I wanted to share a really cool video made by my old pal and partner in crime (and fabulous writer in his own right!), J. C. Geiger, whose book THE GREAT BIG ONE is out now!
This is a downright intriguing, indie-bookstore-boosting project that about from a desire to make the ultimate mixtape. Scavenger hunt. Mixtape-scavenger-hunt-old-school-throwback. Well, actually, it started as the ultimate indie music festival. In 2020. Well, that didn’t quite pan out the way J. C. had hoped. So instead he approached all of his favorite bands (hey, why not!) and asked them to write songs for his project.
And they DID.
And the project described in this video was the result. (And maybe the beginning of some exciting things.) Please check out his work, this project, and THE GREAT BIG ONE! I can’t wait to see how this plays out. If only I had something that played CDs, let alone cassettes … 😉
The topic of writer marketing is an incredibly tough but very juicy one. For this post, I’m doing a call out: Writers and authors who are marketing their work, what has worked for you? I want “boots on the ground” experience from you writers out there about your own marketing efforts.
Looking for Writer Marketing Successes (Or Not)
What has worked for you? Email newsletters? Lead magnets? Bookmarks? Leave some examples of your personal marketing successes—and things you wouldn’t do again—in the comments, or take the survey, below
I’m looking for real life experiences as fodder for future posts on this very important topic. If you’d rather email me, you can reach out to:
I have some big plans for 2020, and to that end, I’m hiring!
I’m looking to train a marketing intern for this paid internship position. Book marketing is a big issue on every writer’s mind. I have conversation after conversation with writers in my editorial business, on the traditional and indie tracks, all about how to market themselves and their work.
Marketing isn’t just social media or printing bookmarks. And contrary to popular belief, marketing isn’t guaranteed with a book deal, not even for traditionally published writers. And how do writers market themselves before they’re published? Ack!
I’m looking for the right candidate to help me build a marketing extension of the Good Story Company. This will start as a paid internship, and will grow to a half-time or even full time position over time. There will be a heavy teaching and training component, but the right person will come to the table with experience and ideas of their own.
Age 18 and over
Legally able to work in the United States (unfortunately, for legal reasons, I’m not able to hire from outside of the US)
Have 8-10 hours available per week to devote to the internship
Be familiar with Slack and the G-Suite of tools
Have at least one year of existing experience in marketing—I’m looking to train up the right candidate, but I do want them to bring something to the table (not necessarily in book marketing)
In order to apply for this position, which will start in late January 2020, please submit the following:
Your latest and greatest resume
A cover letter that details your interest in this position
A sample marketing plan for a writer, traditionally published book, or independently published book—if you don’t know how to make one, do a little research online and give it your best shot!
Please send this combination (attachments are okay) to:
with the subject line “Marketing Internship” by January 10th, 2020, noon Central time. Late submissions will be deleted unread.
Diverse applicants are encouraged, as long as they meet the eligibility requirements! Starting pay for this internship will be $12/hr. This is a remote, web-based internship. I can’t wait to hear from you!
How should a writer approach political children’s books? I received an interesting inquiry today from a potential editorial client. (Just as I was casting around for blog ideas! Hooray!) The writer has written a book for young children and, before sending me the manuscript, warned me that it had a specific political bent about Donald Trump. This writer wanted to make sure that I wouldn’t be offended. While this is considerate of the client, it’s not my job, as an editor, to bring my own political biases into the editorial process.
But the question did get me thinking: What’s the role of politics in children’s books? Especially books for younger readers? Here’s what I came up with.
Political Children’s Books: The Real Concerns
When I come across books that have any kind of bias, whether it’s political, religious, philosophical, etc. it’s never my job to comment on the actual content.
My concerns, instead, are the following:
Does the political element work in the context of the story? Is it necessary or is it gratuitous?
Is the message and its packaging appropriate for the intended audience?
How might this political element affect pitch and marketability?
This is the same way in which I would treat an “issue book.” For example, if there is a book where the character happens to be a certain sexual orientation, I’m always asking, “Is there more to the story than this element, or is this the central focus?” I ask this because I doubt that a book where politics is at the very center, or sexual orientation is at the very center, and nothing else is going on, is going to be very marketable. Readers expect multiple layers from a story, so if it’s just “a political book” or just “an LGBT book” with no other significant plot or character arcs, then I worry that it’ll fall flat. A story cannot stand on one element alone.
