Posts tagged with: Marketing
Posted by Autumn Jordon Feb 6 2017, 12:02 am in advice for writers, Autumn Jordon, Ava Blackstone, craft, jeannie lin, Marketing, Rita Henuber, short stories, Vivi Andrews, Writer's Toolbox
Writing a great short story used to be the training ground for writers. Hemingway started his career by writing them, as did Stephen King, and many renown others.
For many years, the appetite for short stories, nearly disappeared, cutting the number of magazines that included them substantially, and leaving only classic short stories on the book shelves. However, I believe the tide is changing among today’s readers. Their time is limited and there are times when they just want something worthy and short while they’re waiting in a doctor’s office or school parking lot.
Also, many are now reading on their phones, and reading a short story is more feasible on the small device.
This month, I dove into the short market with a novelette titled Perfect Moments. It released on February first. I was nervous about writing it because shorts have a totally different writing style than a full length novel. It was a learning experience, but after receiving emails from readers requesting to know whether Elizabeth and Bob Kincaid (from Perfect) made it home from their overseas duty, I decided to give Elizabeth and Bob their story. Their short.
Another reason I decided to try my hand at writing a short story was because today’s reader wants more product from an author, and quicker. I’m comfortable writing a full length novel in a year, sometimes nine months. But to write quicker, I know the quality of my work would decline. I want to continue to improve my craft, not hinder it. So to feed my fans cravings, writing short stories might be the way to go.
I asked my Ruby Sisters their thoughts on writing short stories.
Rita Henuber said she wrote her short stories because, “I have many stories bumping around inside my skull. Characters screaming at me to tell their story. Some are absolutely not full length novel material. All but one in my collection of short stories began with an experience of mine. I had to write them.”
And Jeannie Lyn said, “I actually LOVE shorts and think they’re a great way to pack a punch in a short amount of space as well as introduce writers to your voice. The last short story that I wrote was meant to be an introduction to my steampunk world for new readers and a little bonus for existing readers.”
Ruby sister Ava Blackstone stated she wrote a short after reading an article in her RWA chapter’s newsletter about writing for Woman’s World. “I decided to give it a try. I found that short stories were great palate cleansers when I was sick of my main WIP. I also liked the freedom to experiment with different writing styles without worrying that I was wasting months on something that might not work.”
And Vivi Andrews stated, “I’ve always written short stories for anthologies, usually with open submission calls that provided the opportunity to get my writing in front of more readers. My little gateway stories to lure readers into my world. 🙂 This spring I’ll be participating in the 2nd RWA Anthology.”
I then asked the sisters if they found writing shorts difficult? I know I found it challenging not to add more conflict, more points of view, more of everything.
Vivi said, “Actually, I don’t find them difficult at all. I was nervous initially about stepping out of my comfort zone, but I wound up loving the opportunity to tell more compact romances.”
Rita stated, “Not at all. I enjoyed writing the shorts and the side benefit of stopping those people in my head screaming. I view shorts as a moment in time. A snapshot event giving the reader something to ponder.”
Jeannie started writing shorts before she wrote novels. “I have a totally different mindset when I switch back to writing shorts. They’re not just shorter novel storylines — the way I plot and present a short story is entirely different than what I do in a novel.”
Ava said, “Writing that first short story definitely required a paradigm shift. I had to come up with a much smaller-scale conflict than I was used to writing so that I could wrap things up realistically in 800 words. It helped me to think about it as though I was writing a scene instead of a novel. So then it was just a matter of coming up with a compelling scene that could stand on its own.”
So why write shorts? I’d heard shorts help with sales on other books, especially if their part of a series. Perfect Moments just released, so I don’t have a track record to share, so again I questioned my sisters who had published short stories.
Jeannie stated, “I actually have found it helpful bringing in new readers with shorts. Since my settings and worlds are not so mainstream, I think readers find shorts an easy way to get a feel for me without having to commit to a novel. Short stories with direct tie-ins and characters from other series are the best way to go in terms of hooking readership. Teaming up with other authors in anthologies is a also a great strategy for getting that first look.”
Ava had a different use for her short story. “I give it away to readers who sign up for my mailing list, and it has worked great as an incentive to drive signups. I’m planning to write another short to go along with my next Ava Blackstone book.”
If you’re considering writing a short story, I have some advice.
