts into sales etc. Yes, we need to be able to be found, but the reaso

n for that is because we want people to read our writing. If you keep this in mind, it will help you stay motivated to keep your writing as your number one priority, and to make social media a lower priority. Of course, if your aim is to be a social media personality, not a writer, then you can stop reading this post right now.

Next, take an honest look at time versus outcome.  How many sales do you actually get from spending hours on Twitter? How many of your followers are actually buying your books? Each platform has ways you can measure this, such as ‘click throughs’ and other analytics. Work out how to use these! It’s nice to get warm, fuzzy feelings from having lots of followers, but if this isn’t translating into genuine interest in your books then either you’re wasting your time, or you might need a different message. This may mean tweaking what you post, or it may actually mean focusing your energy elsewhere.

Also, find a time management tool that works for you. I use an ap called Writeometer to focus on my writing without distraction. It turns my phone into a timer for 25 minutes. If I try to exit to check social media it asks me sternly if I really need to break my writing time. There are other aps that will lock your access to social media for a set amount of time. Look, social media is addictive. It’s designed to be that way. Which is one of the reasons writers feel it is a pain – because they know it takes away from writing time but they can’t always help themselves. At the end of your life, do you want your Wikipedia entry to have 12 books on it, or 5? Is it worth sacrificing all those unwritten novels to flick through funny cat pictures? Seriously? So if you’re addicted to scrolling, don’t be ashamed to use electronic tools to help break the cycle!

Finally, and most importantly, write good books, or, as Neil Gaiman says, ‘make good art’. There is no magic formula for getting noticed – some of it is luck, some of it is perserverance, but some of it is being good at what you do. You may spend ten hours a week crafting a huge social media presence, but if your writing doesn’t sing, if your story doesn’t excite, you won’t sell books. Ok, I can think of a couple of exceptions to this (terribly written books that have sold very well) but bestselling authors are usually at the top because they are VERY good at what they do, which is write compelling books.

While you’re sitting on the social media roundabout, spinning endlessly, you could be improving your writing craft. You could be catching the fireflies of inspiration, listening to the whispers of stories waiting to be told, crafting characters that want to be in the world. Thanks for reading. Now go write!