Writers in the Storm

By Chuck Sambuchino

My Writer’s Digest coworker, Brian A. Klems, recently geared up for the release of his first book — a humorous guide for fathers called OH BOY, YOU’RE HAVING A GIRL: A DAD’S SURVIVAL GUIDE TO RAISING DAUGHTERS (Adams Media). On top of that, my coworker Robert Brewer (editor of Writer’s Market) recently got a publishing deal for a book of his poetry.

So I find myself as a cheerleader for my writing buddies — trying to do what I can to help as their 2013 release dates approach. I help in two ways: 1) I use my own experience of writing & publishing books to share advice on what they can expect and plan for; and 2) I simply do whatever little things I can that help in any way.

This last part brings up an important point: Anyone can support an author’s book release by doing different things to help the book sell and get noticed. So, in no particular order, here are 11 things — some big, some small — that you can do to support a writer friend when their book comes out:

1. Buy their book.

An obvious point, sure, but important nonetheless. Naturally, we must buy new copies of books, not used copies, for the sale to “count” and the author to get a royalty. So buy new. Heck, consider pre-ordering the book. Publishers pay attention to pre-orders to help get a sense of what titles are getting buzz and attention. Impressive pre-orders help the author.

2. Buy their book for others as a gift.

Think of which friends and relatives would enjoy the book/novel. Buy it for them as either a birthday gift or holiday gift. You get to support your author friend and give cool gifts at the same time! Get copies signed if possible to make gifts special. Even people who don’t read many novels will still take note if a gifted book is personalized and autographed.

3. Face the book out at bookstores.

Simply rearrange a bookstore shelf so that your friend’s book faces out to make it much more noticeable. (The theme begins: It’s all about getting noticed.)

4. When you actually read the book, read it where people can see it.

Read it in public. Read it on the subway. Read it in the aisle seat of a plane. Read it on the deck of a cruise ship. After all, don’t you find yourself looking at what others are reading when you pass by? I do! And if I see 3 different people in 3 different places reading the same book, will I start to investigate it out of curiosity? Yes. It’s all about building public knowledge of something to the point where people are curious and discuss it.

5. Ask a bookstore employee where the book is located.

When entering a bookstore, do not look for the book, even if you know exactly where it is. Go to the bookstore customer service clerk and ask them about the book. They will find it in their system and lead you to the book.

My hope is that if several people do this at the same bookstore, then the employee(s) will begin to take notice of the title, wondering what all the buzz is about. If you’re lucky enough that an employee finally picks it up and reads it, then they might put it in the “Employee Picks” section or refer it to people who come in and ask “What’s something good I probably don’t know about?” or “What book makes a good gift?” Let bookstore employees help sell copies!

6. Leave a review on Amazon or BN.com or Goodreads or all.

Reviews are still very important. Think about it. If you come by a new book and see it has 2.0 stars on Amazon, would you buy it? On some level, that silly rating does affect me and my decision — and my guess is that it affects you, too. So it’s crucial that, when you read a book and enjoy it, you leave a review on Amazon or BN.com or Goodreads or all. Those first 10-20 reviews really matter and can set a book on the right path. (Note: You can leave the same review on all sites to save time.)

7. “Like” the author’s Facebook Fan page.

Getting your personal friends to “Like” another friend’s page is an easy favor to ask, as it requires no money.

(Hi, everyone. Chuck here chiming in for a second. I wanted to say I am now taking clients as a freelance editor. So if your query or manuscript needs some love, please check out my editing services. Thanks!)

8. Reserve a copy at the library.

An employee here at Writer’s Digest Books once told me that if all copies of a book are reserved from our county library before the title came out, the system has a way of noticing this popularity and marking the book as one for “more orders.” (Also: Use the bookstore method above and ask librarians about the book — simply to draw attention to it and get the title on the mind of staff.)

9. Attend the book release party (if there is one) and bring a warm body or two.

This task isn’t so much to help the author as it is to help the author’s self-esteem. It’s lonely to have a book release party or local signing with low attendance. If you already bought a copy, bring that book to be signed.

