Category — On Book Promotion
This is an excerpt of Kim Wright’s Q&A in Everyday Book Marketing, in which she talks about her adventures in publishing, from a Big Five house to self-publishing, from nonfiction to fiction. For more book promo information, and to read Kim’s complete Q&A, check out Everyday Book Marketing.
Kim Wright has been writing about travel, food, and wine for more than twenty-five years and is a two-time recipient of the Lowell Thomas Award for Travel Writing. She is the author of Love in Mid Air and the City of Mystery series. She lives in Charlotte, North Carolina.
Q: What are the biggest differences between promoting a book published by a big publisher versus promoting a self-published book?
A: At the time that my novel Love in Mid Air came out in 2010, I had a reasonable amount of support from my publicity team at Grand Central. Especially the online publicist, who helped to arrange a blog tour that was quite successful.
But things have changed significantly at the Big Five houses since then. Budgets are shrinking and heads are rolling and any staff left is criminally overworked. What I understand from my friends who’ve more recently gone with a Big Five house is that you just can’t count on getting anything in terms of publicity, especially if you’re a midlist or new writer. That’s one thing that’s always been a bit mystifying about the big houses.
They spend the majority of their promotional efforts on authors who are already established—’cause yeah, Nicholas Sparks and Jodi Picoult really need those ads—and debut writers struggle along on their own.
Of course, the one advantage the Big Five can still give their authors is distribution to bookstores, so if you go with a big house you might have readings, signings, a launch party, etc. There might be efforts made to get you reviewed in newspapers and magazines.
But the key word in both of those sentences is “might” because, once again, these things don’t happen as much as they used to. I don’t know anyone who’s done a book tour during the last two years, no matter how they’ve published.
So … bottom line, there’s not as big a difference as there used to be. Most of the promotional work falls to the writer whether you’ve gone Big Five, small press, or self-pub.
Q: How is marketing fiction different from marketing nonfiction?
A: The biggest difference is that it’s easier to zero in on the target reader and market for nonfiction. For example, each year for thirty years I’ve updated my travel guide for Fodor’s, titled Walt Disney World With Kids. Based on the title alone, it’s not hard to figure out who’s going to buy this book. You’re either going to Disney World or you’re not. You either have kids or you don’t. And a lot of nonfiction is like that. It’s very easy to target a book precisely to its intended market and very easy to build an author platform.
Fiction is trickier. Look at the title of Love in Mid Air— what the heck does that mean? Or the first book in my self-published mystery series, City of Darkness. The titles are evocative but vague. You need explanation before you could guess who would want to buy the book.
So I think fiction requires a little more finesse to market. You have to explain the book in a way that pulls people in and convinces them that even though they don’t need to read this book, they might want to.
To read Kim’s complete Q&A, check out Everyday Book Marketing.
October 11, 2013 Comments Off
This is an excerpt of Ashland library manager Amy Blossom’s Q&A in Everyday Book Marketing, in which she talks about how to approach libraries for events. For more book promo information, and to read Amy’s complete Q&A, check out Everyday Book Marketing.
And save the date! I’ll be doing a book marketing event at the Ashland library on Wednesday, October 9, at 7 p.m. Click here for more info.
Amy Blossom is the manager at the Ashland Branch Library in Ashland, Oregon, and serves on the board of Friends of the Ashland Public Library. She is the host of Open Books, Open Minds, a local television program featuring interviews with authors from the Southern Oregon community and beyond.
Q: What is the best way for a local author to approach his or her local or regional library?
A: A personal approach is much better than a cold e-mail. It’s so easy to dismiss an e-mail, whereas a phone call or even stopping in allows for a personal connection. Then, after an initial conversation, I like to get a follow-up e-mail with all the details.
Also, authors should be sure to have a hook—a way to let us know what the book is about and why it would be of interest. We get a lot of requests, and it helps if your book or presentation has a fascinating angle to it.
