Patricia J. Parsons

Do publishers really care about a writer’s life on Twitter?

Posted on 12 Nov 2013 by Patricia J. Parsons

I’ve been doing a bit of research lately on book marketing. This will come as no surprise to my blog readers who have been with me through various book launches. At every such juncture, I dig out my research skills to see if there is any actual hard evidence on what really works to sell books. Lately there’s been an inordinate amount of material on the need for a (huge) social media presence. Indeed, it seems to be the collective wisdom that publishers won’t touch you with a ten-foot pole if you don’t have thousands of Twitter followers, huge numbers of Facebook ‘friends’ or ‘likes,’ and more than a foot in the door of Google+. And it’s not only the traditional route to publication that seems to beg for this: there are more blog posts for indie authors on this topic than perhaps any other single current issue. But now, as it was the last time I tried to find real numbers, there doesn’t seem to be any data. I need data, people!

This search for evidence comes at the juncture of three events in my life: the release of my most recent business-related book Beyond Persuasion by the University of Toronto Press, my search for a new agent, and my foray into fiction. Add that to a media story I read last week (tweeted by a fellow academic) about the usefulness (or more specifically the uselessness) of current Twitter metrics, and I’m seriously doubting the collective wisdom.

Since publishers don’t seem to have the data, let’s start with an industry that has done their homework here. The story tweeted by my colleague focuses on a study of the use of social media by charities. Facebook users give their ‘likes’ — but not their dollars — to charities: study reports gives me some evidence.

A PhD student at the University of British Columbia studied the correlation between someone ‘liking’ a charity and actually being moved to volunteer or donate. What he found might come as something of a surprise to the more naïve among us. The more likely someone is to click like, the less likely that person is to actually give money. The researchers characterize these people as slactvitists – a new breed of individual who likes the feeling of publicly supporting a good cause but then feels no need to actually do something about it. So, if this is the case in the non-profit industry, can we not extrapolate to the book buying industry to theorize that the more likely someone is to follow you on Twitter, the less likely that person is to buy your book? It’s an interesting argument.

Okay, let’s take this argument a step further. Wait a minute, you say, even if that’s true (and maybe the book’s not for them), if they are active tweeps, then at the very least they’re more likely to tweet it. This is actually unlikely if they follow more than a few hundred people (studies do show that if you follow numerous peeps on Twitter, you cannot possibly follow their tweets with any degree of regularity), but for the sake of argument, let’s say they do tweet it, and then someone else re-tweets it and on and on. If our original premise is correct, none of this matters. Your book will be tweeted all over cyberspace and still not a single person might buy your book. Indeed, many indie authors would be millionaires (or at least making a luxurious, regular wage) if this were true. So, we’re back where we started.

It seems to me that the notion of a platform and a social media platform are two different but related concepts that need differentiation.

Just as I’ve always thought, a non-fiction author still needs a platform – and that doesn’t necessarily mean thousands of Twitter followers. That means the credentials and expertise to actually write the book. You can rest assured that neither the UTP editors nor the reviewers cared a bit about my online presence for the new book mentioned above. What they did care about was my background, education and experiential credentials, and my ability to write authentically, clearly and correctly.

Those thousands of Twitter followers might also be impressive, but they are at the lower end of what’s needed at least initially. According to one agent, this is the kind of platform you need for non-fiction and for fiction, well, it is just as I suspected, unnecessary.[1] Interestingly, though, she does indicate that when she looks at a potential fiction client’s tweets, she’s looking for the unique voice. She further considers blogging and what it might mean if you have a blog that is outdated and never used.

Literary agent Carly Watters says, “Twitter is a place for authors–who live a very solitary existence–to engage with other writers going through the same experience, follow industry veterans, follow writers they admire, and learn about how the book business works.”[2]

In her very good post A Definition of Author Platform, blogger Jane Friedman give us this useful advice: “Your platform should be as much of a creative exercise and project as the work you produce. While platform gives you power to market effectively, it’s not something you develop by posting “Follow me!” on Twitter or “Like me!” on Facebook a few times a week.”

So what might your social media presence be good for?

Finding beta readers far afield.
Doing background research and getting tips.
Finding support from like-minded, unknown writers.

And as for this last bullet, I’m reminded of the phenomenon of co-dependency – next blog post.

[1] Elizabeth Harvey in Does a virtual presence ACTUALLY help you get a literary agent?

[2] Carly Watters, 6 ways social media doesn’t help you get published

Backstory, Electronic Publishing, Publishing

When a publisher stops publishing: A writer takes control

Posted on 31 Oct 201331 Oct 2013 by Patricia J. Parsons

So, it actually happens. In fact, it happens more often than you might think. And it has happened to me more than once, although I’m happy to say that not as often as it hasn’t! Publishers go out of business for one reason or another.