Another way of thinking about it is this: If I remove the political element, what’s left? If the answer is, “Nothing,” then you may have written a rant or an opinion piece or a manifesto. But a story? Maybe not.
Depending on what role the element plays, and the writer’s execution in including it, a political element in fiction could be either an asset or a liability.
The Marketability of Politics in Children’s Fiction
The other issue to consider regarding political children’s books is that of marketability. This consists of two parts:
In children’s fiction, you have the additional element of your audience’s age to consider. Sometimes, politics in children’s books plays well. Consider dystopian YA novels. All of those authoritarian governments have a political message, and most of those stories have something to say about ideas of human rights and individual freedom. Plus, the YA audience is going to be more aware of current events, and more receptive to themes that lend themselves to the dystopian genre.
But a picture book about federal regulation shutting down a lemonade stand, bolstered by a discussion of big government? I just don’t know if a typical picture book reader (3-5 years old) would find that very relevant. You might be speaking to the adult reading the book, but that disenfranchises the core audience (the kid) and I doubt you’ll get very far.
You also have to think about the potential publisher. Most major houses like to make money. If they publish polarizing fiction, they may alienate potential customers. Sure, there are a lot of left- or right-leaning houses, editors, or imprints, but you should at least recognize that your opportunities to place the manuscript are going to be limited if it has an overt stance.
So How Do You Include Politics Successfully?
All this being said, you still have a message for young readers. These are, after all, political days, and your idea probably feels very relevant and timely to you.
Go ahead and include your political message. But also give careful consideration to writing believable child characters who minimize preaching. You might want to go Wizard of Oz with allegory, or disguise the political force (an oppressive student government at school, for example). Make sure there’s more to the story than the message. There should be compelling characters and high-stakes plots driving political children’s books.
Make sure it’s appropriate and relevant to your audience. Is a three-year-old really going to be fired up about Grandpa Joe’s long discussion of tax reform? Will a nine-year-old understand the intricacies of your Cold War references?
In the same vein, search for agents, editors, and imprints who are open to politics in children’s books. An agent who has a few books about social justice on their list might be much more willing to “go there” with you, for example.
Finally, check your motives regarding your drive to write political children’s books. Story must come first. If your main interest is in preaching or converting or soapboxing, you’re likely not coming to the page with the right intentions. No matter which side of the aisle you’re sitting on, save the grandstanding for your Twitter. Political element aside, you still need to practice the storytelling craft.
Do you want to make sure your manuscript is compelling without being preachy? Hire me as your children’s book editor and we can convey your message along with compelling characters and a high-stakes plot.
Over the holidays, I received a great question from Jenny about book marketing and book launch ideas. She makes the very valid point that there’s so much focus on life before publication, because so many writers are striving to take that crucial step, and then there’s, perhaps, a dearth of information about what happens after. Read on for Jenny’s question and my response.
There is much information out there about the “publishing process,” what happens if/when you get “The Call,” and the time line of events that follow from contract to publication. I often find myself wondering what happens AFTER that. Should I be so lucky as to receive a contract for one of my picture book manuscripts, what would life look like for me, after the final product is ready to sell? You speak often of authors being required to become marketers to push their book once they are created. I can see where that is a crucial step, but what are the logistics of that? How much travel is involved? Are new authors flitting about, across the country selling their books? How much is accomplished electronically? What does ‘real life’ look like for a newly published author, trying to make a name for herself?
You’re Likely On Your Own for Your Book Marketing
First of all, let’s dispense, for the moment, with the notion of an author flying around the country on “book tour.” In most cases, that is not going to be your reality because publishers are investing less and less in these brick-and-mortar-heavy strategies, especially for debuts. If you have the sort of book marketing plan that includes a book tour, you will be in the minority. And then you don’t have to worry about the logistics as much, because the level of marketing that includes a book tour will also include a support person on the publisher’s end to walk you through the finer details.
So let’s focus on book launch ideas that don’t involve a book tour. Sad, but true, you’re likely on your own. So here is what the life of a writer who has a book out (or is about to have a book out) looks like. There are two kinds of marketing you’ll be doing, passive and active.