- Read short stories. There are many; The International Thriller Writers have released collections titled Face Off. And, I know the Mystery Writers also release an annual collection. Then you have classics like William Faulkner’s That Evening Sun.
- Pick your story’s moment or moments that really matter and write about them.
- Stay with one main character.
- Write more words than you need and then pick the words that show don’t tell, show character’s change, and that moves the story forward.
- Go through the same editing steps as you would for a novel.
My sisters also offered advice or suggestions?
Rita said, “I go by what I love to read. IMO a short story is for a reader’s experience. I will also say I think there is a difference between what is considered a short story to a novella. With a novella, because of its larger word count, I expect story structure, GMC, story resolution, the whole enchilada. Shorter stories can certainly have all that good stuff but I think of them as a bite of the enchilada not the whole thing.
Vivi offered this advice, “I didn’t take any online courses or read any books on the subject. I will strongly recommend that anyone looking to write short consider the kind of conflicts that can be resolved quickly. If you give your characters more than they can reasonably solve in a short format, you’re going to have some very grumpy readers.”
Jeannie recommended, “Rather than craft books (which I normally love), the best way to learn for shorts is to read how others do it. I think there’s MORE of an art to writing short than writing a novel. The good thing is that they’re short. 🙂
Some authors I love: Ray Bradbury (for voice, tone, memorable setup and hook). If you can find it, read “A Laurel and Hardy Love Affair”. Edgar Allen Poe (check out his word choice and how effective his opening lines are)
For romance, these authors’ shorts are actually novellas, but they establish character and emotional stakes in a relatively short amount of time. Courtney Milan – The depth of characterization is amazing. They feel as emotionally complete as full novels. And Ruthie Knox – She sets up emotional tension wonderfully between hero and heroine”
Thank you, sisters for sharing your experiences in the short story market.
Please ask any questions that you might have and we’ll try to answer them for you.
Autumn Jordon is an award-winning author of romantic suspense/thrillers and contemporary romance. Join her newsletter at www.autumnjordon.com. And don’t forget to check out Perfect Moments.
Ava Blackstone is a winner and two-time finalist in the Romance Writers of America’s Golden Heart® contest and has five short romance stories published in Woman’s World magazine. She is currently hard at work on the next contemporary romance in her Voretti Family series. You can find her on the web at: http://avablackstone.com PRETTY IN INK
Jeannie Lin is known for writing groundbreaking historical romances set in Tang Dynasty China starting with her Golden Heart award-winning debut, Butterfly Swords. Her Chinese historicals have received multiple awards and starred reviews in Publishers Weekly and Library Journal. SILK, SWORDS, AND SURRENDAR
Rita Henuber; I’ve always had stories in me and now I’m sharing them. I married a Marine, a man I’d known since I was fourteen. I’m fortunate to have lived many places and traveled to the states and countries I didn’t live. I moved back to the barrier island in Florida where I grew up and now spend time writing, weaving my experiences into my stories. My first books have heroes and heroines in the military or government service. But, I’ve started on a new series of books with collections of short stories. LET ME TELL YOU A STORY
Vivi Andrews is a Golden Heart winner & 2-Time RITA finalist. As Lizzie Shane she writes contemporary romance with a pop culture twist, and as Vivi Andrews she writes paranormal romance. ALWAYS A BRIDESMAID
Posted by Autumn Jordon Dec 14 2016, 12:02 am in Autumn Jordon, craft, golden heart, Marketing, writer's advice
What is the BIG hook? Simple. A title.
Don’t believe me, read on. A few months ago, in a reader forum, I started a discussion, asking the question ‘what first grabs your attention when searching for a book in brick store?’ My thread stayed on top for weeks as readers offered their opinions. A great cover was the overwhelming answer with a catchy title running a close second. Behind them were the back-cover blurb and the author’s name.
When I threw ‘the cyber-stores’ into the mix, a catchy title was hands down, no-doubt-about-it number one. With like a thousand new books being introduced each month in cyber-venues, your title becomes the hook that will make the buyer click, read your blurb and check out your sample pages.
A great title says a lot about the author’s creativity and his/hers capability to market their work. If you’re entering the 2017 Golden Heart and are seeking the interest of professional advocates, you definitely want to have the most awesome title.
