Writers in the Storm

by Barbara Linn Probst

A silver lining during this terrible pandemic has been the incredible outpouring of support for debut authors. One after another, Facebook groups have opened up their sites to promote authors, especially those launching their first books. They’ve offered interviews and other virtual opportunities to replace the canceled “in-person” ones. This generosity has brought debut novels to the attention of a wide and welcoming audience.

Extraordinary as this movement has been, it’s only step one.

Hearing about a book by a brand-new author doesn’t guarantee that people will buy it, read it, or review it. Something must happen to make a reader take that second crucial step of selecting that particular book from among the countless other books published each week.

What is that “something?”

Familiarity

It’s natural to gravitate to the familiar. If you’ve enjoyed a book about a crisis that reunites estranged siblings, then you’ll look for other novels that have similar themes, with the expectation that they’ll appeal to you as well. That’s the basis of Amazon’s “Customers who bought this book also bought…”

It makes sense. With so many books to choose from, we need ways to narrow our search. That way, we hope to optimize the chance of investing time (and money) in something we’ll end up liking.

This is why people tend to buy books by authors whose prior novels they’ve enjoyed. We expect to like the author’s newest book. And we will, unless our expectation is disproven. It’s the opposite for an unknown author with no “up front credit.” For an unfamiliar author, positive regard has yet to be earned.

Exposure and awareness

Seeing something “everywhere” brings a sense of familiarity, trust, and inevitability. It can be hard to resist feeling that “everyone” is reading a certain book right now, so it must be good. Certainly, some debut novelists have hit that jackpot. Delia Owens, author of Where the Crawdads Sing, is a recent example.

For most new authors, however, that doesn’t happen. They have to build awareness interview-by-interview, tweet-by-tweet, hoping that readers will give them a chance. Debut novelists—and I’m one—are, in effect, competing for the attention of people who don’t have the time to read every book that comes out.

How do readers choose?

When faced with an array of novels by unknown authors, why do they give some a try and not others?

I posed this question on ten different Facebook groups for readers: “Would you give a new author a try? Which of these (if any) might make you buy a book by a brand-new author?” I followed this with a list of possible reasons, asking people to select as many as they wished.  Although I didn’t ask people to rank their choices, some did.

As a former researcher, I dislike ”forced choice” questions in which the possible responses are pre-determined; they don’t leave room for answers the researcher hasn’t anticipated. However, previous Facebook surveys had shown that I’d get far more responses by offering a list and I wanted to cast a wide net.

One of the items on my list was “seeing the book on this and other Facebook groups.” This was, of course, a version of “recommendation from a trusted source”—and no surprise that it was one of the reasons cited most often, since I was asking the question on Facebook! The popularity of the response was circular and predictable, given the population I was polling, so I set it aside; had I asked the question at live book club meetings, people would probably have told me that they picked novels that fellow book club members had praised.

The other options reference a book’s cover, title, awards, and reviews from Amazon, Goodreads, newspapers, and “trade reviewers” like Kirkus and Booklist. Within three days, there were 750 responses.

Overwhelmingly, what made respondents “give a new author a try”—other than a trusted recommendation—was the book’s cover and title. In other words, their first impression. That didn’t mean they would end up loving the book or even finishing it, only that it would motivate them to pick it up, open it, and purchase it. Together, cover and title accounted for fifty percent of the responses, with some people adding a note to apologize for “judging a book by its cover.”

Many people added another reason: the book’s short summary description. Recommendations on Goodreads and Amazon reviews were of intermediate importance. Many people explicitly said that they “didn’t trust” reader reviews, which they considered to be too subjective, not necessarily corresponding to their own taste, and suspicious—authors asking their friends to post excessively glowing reviews.

Awards and praise from newspapers, Kirkus, Booklist, and other professional sources didn’t matter very much to these readers. Awards came in lowest of all, although some respondents felt that an award was a “signal” that a book had merit.

Most people chose more than one reason. People who cited “cover” usually cited “title” as well, suggesting that the two work together to form an overall visual impression. If their first impression drew them in, they would read the summary blurb and then decide. Conversely, if the first impression wasn’t strong, most were unlikely to proceed further.