Passive Book Launch Ideas
Setting up a simple informational website for your book, series, and/or yourself as a writer. Most of the content here is going to be “set it and forget it.” You can add a blogging function, to be discussed later.
Set up a profile on GoodReads, flesh out your Amazon Author page, create a Facebook Page (rather than just your personal feed). The first two are rather static, the latter is more active. Make your book cover your profile image. (For more info, check out my post on social media marketing for writers.)
Create paper book marketing materials if you wish, postcards of your cover, etc. Have them at the ready.
Create ways of people online to message you (via your Facebook page, for example), put a contact form on your website, and set up a mailing list submission form that collects email addresses on your behalf. I use Vertical Response, for example. It’s not going to knock your socks off with responses right away, but you’re building your list, regardless.
Active Book Launch Ideas
Start being an active participant on publishing blogs, blogs specific to your book’s category (there’s a lively YA writing scene), Facebook pages (there are groups and communities for everything). When you’re active here, contribute to the conversations going on instead of just spamming people about your book.
Look for timely articles that have to do with your book’s category, or your book’s subject matter. Post these on your blog, on Twitter, on your Facebook page, and in your relevant communities.
Generate lists of contacts with youth librarians and bookstores with good children’s programs, starting in your area, and then branching outward. Your publisher may be able to help point you to resources for doing this. You can start reaching out by mailing those postcards you made.
In the same vein, talk to buyers and event planners at bookstores and literary festivals, universities, schools, etc. in your area. Pitch them something of value instead of just “an appearance from wonderful me!” Say your middle grade deals with a character who moves around a lot. Call schools and say, “I’d love to give a talk on Thriving in a New Place.” Or however you want to brand it. You’re more likely to get speaking opportunities if you have something to offer, instead of simply a sales pitch for you and your book.
Make connections with other writers who are being published around the same time, writers who you admire, and writers who are still looking to break in. They will be your allies and a great wealth of information, as long as you don’t just talk about yourself and spam them with sales messages.
Join and get involved with the SCBWI. They will often have authors speak or do workshops at regional conferences.
Reach out to journalists who have written articles about your book’s subject matter. Again, you should figure out what your hooks are. In the middle grade example, it’s that your character is an army brat and moves around a lot. That’s a topic you might be able to speak about. That’s a topic people might be interested in. So get on the radar of people who are writing about it. Offer yourself as an expert. It might seem weird to think of yourself that way, but once you’re quoted in one article, it becomes easier to get quoted in another one. Start small, with a blog or local website. From there, approach more journalists.
Plant Seeds Early and Often
These are some solid book launch ideas for an author who’s about to be published or has recently been published. As you can see, a lot of this work isn’t going to pay off in obvious or immediate ways. By building a network of journalists, you aren’t going to get on the cover of Time next week. But the more seeds you plant, the more chance you have of something coming to fruition.
Ideally, you’re doing this a year before your publication date. Basically, as soon as you know that you’re slotted for Winter 2018, you start putting plans in place to do some of this stuff. You don’t have to do it all at once. And some days, you’ll have other things to do.
But you should hold yourself to the standard of doing some book marketing every day. Reply to a message that comes in via your website. Post something interesting from Twitter to the YA writer’s Facebook group. Craft a blog post. Send five emails to librarians in your area. Call and ask to speak to the book buyer at your local bookstore. Call the English department of the university that’s having a literary speaker series. Maybe it won’t pay off, but maybe it will.
Most importantly, you’re getting in the habit of book marketing, and of selling subtly, and of positioning yourself as an author with something important to say, not just a book to hawk.
For more marketing ideas, don’t forget to check out the Book Marketing Power Bundle from Writing Blueprints. It’s a wealth of ideas and information. I’ve gone through the program myself and can’t recommend it highly enough. The money and time you invest in book marketing will only pay off exponentially in the long term, you just have to know what you’re doing, so you’re working smarter, not harder.
Hire me as your book editor so you have a strong project to market.
I’ve been thinking a lot about social media marketing for writers. Every week, I get emails offering guest posts, articles, contests, programs, services, etc. The well-meaning writer always says that they’re offering me an opportunity. My blog and social media channels are pretty humble, but I do get a fair amount of beautiful, wise, talented readers. I’ve been around a long time. It’s not surprising that I come up on search engines and in rankings for people who are looking to market their whatever.