10. Spread news of the book through your social media channels.

When the author mentions it on Facebook, share the news with your social circles and include a small note about what the book is and why they should buy it. In other words, spreading the word by saying “My friend got published!” is nice — but it’s better to say, “This new book by my hilarious friend is a great gift for dads who are raising daughters. Laugh-out-loud-funny stuff for all fathers to enjoy!”

See how the second one targets people in a simple-yet-specific way? Do this kind of targeting when you spread the word via Twitter, Facebook, Pinterest, Google+, or blogs.

11. If you have media contacts or know people of influence, arrange a connection.

This is one of the best things you can do and probably the biggest way you can truly influence the life of the book and the success of the author.

If you’re married to the cousin of a local news personality, it’s exactly that kind of connection that serves as a great introduction between author and TV host. If you know a book reviewer at a newspaper in Boston, say so. If your old college buddy now runs the biggest reading club in all of Central California, try and help your author friend’s book be a future choice in that club. Utilize your network!

My own example of Point #11: When Brian’s parenting book was being edited, he was told to seek out blurbs for the cover. The top two people on his list were humorist Dave Barry and 8 SIMPLE RULES FOR DATING MY TEENAGE DAUGHTER author Bruce Cameron. Brian got the Dave Barry blurb, but not Cameron. Then I remembered: Hey. Didn’t I teach with Bruce Cameron at a writers’ conference in 2010? Yes I did. Maybe that will be enough to help. So I wrote Cameron personally and mentioned our past meeting and how he and we shared a hobby because we both authored dog books, etc., etc. And then at the end of the e-mail, I nicely asked if he would blurb Brian’s book. I was careful to explain that Brian’s work would be worth his time, and that the title was not some kind of small book that would only sell 17 copies in its lifetime. “This book has buzz,” I told him. Cameron replied back a few weeks later with a tremendous blurb. Success!

This last, large point touches on something very important. When you do approach someone of influence and ask them for a favor or suggest a book to them, have all your ducks in a row.

Tout the book’s accolades or blurbs or interesting aspects to quickly convey that this connection/suggestion is worth their time. Don’t just say, “My friend has a new novel — check it out!” Say, “My friend has a new murder mystery novel and the Vanity Fair review comes out soon. She also just got a cover blurb from Michael Connelly.” Now you’ve got their attention…

Help writers sell books. It’s that simple. Just help them and support the publishing industry. Good karma will befall you, and the hope is that others will help you in return as your big release day comes.

Note:
This post is Part 5 of Chuck's debut series here at WITS: Take Your Writing By Storm.

Part 4 was  The Difference Between Your “Current Platform” and “Future Platform.” Please come back at 12 pm ET for Part 6: How to Start Your Novel.

About Chuck

Chuck Sambuchino of Writer's Digest Books edits the GUIDE TO LITERARY AGENTS and the CHILDREN'S WRITER'S & ILLUSTRATOR'S MARKET. His Guide to Literary Agents Blog is one of the largest blogs in publishing.

His 2010 humor book, HOW TO SURVIVE A GARDEN GNOME ATTACK, was optioned by Sony Pictures. Chuck has also written the writing guides FORMATTING & SUBMITTING YOUR MANUSCRIPT and CREATE YOUR WRITER PLATFORM

photo credit: Grand Canyon NPS via photopin cc

By Chuck Sambuchino

Ah, platform. It’s that dirty word writers hate. It appeared several years ago like a bad dream — a word publishing bigwigs used to describe a writer’s ability to sell their own work through a writer’s social media, networking and visibility. The bigwigs made it clear: Writers would not only have to write books now, but be the main marketing force behind them, as well.

Let’s be clear: If you’re a fiction writer, you want a platform. If you’re a nonfiction writer, you need a platform.

In fact, if you’re writing nonfiction and you don’t have at least a modest platform, literary agents and editors probably won’t even consider your book idea, no matter how good it may be. If you can’t sell your own book, they ain’t interested in your pitch.

In fact, I’ve been speaking so much about platform lately that I wanted to write something here about it here — my thoughts on “current platform” vs. “future platform.” See, building a platform is difficult and takes time. But some good news, in my opinion, is that if you get off to a solid start, you can use realistic, down-to-earth predictions when pitching your book regarding where you will be in the future. After all, your book won’t get published for a year and a half or two years. Surely by that time your platform will have continued to grow — so feel free to mention where you think you’ll be.