If you’re a new, unknown author or a self-published author, show that you are prepared to help bring in your own audience—if no one knows who you are, it’s hard to get people to show up for an event. Joint events or group events have the potential to bring in more attendees, so you may want to team up with someone, not only to be sure you get enough people but also to broaden the exposure you’ll get for your own book.
Q: What are some of the ways in which authors can support their local libraries?
A: Offering an event is in itself a great way to support the library. We also appreciate it when authors donate a copy of their book. Donating a copy along with ordering information, especially for self-published authors, is a wise idea because most libraries like to have local authors in their collections.
Keep in mind that most libraries require that self-published books meet the same criteria as other books; for example, there needs to be a strong local interest, or the book should have received at least two professional media or industry reviews. So it’s a good idea to ask about such requirements when you consider donating a book to your local library.
I recently read a study noting that library users buy more books than any other type of book buyers. People often don’t think of library users as big buyers, but being big readers in general, they are. So even if you may not sell a lot of books at an event, just by being there, you can still gain readers down the road.
October 2, 2013 Comments Off
This is an excerpt of photographer and essayist Rosanne Olson’s Q&A in Everyday Book Marketing, in which she talks about author photos. For more book promo information, and to read Rosanne’s complete Q&A, check out Everyday Book Marketing.
Rosanne Olson began her career as a photojournalist after receiving her master’s degree in journalism. Since starting Rosanne Olson Photography, she has photographed portraits as well as advertising campaigns for the New York City Ballet, Seattle Opera, Seattle Symphony, and Children’s Hospital. Her award-winning work has been featured in Communication Arts and More magazine, among others, and she is the author of the book This is Who I Am.
Q: What do you think makes a good author photo?
A: The photograph needs to convey how the author wants to portray himself/herself. Usually that means approachable, intelligent, engaging. Some people are more dramatic in how they want to be seen. Some are more friendly or sophisticated.
Q: What are the biggest mistakes authors make when it comes to their photos? Sometimes people come here with too much makeup on. Or they bring their clothing stuffed into a bag so everything is wrinkled. Believe me, not just authors do this but lots of people. It is actually pretty amusing except for the fact that clothing then needs to be pressed or steamed here. Aside from that, people are usually willing to trust me to do the best possible job that I can with them. It is an exquisite collaboration.
September 26, 2013 Comments Off
I’m thankful to Vickie Aldous at Ashland Daily Tidings for her wonderful column on Everyday Book Marketing — check it out for info about the book, as well as insights from L.J. Sellers, Jenna Blum, and Zoe Ghahremani.
September 24, 2013 Comments Off
This is an excerpt of author Wendy Call’s Q&A in Everyday Book Marketing, in which she talks about creating a budget, doing a book tour, and how to put yourself out there as an author. For more book promo information, and to read Wendy’s complete Q&A, check out Everyday Book Marketing.
Wendy Call is a writer, editor, translator, and teacher of creative writing. Her narrative nonfiction book, No Word for Welcome, won Grub Street’s 2011 National Book Prize for Nonfiction and the 2012 International Book Award for Best History/Political Book. She is co-editor, with Mark Kramer, of Telling True Stories, and her nonfiction, translations (from Spanish) of poetry and fiction, and photography have appeared in more than fifty magazines and literary journals.
Q: Tell us about how your book came into the world.
A: My book began as a series of twenty essays and narrative nonfiction pieces that I wrote while living and working in southern Mexico. I had received a two-year fellowship from the Institute of Current World Affairs, and they published my writing. I returned to the U.S. in the summer of 2002 and began to put together a book proposal, to seek an agent, and to learn the deep difference between a collection of five-thousand-word narratives and a single ninety-thousand-word book—as well as the difference between writing a book and publishing a book.
On the publishing side: I approached nearly fifty agents before I found two—in the same month, after nearly five years of sending queries—who were interested in representing my book. I chose the agent who had more experience selling narrative nonfiction. She circulated the proposal (and later, the full manuscript) for about a year, and was on the verge of giving up when the University of Nebraska Press tentatively offered me a contract. The contract, contingent on a significant revision, included no advance. Because of the peer review process (common at university presses), a year elapsed between my agent sending UNP the proposal and the press sending me a contract.