Why I Turn Down Marketing Offers
On principle, I turn their offers down, because I don’t want to use this blog to sell stuff. (Other than the occasional reminder about my book and services, of course. A girl’s gotta eat!) I won’t feature someone’s guest post, unless they’re someone I know personally or professionally and I like their idea. I resist the idea of flooding my readers with a product or app when I know the average writer struggles with the very idea of scraping together enough focus to practice their craft.
The last thing I want to do is sell my website out. I don’t want to give people guest post slots (with a few notable exceptions over the years). This is my blog, and you come here for my articles. I’m not going to dilute my voice or credibility by letting John Doe publish his “101 Tips for Classroom Success” article (more on this example later). I’m not going to muck up my Resources page by putting any product or service that comes my way. Those are resources I found and loved on my own. They are tried and true, in my eyes. That space can’t be bought.
It’s not an “opportunity” for me. It’s marketing people doing their marketing thing. I get it. How do you get attention for your goods or services? This game has changed completely with the advent of the Internet, and the advent of analytics for said Internet. Now, in addition to trying to score hits in traditional media, people with something to sell are contacting tastemakers with lots of followers. All in the hopes of a mention, a link, and a boost.
What’s In It For Me and My Readers?
I’m not against this practice at all. I sent hundreds of emails when my book came out. I market my editorial services once or twice a year to my mailing list. But I think that the focus of any good marketing piece is, “What’s in it for me?” That’s the question I’m always asking as someone with a blog that gets a certain number of eyeballs. Because I want to always deliver value to my readers. I want them to come here for information, not author marketing and sponsored posts and all sorts of other garbage.
And THIS, ladies and gentlemen, this is what makes social media marketing for writers so damn difficult!
Guest Posts Have to Offer Relevant, Valuable Perspective
I’ve just spoken as a person turning down a lot of solicitations. Now, it’s true that I get author marketing requests for people’s individual book projects. When someone writes to me and says, “I wrote this book, I’d like for you to help get the message out,” in my head, I ask, “What’s in it for me?” The answer, again, in my head, is always, “Um, a good…book?” And 99% of the time, that’s just not compelling enough for me to amplify your message. The one exception is the recent guest post I did about a book that was published via a crowdfunding platform. Why? Because I found the process compelling, the writer is a client of mine, and I wanted to hear how it was going.
I wanted to hear how it was really going, mind you. When she sent her first guest post draft, it was full of hearts and unicorns about how great everything was. I wrote back and pushed her to give me the peaks and valleys, the obstacles, the real story. Because I owe you more than a fluff piece. You’ll notice that the article in question wasn’t about the book at all. It had something for my audience about a new publishing platform.
As the curator (major cringe for that word now that everything is “curated” and “artisanal”) of this site, I was asking, “What’s in it for me…and my readers?” That particular guest post passed the test. As did another series about a Kickstarter funded graphic novel that didn’t make it.
Social Media Marketing for Writers: Three Tips
There is, I believe, a lesson here for those of you who are researching social media marketing for writers. Because the hard truth is, even once you’ve achieved the major milestone of being published, your work is not done. (The uninitiated may be surprised to discover that the answer to “what does a literary agent do?” is a pretty limited scope of tasks.) You’re still on the hook to contribute to your own success. You have to become a marketing person. And almost everyone will give you the advice of finding people who are tastemakers in your respective subject area, and reaching out to them to pitch your work.
I have the biases I’ve expressed above. I happen to have high standards for featuring stuff. If you want to succeed with someone like me (and believe me, it’s a bigger success to place your story with someone who has standards than with someone who loves free shit and will blog about anything), you need to ask yourself, as if you were the tastemaker, “What’s in it for me? What’s in it for my readers?”
Usually, it’s not going to be just your story. But something interesting about your story. You wrote it entirely on a train. It’s the first novel written by AI. You were declared medically dead and it came to you while you were out. What is interesting about it? What is something I can blog about and find exciting? What is something my readers might like? Pitch from that angle.
And here’s a second bonus tip. Remember how my example article, above, was something about the classroom? Well, my blog is Kidlit.com, and my search terms are (among other things) children’s books. You might be totally justified in thinking that this blog is a resource for children, or about children’s books themselves (like a review site), or about children’s reading habits, or whatever. But you would be wrong.
