Just a few short years ago, publicity was fleeting.
Having been in this industry for more decades than I care to admit, I well remember booking radio interviews during drive time - because if potential readers weren't listening at that very moment, we lost them.
I remember carefully analyzing television news interviews to determine whether morning, noon or evening segments were most beneficial, based on the demographics of the audience listening at that particular time.
Newspapers seemed to provide more exposure because at least readers could find the advertisement or article about the author and the book after the day it was published - if they still had the newspaper.
Magazines were considered a boon because they remained on the store shelves for an entire month.
Today Drake Valley Press' first line of marketing involves virtual book tours. Yet, some authors seem to treat them as if they, also, are fleeting. They are not: they can be permanent and as such, they should be used and reused.
For example, we recently booked an author on a high-profile blog. She never visited the blog. Never mentioned it online. Just let it lie there like an orphan, expecting it to get up and grow by itself. When it didn't, she complained about our selection.
So let's take a lesson from this.
When the author is interviewed on a blog, the very least he or she can do is visit the blog. Leave a comment, letting visitors know you'll be happy to answer questions. Then check back and answer them.
Tweet about the exposure with a link to the blog. And don't assume that the blog is only good for one day. It won't magically disappear at midnight. It's still there - and the author can continue to get mileage out of it by continuing to tweet about it.
Did the author believe they said something of importance? Then tweet about it. Try different times of the day, different days of the week. Audiences vary and we've found new readers of some very old posts.
Prefer Facebook? Post about the blog. Ask your Facebook friends for their opinion or feedback. Think of ways to get your friends and followers to talk about it, debate it, discuss it.
You're a Pinterest fanatic? Find pictures of things you envision in your book - and tie it to your interview. You mentioned a scene with a murder weapon? Find one online and pin it. You mentioned a particular city? Pin pictures of it. Or ask your followers to pin pictures. Anything to keep the dialog and interest going.
One of our authors was asked in a guest interview which actor she'd like to see play the role of her main character. Realizing the actor was probably on Twitter, she looked him up - and found him. (Watch for the check mark beside the celebrity's name; it shows you're dealing with the official account and not a fan's version.) When the blog posted, she tweeted about it - and mentioned the actor by Twitter name. He picked it up, retweeted it and within two hours, the book sold over four hundred copies.
Don't assume that the number of comments equals the number of people who read the blog. Most visitors are lurkers; they read but they don't comment. It isn't unusual to get more than 200 visitors on a blog that has only 3 or 4 comments. One blog we used this summer received over 1,000 hits, though only a dozen comments were left.
The same strategy can be applied to the author's own blog. If the subject was worth writing about, it's worth tweeting, Facebooking, pinning or using other social media to highlight. And remember: it has no expiration date. Keep mentioning it, long after it has initially posted.
Do you have any blog strategies you'd like to share? Leave us a comment below!
Monday, November 11, 2013
Wednesday, November 6, 2013
Why I Need to Love Your Book
I pass on a lot of books that I liked but didn't love. And as I near the end of the process in getting yet another book into the marketplace, I am reminded yet again why I must love an author's work before taking it on.
Each book is a product line in and of itself. To sell it, the publisher and the author must make sure it is the very best book it can be. The writing must be tight. Grammar errors, spelling errors, typographical errors, consistency errors - among others - must be non-existent; or at least as minimal as we can humanly make it. All of this takes time and money.
An author does not get paid for writing the book, unless their platform is so large or they are so proven in the marketplace that they receive an advance. Even then, I'd venture to say that less than 1% of authors receive an advance that truly pays for their time in writing and editing their work. They must do it because they are in love with the story, the characters, or the process of writing.
All of that changes on the publishing side.
Once we decide we want a manuscript, we must prepare a presentation for every department that will be involved in producing and marketing it. Every person in that chain must "buy into" it: the editor, the text production staff (for determining the layout, the fonts, the size, the internal packaging), the cover design staff (art work, layout, colors, and branding) and the marketing staff, who is involved before the book enters the market in determining the target market/ audience and how best to reach them; through the launch and initial entry into the marketplace, as well as positioning when the book becomes backlisted. The accounting staff and managerial staff must make certain the money is spent wisely and staff and resources are utilized wisely.
If everyone is in agreement (and one department can shelve an entire project) then we begin with contract negotiations. Once the contract is signed, the project is scheduled and the people are scheduled. None of these people work for free. They require salaries, overhead, and benefits. They need tools to do their job - hardware, software, access to art work... Then there are contractors we utilize, particularly with virtual book tours... There are printing costs, hidden costs the author may not consider like the procurement of an ISBN, proof copies, mock layouts, etc. There are meetings that occur at least weekly during the entire project, not to mention the phone calls, emails and other correspondence taking place.
