Book Marketing Part 2: Your Mailing List

Last month, I talked about how to build your platform: http://thewingedpen.com/book-marketing-p…re-your-best-bet/. This month, I will talk about how you can bait your readership further.

A sale funnel will turn an indifferent audience into a warm audience. Your audience is made out of readers and writers like you. Think of your future audience not as potential buyers, but as a group of people who love the same things as you, as people from your tribe and your community.

Be of service to them before you push a price tag into their hands.

Your readers are waiting to discover you. They are! They would love to discover the next best writer. They are waiting to read amazing novels. They are ready to invest in the series they love.

Your funnel sale will help readers not only discover your books,.but also know more about you and ultimately develop a trust.  

 

Think about it. Free books get downloaded 100 more than $0.99 books. You want your first book to be downloaded as many times as you can. The more downloads, the more chances people will read your stories and become your fans. 

Free books: You can give away a “reader magnet” that will be only 30 pages long. It could be a short story that will only take one day to write. It could be a prequel that will explain a lot about the series you are trying to sell.

It’s your hook.

Set their expectations.

Introduce them to your world.

You can also offer a permafree (permanently free) book, the first book in the series, or a novella in order to get people to subscribe to your mailing list and to give them a taste of what you write. It is a good idea to have a trilogy to start with.  You will leverage the free book by developing your fan club. But make sure you collect email addresses while doing so.

 

You need to collect email addresses in exchange for any free book.

Give one book for free to get people to buy the rest. Thousands of books are given for free every day, so readers do not expect to buy blindly or take chances.

They expect to sample.  

It might be hard to admit or hurtful, but it’s true. Readers want to sample your writing. They want to know if you’re a good fit.

Building your email pool is very important because it will tell people who you are and what you have to offer as well as what series you are planning to write in the future. Remember, shoot for the 1,000 true fans.

What to put in your emails:

First, register to an automatic delivery email service so that you do not have to keep track of your emails. Over a period of several weeks, you should have a series of emails with actionable steps.

This is what author, teacher, and coach  Bryan Cohen advise to do:

#1 email: Deliver your audience their freebie.

#2 email: Check-in about the freebie a week later, saying something like, “Did you have a chance to read my book?” Reintroduce your book.

#3 email: Ask to connect on social media.

#4 email: Pitch your next book/series.

#5: Finally, you can invite them to your VIP site or your Beta readers program. Tell them they will get your books for free. They will post reviews for you and cheer you on.

When talking to your audience, tell them about something interesting about you. Some writers show pictures of their families and how their families influenced their book. Some writers tell a story about the conception of their novel. Some authors include freebies from programs they have joined. Think of something new readers (not yet fans) would be interested in. Discuss what you care about, your values, and what part of yourself they will find in your books. Think of it as a first impression. Open a two-way communication route. Let them ask questions and answer them, let them be part of your tribe. And good luck.

 

Resources:

Buroker, Lindsay. “Newsletters 101: Email marketing for authors.” <http://lindsayburoker.com/book-marketing/newsletters-101-email-marketing-for-authors/>

Tim Grahl’s Book Marketing Resources.<https://booklaunch.com/resources/>

 BM075: How to Build a Powerful Author Platform to Be More Visible with Alinka Rutkowska. <http://bookmarketingmentors.com/author-platform/>

Bryan Cohen’s Selling For Authors (Bryan is an incredible and generous mentor). <http://bryancohen.com/>

 Kirsten Oliphant’s Create If Writing. <http://createifwriting.com/podcast-and-show-notes/>

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If you liked this article, consider reading Sussu’s articles: “Writers Get organized” at Novel Without Further ado: http://novelwithoutfurtherado.weebly.com/

Follow me on Twitter or Pinterest.

 

 

 

 

Master Your Craft: The Big Idea

Master Your Craft
Welcome to this week’s Master Your Craft post! Each Wednesday we’ll  discuss prewriting and drafting a new book from the BIG IDEA to QUERYING. (For more information, see last week’s intro post.) This week, I’ll discuss The Big Idea.