My site’s audience consists of passionate writers who aspire to write or are actively involved in writing children’s books for publication. It’s a very specific audience. So if you don’t do your research on my site, see the words “kid” and “lit,” and email me a great opportunity to hawk your children’s educational resource for you, you will fall flat.
Author marketing is a numbers game. You have to send X emails to get something from even 1% of your targets. It’s discouraging. But if you approach it from the angle of pretending to be the site owner and asking, “What’s in it for me?” AND if you target specific sites which have an audience in common with you, you will have more luck.
AND A THIRD BONUS TIP. As writers for babies, children, tweens, and teens, your marketing audience (most likely) isn’t actual children. There are very few places where children under 13 can legally be online. Your marketing audience is the people buying stuff for those children, and the educators and librarians of those children.
Want more stuff regarding social media marketing for writers? I recently wrote a somewhat related post about editors who write marketing their own work.
Hire me as your book editor so you have a strong project to market.
I opened up the blog for questions last week and got an interesting one from Frank about editors who write:
Why is my social media filled with juvenile editors, agents, and art directors pimping their own books? Is this unethical as they are on salary or commission to help sell and promote the books they work on with their clients? I hardly see them promoting for anyone but themselves. What is this saying to those clients and anyone else trying to get published? This seems backwards (and gross).
Now, there’s a lot to this question. Remember that I was once part of the “agents who write” club. So I don’t know if I can get on board with some of the more judgmental language here (“pimping,” “backwards,” “gross,” etc.). But I’m sure a lot of aspiring writers have seen this and wondered about it, so I thought I’d take a stab at my experience with this particular perspective.
Agents and Editors Who Write: What They’re Paid to Do
First and most importantly of all, let’s break down an assumption that Frank makes: “…they are on salary or commission to help sell and promote the books they work on with their clients.” Yes and no. Yes to “sell” and no to “promote.” An agent’s primary job is to scout talent, get a manuscript ready for submission, and sell rights and subrights to the manuscripts to agents and other entities that will exploit those rights. Agents sell rights, basically. That’s it in a nutshell. This is how an agent makes their money, and how they earn money for their client. Click the link for more info on what literary agents do.
An editor is employed by a publishing house to acquire properties that stand a good chance at selling to the publisher’s customers (book resellers, mind you, not quite readers), getting that property into shape, organizing all of the moving parts involved in bringing that book to market, and doing some limited promotional support. An art director’s job is similar, but with the visual elements of a property. These are the jobs they are paid to do.
Promotion: Whose Job is It?
The great fallacy about modern publishing is that it’s anybody but the author’s job to promote a book. As some of you know, for the most part, a book will only get limited promotional assistance from the publisher. It is, largely, a writer’s job to promote their own work. In fact, a writer’s “platform” (or ability to reach potential customers, online and through other channels) is a large part of any acquisitions conversation these days. So an agent’s, editor’s, art director’s, etc. actual job is to get the book where it needs to go in the publication process, but not necessarily to sell it once it is released. That job goes to the marketing department and the reseller who has purchased the book to sell to customers. Everyone benefits if it sells well, but, really, promoting the book is primarily the creator’s place.
Remember, also, that agents have X clients, editors have X authors on their lists. While all of those lovely people are important, an agent or editor must practice fairness. I see many agents and editors broadcasting about a book when a) it is acquired, b) when it is about to publish, c) when there is other news happening with the creator of it, and d) when subrights are exploited, it goes into paperback, etc. etc. etc. This is at least two and possibly four or more mentions of a project. Anything above and beyond this may start to seem one-sided if the agent/editor isn’t also doing it for their other clients.
Social Media Considerations
There’s also audience to consider. And this is a big one. Who follows agents and editors on Twitter? Other publishing people and aspiring writers, mostly. It starts to sound like an echo chamber after a while, because these people are very interested in one thing (getting published and publishing behind-the-scenes), but the people who are buying that new work are not really in this loop. So if an agent is tweeting relentlessly about a client’s picture book, the true audience for that picture book (parents, booksellers, librarians, children) might not be plugged into their stream.