The author sees very little of this.
A traditional publisher like Drake Valley Press is taking a gamble. The gamble is that this particular work will generate the sales required to reimburse the publisher for all of those up-front costs, plus make a profit - because the publisher, like any commercial business, can not be in business simply to pay costs and nothing more.
At the end of the day, twelve months after the book's initial entry into the market, we must be able to look at that book - that specific product and cost center - and know we made the right decision.
So when an author is querying publishers, it helps for them to understand what they are really asking of us: to commit people, money, time and resources to their work.
That's why I must love your book.
Each book is a product line in and of itself. To sell it, the publisher and the author must make sure it is the very best book it can be. The writing must be tight. Grammar errors, spelling errors, typographical errors, consistency errors - among others - must be non-existent; or at least as minimal as we can humanly make it. All of this takes time and money.
An author does not get paid for writing the book, unless their platform is so large or they are so proven in the marketplace that they receive an advance. Even then, I'd venture to say that less than 1% of authors receive an advance that truly pays for their time in writing and editing their work. They must do it because they are in love with the story, the characters, or the process of writing.
All of that changes on the publishing side.
Once we decide we want a manuscript, we must prepare a presentation for every department that will be involved in producing and marketing it. Every person in that chain must "buy into" it: the editor, the text production staff (for determining the layout, the fonts, the size, the internal packaging), the cover design staff (art work, layout, colors, and branding) and the marketing staff, who is involved before the book enters the market in determining the target market/ audience and how best to reach them; through the launch and initial entry into the marketplace, as well as positioning when the book becomes backlisted. The accounting staff and managerial staff must make certain the money is spent wisely and staff and resources are utilized wisely.
If everyone is in agreement (and one department can shelve an entire project) then we begin with contract negotiations. Once the contract is signed, the project is scheduled and the people are scheduled. None of these people work for free. They require salaries, overhead, and benefits. They need tools to do their job - hardware, software, access to art work... Then there are contractors we utilize, particularly with virtual book tours... There are printing costs, hidden costs the author may not consider like the procurement of an ISBN, proof copies, mock layouts, etc. There are meetings that occur at least weekly during the entire project, not to mention the phone calls, emails and other correspondence taking place.
The author sees very little of this.
A traditional publisher like Drake Valley Press is taking a gamble. The gamble is that this particular work will generate the sales required to reimburse the publisher for all of those up-front costs, plus make a profit - because the publisher, like any commercial business, can not be in business simply to pay costs and nothing more.
At the end of the day, twelve months after the book's initial entry into the market, we must be able to look at that book - that specific product and cost center - and know we made the right decision.
So when an author is querying publishers, it helps for them to understand what they are really asking of us: to commit people, money, time and resources to their work.
That's why I must love your book.
Monday, November 4, 2013
Monday Marketing - Revenue Streams
We're starting a new series of blogs for Drake Valley Press authors. On Mondays, we'll be sharing marketing and promotional secrets. Half of DVP's decision-making process in selecting authors and titles hinges on their marketing plans, and we're finding that they vary significantly. Each author has great strengths in reaching their target audience, and there is a lot to be learned from their unique strategies.
One such author is Aedan Byrnes. Aedan's first book will be released in December, but he is already generating buzz - and revenue - from Through the Oracle's Mist, a fantasy/paranormal romance that is Book I in the Vengelys Series.
On Friday, November 1, Aedan launched a cover reveal and the opening of his CafePress store for Through the Oracle's Mist. He licensed photographs that depict his mental images of Cyrenna and Tynan, the main characters in the book. He is offering their likenesses as well as the book cover and Cyrenna's Erian crest in his virtual store, on such items as clothing, cups, wine accessories, and even iPad covers, totes, luggage tags and more.
Within two hours of the store's launch, Aedan excitedly reported that his fans were flooding the store with orders. In less than two hours, he'd sold pajamas, mugs, journals, and t-shirts and his fans were spreading the word to their friends.
DVP allows the authors to keep all rights to their books except the trade paperback and eBook editions (English versions) which are licensed by DVP. This means that any other sources of income - such as items from Aedan's store - are completely his.
Having a store is a great way to promote an upcoming release, and it also opens up a separate revenue stream for the book itself.
Check out Aedan's store and see for yourself what he has to offer. Then please friend him on his Facebook page!