Q: What aspect of book promotion surprised you the most?
A: As naïve as it sounds, the sheer quantity of work shocked me. I began working on promotion part-time six months before my publication date, and full-time about three months in advance, and that was not soon enough. Other than my hometown Elliott Bay Book Company, the first six bookstores I approached turned me down. Even those “No, thanks…” replies came only after many, many hours of figuring out whom to contact, crafting personal query letters, sending review copies, seeking a local co-sponsor, answering detailed questions, or trying (over and over) to get the right person on the phone.
Q: What advice do you have to offer new authors?
A: This is no time to be shy. Nor humble. Put yourself out there; push yourself a bit past your comfort zone. When this seems impossible, ask an extroverted friend to coach you. (I have a quote from Sandra Cisneros—who is deeply generous as well as brilliant—on the cover of No Word for Welcome only because a fearless friend talked me through composing the e-mail to her and then pressing “send.”)
Make sure to let everyone you have ever met, and have an e-mail address for, know about your new book. I found that I couldn’t predict with any accuracy which friends and colleagues would be interested in No Word for Welcome and happy to lend a hand in its promotion.
Devote as much time and money as you can possibly afford— but only what you can afford—to promotion. Set priorities, but try a variety of strategies. For example, I devoted $500 of my budget to submitting my book for awards. My publisher offered book copies for six award submissions. I wanted to submit to a dozen different awards, so I bought the book copies for the other six awards, and I paid all the submission fees. It seemed like a strange way to spend five hundred bucks, but it was worth it. I won two awards, bringing a bit of renewed media attention to No Word for Welcome nearly a year after its publication date. (One award came with a $1,000 check, so you might say I doubled my investment.) Even if I’d not won either award, the submission process put my book in front of movers and shakers in the literary world.
September 17, 2013 1 Comment
This is an excerpt of Jackie Bouchard’s Q&A in Everyday Book Marketing, in which she talks about e-book publishing and promotion. For more book promo information, and to read Jackie’s complete Q&A, check out Everyday Book Marketing.
Jackie Bouchard is the author of What the Dog Ate, first published as an e-book and later in paperback, and the forthcoming novel Rescue Me, Maybe. Jackie has lived in Bermuda, Canada, and the east coast of the U.S. and now lives in San Diego with her husband and her rescue pup, Rita. Her work has been published in San Diego CityBeat and the San Diego Writers Ink anthology, A Year in Ink, Vol. 3. Visit her online at www.jackiebouchard.com.
Q: What made you decide to publish in e-book format?
A: Way back in the spring of 2008 when my manuscript was “finished” (I say that in quotes because I was too much of a writing/publishing virgin at the time to realize how much work it still needed), I sent it off to an agent I really liked whom I’d met at a writing conference the previous year. I’d read a key scene in a session she led, and she’d invited me to submit it to her when it was done. She rejected it, but sent me some great suggestions. So I worked hard, sent it back to her in the fall of 2008, and she signed me! Oh, what exciting times … and then, the market crashed. By the time we finished putting the final tweaks on the manuscript, we were pitching it in early 2009. Not great timing in any industry, let alone publishing. Even though I got good rejections, they were still rejections. I tried to put the book out of my head and get on with the next one. Then, in January of 2012, I had dinner with my agent, and she encouraged me to self-publish it. Another author she represented had self-published his first book, so with his guidance I was on my way to formatting and self-publishing my first e-book.
Q: What aspect of book promotion has surprised you the most?
A: The aspect that surprised me the most is that it really can be as simple as making new connections. I’m not a good salesperson, especially when it comes to selling myself. I thought I would really hate this whole marketing/promo part of the writing “biz.” Sometimes I do start to get down about the business side of writing, but then I remember to just try to get out there and connect with people—other writers, other book lovers, and other dog lovers. If I approach it with that mindset, it makes me feel that it’s something I can accomplish, and actually enjoy doing.