So, an agent (editor, art director, etc.) has many considerations when they tweet. Is there something timely going on with the project? If not, they may sound like they’re spamming people about it after a while. Who is listening? Are they being fair to my other clients when they tweet about this project and not others? And finally, frankly, the agent is the agent, not the marketer. I fully expect a publisher’s marketing squad to be tweeting nothing but book news from that house. Because that’s what they’re being paid to do.
Conflict of Interest?
Here’s where we get into the part of the conversation that Frank considers gross. In many cases, we’re talking about agents and editors who write their own work and want to talk about it. I can see how it looks like conflict of interest. But here are the realities of what the landscape looks like from the perspective of editors and agents who write. First, most of the people in publishing are in publishing because they love language and/or writing and/or art. I’ve met a few people who work in publishing that haven’t been interested in creating books of their own, but they are in the minority (in my experience). Second, agents and editors are a dime a dozen these days. Anyone can get into it, often very easily. So how do they differentiate themselves? How do they get out there? How do they attract submissions? Those are, after all, their bread and butter. The more visible you are, the more people submit to you. Agents and editors who write and promote their own work have a better chance at increased visibility and attracting those submissions.
Self-promotion is everywhere these days. Authors do it. Agents do it. Editors do it. Art directors do it. I did it when I was part of the “agents who write” club. So I obviously have a certain tolerance for this blurry line. I would say that, as long as an agent/editor/art director is also making an effort to promote their client projects in a fair and balanced way when it’s appropriate to do so, they are free to advance their own careers. When aspiring writers and that agent/editor/art director’s clients see this, I should hope that they learn an important lesson about how necessary self-promotion is, even for those on the “inside.”
If you don’t like it, seek out the people who don’t do this.
Writing and publishing can be confusing. Hire me as your novel editor and I’ll help you hone your craft and become savvy about the business end of things.
Today I was thinking of the very important and potentially controversial issue of children’s book writing trends and creating fiction with a market in mind. What do I mean by this? Well, if you see that novels about alligators (ridiculous example) are heating up in the marketplace (“the market”), do you pursue that above any idea you may have come up with organically? Or do you keep writing what you’re writing and put relative blinders on as to what publishing is doing?
Are Children’s Book Writing Trends Worth Chasing?
Writers tend to fall into two camps on the issue of children’s book writing trends. Let’s talk pros and cons to help you see it more comprehensively.
By paying attention to the market, the market-minded writer is aware of what publishing is doing, and probably more aware of various guidelines. For example, you know that you could very well write a 200-page picture book, but that it probably wouldn’t get as much traction as if you’d slated your work toward the common 32-page format.
Sure, you can do whatever you want, but it’s going to come to a screeching halt if you try to wedge it into a marketplace that has no category for it. Categories, as we all know, are especially important in children’s books, where writing for specific ages means you have to pay attention to things like word count, protagonist age, etc.
You are of the opinion that you need to know the game before you step onto the playing field, so paying attention to what’s getting published is a way for you to learn the business and (potentially) get a leg up, especially if one of your ideas happens to align with what’s currently sought-after. Think of market awareness as giving yourself a stronger potential chance for success.
If You Don’t Pay Attention to the Publishing Market…
If you’re a writer who ignores children’s book writing trends, you may be surprised when you try to submit. “What do you mean they’re not publishing 3,000-word fairytale storybooks anymore?” you ask. “I’ve put two years of my life into illuminating this manuscript with my daughter’s kindergarten illustrations!”
Well, if you had been in a bookstore in the last few years, you would’ve seen very clearly the way the wind is blowing in terms of length, tone, and illustration quality. Hey, whether or not the market is right or wrong in not really publishing the type of book that you want to write is up for debate, and that’s not really the scope of this post.
The truth remains that there are publishing trends and preferences to today’s publishing culture, and that it would behoove the savvy writer to at least know what they are if they intend to offer up a product for sale. The same applies to any economy. If I happened to notice that twee handmade jewelry and adorable knit caps are selling like gangbusters on Etsy, I wouldn’t, for example, try to hang my shingle out as a lady mechanic selling rusty old car parts. I’m not going to get as much traffic there as I would on, say, the fantasy marketplace of RustyOldCarParts.com. The same idea applies here. It’s just common sense.