On Friday, November 1, Aedan launched a cover reveal and the opening of his CafePress store for Through the Oracle's Mist. He licensed photographs that depict his mental images of Cyrenna and Tynan, the main characters in the book. He is offering their likenesses as well as the book cover and Cyrenna's Erian crest in his virtual store, on such items as clothing, cups, wine accessories, and even iPad covers, totes, luggage tags and more.
Within two hours of the store's launch, Aedan excitedly reported that his fans were flooding the store with orders. In less than two hours, he'd sold pajamas, mugs, journals, and t-shirts and his fans were spreading the word to their friends.
DVP allows the authors to keep all rights to their books except the trade paperback and eBook editions (English versions) which are licensed by DVP. This means that any other sources of income - such as items from Aedan's store - are completely his.
Having a store is a great way to promote an upcoming release, and it also opens up a separate revenue stream for the book itself.
Check out Aedan's store and see for yourself what he has to offer. Then please friend him on his Facebook page!
Wednesday, October 2, 2013
Why I'm Not Interested in a One-Hit Wonder
I receive a lot of queries and manuscript submissions. When I like what I see, I am always likely to ask what else the author has written.
Why?
Because I'm not interested in a one-hit wonder.
You see, with each book we publish, we have to establish a marketing plan around the book and around the author. We have to reach the audience most likely to buy the book, and we have to do that through radio, television, newspapers, magazines, social media, blog tours, book stores, libraries, and a host of personal appearances and events.
All of that takes a lot of time, effort and money. Sure, you could be the next Harper Lee or Margaret Mitchell. But chances are, you're not. Chances are, your debut book will sell decently or not at all. But your second book will probably sell a little better. And your third, better than the second. And by the fourth book, your readers are asking what else you wrote and looking at your backlist.
You can't grow your fans if all you have is one product, anymore than you can open a convenience store and sell one item.
There are the exceptions - but they are exceptions.
For the average author, you need a line of products - a line of books. You need to market and promote consistently and your readers will get tired of you hawking the same book and they'll turn a deaf ear. You have to stay current, just as musicians need to keep putting out albums and actors need to keep appearing in movies. Your chances of making it is less than one percent. Your chances of making it with one book is less than winning the lottery.
So while you're trying to find the perfect agent or the perfect publisher, keep writing. You'll be glad you did.
Why?
Because I'm not interested in a one-hit wonder.
You see, with each book we publish, we have to establish a marketing plan around the book and around the author. We have to reach the audience most likely to buy the book, and we have to do that through radio, television, newspapers, magazines, social media, blog tours, book stores, libraries, and a host of personal appearances and events.
All of that takes a lot of time, effort and money. Sure, you could be the next Harper Lee or Margaret Mitchell. But chances are, you're not. Chances are, your debut book will sell decently or not at all. But your second book will probably sell a little better. And your third, better than the second. And by the fourth book, your readers are asking what else you wrote and looking at your backlist.
You can't grow your fans if all you have is one product, anymore than you can open a convenience store and sell one item.
There are the exceptions - but they are exceptions.
For the average author, you need a line of products - a line of books. You need to market and promote consistently and your readers will get tired of you hawking the same book and they'll turn a deaf ear. You have to stay current, just as musicians need to keep putting out albums and actors need to keep appearing in movies. Your chances of making it is less than one percent. Your chances of making it with one book is less than winning the lottery.
So while you're trying to find the perfect agent or the perfect publisher, keep writing. You'll be glad you did.
Wednesday, September 25, 2013
Who Reads Your Books?
When a person decides to start a business, one of the key tasks is to determine their target market. This holds true whether they're opening a new restaurant, an upscale clothing boutique, a toy store, a movie theatre - or anything in between.
That book you're writing is a product. You, the author, are a product. And when your book is finished and you're searching for just the right agent or publisher, you are putting yourself out there like a new business.
A lot of great manuscripts come across my desk. A lot of times, I have to decline them because I can't get a clear view of the target market and how to reach them.
Before you put your pen to paper (or your fingers to the keyboard) you should know who you're writing for. There's nothing wrong with writing the story that cries to your inner soul to be written. But if you're planning on selling that story, you'd better know who is likely to read the book - and how to reach them.
I hear authors say that their book is for everybody.
Is that so?
I could say a restaurant is for everybody. But ask a dozen people where they'd like to have dinner tonight and you might get a dozen answers. Some like sushi, some like Mexican, some, pizza, others, meatloaf... It's the same with books. No way will you catch me in a sushi bar, and I also don't care about werewolves.
