Posted in Backstory, Book launches, Book promotion

Making old manuscripts live again

An old manuscript gets a 21st century makeover.
An old manuscript gets a 21st century makeover.

Earlier this week Jennifer Alsever wrote a piece for CNN Money called “Guerrilla Marketing for Books.”  A cautionary tale for would-be authors, it tells the story of shrinking promotional budgets at traditional publishing houses and the lengths to which authors now must go to get their books to stand out from the ever-increasing numbers of both traditionally and self-published books.  The truth is, it has been ever thus – unless you are a big-name author.

One tactic mentioned in the story is of an author who commissioned a jewelry artist to make necklaces that are featured on her book’s cover as well as a new perfume based on one of her fictional characters. The amount of work and money involved for an author in doing this is staggering to consider.  This, however, reminded me of an event in the provenance of one of my recent ‘new’ books Confessions of a Failed Yuppie.  Stick with me for a few minutes!

If you’ve been reading Backstory for a few years or even months, you might have realized that the “backstory” I’m trying to tell is the anchor of my own experience in writing and publishing.  More than that, though, my objective is to explore the issues that are important to all of us who are more than passingly interested in reading – and writing.  Sometimes I rant about things that have annoyed me; sometimes I tell you a story of my experience.  Sometimes I tell you a real backstory to my writing: what inspired it, how it developed, what happened next.  This post is one of those true backstories.

In the early 1990’s I was on a rant about the Yuppie lifestyle.  So I decided to write a book about it – but rather than a non-fiction examination of the phenomenon, which would have been more akin to my writing experience at the time, I decided to write a novel – a satire of sorts.  I felt strongly, though, that I wanted it published no matter what, so I did what self-publishing authors did at that time, I sent it to a vanity publisher.  (For the working definition of a vanity publisher, you might want to surf back to last week’s post: The confusing world of 21st century publishing jargon: A glossary for writers).

In due course, a box full of hard-cover copies of Yuppie arrived on my doorstep.  What to do with them?  Those were the days before book promotion through online networking channels was de rigeur.  Indeed, there were no social media channels.  Just imagine such a world!  I decided that the first order of business would be to have a book launch.  But before the launch, I’d need some “merchandise.”

The old Yuppie cover and the mug: "I confess: I'm a failed yuppie" with a "reject" stamp!
The old Yuppie cover and the mug: “I confess: I’m a failed yuppie” with a “reject” stamp!

I created a design for the front of T-shirts and for mugs and had dozens of these pieces of paraphernalia created – all at my own expense, of course – and had them available on the day of the pary.  I also had a poster-sized blow-up of the cover of the book so that it could be the focal point of the party, next to the book-shaped cake that adorned the dining room table.  I then created a guest list and sent out invitations.

As parties go, the event was a great success.  We had door prizes of T-shirts that the guests obligingly sported and everyone went home with a signed copy of the book.

As the weeks went by, a number of the guests told me that they had enjoyed the book and when was I going to write another one?

The book, naturally enough, never sold.  Getting a self-published book reviewed in those days was not next to impossible, it was completely impossible.  And since there were no social networks available to promote it, short of taking out advertisements at great expense (I did that once) and going door-to-door with a pile of books (which didn’t sit well with my personality), the book would languish with thousands of others.  And so it did.  Until last year.

Writers have lots of finished and unfinished manuscripts hiding on their hard drives or taking up space in filing cabinets.  I know that most of us should toss most of it, but sometimes a manuscript draws us back and that’s how I felt about Yuppie.

So, I took out the hard-cover copy with its tattered edges and began to write rewrite the book.  It’s now a 21st century Yuppie story, and taking advantage of the digital advances, I decided to make it available once again.

Two decades in the making, Confessions of a Failed Yuppie lives again, and it starts with a definition of Yuppie:

 

“YUPPIE”: A Definition

Acronym for Young Urban Professional, usually occurring in a married pair (often male/female but not necessarily). Categorized as upper middle class or at least moving in that direction, ambitious, well-educated.  Characterized by excessive concerns about appearances.  Lightly narcissistic.  May have money or at least leverage.  But not necessarily. Normal habitat is the urban condo, sometimes the single-family dwelling of dubious heritage in a downtown area with a postage stamp for a yard, for which a bidding war took place prior to acquisition.  Yuppies with children often move to larger, more impressive dwellings.  Diet consists mainly of cocktails, organic kale and the latest gastronomic fad.  Would not be caught dead in a North-American-produced automobile brand.  Skis in winter, does hot yoga, plays squash (it’s making a come-back), and quietly brags all year round. Widely thought to have become extinct in the early 1990’s.  Not so much.

