Posted in Book marketing, Book trailers, Fortune

Book Trailers: For fun or profit?

Clapper BoardIt happens every time I finish a book-length project. I begin to think about marketing the book to readers who might like/love/need/enjoy it. Of course if it’s a non-fiction book, I’ve given it a lot of thought up front because publishers these days want a fairly well-fleshed-out marketing plan from an author as part of the book proposal long before the book is even completed. If it’s a piece of fiction, I write what I write then think about marketing it after it’s published. I can’t help it; I’m a writer not a content creator! But, what about that marketing?

Well, it’s like this. There are lots of places these days that will purport to be the best places to get your book in front of readers; however, on closer inspection, the members are usually other wannabe writers trying to get their books in front of readers. It’s a bit of a vicious circle. But, if you have a book that takes off, good for you. The elements of a well-constructed book marketing plan may or may not be part of it. But, what precisely is included in that plan?

One of the elements often touted these days is the inclusion of a book trailer. What is a book trailer, you say? Glad you asked, because I love developing them – whether or not they are really useful marketing tools (more about that as we proceed).

I’ve written about book trailers before – almost every time I have a new one I can hardly wait to write about them – not because they are so wonderful, but because I think they are fun. Yes, that’s it – I think they’re fun.

As I defined them in a long-ago blog post, “…a book trailer is a short video clip that presents a small sample of a book in a similar format to that of a movie.” When I wrote that original post (Book trailers Part 1) and its follow-up (Book Trailers: What’s the Point?) way back in 2011, book trailers were very new. There was very little information on the impact they may or may not have on books sales, but what I did perceive at the time was this: quite apart from the unknown of whether or not someone would actually be inclined to buy a book based on seeing a trailer, how that trailer made its way onto someone’s computer screen would be paramount in finding out if it could be be an effective sales tool.

Fast-forward five years, and here we are still discussing the same issue. Again, I’ve been searching for data on the impact of book trailers.

There is little doubt that in the past five years online video in general has seen an incredible upsurge. That by itself, however, doesn’t bolster any data supporting the usefulness of the book trailer. According to one video trailer producer, “Readers are 64% more likely to purchase your book if they see a book trailer that effectively promotes your book. (Source: ComScore)” and “Visitors to your author website stay an average of 2 minutes longer than on author sites that do not use video. (Source: ComScore)”.[1] FYI: according to their web site ComScore is “a leading cross-platform measurement company that precisely measure audiences, brands and consumer behavior…”[2] Of course, MacLain reiterates the notion that distribution is key. You can have the most fantastic, well-planned and well-executed video but if no one knows it exists, its going to be for your eyes only.

Of course there are reasons you might want to skip the book trailer production all together. Marisol Dahl, writing on The Write Life Blog suggests that a bad book trailer is worse than no trailer at all, and further reiterates that it can be difficult to determine return on investment (and the investment can be massive).[3]

The truth is that most of those touting the value of book trailers are usually individuals and companies who actually produce trailers. Unless they have hard data, their promotion of book trailers as a sales tool is pretty self-serving. Book trailers certainly should be useful marketing tools if we just had a way to track their success after wide distribution.

I personally love planning and writing scripts for book trailers then giving that script to my trusty video developer (my husband) and letting him loose on the material. I keep them brief (certainly under two minutes, generally under a minute-and-a-half), and share them as widely as I can. So, if you’ve considered a book trailer I can give you several caveats as a writer for their production.

You probably want a book trailers if:

  1. You think it’s fun to have one;
  2. You can write a brief, tight script;
  3. You can give the potential reader a glimpse of the material without giving it all away;
  4. You can afford to produce one;
  5. You have somewhere to post it; and
  6. You have no illusions about how many sales it might garner.

If you can’t fulfil all of these, you might want to step away.

Anyway, I think they’re fun. If you a minute, here’s my latest trailer for my new medical thriller The Body Traders.

 

 

[1] Jerome MacLain as quoted in “Book Trailers And Using Video For Book Marketing” by Joanna Penn (March 2, 2015). http://www.thecreativepenn.com/2015/03/02/book-trailers/

[2] https://www.comscore.com/About-comScore

[3] Marison Dahl November 5, 2015. “Are Book Trailers a Marketing Must-Have?” http://thewritelife.com/are-book-trailers-a-marketing-must-have/

Posted in Backstory, Uncategorized, Writing, Writing books

Reviving old manuscripts: 5 things a writer might consider

life without endMany years ago – in a former lifetime even before my academic career – I worked in the field of organ transplantation. I was called an “organ procurement officer.” An odd title, you say? Yes, odd indeed. My responsibilities included overseeing the transplant coordinators who were tasked with ensuring donor organs made it to appropriate recipients (kidneys and livers mostly in those days), and the public education programming for increasing organ donations. This latter responsibility involved developing strategic promotion plans, writing about organ donation and making copious numbers of public presentations. All in a day’s work.

While I was working in the field I became fascinated with the myriad ethical dilemmas posed by the transplantation process itself, but more so by the way the health professionals involved in transplantation demonstrated a kind of fervour, often bordering on the religious, about their chosen medical field. It was this fascination that led me to research and write my very first non-fiction book many years ago.

Life Without End: The Transplant Story was my take on the ethics and politics of organ transplantation in Canada at the time, and I think it’s fair to say that not all of what I wrote made the folks I had worked with happy. Some of them were very unhappy indeed.