Obviously, this wasn’t a comprehensive survey. As with all studies, results were shaped by how the question was worded, who was asked, and how. Because the data was collected from readers’ groups, it reflects the perception of consumers—that is, people selecting a product—and not necessarily the perception of bookstore owners, bloggers, reviewers, or anyone in the book trade. For those groups, media reviews and awards may carry more weight.

What does this mean to authors?

The results offer some indications that debut authors may want to consider.

Looks Matter

If you’re a new author about to launch, keep an eye on book cover trends; a particular look may not be your “style,” but it may be what readers are gravitating toward. Remember priming theory: if your cover resembles the covers of successful books, that might be a good thing. You don’t always have to be unique.

Experienced cover designers know what catches a reader’s attention, especially in the thumbnail versions that appear online, so listen to what they say about font, color, and composition. At the same time, it’s your book and you have the right to ask questions and to speak up if the cover doesn’t feel right. If you’re hiring your own cover designer, don’t skimp or settle. If your publisher is designing the cover for you, ask for options and for the rationale behind the various concepts. The cover should reflect the story in some way, as well as being visually pleasing.

Titles Matter

It’s common for a publisher to want to change the book’s title, and the new title may feel strange or even wrong if you’ve lived with another one for a long time—as if your child started school and the teachers suddenly decided to change her name!

But the publisher may have a very good reason. Go on Amazon and search for books with titles similar to yours. If you find a long list, you may want to shift to something fresh. Go through your manuscript and look for phrases that capture an important aspect of the story. If you find a title you like, ask people what they think it means. A misleading title can backfire.

Decide Your Focus in Advance

Consider where you want to focus your energy as you prepare for your book’s launch. You can go high and try for endorsements from well-known authors or celebrities, awards, glowing reviews from newspapers and trade publications—with the idea that these will “influence the influencers” who can place your book where it will be seen. Or you can go wide and make friends with people who host book clubs, book fairs, or online groups for readers and writers—with the idea that these are real readers who will spread the word about your book to other readers. 

Neither strategy is “better,” but you may not have the time or resources to do both. As you work to convince people to “give your book a try,” you’ll have to decide which approach suits your story and temperament.

Remember, you only get one debut! And ultimately, your aim is to move from being an unfamiliar author to a familiar one—someone who makes people say, “Oh, I just love her books!”

What makes you most likely to buy a debut author's book? Do you have any other purchasing reasons, either for or against, to add?

About Barbara

Barbara Linn Probst is the author of much-anticipated Queen of the Owls, published by the visionary, award-winning She Writes Press. Queen of the Owls has been chosen by Working Mother as one of the twenty most anticipated books for 2020 and is the May 2020 selection of the Pulpwood Queens, a network of more than 780 book clubs throughout the U.S. To order or learn more, please visit http://www.barbaralinnprobst.com/.

A chance meeting with a charismatic photographer will forever change Elizabeth’s life. How much is Elizabeth willing to risk to be truly seen and known?

Click here to read more or to order the book.

Top photo image by InstagramFOTOGRAFIN from Pixabay.

A version of this piece first appeared on Jane Friedman’s blog on November 14, 2019

I don’t know about you, but everything is taking me twice as long these days. Sometimes more than twice as long. When you throw a pandemic into the mix, once-simple things seem to take forever. This is the reality of writing and working in the time of coronavirus.

The Downs and the Ups

Everyday tasks like running to the store have been elevated to the level of a campaign – there’s planning and strategy, timing and cleanup. There’s store debriefing, for crying out loud.

Me, last week, after a two hour shopping trip to Target:

“They're still out of Jif and apple sauce, so I got SunButter and apples.”

“Everything on the right side of the table is sterilized, but I’m letting it rest for a few hours.”

“Don’t touch anything on the left until tomorrow.”

“Still no Softsoap or wipes. But I found toilet paper!!!”

All of us from developed countries are fortunate. We've never had to consider most of these challenges and frustrations. Although some people are rolling with the empty store shelves, many more are not. “Don’t sweat the small stuff” is a hard philosophy to live by during a period in our lives when much of the small stuff feels large.