Maybe you’d like to read the rest.  Or not.

Posted in Writing books, Writing craft

“Write what you know” – An outdated concept?

I just finished reading B.S. Shapiro’s extraordinary novel The Art Forger.  Not to give it away (because you really ought to read it), it’s the story of an aspiring artist who makes her living wage doing reproductions of famous artwork that are sold as that – copies.  She does “copies” not forgeries – which is all about the intent of the piece.

I picked the book up in the first place because it is at least partly about Edgar Degas’ work, and I’ve been 20,000 words into a manuscript that revolves around Degas’ ballerina sculptures for several years now, having put it on the back burner while I finished other pieces of writing for publication (and in the meantime noting that I’m not the only writer of historical fiction who has found this an interesting subject).  To say that I’m a devotee of Degas’ work might be stretching it a bit, but I am a fan, and I find some of the unanswered questions about historical characters too tantalizing to ignore (remember my book about Edgar Allan Poe?).

"More than a century and a half have passed since Edgar Allan Poe died, alone in Baltimore in 1849, and still no one really knows how - or even why he was in that city. But Bridget knows, and this is her story."
“More than a century and a half have passed since Edgar Allan Poe died, alone in Baltimore in 1849, and still no one really knows how – or even why he was in that city. But Bridget knows, and this is her story.”

Anyway, as I read the book, I felt myself becoming very educated about the fine points of both the art and the science of oil painting.  I relied on the author of this fictional piece to have done her homework: I wanted to believe in the details that so made the story feel authentic and rich.  But I always kept in the back of my mind that this is a work of fiction…so the question always becomes: where is the line between fiction and fact drawn in these kinds of tales, and does it matter?

Most authors whose  fictional work touches on real people, places and things take great pride in doing their homework, and there is usually a note in the book somewhere indicating the aforementioned line: where researched facts give over to the imagination of the writer. So what, you might reasonably ask, does this have to do with the question of whether or not we should take heed of the old adage: “Write what you know”?  It occurs to me that in these days of the World Wide Web, we can “know” a great deal more than we used to!

There was a time when research was much more difficult.  If you’re as old as I am, you might remember slogging to the library to comb through page after page of real reference guides, real books, and real documents.  I have to say that I think back on those days with fondness; I truly enjoyed those hours spent among the great tomes crammed with information just aching to get out.  The trouble was just how long it took to actually find that information that would provide those all-important nuggets that add depth and breadth to a piece of writing.

The truth is that today, we can become semi-experts in many topics if we know how to do the research.

Writing in the New York Times earlier this year, Ben Yagoda, author of How to Not Write Bad: The Most Common Writing Errors and the Best Ways to Avoid Them and a faculty member in the English Department at the University of Delaware, clarifies for us as follows:

“Writers who are intimately familiar with their subject produce more knowing, more confident and, as a result, stronger results…the idea is to investigate the subject till you can write about it with complete confidence and authority. Being a serial expert is actually one of the cool things about the very enterprise of writing…”[1] 

And therein lays the wonder of these days of information overload: for writers, this overload is among the most essential tools in our toolboxes.

The trick, as with all tools, is to become an expert at using it!

As my own writing segued from non-fiction into fiction, I’ve been forever grateful for the research skill I was able to hone through the years.  For any of us who are writing fiction with a basis in fact, those skills are crucial to the authentic voice we all seek.


[1] Ben Yagoda.  Should we write what we know?  The New York Times online, July 22, 2013, http://opinionator.blogs.nytimes.com/2013/07/22/should-we-write-what-we-know/?_r=0

Posted in Backstory, Book promotion

Do I really need a Facebook presence? Or does any author, for that matter…

Let me begin by telling you what I did last month.  I removed everyone from my Facebook ‘friends’ list except close family.  “Why in the world would a writer do such a thing?” you ask.   And it is no small thing to rid oneself of ‘friends.’  It takes time, so you really do need to be committed to the task and why you’re doing it.