September 12, 2013 2 Comments
Authors: If you don’t already have a copy of Everyday Book Marketing, win a copy from this Goodreads giveaway!
September 6, 2013 Comments Off
This is an excerpt of Susan McBeth’s Q&A in Everyday Book Marketing, in which she talks about how authors can connect with readers through nontraditional book events, and how authors can plan the perfect event to promote their books. For more book promo information, and to read Susan’s complete Q&A, check out Everyday Book Marketing.
Susan McBeth is the founder and owner of Adventures By the Book, which provides opportunities for readers to connect with authors through events and worldwide travels. She has worked as an event coordinator for more than twenty years, including as director of events and marketing at an independent bookstore, and has hosted events ranging from small, intimate gatherings for debut authors to large-scale events with high-profile and bestselling authors. Susan is also hosting the Southern California Author Academy, a monthly series of interactive workshops on book promotion for authors, beginning September 29, 2013, in San Diego.
Q: In what ways can nontraditional book events be good for sales and exposure?
A: Nontraditional book events are a fabulous way to increase sales and exposure for a variety of reasons. Keep in mind that the most successful events are those in which the author and the reader make a connection on some level. And when that magical connection occurs, you are more likely to generate increased book sales and exposure, as these readers will want to share with others the “experience” they just had.
Q: What are a few examples of non-bookstore events an author might try?
A: The best kind of nontraditional book event is one that is a good fit for an author’s particular book, keeping in mind that the primary goal is to make a connection with the reader.
For example, say you have written a lighthearted, fun piece of fiction. Since the best way to connect is to envision what it is you want your readers to feel or experience when they read your book, try to anticipate your demographic. In this case, your audience will likely consist of women who want to laugh and be entertained. A happy hour event would be a great fit, then, because it has the same goals in mind. And if you are not an experienced or naturally gifted speaker, sipping a glass of wine and sitting informally amongst a group of readers is much less intimidating and more natural than lecturing in a more formal setting, and allows you an opportunity to chat one-on-one with readers. And when readers share a glass of wine and some appetizers, they already start off an event having a good time and possessing a mindset that the fun will continue, so your connection has begun even before you start speaking.
For more advice from Susan, and to read Susan’s complete Q&A, check out Everyday Book Marketing.
Click here to visit Susan’s website.
September 4, 2013 Comments Off
I am absolutely delighted to be featured on Erika Dreifus’s website in this Q&A, in which we chat about Everyday Book Marketing, my own adventures in book promotion, and what new authors need to know about marketing.
September 3, 2013 Comments Off
When Forgetting English was published back in 2009, I was overwhelmed with all the book promotion I had ahead of me. And one thing I learned quickly was that I could promote my book around the clock, and it still wouldn’t be enough. Because there’s always more that can be done, how does an author decide where to start and — just as important — where and when to end?
The bad and good news is that there is no end to book promotion, but you can find a balance. This is one of the reasons I wrote Everyday Book Marketing. And I am absolutely thrilled to be part of Adventure by the Book‘s new Author Academy, which launches in September and offers incredible opportunities for authors to prioritize, strategize, and make the most of their budgets, even if time and/or dollars may be hard to find.
The inaugural workshops for the Author Academy will take place on Sunday, September 29, in San Diego. The day will be divided into two parts, starting with a general overview of Everyday Book Marketing that covers essential book promotion basics (from 10 to 11:30 a.m.), followed by an interactive workshop (from noon to 2:30) that builds upon the morning session and in which, using a checklist, you will create your own customized marketing plan. Click here for more details and for registration details.
I’m particularly excited about teaming up with Susan McBeth of Adventures by the Book, whose Author Academy series will continue with monthly interactive workshops covering everything from how to take the best author photo possible to how to shine at your book events.
Visit Adventures by the Book for more info — we hope to see you in September!