You should know whether your primary reader is male or female. How old are they, right down to a specific generation - teens? young adult? 30's? 60's? What their education is, and why they would be interested in your book.
You have to know these things because when the book is released, you have to know how to reach that audience.
But that's my publisher's job, you say. Well, yes... and no.
It's everybody's job. It's your name on the cover. It's your face in public, signing your books. The author becomes an integral part of promoting the book; otherwise, he or she could be sent to totally inappropriate venues - the wrong age group or to groups more interested in a different genre. Try showing up at a church-sponsored book signing with erotica.
Knowing your audience helps you to grow your audience. You know what they like and don't like. You learn where they hang out. You learn how to reach them. Then stay within the parameters of what they like, and you've got a built-in audience for each book you write.
That book you're writing is a product. You, the author, are a product. And when your book is finished and you're searching for just the right agent or publisher, you are putting yourself out there like a new business.
A lot of great manuscripts come across my desk. A lot of times, I have to decline them because I can't get a clear view of the target market and how to reach them.
Before you put your pen to paper (or your fingers to the keyboard) you should know who you're writing for. There's nothing wrong with writing the story that cries to your inner soul to be written. But if you're planning on selling that story, you'd better know who is likely to read the book - and how to reach them.
I hear authors say that their book is for everybody.
Is that so?
I could say a restaurant is for everybody. But ask a dozen people where they'd like to have dinner tonight and you might get a dozen answers. Some like sushi, some like Mexican, some, pizza, others, meatloaf... It's the same with books. No way will you catch me in a sushi bar, and I also don't care about werewolves.
You should know whether your primary reader is male or female. How old are they, right down to a specific generation - teens? young adult? 30's? 60's? What their education is, and why they would be interested in your book.
You have to know these things because when the book is released, you have to know how to reach that audience.
But that's my publisher's job, you say. Well, yes... and no.
It's everybody's job. It's your name on the cover. It's your face in public, signing your books. The author becomes an integral part of promoting the book; otherwise, he or she could be sent to totally inappropriate venues - the wrong age group or to groups more interested in a different genre. Try showing up at a church-sponsored book signing with erotica.
Knowing your audience helps you to grow your audience. You know what they like and don't like. You learn where they hang out. You learn how to reach them. Then stay within the parameters of what they like, and you've got a built-in audience for each book you write.
Wednesday, September 18, 2013
Establishing Your Genre
I had an interesting conversation with an author last week who told me that she wanted her audience to know that whatever she writes - whether it's a children's book, a cookbook, a suspense/thriller or a romance - would have the quality of her name behind it, enough to cause them to purchase it.
Well, no.
Let's take Reader 1. This reader is single, in his 20's, sportive and adventuresome. He likes the author's suspense/thriller because it's action-packed, contains international intrigue, features exotic locations and takes him out of his apartment and office cubicle. He doesn't have children, he only cooks if it takes a single pan and less than twenty minutes (preferably under ten), and he's into sex, not romance.
Reader 2 is a young newlywed. She still believes in love at first sight, at finding her eternal soul mate (which she thinks she has in her new husband), and she wants to experience that beautiful, giddy, head-in-the-clouds feeling she gets from reading pure romance. Maybe her new husband travels in his job or puts in long hours or works a job and attends school... And she wants a reminder that romance is not only possible, it's an everyday occurrence. She doesn't have children, she's learning to cook, and she might read a suspense/thriller IF it contains a healthy dose of... romance.
Reader 3 is a mother, a cook, a chauffeur, a maid, a nurse, a seamstress, a spouse... all before leaving home. With a full-time job in addition to her busy family, she doesn't have time to read. She will, however, purchase her children books. She won't use a cookbook at this point in her life because food has to be quick, simple and easy - or they go through the drive-thru. Down the road when Little Johnny and Baby Jane are well into their teen years, have their own cars and stay with their friends all hours, she might have time to go back to the love of reading. Then she'll gravitate toward suspense or romance, and possibly both.
I could go on and on with various readers' preferences. The point is: all readers are not created equal. Each of them has distinct likes and dislikes. If you write suspense and suddenly switch to heavy romance, you stand to lose some of your audience - unless you turn to romantic suspense with a heavy dose of the thrill your readers are accustomed to from you.
But to expect your fans to buy whatever you produce isn't realistic. They don't buy your books because they love you. Okay, maybe some of them do but certainly they can't number into the tens of thousands. And that's what it takes to be a success in this business - selling tens of thousands of books.