When Market Savvy Can Pay Off
There are, however, potential cons to paying too much attention to children’s book writing trends. You can become a slave to trends and lose what’s yours about your work. Your ideas will start to sound like copies or rip-offs of what’s currently trending, and you might lose some passion for your projects because you are chasing publishing trends instead of your potential contribution to it. The market is also fickle, and trends come and go.
There’s also lag time to consider. What you’re seeing published now was acquired two years ago, so unless you are very connected or have an agent in your corner, it’s hard to know what editors are looking for at the present moment. Paying too much attention to the marketplace tends to create anxiety, whether it’s founded or not, and takes the fun out of the creative process.
The Pitfalls of Trendy Manuscripts
And if you’re not passionate about what you’re doing, and approaching it with a more mercenary attitude, chances are good that others will find it more difficult to be passionate about it, too, and treat it like a project-of-the-week. Emotionally, this can lead to bitter grumblings where writers are asking some variation on “How do bad books get published?” I heard it a lot during the Twilight era. “Why did that stupid vampire novel get published, while I have a perfectly good vampire novel and nobody wants it?!” writers would gripe.
There’s no good answer to that question. Maybe the stupid vampire novel was submitted before yours, or the writer had started it before the Twilight epidemic as an original, unlikely idea, and it’s full of that type of passion, whereas the griping writer’s novel was written in haste to make a few quick bucks. Who knows. But sometimes trend-driven projects take on a competitive edge that wouldn’t otherwise be there, and prove unpleasant to their creators.
Plus, a lot of the wild successes of publishing have come out of left field, as far as categories are concerned. So there’s something to be said for originality influencing the market, not the other way around.
The Perfect Blend of Writing Trends and Timelessness
I think an approach somewhere in the middle ground is the best. Familiarize yourself with children’s book writing trends so that you can give yourself a fighting chance. But don’t dwell on trends or haunt the deals notices too closely. Stick to your original ideas and pursue them passionately, as long as you’re also keeping a distant eye on what it might be like to sell them down the road. This, to me, is the sane road.
What kind of writer are you when it comes to paying attention to publishing trends? Do you let it dictate, or do you follow your heart and then see if there’s a spot for what you’ve created? Or are you a little bit of both?
Wondering if your idea has market potential? Hire me as your book editor or manuscript consultant and I can give you feedback for where your project might fit into the publishing scene.
Read this if you just saw news of a book sale that left you thinking, “Someone is publishing my idea!” I was going through my emails for some reader questions that I’ve gotten over the years. This one comes from Susan last year, and it’s basically this: She saw some marketing materials for a book that’s coming out that’s exactly like what she’s working on. She’s upset. How is she going to find the will to continue writing this project if someone else has already beat her to it?
This is actually a very common question, and here is the (at times, tongue-in-cheek) response I wrote that I hope can help a few more of you out there if you feel like you’re working on a stolen book idea.
Don’t Worry About Book Descriptions That Sound Like Your Idea
I know everyone respond with “don’t worry about it” when you’re saying “Someone is publishing my idea!” and that obviously hasn’t made you feel any better but…don’t worry about it. That book and thousands of others will be published this year. Unless this particular book hits it DIVERGENT-big, it will have its moment on the stage and then gracefully recede onto the backlist. (Sad but, more or less, true. For every mega-successful book that’s published in a year, there are dozens or hundreds more that do pretty well for themselves but don’t make a global splash.) Then next year’s crop will come. Then next year’s.
It’s the ciiiiiiircle of liiiiiiiiiiiiife!
Meanwhile, in the BEST case scenario, you will take six months to polish your book. You’ll take three months to query and sign with an agent. You and your agent will revise for three months. It will go on submission, and let’s say it sells in an amazingly short month. Did I mention that the entire publishing process moves at a snail’s pace? And you’re not even done! Then it will go into contracts, editing, design, proofreading, blah blah blah, and it will finally come out in hardcover a year from when the editor bought it. That’s a MINIMUM of two years from today.
But if there are invariable publishing delays or you need two revisions instead of one at any point in the process, or they decide that another similar book is coming out and they should push you back a season and you have no control over any of it, then it’s more than two years from the title that has you feeling like you’re working on a stolen book idea.