So you’re ready to write a novel. You’ve got a character, maybe a scene, a vague idea of the plot…you’re ready to sit down and start writing, right?

Not so fast.

Even seasoned writers can be fooled by a Shiny New Idea. So before you dive into drafting, take some time to test your book-to-be and make sure your new idea is also a Big Idea.

Here are some of the questions we Pennies ask ourselves at the dawn of a new idea:

  • Do I have passion for this story? This might seem obvious, but a novel takes a while to write, and it’s crucial that you have a deep and abiding passion that can sustain you. Another way to ask this question: Is this a story I must tell the world, or is it just a story I’d like to read? I wrote 20,000 words of my current WIP before realizing that one aspect of my story just wasn’t interesting enough to me to push me through all the research I needed to do. I’d love to read that original idea, but it isn’t a story my heart longs to tell.
  • Do I feel urgency to tell this story NOW? I have an entire file of story ideas. Some of them are really cool! But none of them are begging me to tell them right this second. That sense of urgency is another indication that this is a Big Idea.
  • Do I have a vivid protagonist with an overarching goal? In other words, who is your main character, and what does he or she want? Can you hear his or her voice? This is the foundation of any story, and if you don’t have this, it’s going to be so much harder to spin a full novel out of your idea. I’m not sure The Hobbit would have had such enduring power if Bilbo hadn’t longed with his entire being to be back in the Shire.
  • Can I visualize the entire story arc? Often the beginnings of our ideas are just the flash of a character or a scene. But of course, novels need more than one brilliant scene or one fascinating character. Take some time to consider where your story is going. What sets off the action? How does the MC change as the story progresses? What peak conflict will push your MC to the end of the story?
  • Can I write a logline for this story? If you can write a pithy pitch for your idea before you write a word of the story itself, chances are you’ve got the makings of a Big Idea.
  • Are others excited when I tell them my idea? How do your CPs react when you tell them your pitch? Are there “oohs” and “aahs”? Or are they asking questions and offering “what ifs”? Other writers are especially good at recognizing Big Ideas, and if they’re not sold, chances are you have more work to do. And it’s pretty important to get feedback at this stage, even though we can all be very protective of our fledgling stories. Our agented Pennies have reported sending slews of new ideas to their agents only to be told that none of them quite pass muster as is. Most of the time, this just means you need to do the work of fleshing out the idea and finding a unique way into the story. But it is way better to learn this before you write 60,000 words.
  • Is there a market for my idea? Although this question can put a damper on your Shiny New Idea excitement, it’s really important to do this research. Don’t be the author trying to sell a dystopian after the market flood of apocalyptic fiction!

Sadly, some story ideas are flawed from the get-go. Stubborn writers can spend years working on stories that will ultimately go nowhere…and a lot of that heartbreak can be avoided if you take a few days or weeks to really road-test your story first.

And if you can answer “YES!” to all these questions? Congratulations! You’re still not quite ready to write, but you’re one step closer to seeing your Big Idea become a Big Fat Novel.

(Need help coming up with a Big Idea? Check out this earlier Winged Pen post about creative cross-pollination, this one about writing prompts, or this one exploring where ideas come from, to get your creative juices flowing.)

Come back next Wednesday where we’ll discuss Main Character Development.

How To Give Good Critique

We’ve talked before about the need for critique partners to help you create your best work. (Jessica Vitalis had some great suggestions about how to find the right critique partners.)

But finding critique partners is only half the battle. If you want to have an ongoing, productive critique relationship – and write your best novel! – you also need to know how to be a good critique partner.

So, now that you’re exchanging on the reg, how can you make sure that you and your new critique partner can go the distance?

Unfortunately, sometimes even the best critique partnerships fade. Changing genres, differing schedules and mismatched priorities can all derail you and your CPs.

But you can help ensure a lasting and nurturing CP relationship by using some of these techniques for giving (and receiving!) good critique:

  • Use the compliment sandwich. Nobody likes to hear a litany of their mistakes. It’s demoralizing, and it doesn’t make you want to ever let that critical eye near your work again. The critique sandwich is a great way to soften the bad news and help valid criticism land. The formula: Compliment->needs improvement->compliment.