The backstory: Just like most serious writers out there, I had always gravitated toward traditional publishers. They have the experience. They have the expertise. They have the money. Well, maybe this last one is not a given. In any case, until recently, it was probably the only route to being taken seriously as an author, although it has to be said that in some circles this is still the case. Nevertheless, on almost a dozen occasions, I went through the long, drawn out process of querying, waiting, submitting, waiting, reviewing, waiting, editing, waiting and so it goes. Eventually the books saw the light of day and I moved on. But what happens to your property (your book that you slaved over for a chunk of your life) when your publisher ceases to publish? Notwithstanding the legal issues of who owns copyright (you should), here’s one of my stories.

In 2008 I finally found a publisher for my memoir about being the mom to an elite ballet dancer who happened to be a boy in a hockey-mad country. The publisher was a small one with a years-long publishing record and the publisher loved the story. When the book was published in the spring of 2009, I hosted the book launch, bringing my son, the ballet dancer, and one of his female partners from the National Ballet of Canada back to Halifax to entertain my captive audience. Of course they came to see him dance, but had to listen to me talk about the book! It was all very exciting.

Another Pointe of View: The Life & Times of a Ballet Mom didn’t really do very well, and the publisher was not into electronic publishing at all, so it was never available as a downloadable e-book, effectively cutting off a significant and increasing proportion of the potential readership. The publisher sent me 100 books that I did not order, and they sat untouched in my office. (I’m sorry, but I’m not one of those people who are prepared to sell books out of the trunk of a car. Nor do I think that people interested in ballet stories are likely to buy them that way. But that’s just me.)

For the next two years I tried to get the publisher to send me a royalty statement: even if a book sells not a single copy, the author is entitled to see the statements, and in fact the publisher was bound by our contract to send me one periodically. The truth, however, was as low as the sales might have been, I knew that there had been sales since several people mentioned to me that they had bought it and had enjoyed it. So, imagine my surprise when I received a letter one day in 2011 indicating to me that I owed the publisher $1800.00!

The letter was from a woman who indicated she had been hired by the publisher to wind down operations – this was the first I had heard. She told me that the owner of the company was ill and would be retiring thus freeing the authors from any further obligations to the publisher except for this unpaid bill for 100 copies of my book (how it amounted to that much money I’ll never know). M y response was as follows: I most certainly was not going to pay any money for books I did not order – she could have them back if she was prepared to send money for the shipping; nor was I going to pay money to a publisher who had not once provided me with a royalty statement and was therefore in breach of contract. I asked for all rights to revert to me and I wanted it in writing. That letter came and not another word was uttered about money owning. I guess threatening to have my lawyer in touch with them did the trick.

So there I was with the book that I might as well have published myself. So, what do you do with a property that returns to you?

The newly designed cover for 'Ballet Mom' created for me by Tugboat Design — The newly designed cover for ‘Ballet Mom’ created for me by Tugboat Design

I decided that the evolution in publishing over the past several years provided me with a significant opportunity to revisit the book and see if I could garner a new audience for it. At this point the remnants of the publisher were unable to provide me with the final, edited manuscript in editable form, so I took the uneditable form and had it converted, then began the process of updating the work.

I decided that the book might find an audience these days with the e-book readers. I hired a book cover designer to come up with a more eye-catching cover, and then finished formatting the manuscript for electronic downloads. Then I published myself it via Kindle Direct and began letting people know that it’s available.

It’s funny how things have changed over the past several years. With Twitter and Facebook and other online possibilities, I had a request for a copy for review within a week from an international dance magazine who evidently had not heard of it before despite my publisher’s so-called promotion based on the marketing plan that I had delivered to her.

I think that my next step will be to make updated hard-copies available as well, thus making the ones currently available from online sellers (and from which authors receive not a single cent in royalties once a book is out of print) outdated and unwanted.

But what did I learn from all of this (and what could I offer as advice to other writers?)?

Don’t trust your publisher to market your book for you. (I already knew this, but the experience brought it into sharp focus.)
Publishers go out of business and leave you high and dry.
Authors need to keep a certain amount of control over their properties, even when signing contracts with traditional publishers.
If you have a well-edited manuscript (read: professionally edited), you can feel good about indie publishing.

But most importantly I learned that…

You can breathe new life into old work.

…and that’s what I’m going to do with several other books, published by traditional publishers before the electronic era whose rights have reverted to me. Stay tuned!

Writing

Do writers need other people?

Posted on 21 Aug 2013 by Patricia J. Parsons

It’s often been said that writing is a solitary occupation. Franz Kafka opined as much when he wrote: “Writing is utter solitude, the descent into the cold abyss of oneself.” And my personal approach to writing is very private. I have rarely let others read my unfinished work.

The only person who regularly reads my work-in-progress is my trusty in-house editor, and sometime collaborator, my husband. I have never been one for writing groups. But these days it is next to impossible to completely avoid that kind of inter-author engagement given the plethora of social media and perhaps even the necessity for developing what has become that annoying phrase: the writer’s platform.

All of this begs a couple of questions for me: Do writers need other writers? And if they do, what do they need them for?

I’m working on a piece of writing that could use just such answers. In an effort to open my mind to others’ perspectives, I’m hoping that as many writers as I can “engage” with will answer these questions.

If you have an answer, please leave a comment or answer my poll.