ELEMENTS OF A PLATFORM

Off the top of my head, here are some elements that contribute to a writer’s platform:

1. A successful blog
2. A successful newsletter
3. Article/column writing with bylines
4. Contributing to large publications/blogs/etc.
5. Networking and who you know
6. Public speaking, such as presenting at writers conferences and retreats
7. Social media (Twitter/Facebook/etc.)
8. Organization membership
9. Media appearances and interviews

These are all things that a publisher will want to hear about if you’re pitching a nonfiction book. These are your weapons in pitching to a publisher as well as selling your book to readers.

(Hi, everyone. Chuck here chiming in for a second. I wanted to say I am now taking clients as a freelance editor. So if your query or manuscript needs some love, please check out my editing services. Thanks!)

YOUR “FUTURE PLATFORM”

When you’re writing a nonfiction book proposal, you will be examining all of the above elements and listing out the weapons at your disposal. Now, after that section is done, feel free to include some quick notes on where you think your platform will be in 1.5–2 years. This is your “future platform.”

For example: How many page views does your blog get a month? Perhaps 7,500? But what was that number three months ago? Six months ago? A year? Discover those numbers and chart its monthly growth rate. After you do that, your nonfiction proposal can include the line:

“My blog, (URL), currently receives 7,500 page views a month, and is growing at a rate of 12% a month. By spring 2013, even using a more conservative growth rate, the blog should receive more than 20,000 page views a month if not more. The author is committed to blogging at least (X) times per week and will be continuing that frequency in the future…”

Another example: “In 2011, the author presented on (topic/specialty) to two trade conference: (conference name and other conference name). He/she is already contracted to present at least three events in 2012 with more invitations expected. In 2013, the goal is 6-10 major speaking appearances at industry events, with audience numbers ranging from (number) to (number)…”

The catch regarding all this is: Do not bullshit a literary agent or editor. If you bullshit us, we see through it immediately, and discussing your future platform unrealistically will actually work against you. When uncertain, err on the conservative side with numbers. Even a conservative growth in blog figures or public speaking appearances will aid your pitch.

Last important note: Your current book promotion ability (your current platform) is all that you are able to do right now. Your future platform is a realistic prediction as to your platform growth in the next few years.

Note that in neither definition do I want you to discuss what you would be willing to do. By that I mean: “I would be willing to do radio interviews in support of my book. I would be willing to discuss a book tour. I would be willing to be interviewed by Oprah.” All those possibilities are hypothetical, pie-in-the-sky scenarios that you are not able to make happen.

When discussing your platform, only discuss what you are able to do. If you cannot make it happen for certain, do not discuss it.

(This column excerpted from my book, CREATE YOUR WRITER PLATFORM, from Writer’s Digest Books.)

Note:
This post is Part 4 of Chuck's debut series here at WITS: Take Your Writing By Storm.

Part 3 was Should You Pitch (and Sign With) a New Literary Agent? The Pros and Cons. Please return at 11 am ET for Part 5: How to Support an Author’s New Book: 11 Ideas For You.

About Chuck

Chuck Sambuchino of Writer's Digest Books edits the GUIDE TO LITERARY AGENTS and the CHILDREN'S WRITER'S & ILLUSTRATOR'S MARKET. His Guide to Literary Agents Blog is one of the largest blogs in publishing.

His 2010 humor book, HOW TO SURVIVE A GARDEN GNOME ATTACK, was optioned by Sony Pictures. Chuck has also written the writing guides FORMATTING & SUBMITTING YOUR MANUSCRIPT and CREATE YOUR WRITER PLATFORM.

Besides that, he is a freelance book & query editor, husband, sleep-deprived new father, and owner of a flabby-yet-lovable dog named Graham.

Find Chuck on Twitter and on Facebook.

photo credit: njhdiver via photopin cc

by Chuck Samuchino

One of the most common recurring work blog items I get complimented on is my “New Literary Agent Alerts,” a series where I spotlight new/newer literary agents who are open to queries and looking for clients. At writers conferences, a frequent question I get is “Is it OK to sign with a new agent?” This is an interesting question, so let me try to delve into it here.