That was my last job in the real world before I started my academic career, but stories about organ transplantation never really left my monkey mind. So, not long after that first book was published I started writing a novel about what might happen if that kind of religious fervour about transplantation got out of hand. When I finished the manuscript I shopped it around to agents which resulted in finding one who actually loved the story and decided to take it on. She did her job (or at least I guess she did – we never did meet only talked on the phone), sending me detailed lists of where she had sent the manuscript and what the results were. She never did sell it, so I filed it away in the depths of my electronic writing files and almost, but not quite, forgot about it.

With the advent of electronic publishing the idea of reviving old manuscripts in my files began to take shape. I’m a firm believer, though, that not everything we write needs to be published, or even should it be published. Sometimes our writing is either for our eyes only (or ought to be) or it is our writing practice. I had never thought of this novel as being practice, though; rather I had believed it was ready to make its way out into the world. So I finally decided that The Body Traders would see the light of day.THE Body Traders cover FINAL for print front

First I reread it and found that I still loved the story. Then I spent a lot of time over the past year rewriting and updating it. You can well imagine that a book written more than a decade ago would need a tweak or two: for example, back when I worked in transplantation we carried pagers – no one even had a cell phone! Updating was indeed required!

I considered shopping it again, but in the end decided to self-publish. So, what did I learn from this process? I learned that there are several things you need to consider when deciding to revive an old manuscript.

  1. Ask yourself why you want to publish it now. Do you just want to see it in print (electronic or otherwise)? If the answer is yes, I suggest you need a better reason. There are a lot of books out there these days that no one will ever read. If you really don’t care if anyone else reads it, perhaps you need to put it away. “Publication” and “publish” both refer to “public” meaning that the work should be for the public.
  2. Reread it to see if you still feel as enthusiastic about it now as you did when you finished it. If you don’t, put it back in the electronic drawer and step away.
  3. Analyse it for it currency. Are the ideas still resonant? Will current readers appreciate the themes? If you aren’t sure, ask someone whose opinion you value to read it. Perhaps even consider beta readers.
  4. Edit the manuscript for specifics that will bring the details up to date. For example, if the protagonist still uses payphone, unless it’s part of a quirky character trait, you need to do a bit of updating.
  5. When you have finished the rewrite based on your own analysis, feedback from others’ and your update, read it again to see if you still feel enthusiastic. If the answer is yes, you’re ready to press the publish button!
Posted in Publishing, Traditional Publishing, Writing, Writing books

Writer: Know Thyself!

I was perusing my bookshelf this morning (in truth I was looking for a couple of books with the right spine width to wedge under a door my husband was re-installing – but I digress), when I happened upon one of my favourite old books. Over the years I’ve culled my book collection mercilessly, but there are a few that still remain on my shelf. Written by literary agent John Boswell, this one has remained one book that I do re-read from time to time, just to keep me grounded as a writer.

the awful truthIt is titled The Awful Truth About Publishing: Why they always reject your manuscript – and what you can do about it. In spite of its age (it was published in 1986 by Warner Books), and the concomitant fact that it was published long before the advent of the eBook era and the avalanche of self-publishing, it remains one of the best reads to help a writer with her head in the clouds to keep her feet on the ground – which is the only place to be if any real success is to follow.

As I cracked the cover (hard cover at that) I opened the book at Chapter 4: “The Awful Truth About Yourself.” And it does seem to me in these days when the “cult of the amateur” shrouds just about every facet of artistic endeavour (movie-making, music production and, yes, you guessed it, writing) it might be worthwhile for aspiring and other writers to do a bit of navel-gazing. Are we always aware of the truth about ourselves? Based on some of the drivel I’ve read recently, coupled with the book-marketing noise on the Web, it seems that many “writers” are, indeed, blind to some truths about themselves. And I put myself in that category from time to time.

Boswell offers this: “Writing, for the gifted few, is an art, and the chances of reaching this level are about as good as they are of becoming a prima ballerina or a major league second baseman” (The awful truth about publishing, p. 41). I love to be reminded that writing is indeed one of the arts, a factoid that seems to be forgotten by those among us who harp on ‘authorpreueurship’. While I’m all for the notion of self-help even in writing, let’s be clear that if you’re writing a book with the clear objective of making money, then this isn’t art.  It’s content creation and it’s okay. But it isn’t art. Some of my own work – or at least work in progress – seems to bend in that direction, while other work is simply seeing if I can create a piece of art that will entertain and perhaps even provoke.

He then goes on to make a statement that, had he been able to gaze into a crystal ball and see the future of publishing as we know it today he would have realized is even more profound. “Fortunately,” he writes, “…writing is also a craft and one which can indeed be learned by almost anyone. But…it is still not something that can be learned overnight, or a skill that pops into your head, fully honed once you ’get around’ to putting your publishable thoughts on paper…” (p. 41). And here is where it gets really muddy these days.

Boswell poses a question that I’ve often asked my own students – and use to ask myself. Do you want to be an “author” or do you want to write? It’s much the same question as do you want to write, or simply to “have written”? And these days we might also ask: do you want to be a writer or a content creator? One is not fundamentally better than the other, but they are different. They have different objectives, processes and audiences. In my view it’s really only a matter of knowing yourself. I’m trying.

[I’ve written about ‘content creators ‘ here  https://backstorywriting.wordpress.com/2014/06/04/are-you-a-writer-or-a-content-creator/ ]