Someone Is Publishing My Idea…But It’s All About Execution
On top of that, you can’t really know a book from a paragraph of description. The voice, the tone, the plot, the sense of humor, the lightness or darkness, the literary quality. All of these things happen in the execution, not the elevator pitch. (ETA: The product and the pitch, people! It was an idea in my brain like a year ago!!!) So the book that has you saying “Someone is publishing my idea!” could be completely different from what you’re doing. And you don’t even know it until you read it. What attracted that writer to that idea, and that editor to that manuscript, could be completely different from what kind of response your idea will drum up.
So, basically, all this is to say you should probably trash your manuscript and start over. Just kidding! You’re totally fine. Keep on trucking. No need to feel like you’re working on a stolen book idea. Maybe one day your book will be featured in an online newsletter and some writer is going to start worrying and email me because she thinks she’s working on the exact same thing. It’s perfectly normal and doesn’t mean the end of the world. In fact, this is far from the first time I’ve heard this question.
There are just a few archetypal stories in the world that we keep telling over and over, in different wrapping paper. That doesn’t make one book more or less special than the next, and as long as the stories are well-done, there’s room for them on the shelf.
Don’t believe in the myth of scarcity. This book isn’t taking away from your potential place in the spotlight.
Hire me as your novel editor and publishing consultant, and we can figure out how to position your novel in a competitive marketplace.
This interesting question about author platform comes from Diana:
Online platforms for writers continue to elude me. How to build one without pigeon-holing yourself, how to assess the best methods, how to find the time (snort). Is the scope of your platform important to an agent? Are publishers looking for genre-specific platforms or more generalized author-focused approaches? Am I worrying too much about this?
First and foremost, when a writer asks, “Am I worrying too much about this?” the answer is almost always “yes!” Not to make light of Diana’s plight, but writers do have a reputation for getting hung up on things and then swirling in their own heads until panic arises. I get it, too. It’s the curse of the intellectual/creative type.
Importance of Author Platform Depends on What You Write
Now, “author platform” is one of those buzzwords that you hear on blogs and message boards and at conferences. First and foremost, it’s much more important for nonfiction writers. That is a fact. When you put together a nonfiction book proposal, the publisher really wants to know how many people you can reach and sell books to. That’s a crucial concern for them at acquisitions. Professionals with big networks, popular bloggers, experts with connections, people who have caught the media spotlight…those are the types of people who can impress editors with the promise of big NF sales.
Fiction writers are different. They’re not selling themselves (an essential part of every nonfiction book is either that the author or the idea are noteworthy and attention-grabbing), they’re selling a story. In most cases in fiction, it really is all about the book and not about the personality behind it. Some fiction authors don’t even do promotion for their work. So the average fiction writer’s author platform is, “I like to write fiction,” and that’s okay.
Let me repeat: Fiction lives and dies by the manuscript itself, unless you’re famous. And you would know if you were famous (hint: you wouldn’t be reading this blog because you’d already have five different types of agents).
What Really Matters Is The Work
A lot of my (unpopular) thoughts on developing author platform for fiction writers can be found addressed in this previous post about creating a writer blog. I stick by what I said. Just like a query letter does not have the power to make or break you as a fiction writer (query letter writing and manuscript writing are two different things), a fiction writer’s huge author platform does not have the power to land you a book deal if your book is horrible, nor does a lacking platform get in the way of an acquisition if the book is brilliant. (Unless, again, you’re Snooki.)
All that said, however, it’s important for writers in today’s market to think about online platform for writers at some point. You should start getting familiar with the idea of self-promotion, the venues for developing your book marketing strategy (blogs, social media), etc. However, author platform shouldn’t be the thing you need to focus on before you write your manuscript. Once you get a book deal, you’ll need to shift into two modes, a) marketing Debut Novel, and b) writing Follow-up Novel. But that’s after. Building a platform now, before you have a book, before you have anything to leverage it with, is a bit like putting the cart before the horse.
People love their blogging and their Tweeting and the communities of unpublished writers that they’ve created online. I’m not trying to take that away from you. But realize that an online platform for writers without something to sell is not something you really need to be worried about at this point. I’m all about writers getting themselves out there and starting to participate in the world, build buzz, etc., but that’s not what I’m selling when I sell your fiction. If author platform is stressing you out, go back to focusing on the writing.
Do you have strategy questions about how to best use your valuable time? Need writing career advice? I’m happy to be your developmental editor, and we can come up with a road map together.