EXAMPLE: I love the way you describe this scene using so many sensory details. I really felt like I was there! Can you use some of those details to heighten the emotions of the characters? The dialogue felt flat compared to the lush scene-setting. It’s so, so close!

  • Ask questions. Questions are a great, neutral way to draw out anything you want to see more of or challenge a writer to new heights. Ask questions about anything that’s not clear, sure, but also consider asking questions when you think there might be more to a moment than is currently on the page.

EXAMPLE: For a scene where a couple is having an argument at a diner: How does he react to what she is saying? Is he mad? Sad? Surprised? What is happening around them during this fight? Do people notice? Or are they trying to keep their voices down? Are they having any physical reactions to the argument? 

  • Point out what they’re doing right. If you notice you’ve gone several pages without commenting, it may be time to pause to tell the author why you’re not. A simple “Amazing tension here” or “Heartbreaking, raw and real!” lets them know when they’ve knocked it out of the park. And sometimes that information is as helpful as knowing where you’re going wrong.
  • Brainstorm, but not prescriptively. It’s inevitable you’re going to have some great ideas about your CP’s story, and you’re going to want to share them. Try to avoid using language like “You should…” or “I would…” Instead of pushing them to embrace your ideas (which may not take the story in the direction they want to go), say, “What if…” Make it clear the idea is theirs to run with, not you imposing your own ideas/aesthetic on their story.
  • Avoid vague, unactionable comments, such as “not sellable” or “too quiet”. Instead aim for more empowering statements, like, “How can you make this scene pop more?” “I wonder if there’s more energy you can inject into this opening.” Or “What do you think could make this story really jump off the shelves?”
  • Know your CP’s goals. Some writers really just want to write for themselves and don’t care about getting published. Others are determined to get an agent who brokers a major deal. And still others would be satisfied with something in between. Sometimes, a writer has been working on a story too long and just doesn’t have the energy or the passion to do what needs to be done to take it from good to great – and that’s totally valid! Critique to motivate them to higher heights, but not against their own goals.
  • Receive critiques with grace. When it’s your turn to have your work critiqued, try to take your ego out of the equation. When you work so hard on something, it can be wrenching to hear that someone doesn’t understand or appreciate it as much as you do. But if you can put your ego in the backseat and view the critique with gratitude, you’ll have what you need to make your story the best it can be. And if it really is a bad critique…let it go and move on. Just because you didn’t reach one person, doesn’t mean you won’t reach many others. (Caveat: If multiple people are pointing out the same problem, take that seriously. You probably need to do some work on that.)

Critiquing – especially with new partners – can be nerve-wracking. But if you approach it with a service mindset, reminding yourself that you are there to help another author achieve his or her goals, then that will lead to kinder, more effective critiques…and hopefully, long-lasting and productive critiquing relationships!

 

Review – How to Write Dazzling Dialogue: The Fastest Way To Improve Any Manuscript

In How to Write Dazzling Dialogue: The Fastest Way To Improve Any Manuscript, James Scott Bell promises the reader craft secrets to shape great dialogue. As a writer juggling a full life, the phrase “fastest way to improve” catches my eye and I hit Amazon’s buy now button.

When the book arrives, it’s a slim 135 pages. Was it worth the price? Will it stay on my How To writing shelf or end up in the donate pile? I find my favorite booth at Panera, order an iced tea, and crack it open.

I have my doubts the first few pages. Bell starts with what not to do examples that are so bad my fourth grader would know better. With a sigh, I turn a few pages. Next up is a tip that all characters should bring specific, opposing agendas to a scene. I read an excerpt from Gone With the Wind and jot a note to myself: Identify characters’ opposing agendas at the start of scene to increase conflict and tension. A few fun ideas bubble up.

The next idea sounds crazy, but I try it. Bell’s tip is to take a dialogue heavy section in my story and pick a random line. Then I go to my bookshelf, select a favorite novel, and flip it open. The first line of dialogue on that page will now replace the line of dialogue in my manuscript. Bizarre, but it works! My scene takes a creative twist and the dialogue’s interest shoots up.