Looking at my bookshelf, some of the titles that jump out at me are; Zeroes by Chuck Wendig, Tick Tock by James Patterson, Mrs. Sinclair’s Suitcase by Louise Walters, The Hello Girl by Merline Lovelace, The First Grave On The Right by our own Ruby-sister Darynda Jones and most recently The Butterfly Garden by Dot Hutchison. Each one of these titles reveals the essence of the story. And each one jumped out at me from their spine and prompted me to read the back blurb. Do not dismiss the importance of a great title.
Every now and then, on our private loop, one of the Ruby sisters cries out for title help. She shares a very short blurb and we bombard her with suggestions. Are we good at doing this? Look at our titles and you be the judge.
Today only, if you’re having trouble thinking up a grabber, the Rubies are willing to put on our thinking caps for you. Post a short blurb and we’ll help you out. Guests, please offer a suggestion too.
Autumn Jordon is the award-winning sneaker Ruby and author of Perfect~ a fun, warm-hearted Christmas romance set in the fictional town of Black Moose, Vermont. To join her rapidly growing newsletter and be entered into members’ only contests, visit www.autumn Jordon.com
Posted by Ava Blackstone Jan 13 2016, 12:01 am in Ava Blackstone, keyword optimization, Marketing, social media
Long before I decided to self-publish, I attended my first workshop on marketing at an RWA national conference. After an hour of PowerPoint slides about engaging with readers on social media, I wanted to hide in a dark, quiet corner with no computer or internet connection. (Have I mentioned that I’m the introvertiest introvert in the world?)
After five or six more marketing workshops with different names, presented by different authors, all of which focused on various social media marketing techniques, I’d had more than enough. So when I saw that the next speaker for my local RWA chapter was going to be talking about—you guessed it—marketing—I wasn’t particularly enthusiastic.
But it was a good excuse to see my friends, so I went to the meeting anyway. And was blown away by the speaker. Her talk was on marketing, but it wasn’t all social media. She talked about things like generating back matter for your book that would help drive reviews and Amazon keyword optimization. For the first time, I realized that there was a way to market my books in addition to the social media strategies I’d heard so much about. And some of those things I was actually excited about doing.
And that made me stop and think. I’d heard a ton of people talk about the importance of “finding your process” for writing, the idea being that some people write most effectively when they plot extensively beforehand, some people prefer to jump straight into the manuscript, and others are somewhere in between. But I’d never heard anyone talk about finding your process for marketing.
I’d love to be a marketing superhero and make optimal use of every single technique out there. But I’m not. There are only so many hours in the day, and let’s be honest—I’m going to spend most of them writing. So I need to make sure that the little time I have for marketing is used most effectively. For me personally, that means focusing on the non-social side of things. I have friends who are just the opposite—they love meeting readers in person or on social media, and can make a new best friend (and a dedicated fan) in minutes. That’s not me.
Will narrowing my marketing focus be an effective strategy for me? My first book came out two days ago, so it’s too soon to tell. But I certainly hope so.
Okay, I also set up my author Facebook page. Just don’t make me sign up for Twitter.
What about you? What marketing strategies do you find most effective? Are there any you find particularly enjoyable or unpleasant?
Posted by Jamie Michele Apr 9 2014, 12:01 am in advertising, Marketing, promo, swag
I usually ignore Facebook ads that pop up in my newsfeed, but today, I saw one that made my heartbeat quicken.
The ad was from the Facebook page of Bulgari, the maker of several perfumes I adore, announcing the release of a new Omnia fragrance.
“Omnia Indian Garnet,” it said. “Click to Experience.”
Indian Garnet? It sounded heavenly. I began to salivate, imagining a warm, heady juice, rich with the spices of India. I wanted to smell it! NOW! But how could I experience a fragrance online?
Posted by Sara Ramsey Oct 10 2012, 12:01 am in Amazon, ebooks, Facebook, Marketing, Sara Ramsey, Twitter
I attended the Digital Book World Discoverability and Marketing conference in NYC two weeks ago, and I wanted to share my key takeaways with all of you. The conference was geared toward publishing professionals – marketers, publicists, and all the people responsible for launching ebooks and getting them discovered by readers. There were very, very few authors in the audience; I know Bob Mayer was there, and a few authors gave programs during the session, but this was truly a marketing conference. I’m kind of a geek for marketing (even though I also secretly despise it), so I found myself loving/hating all of it – but your mileage my vary, of course!