August 12, 2013 Comments Off
A million thanks to Joanna Penn for hosting me this week on the brilliant The Creative Penn blog, where you’ll find my post “Think Like A Writer Every Day, Even If You Can’t Write Every Day.”
Best of all, Joanna’s wonderful readers have chimed in with fantastic tips and ideas for how to stay inspired and creative, even when you’re unable to sit in the chair and write — I so enjoyed hearing about so many different processes and learning a few new tips.
For those of you not yet familiar with The Creative Penn, do check it out — you’ll find a wealth of information on writing, publishing, and marketing. In addition to Joanna’s own expertise as a writer, her website features guest posts and interviews with other authors on everything from finding time to write to editing and revising to how best to publish your work.
October 23, 2012 Comments Off
If a picture’s worth a thousand words, a book cover’s got to be worth at least forty to a hundred times that, if it’s going to sell what’s inside.
According to Para Publishing, “everyone judges a book by its cover,” and their statistics cite a Wall St. Journal study that reveals that bookstore browsers spend eight seconds looking at the front cover and fifteen seconds looking at the back. Yet the trick is usually getting readers interested enough to pick up the book in the first place.
As many of you know, Forgetting English was reissued last year with a gorgeous new cover.
What most of you don’t know is that I was madly in love with another cover image before falling in love with this one. That first cover was exotic and mysterious and beautiful, in a way completely different from the one above. But we ran into a permissions issue and had to let it go.
Naturally, I thought I’d never fall in love again. My kind and patient publisher, Kevin Morgan Watson of Press 53, assured me that I would.
And I did. Now, I can’t imagine my book having a cover other than the one above.
Below is the first edition of Forgetting English, the cover of which went through several dramatic makeovers (different type styles, different colors, different layouts, with the Gauguin painting the only thing that didn’t change) before turning out like this.
While I’m partial to my new book cover, I’ll always have a fondness for this one — my ex-book, if you will. Going through this process not once but twice was interesting; I think authors (not to mention readers) react to a cover much the way they do to people they meet: There’s an instant connection, or there’s not. A good publisher and book designer understands that and looks for an image conveys what’s beneath the cover as best it possibly can.
Check out this book design case study, featuring Erika Dreifus’s wonderful book, Quiet Americans, which takes us through the steps a book designer goes through in preparing not only a cover but the interior design.
Most authors, unless they publish with a small press, don’t have a say in what their book covers look like (or, they attempt to have a say and are ignored or overruled). For my first book, while the Gauguin painting featured on the cover is one of my favorites, its South Pacific feel evokes only one story in the collection, and I didn’t feel it was a good fit. While I’d already sent along a few cover ideas and even several images, someone had already secured permission to use the art, and there was no room for debate.
When my book was reissued, I was thrilled to work closely with Kevin at Press 53 to find a cover that we both thought was perfect for the book. He understands, as good editors, agents, and publishers to, that while the publisher knows how to best market its books (and is footing the bill for book design, no less), the author also has a valuable contribution to make — and an author who loves his or her book cover will be all the happier to promote it.
For more insights on authors and their book covers, check out this piece in The Awl featuring six writers on book covers and marketing; it’s fascinating to hear from authors who either love or hate their covers, who were consulted or not, and how they approach the strange process of getting blurbs.
When all is said and done, when it comes to our book covers, we authors have to be flexible. If our books are our “children,” as the comparison often goes, we have to let go just as parents do: Parents, after all, never know exactly how their kids are going to turn out. And they love them all the same.
October 3, 2012 Comments Off
If you’re a writer in 2012, you surely have a blog. Yet how do you know if you’re using your blog in the best way you can to promote your work (without being that dreaded writer, The Over-Promoter)?
There is no one-size-fits all way to write a blog — for as many writers as there are in the world, there are as many blogging styles. Yet if you don’t blog enough — or if you blog too much, or if you blog about the wrong things — you risk alienating the very audience you hope to engage. So here are a few tips to help you keep up your blog, your writing, and your connection with readers.