First of all, let’s look at the CONS:

• They are likely less experienced in contract and money negotiations.
• They likely know fewer editors at this point than a rep who’s been in business a while, meaning there is a less likely chance they can help you get published.
• They are likely in a weaker position to demand a high advance.
• New literary agents come and some go. This means if your agent is in business for a year or two and doesn’t find the success for which they hoped, they could bail on the biz altogether. That leaves you without a home. If you sign with an agent who’s been in business for 14 years, however, chances are they won’t quit tomorrow.

Now let’s look at the PROS:

• These agents are actively building their client list — and that means they are hungry to sign new writers and lock in those first several sales.
• They are usually willing to give your work a longer look. They may be willing to work with you on a project to get it ready for submission, whereas a more established agent has lots of clients and no time, meaning they have no spare moments to edit your novel for structure and plot, etc.
• With fewer clients under their wing, you should get more attention than you would with an established rep.
• If they’ve found their calling and don’t seem like they’re giving up any time soon (and keep in mind, most do continue on as agents), you could have a decades-long relationship that pays off with lots of books.
• Just as they may have little going for them, they also have little going against them. An established agent once told me that a new agent is in a unique position because they have no duds under their belt. Their slate is clean.

(Hi, everyone. Chuck here chiming in for a second. I wanted to say I am now taking clients as a freelance editor. So if your query or manuscript needs some love, please check out my editing services. Thanks!)

How can you decide for yourself?

1. Factor in if they’re part of a larger literary agency. Agents share contacts and resources. If your agent is the new girl at an agency with five people, those other four agents will help her (and you) with submissions. She’s new, but not alone.
2. Learn where the agent came from. Has she been an apprentice at the agency for two years? Was she an editor for seven years and just switched to agenting? If they already have a few years in publishing under their belt, they’re not as green as you may think. Agents don’t become agents overnight.
3. Ask where she will submit the work. This is a big one. If you fear the agent lacks proper contacts to move your work, ask it straight out: “What editors do you see us submitting this book to, and have you sold to them before?” The question tests not only their plan for where to send the manuscript, but also their fervor for the work.
4. Ask “Why should I sign with you?” This is another straight-up question that gets right to the point. If she’s new and has little/no sales at that point, she can’t respond with “I sell tons of books and I make it rain cash money!! Dolla dolla bills, y’all!!!” She can’t rely on her track record to entice you. So what’s her sales pitch? Weigh her enthusiasm, her plan for the book, her promises of hard work, and anything else she tells you. In the publishing business, you want communication and enthusiasm from agents (and editors). Both are invaluable. What’s the point of signing with a huge agent when they don’t return your e-mails and consider your book last on their list of priorities for the day?
5. Get to know them personally. Agents reveal a lot about their personalities and lifestyle through their Twitter accounts. Plus, you can always attend a writers conference or writing retreat where agents gather to meet with them.
6. If you’re not sold, you can always say no. It’s as simple as that. Always query new/newer agents because, at the end of the day, just because they offer representation doesn’t mean you have to accept.

(This column excerpted from my book, the GUIDE TO LITERARY AGENTS, from Writer’s Digest Books).

Note:
This post is Part 3 of Chuck's debut series here at WITS: Take Your Writing By Storm.

Part 2 was 11 Frequently Asked Questions About Book Royalties, Advances and Money. Part 4 posts at 10 am ET:  The Difference Between Your “Current Platform” and “Future Platform.”

About Chuck

Chuck Sambuchino of Writer's Digest Books edits the GUIDE TO LITERARY AGENTS and the CHILDREN'S WRITER'S & ILLUSTRATOR'S MARKET. His Guide to Literary Agents Blog is one of the largest blogs in publishing.

His 2010 humor book, HOW TO SURVIVE A GARDEN GNOME ATTACK, was optioned by Sony Pictures. Chuck has also written the writing guides FORMATTING & SUBMITTING YOUR MANUSCRIPT and CREATE YOUR WRITER PLATFORM.

Besides that, he is a freelance book & query editor, husband, sleep-deprived new father, and owner of a flabby-yet-lovable dog named Graham.

Find Chuck on Twitter and on Facebook.

photo credit: anicaps le forum via photopin cc