These are the most interesting insights/tidbits I heard during the conference…if you want more detail on anything, leave a comment and I’ll see whether my notes are helpful:
1) If you take nothing else away from this post, know this: the importance of mobile (smartphone/tablet) browsing is increasing dramatically. The head of industry for publishing at Google shared some Google search stats, and the eyepopping one was that in 2010, 93% of Google queries came from computers; now, it’s 72% and still dropping fast, with those other 28% of searches coming from mobile. Mobile search is only going to continue to grow.
What this means for authors: you must make sure that your website looks great on smartphones. For me, my website traffic in the last month (1943 unique visitors / 2571 total visits) was 41.9% on mobile devices – the iPad was 50% of my mobile traffic, iPhone was ~25%, and a variety of Android phones and Kindle/ereader tablets made up the rest. If someone is reading your book on a mobile device and searches your website to learn more, you want them to see a great website optimized for smartphones. This means *no Flash* (flash doesn’t work on iPads), quick loading, etc. Test your site on mobile devices, and if you don’t like how it looks, work with your web designer to fix it.
2) Your Amazon book page is like your book’s homepage on the web. We heard from Jon Fine, the Director of Author/Publisher Relations at Amazon, and his main point was that when someone searches for your book on Google or other search engines, they’re almost certain to see the Amazon page for your book at the top of the search results. You want that page to be as good as possible, with reviews, product descriptions, etc., and a robust author page that gives as much information as possible about your works.
What this means for authors: do as much as you can with Author Central. You may not be able to control your product descriptions (often the publisher is responsible for this), but you can do a lot on Author Central – regularly update your bio, add videos, add your Twitter feed, add your blog feed, etc. You can also add extras about the book through Shelfari (Amazon’s Goodreads competitor), which show up on the product page for your book. Just a little bit of effort on Author Central can make your presence more robust, which helps you show up higher in search results.
3) Email marketing is a bigger sales driver than any social media platform. Jessica Best from Emfluence Marketing said that for every $1 she spends on email marketing, they drive $28 in revenue. I don’t think that these stats are perfectly accurate for authors maintaining their own email lists – but purely from a time/money spent perspective, my (very infrequent) newsletter is more valuable than anything I’ve done on Facebook, Twitter, etc. It costs some amount of money every month to maintain a mailing list through a mailing list manager like Mailchimp or Constant Comment – but the people who sign up for your mailing list are interested in what you have to say, and you can use Mailchimp to track how many people open it, make sure that it looks good on smartphone mail clients before sending it out, and see how many people subscribe/unsubscribe every month.
What this means for authors: build your email list. Facebook or Twitter could go away tomorrow, but if you own your mailing list, you can always reach your biggest fans. Key caveat: do it ethically! Don’t violate CAN-SPAM law (or public opinion) by adding people without their permission. But I make joining my email list a key way to enter my contests, and I can track to see how many of those people stick around when I send out my next newsletter. I also have a link to sign up to my mailing list in my ebooks – this is easier to do if you’re self published, but it should be obvious how to sign up for your newsletter as soon as someone hits your site. Use something like Mailchimp or Constant Comment, which will help to make sure you don’t break CAN-SPAM law and also help you track stats.
4) Get a few metrics you can measure consistently and act upon – and then track them. Angela Tribelli from HarperCollins spoke about the importance of metrics, which I totally agree with. But it seems that most authors (and I’m guilty of this myself) obsess over their Amazon sales rank but don’t track anything else. Instead, you can track things that you can actually impact – visits to your website, newsletter signups, Twitter follows, Facebook likes, contest entries, etc. Then, if you do a blog tour, for example, you can see whether there’s any increase in averages for those stats in the days/weeks after the tour – if you don’t see any lift beyond your average, it might tell you not to do a blog tour again.
What this means for authors: pick your stats, track them, but don’t obsess. Daily tracking of things like Twitter or Facebook likely isn’t helpful. Instead, you can pick a day of the week or a day of the month, write down all your stats, and ignore them until the next time you need to track them. For me, this helps to decide whether to invest money in a giveaway, whether to spend more time on Twitter, whether to spend money promoting a post on Facebook, etc. This can also be helpful for showing publishers that you’ve built a platform – if you’re able to show steady growth and things you’ve done to grow your platform, this could theoretically help to get a deal.