- Keep it short and sweet. A blog post need not be the length of a novella — it need only be interesting, relevant (see below), and useful to the reader. Also, if you’re a writer, you need to be spending most of your time on your novel or poems, not blogging. Be brief and have fun — and then get back to your writing.
- Keep it relevant. While you don’t want to be a shameless self-promoter, you do want your blog to be at least somewhat related to your writing, whether you talk about the process of writing your novel (research, writing rituals, inspiration for your characters, etc.) or whether you add content relevant to a nonfiction book (new recipes if you’re writing a cookbook, for example, or — as happens to be the case with this blog — new writing prompts that relate to Everyday Writing) or whether you link to stories thematically related to your fiction (I’ve often linked to travel stories related to settings that appear in Forgetting English).
- Add visuals. Not every post will lend itself to images (and it’s better to use none at all than cheesy, unrelated stock photos), but keep in mind that what engages the eye helps to engage the reader. Make each post as visually appealing as possible. For example, I’m using bold type in this bulleted list to make it more reader friendly. (Is it working?) And, when in doubt, I can always add an image of my book (most people find this cover very relaxing).
- Share the love. Use your blog not only to share your own writing but to connect with others. The more you reach out and share others’ blogs, the more your readers will gain. Link to other blogs, offer and host guest posts, participate in virtual book tours and giveaways. All these things will help foster a true online community. And don’t neglect to comment on others’ blogs and to respond to comments on your own. Both bloggers and readers love the feedback and the sense that there’s a real human behind the posts.
- Have fun. While I saved this point for last, it’s probably the most important. Even if it means posting less, post only when you’re inspired and have something to say. The last thing your blog should be is a chore (and readers can tell when you’ve phoned it in), so take the time to consider how best to keep up with a blog in a way that engages and inspires you, and this in turn will keep your book out there in the world in a subtle yet important way.
Wishing you happy blogging!
August 1, 2012 4 Comments
I couldn’t possibly define “author platform” any better than Jane Friedman does in this blog post, so I won’t even try. This is truly a post that anyone who wants to publish a book should read — even better, prospective authors should read this long before publication is on the horizon.
Whether fiction or nonfiction, books usually take a while to write — years, in most cases. Yet somehow, many authors seem to be rapidly approaching their publication dates before realizing they have to build a platform (a few years ago, this was me). And as Jane so accurately points out, building a platform does not happen overnight: In fact, a solid platform takes years to build (especially if you want to avoid all that she tell us a platform is not, such as “hard selling” and “annoying people,” which no author wants to do).
I have to admit that I began writing and publishing stories even before a “platform” was the first thing an editor or agent asked about. I didn’t know (or care) about having one — but fortunately for me, by the time I had a book contract, I discovered that I sort of did have one. I was a teacher who was developing a mailing list and writing a blog; I’d published stories in dozens of magazines and journals. Today, I work to keep up with all these things, including writing nonfiction articles, and even a book, on the creative process. I’m on Facebook and Twitter (a little reluctantly sometimes) and even though all this takes time away from writing, it’s all so important as it can still be a challenge for an author to find her audience.
For all of you out there who are still working on your books, know that it’s never to early to think about your platform. And if you cringe at the very thought of the word “platform,” you’re not alone — but think of it this way: How will you find an audience for your book? While it’s true that some writers seem to be overnight successes, the vast majority of us will have to find our audience on our own. Many authors think that marketing isn’t their job, that it’s only about the writing — yet this couldn’t be further from reality. This isn’t to say that a platform should come first, only that it’s something that needs to be developed along with your creative project so that when your book is ready for the world, so are you as a writer. After all, what’s the good in writing that book when you’re not in a good position to find all the readers you possibly can?
As Jane tells us, “It’ll be a long journey.” Start now, and you’ll be able to take your time and even have a little fun.