I still feel lucky (most of the time)...

With so many people being furloughed or laid off, I feel incredibly blessed that my husband and I are employed . Yes, I’ve added homeschooling and multiple child meals and extra dishes (So. Many. Dishes.) to my day, but I have a job.

I spent many years worrying about my next meal and wondering if I could pay my rent. I’ve worried through illness so dangerous I wondered if I’d see morning. I'm grateful I'm not re-visiting those fears during this pandemic.

Despite my profound gratitude, I still worry.

• About furloughed friends, older relatives and immune-challenged neighbors.
• About Italy and New York and the economy.
• About whether my child will learn a damn thing for the rest of 4^th grade.
• Wondering when I'll get to write something (anything!) that isn’t corporate communications related to Covid-19.

I worry about whether I can survive another trip to Target where people shuffle around in their masks, staring at fellow shoppers who stray too close like they're the Unibomber.

And then I go back to being happy we are blessed with jobs. And thinking six feet seems awfully close...

It's a wonder if we get anything done with our brains this busy.

Life Lessons I Need to Revisit

Put on your own mask before assisting others.

We all need to give each other as much patience and grace as we possibly can right now. We need to begin by giving ourselves that same healthy dose of patience and grace.

Change is hard in the best of times. These are not the best of times, so I hope y'all are taking all the time and energy you need for the self-care that is so important right now.

Here's my favorite Facebook meme this week. Which number are you?

This too shall pass.

Grandma was right. These periods of crapola end. We know it, but we forget. We've all had breakups and layoffs and challenges, and times we were 100% sure life would never right itself.

I remember feeling annihilated when my mom died when I was 35, and terrified when I almost died of a bajillion pulmonary emboli at 37.

I remember worrying I’d never have my life together... get married... have a child... publish a book... fill in the blank.

And I remember the friend who listened to my woes and held my hand and told me, “You are exactly where you need to be. You have everything you need to have to get all those things you want. You just need to be patient, and keep working. Those things will come.”

The worries pass if we let them. My friend was right, and so was Grandma. I need to revisit their advice. Perhaps you do too.

Perhaps you need someone to listen to your worries and virtually hold your hand.

Here is the advice I’d give my wonderful writing comrades today:

“Even if you don’t feel you’re where you need to be right now, and you have no energy or heart for your writing, you can do things for your mind and creativity that you might not allow yourself otherwise. Those things are important, because lifting your spirits is important.”

You can:

• Read through your To-Be-Read pile without guilt.
• Take a Master Class. (There’s a BOGO offer until April 19 if someone wants to share with me.)
• Plan (and maybe even execute) a website.
• Binge watch that show you never had time for.
• Learn a skill you’ve dreamed of, like drawing or a new language.
• Wallow in book research.
• Take naps.

Final Thoughts

Research has proved both panic and calm are “catching.” If taking a nap or reading a book helps keep you calm and focused, DO IT. If nothing else, you can spread your newfound calm to someone else you love.

In the meantime, here is Some Good News from John Krasinski. (You might remember him from The Office or Jack Ryan.)

https://youtu.be/F5pgG1M_h_U

p.s. This is my 100^th post here at Writers In the Storm. All of you make me thankful every day. Thank you for the time you spend with us here.

As this pandemic marches on, how is everyone doing? Are you well? Are you feeling motivated, or not so much? What (if any) Corona Life change is making you crazy? Tell me all about it in the comments!

About Jenny

By day, Jenny provides corporate communications for professional services firms. By night she writes humor, memoir, women’s fiction and short stories. After 18 years as a corporate software trainer, she’s delighted to sit down while she works.

When she’s not at her personal blog, More Cowbell, Jenny can be found on Facebook at JennyHansenAuthor or at Writers In The Storm.

by Lori Freeland

Pitch out Visuals? Pass on Variety? Personalization of Villains? People of Value? Just what is POV, and why do you care?

Understanding POV

Point of View (POV) refers to the character telling the story in a particular scene or chapter of your book. And only one character should tell the story at a time.