Bell’s book includes tips on everything from punctuation to attributions to cursing, but the idea that pulls me in next is bare bones dialogue. I tend to be wordy. So I take a page of my dialogue and snip, snip, snip. My goal is to get each line to five words or less. The page suddenly has more white space and the dialogue more snap.

After applying Bell’s tips, I email my newest scene to my tough love critique partner whose comments tend toward “yawning here” or “this scene matters why?”

Several days later, I’m back at my favorite Panera booth, sipping my iced tea and open my email. My critique partner has responded and I nearly keel over when I read: Engaging and well written scene. Easy, enjoyable read. I wonder if it’s the tea or all the hard work. Nice job!

I write back that it’s not the tea, but the tips from How to Write Dazzling Dialogue: The Fastest Way To Improve Any Manuscript.

Worth the cost?

Definitely!

A keeper?

For sure.

Craft Intensive: Building Backstory

As a couple of my fellow Pennies can tell you, I love to do a deep dive on characters’ feelings and motivations. In fact, one of my favorite things to do while writing and critiquing is to explore and uncover why the characters act the way they do.

I’m also a firm believer in that old adage that the easiest way to know what someone is going to do in the future is to look at what they’ve done in the past.

But until recently, I never managed to put those two ideas together in my writing! As much as I love the behavior analysis part of penning a novel, I have been leaving a huge chunk of motivation on the table: Backstory.

It’s not that I’ve been ignoring backstory. I actually like it quite a bit and enjoy imagining pre-novel scenes. But I haven’t always written down that backstory or given it much more than a cursory glance. It’s always been an under-developed, well-you-see-this-once-happened explanation available if someone asked.

But after Julie recommended Lisa Cron’s STORY GENIUS to me, I started paying a lot more attention to backstory in my books. And I’ve picked up some great new habits that — I hope! — are making my current WIP a much more emotionally engaging read.

  1. Write that backstory down. I used to be content to dream up a nice, somewhat vague backstory for my character — e.g./ “She’s watched her mom cut people out of their lives for little to no reason and she’s scared of that happening to her.” But with this draft, I’ve written out several scenes from her past that show her mom turning on their friends and family. The details that writing the scenes forced me to conjure up are helping me show my character’s fear so much more vividly, and they serve the dual purpose of propelling actions that are making my story zing.
  2. From STORY GENIUS: Find a moment that made your character believe something about the world that your novel’s story will prove wrong. Think Professor Snape. For almost the entire seven-book series, Harry believes that Professor Snape is evil. He has ample evidence for this belief — much of it circumstantial and misinterpreted — and for him, it is confirmed at nearly every turn. We even get to see memories of Snape’s boyhood that seem to confirm Harry’s suspicions. All of which makes it so deeply moving for us and for Harry when he learns the truth behind Snape’s actions late in the final book.
  3. Real people often take unexpected lessons from life events — so can your characters. A character whose mom died when he was thirteen could vow to remain a bachelor for life because he’s seen how painful it is to lose someone you love…or he could decide to become very religious because he believes his mom might have been saved if she had gone to church…or he could fervently wish to create his own family very young to make up for what he missed out on…or, or, or. Any one of a thousand reactions to that one event — losing his mother — is possible, which means you need to keep digging. What else was happening in his life at that time that shaped how he reacted? What kind of person was his mom, and how did she shape him while she was alive? What did he believe about the world before she died, and how did that death challenge that belief? Try to find the core belief that led your character to choose the specific lesson that makes him behave the way he does — and that belief will do a lot of heavy lifting to move your story forward.

As I’ve started incorporating backstory questions into my writing, I’ve found that not only does it mean I get to do more of what I love — exploring character motivation! — but it is also helping me improve my much weaker area of plot development.

Because if the truest predictor of future behavior is past behavior, then knowing your characters’ backstory backwards and forwards will help you know exactly what they’re going to do next.