I’m sick of Facebook.  Every time I open my news feed, there among the interesting updates from pages that I’ve liked is the constant stream of narcissistic stream of consciousness from my so-called friends.  And I’d bet my next (day job) pay check that not one of those people gives a rat’s a## about what I’m doing, either.  But it’s not just that.  I often have to bite my cyber-tongue when I see posts.

Sad little Facebook fan page...
Sad little Facebook fan page…

Here are some of the things that I wanted to write but didn’t over the past few months:

  • “Get over it.”  I cannot tell you how many times as a response to so many different status updates that I wanted to say this to someone.
  • “If you post one more ultra-left-wing piece of propaganda, I’ll tell the world what I really think of your politics.”  Ooh, this one could really get me into cyber-trouble.
  • “I don’t actually care what you’re making for dinner tonight.”  Need I say more?

So, you’ve probably come to the conclusion that I’m not really that interested in my ‘friends.’  If so, you’d be right, because a Facebook friend is not a friend.  A friend doesn’t need to keep in touch on Facebook with public posts of anything and everything.  But if I’ve sabotaged my Facebook presence, am I not endangering potential book sales?  Isn’t this the fear of writers who are on Facebook?

I’m a ‘fan’ of a number of writers and their fan pages on Facebook.  It appears to me that the only writers on Facebook who have a real and compelling presence are those who had a name before they put up their Facebook pages.  In other words, if you’re already a best-selling writer and you put up a fan page on FB, your fans will, indeed, flock to you.  However, if you are an unknown writer (as are the majority of writers on Facebook), Facebook is probably a great time suck.

I’ve been trying to find some hard data on the extent to which Facebook really helps writers build their ‘brand’ and sell books to those readers who might actually enjoy/need them.  Despite the fact that everyone and his or her dog seems to be writing about the need to build your ‘platform,’ these exhortations are long on rhetoric and short on hard data.

Sad little Twitter feed!
Sad little Twitter feed!

The truth is these days that publishers don’t seem to understand that one of their roles is to actually help the author to build an audience for a book they believe in.  Rather than taking a lead in the marketing arena, traditional publisher today will often not even touch a book if the writer doesn’t already have a’ platform.’ Of course the platform consists largely of a presence in cyberspace comprising (but not limited to) a Facebook page, a LinkedIn profile, a Twitter feed, a blog etc.  The strength of the platform is a function not only of this presence, but presumably some kind of engagement.  That means that you have thousands of Twitter followers who actually read and reply or retweet your messages.  You have thousands of Facebook fans or friends who post to your wall telling you how distraught they are that your new book won’t be out for another month or two.  You have thousands of blog followers who regularly post pithy comments to which you respond diligently, or who click ‘like’ and you go immediately to their blog and tell them that you’re happy they stopped by.

If you think about it, we could be spending twice as much time ‘engaging’ with people who might or might not buy and/or read our books than actually writing.

So, back to the hard data.  Where exactly is it?  I need evidence people!

Earlier this year Fauzia Burk, president of a digital publicity and marketing firm specializing in creating awareness for books and authors wrote a piece for the Huffington Post titled: Does Social Media Sell Books?.  Burk interviewed a best-selling author’s agent – an author who is not and has never been active on Facebook or any other piece of the platform.  Surely the agent would have some data.  Nope.

?????????????Here’s what this agent said, “…it’s critical that no matter how active an author is online, the conversation about them and/or their book must be picked up and carried on by others for it to truly have an impact on sales. It can’t be ONLY about the author talking (blogging/tweeting)…” and later, “…For nonfiction authors with a specific expertise, being out there in the community that has interest in that expertise will most likely be effective in selling their book.”[1]

Most likely be effective?  Most likely?  I’m shouting now.  This is not the data I’m looking for.  It’s something that seems like a good idea, but the return-on-investment (of time in this instance) just doesn’t seem to have legs.

I’ve moved my attention from Facebook which annoys me no end, to Twitter.  I only have so much time in the day.  And to tell you the truth, I’d rather be writing on my blogs or working on those two new books that I’ve plunged into than check out photos of someone’s cat hanging upside down from a Christmas tree.  But that’s just me.