Why? Having a clear picture of what’s happening keeps us from being confused—not only in a novel but in real life too.

Imagine that you and a few friends witness a car accident. The responding police officer asks what happened, and everyone describes the incident at once. There are a few reasons he’ll likely listen less than thirty seconds before he stops the chatter.

1. It’s hard to differentiate one voice from another when they’re mixed together.
2. People highlight separate points and share them in a different order.
3. Not everybody witnesses the event the same way. Bias kicks in. Each of us sees the world based on our own life experiences.
4. What sticks out to one person fades into the background for another.
5. We remember things differently, and not everyone’s data will match.

It’s much easier to interview each person who saw the accident and put the “big picture” together at the end using all the information. Your reader, like that police officer, can only process the world through one set of eyes at a time.

When we open a book as a reader, we “step into” the POV character’s head. In a way, we become that character. That means we can only:

• see what he sees
• hear what he hears
• feel what he feels
• know what he knows
• think the way he thinks
• react the way he reacts

If Paul is the POV (person telling the story), when he walks out of the kitchen and into the bedroom, he takes us with him. We can’t see his dog eating the hamburger he left out to thaw because Paul can’t see it. He’s no longer there. And neither are we.

However, if he’s in hearing range, he can describe the audio and let the reader “hear” it too.

Head-Hopping

Have you ever gotten a comment from a critique partner or an editor about your character head-hopping? Head Hopping means you’ve slipped out of the POV character’s head and into another character’s head. Sometimes writers will jump back and forth, and that can be confusing.

Think of head-hopping as God-like powers to peer into people’s minds to read their thoughts, intentions, and emotions. I can’t do it. You can’t do it. So, your POV character probably shouldn’t do it either—unless she’s psychic.

Types of POV

First and third person are the most common. First uses “I” and third uses the character’s name and “he” or “she.”

Example: I walked to the store and met Frank. / Karen walked to the store where she met Frank.

Let’s go a little deeper in point of view and talk about inviting readers inside your character’s head and keeping them there.

Deep POV

Point of View Versus Perspective

Point of view focuses on who’s telling the story. Perspective focuses on how that character sees the story.

Like with the car accident, characters can view the same event in different ways. How they view the event determines their reactions, actions, thoughts, and emotions. Think about this—a villain isn’t a villain in his own story.

Fact Versus Opinion

We can think of deep POV as fact versus opinion.

FACT: What the POV character actually sees, hears, or learns from first-hand experience and past knowledge about someone else. If it’s fact, the POV can make statements about what another character knows, feels, or thinks.

Example: At the kitchen island, David’s sorting documents. His symmetrical stacks are white cutouts on the black high-top table, and he’s brought us each two water bottles. As much as he drives me insane, if there ever is a zombie apocalypse, I’d pick him as my Walking-Dead wingman every single time. He thinks of everything.

(Statement made by our POV based on past, firsthand knowledge that’s supported by David’s current actions.)

OPINION: What the POV character perceives through non-verbal cues (body language, expressions, voice cues) or what she’s heard from another person. This refers back to perspective. If it’s opinion, the POV character can make an educated guess about what another character knows, feels, or thinks. 

Example: In one barbed look (expression), David manages to nail me with equal amounts of accusation and disappointment, reminding me once again that I’m not his favorite person (opinion formed by our POV based on that expression).

Side Note about perception: One character’s perception of another character can be wrong, but that’s okay. Misperception causes conflict, and we want conflict.

Going Undercover

We can think of deep POV as going undercover. An undercover agent has to stay in character 24/7. Sometimes his life depends on it.

Most people read for a chance to be someone else for a while. They like getting lost in someone else’s world. But how do we keep that world as real as possible so they don’t get yanked out in the middle of the journey?

Don’t Shatter Deep POV

Examples:

• I widened my blue eyes.
• Her brown hair fell over her shoulders.
• My face turned red.

If you’re not looking in a mirror, you don’t see those things about yourself. And neither does your character. We don’t think about ourselves that way either—unless it’s something we’re constantly aware of that either bugs us, like an obvious scar, or makes us proud. Conceited people will think about the way they look all the time.   