March 13, 2012 6 Comments
With another new year ahead, my new list of writing goals now reads: Writing Goals of
Sometimes we don’t accomplish everything we hope to — but that doesn’t mean we can’t re-evaluate and move on. So I thought I’d offer a few writing tips as we head into 2012 (though I admit I probably need them more than you do).
It wasn’t even two years ago that I discovered Priscilla Long’s List of Works, and I still find that it’s among the best tools I have for keeping track of what I’m doing (or not doing) as a writer. In brief, a List of Works allows you to note what projects you’ve begun (and when), at what stage they are (published or circulating), and what you need to revise, finish, and/or send out.
In all, it’s been a great year. Forgetting English, which went briefly out of print last year, has a fabulous new life thanks to Kevin Morgan Watson and Press 53. I did a book tour with my dear friend and writing buddy Wendy Call, the award-winning author of No Word for Welcome. I published five stories, won a fiction contest, and was nominated for a Pushcart Prize.
Then, of course, there’s the rest of it. I also have three unfinished stories (two of which I began back in 2010), and a half-dozen ideas for stories that are still waiting for attention (and again, some of these ideas have been sitting there, half-baked, for at least a year…or more). I have half of a new story collection that I’d hoped to finish this year (definitely not going to happen). And then there’s that novel I’ve been working on for the past two years.
But this is what it’s all about: accepting both the good and the less-than-good. Finding the balance. Celebrating the great news and resolving to make great news from the rest…eventually.
So if you’re like me — juggling storylines and submissions — here are a few tips for 2012…
– Create a List of Works. Whether you’re just beginning to write or whether you’ve been writing for years, you should have a List of Works. Create it in whatever way works for you … just make sure you write down every single project you begin, and be sure you create one for every calendar year. Most important, go back through your ancient files and list every writing project you’ve ever begun…you never know what might happen when you rediscover these “old” ideas.
– Take a close look at unfinished projects. I’ve found many a gem in a long-abandoned project. Even when I have only a vague idea for a story, I’ll jot down a few notes, file it as a “story in progress,” come back to it at least once a year. Often it just sits there for another year, but sometimes I’ll find it at just the right time, and it’ll come to life in new and surprising ways. Never abandon old ideas; you never know when they’ll suddenly be relevant.
– Track all your submissions. This may seem incredibly obvious, but I’m always surprised by how many writers don’t keep track of submissions. Thanks to many magazines and publishers accepting online submissions, it’s easier now than ever — but you’ll still want to have some sort of system for whatever you submit in print. I use an Excel spreadsheet; one writer I know keeps a loose-leaf binder; other writers keep simple lists. It’s helpful for many reasons (among them, making sure you don’t submit the same piece to the same publication twice, or forget what you sent when a form rejection arrives) — but most of all, it’ll remind you to keep sending work out there. It can take dozens of rejections before you get an acceptance, and you’ll want to be sure you keep your work circulating.
– Take stock of your progress at least twice a year. And quarterly is even better. Taking inventory will help you see what you’ve begun and how far you’ve come — and how far you still need to go. And keep in mind this isn’t meant to stress you out about what you’re not writing but to inspire you to stay on course. You may find that you haven’t gotten anywhere with the novel you’d hoped to write but that you found the perfect ending for a short story you’ve been working on for years. Or you may find that the poem you started isn’t coming together but that it would make a better personal essay anyway. Be open to taking things in new directions.
– See how you can use your new work to better promote the work that’s already out there. When Forgetting English was reissued by Press 53 in April of this year, it was in an expanded version with two new stories. One of the stories, “Lost Art,” hadn’t yet appeared outside the collection, so I thought it would be great to find it a home of its own, which would in turn help promote the new edition of my book. I found the story a home in a beautiful online journal, Escape Into Life, and it was a win-win all around. (Note that you may need to check your publishing contract before embarking on such a venture.) I’ve also done guest blogs and articles for The Writer about various aspects of my writing process, all of which bring new attention to Forgetting English. Think about how you can use what you know and do best to highlight your own work.
Happy new year! May 2012 be your best writing year ever.
December 28, 2011 3 Comments