Your readers buy your books because you offer them what they're looking for. Maybe it's romance. Maybe it's suspense. Maybe it's something for Little Johnny. Maybe it's how to make that perfect cherry pie. But how many readers do you know what want all of those?
Next week: learning who your readers are.
Well, no.
Let's take Reader 1. This reader is single, in his 20's, sportive and adventuresome. He likes the author's suspense/thriller because it's action-packed, contains international intrigue, features exotic locations and takes him out of his apartment and office cubicle. He doesn't have children, he only cooks if it takes a single pan and less than twenty minutes (preferably under ten), and he's into sex, not romance.
Reader 2 is a young newlywed. She still believes in love at first sight, at finding her eternal soul mate (which she thinks she has in her new husband), and she wants to experience that beautiful, giddy, head-in-the-clouds feeling she gets from reading pure romance. Maybe her new husband travels in his job or puts in long hours or works a job and attends school... And she wants a reminder that romance is not only possible, it's an everyday occurrence. She doesn't have children, she's learning to cook, and she might read a suspense/thriller IF it contains a healthy dose of... romance.
Reader 3 is a mother, a cook, a chauffeur, a maid, a nurse, a seamstress, a spouse... all before leaving home. With a full-time job in addition to her busy family, she doesn't have time to read. She will, however, purchase her children books. She won't use a cookbook at this point in her life because food has to be quick, simple and easy - or they go through the drive-thru. Down the road when Little Johnny and Baby Jane are well into their teen years, have their own cars and stay with their friends all hours, she might have time to go back to the love of reading. Then she'll gravitate toward suspense or romance, and possibly both.
I could go on and on with various readers' preferences. The point is: all readers are not created equal. Each of them has distinct likes and dislikes. If you write suspense and suddenly switch to heavy romance, you stand to lose some of your audience - unless you turn to romantic suspense with a heavy dose of the thrill your readers are accustomed to from you.
But to expect your fans to buy whatever you produce isn't realistic. They don't buy your books because they love you. Okay, maybe some of them do but certainly they can't number into the tens of thousands. And that's what it takes to be a success in this business - selling tens of thousands of books.
Your readers buy your books because you offer them what they're looking for. Maybe it's romance. Maybe it's suspense. Maybe it's something for Little Johnny. Maybe it's how to make that perfect cherry pie. But how many readers do you know what want all of those?
Next week: learning who your readers are.
Wednesday, September 4, 2013
The Importance of a Platform
Often authors believe that the only factor in becoming a success is their writing ability. I'd love to say this is so.
However, it's only half of the equation.
The other half is marketing. The current environment is extremely competitive; one only needs to look at Twitter feeds to see scores of authors advertising their books and trying to get the public to buy them.
So when an author submits a manuscript we like, our next question is: what's your platform?
Drake Valley Press commits to a three-month marketing and promotional campaign, centered around the book's launch. We follow that with a consistent effort to get the word to readers throughout the following year. But we know that our efforts will not be enough.
The author must have a way of reaching their readers and their fan base. It can be through Twitter, Facebook, Goodreads, blogging, other social networking sites, and a combination of them all.
Years ago, we published a book where the author spent a small fortune advertising it for a month. Then promotional efforts dropped off. Needless to say, the book hasn't done well in the long stretch. It doesn't require deep pockets or paid advertising, but it does require a long-term commitment to reach as many readers and potential book buyers as possible.
When you are writing your book, ask yourself who is your target audience? Then ask yourself how you will reach that target audience over the long haul? Begin while you're writing to connect with those readers.
However, it's only half of the equation.
The other half is marketing. The current environment is extremely competitive; one only needs to look at Twitter feeds to see scores of authors advertising their books and trying to get the public to buy them.
So when an author submits a manuscript we like, our next question is: what's your platform?
Drake Valley Press commits to a three-month marketing and promotional campaign, centered around the book's launch. We follow that with a consistent effort to get the word to readers throughout the following year. But we know that our efforts will not be enough.
The author must have a way of reaching their readers and their fan base. It can be through Twitter, Facebook, Goodreads, blogging, other social networking sites, and a combination of them all.
Years ago, we published a book where the author spent a small fortune advertising it for a month. Then promotional efforts dropped off. Needless to say, the book hasn't done well in the long stretch. It doesn't require deep pockets or paid advertising, but it does require a long-term commitment to reach as many readers and potential book buyers as possible.
When you are writing your book, ask yourself who is your target audience? Then ask yourself how you will reach that target audience over the long haul? Begin while you're writing to connect with those readers.
Subscribe to:
Posts (Atom)