For ways POV characters can describe themselves, check out this WITS post Characters Are People Too.

Examples:

• “Hey, Joe, how are you?”
• “Joe, do you want to go for a drive?”
• “Joe, that’s a great jacket.”

How often do you actually say someone’s name during a conversation? Make it a point to notice next time you’re talking with other people.

For more on dialogue, check out this WITS post: Dive Deep into Dialogue.

Examples:

• I thought she looked beautiful. / She looked beautiful.
• She wondered if he liked her. / Did he like her?

In deep POV, everything is that character’s thought. You can cut “thought” and “wondered” 99.9% of the time. Especially avoid “he thought to himself.” We all “think” to ourselves. We can’t “think” to anyone else. And sometimes, we wouldn’t want to.

Examples:

• Filtered: I watched Ben swagger across the room and noticed Jane’s face fall.
• Unfiltered: Ben swaggered across the room, and Jane’s face fell.

Multiple Points of View

How NOT to Write Multiple POVs

1. Don’t confuse secondary characters with POV characters. Each POV character has to have his or her own complete story arc related to the overall story arc. This includes your villain.

This doesn’t mean you can’t tell a secondary character’s story. But it should be told through a POV character’s observations. In Harry Potter, Harry is telling the story, but we feel like we know the secondary characters just as well.

2. Don’t retell the same scene from a different character’s point of view—unless you’re telling that kind of story. The movie Vantage Point is told that way. One event. Multiple perspectives. Different versions of the truth. 

3. Don’t add new POV characters just to create subplots. If your story spans a large time period or has dual timelines, each of the POV characters you add needs to have their own complete story.

4. Don’t bring in POV characters because you feel you need to offer the reader information or explanations. There are more creative ways to do that. But that’s another post.

Changing POV

There are specific times in your story that allow you to change to a different point of view. When you...

• Start a new scene
• Start a new chapter
• Make an obvious scene break (use white space and #)

How do you pick a POV?

You’ve decided to go with two POV characters. Maybe you’re writing a romance with the hero and heroine’s points of view. They each have their own complete stories related to the overall story arc, and you’re good to go. How do you choose which character tells what part of the story? You might:

• swap out every other chapter or every other
  scene
• split a scene in half and show both points of
  view
• consider which character has the most to lose
  or gain during the scene

Whatever you go with, be consistent. Don’t give twenty chapters to the heroine and four to the hero. Don’t show us inside “his” head and never give us a glimpse of “hers.” In a dual POV situation like this, think of your novel like a movie with two co-stars. They both want equal time. 

When you’re working with multiple POV characters, it’s crucial to orient your reader. Make sure they know whose head they’re in. Readers don’t like to be confused. Open each scene with your POV character.

Try Using:

• Dialogue (the POV speaking)
• Action (the POV doing)
• Internal Thought (the POV thinking)

If you open with a “floating” question, no dialogue tag attached, your reader will assume it’s the POV character and jump into her head. And once you choose your POV, commit. No head-hopping for that portion of the story.  

As writers, why do we care about POV?

Because we care about our readers. Our job is to give them the smoothest read possible. They want to step into the world you’ve imagined through the characters you’ve created and stay there—without any glitches, blips, distractions.

Your turn. What are your strengths and weaknesses when it comes to POV as a writer? What are your biggest issues as a reader? Leave a comment! And I love examples. Please share yours.

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About Lori

An encourager at heart, author, editor, and writing coach Lori Freeland believes everyone has a story to tell. She’s presented multiple workshops at writer’s conferences across the country and writes everything from non-fiction to short stories to novels—YA to adult. When she’s not curled up with her husband drinking too much coffee and worrying about her kids, she loves to mess with the lives of the imaginary people living in her head.

You can find her young adult and contemporary romance at lorifreeland.com and her inspirational blog and writing tips at lafreeland.com. Her latest release, The Accidental Boyfriend, is currently free on the Radish app. 

Top photo credit:
Photo 113666910 © Monkey Business Images - Dreamstime.com