5) Final thoughts: the jury is still out for me, but I’m starting to believe that it’s less important to do blog tours before a release and more important to spend that time making sure that your profiles and information on all the major platforms are thoroughly updated and have as much info as possible about your latest books. Obviously your website is key to this – your website should always be updated, even if you don’t treat it like a blog. But your Author Central page, Goodreads and Shelfari profiles, Facebook, Twitter, and any other outreach methods you use should be updated regularly so that search results are accurate. The primary goal is to make sure that anyone searching for you or your books finds out how to buy them! The secondary goal, with the help of a good web designer, is to figure out how to get your own site or book higher into the general search results for terms like ‘regency romance’ or ‘best contemporary romance’ – that’s a much harder nut to crack, but it’s worth thinking about.
But I’m not an expert, and I would love to hear what you think – what’s worked for you, what hasn’t, and where you’re focusing your efforts. I’m looking forward to your comments!
Posted by Laurie Kellogg Sep 14 2012, 12:01 am in Book Covers, Laurie Kellogg, Marketing, new releases, Ruby Release, The Parent Pact
At some point in your life, I’m sure you’ve read a book and hated the cover and wondered why on earth the publisher used it. Maybe you’ve even received cover art for your own novel that you don’t feel fits your story. Romance readers get totally bent out of shape if the hero and heroine isn’t depicted accurately on the cover as compared to how the author describes them.
Many of you may recall my debut novel, The Memory of You, had an extremely different cover when I first released it. All of my romance-writer friends told me how much they loved it. I don’t know if they were being honest or just sparing my feelings. In any case, I really liked the cover.
When my son, who has a master’s in marketing, saw it, he hated it—which frankly didn’t surprise me. I have a have an honest open relationship with my kids, and they have no problem telling me when they think something I’ve done sucks the big one. Normally, I might shrug off his opinion, but this time I couldn’t, because I knew on this particular subject he spoke as an authority. His father and I spent a lot of money helping to educate him in his chosen field, and he made us extremely proud by graduating just a hundredth of a point shy of summa cum laude (and don’t think that didn’t royally tick him off).
He told me my first cover made him think of an old lady story about a funeral. He reduced the image to thumbnail and pointed to the vase of hydrangeas and said, “What is this? It looks like a purple tree. And who’s that guy in the background? Is he a ghost? Is this a paranormal story? What’s that gold blob in the corner. You’re selling your books on the Internet, you need a design with pictures and fonts that readers can see in a thumbnail.”
I loved my cover and didn’t want to admit he might have a valid point. So I did what mother’s do best, I argued with my son, and tried to explain what the book is about. I showed him other covers on Amazon that were no different than mine. That’s when the poop hit the fan. “Are you a writer or a cave painter?” he asked in a not so soft voice.
“I’m a writer,” I answered defensively.
“Then stop trying to tell the story with pictures! The only thing your cover needs to accomplish is to get people interested enough to find out more about your book. You only have to catch their attention and give a sense of the genre and the tone. It doesn’t matter if the artwork matches the story. Covers are designed for shoppers. The inside is for readers.”
Well, I still don’t totally agree with that, but I understood the lesson he was trying to teach me. Giving the shopper an impression of the type of story is far more important than the accuracy in the cover art. My son then explained many NY publishers are still designing covers for brick and mortar bookstore shelves instead of the digital market. He reworked my first two covers to illustrate what I should use to sell my work.
Many were disappointed by the new cover for The Memory of You (like my 80-year-old mother, who is one of the little old ladies my son mentioned) because they’d truly loved the original. I had to explain time and again that, although the first cover might have been aesthetically pleasing, it was a lousy representation of what the reader should expect from the book.
From that point on, I took my son’s advice and made sure L.L. Kellogg’s first cover gave the right impression of Hypnotic Seduction’s genre and tone, which is a red-hot romantic comedy that’s A Little Bit Naughty and a Lot of Fun. The Great Bedroom War’s cover told readers they were going to get a fun, sexy, contemporary read.
While choosing the cover art for my new release, The Parent Pact—book three of The Return to Redemption series, I somehow forgot my son’s marketing lesson and began cave painting again. I designed a cover I absolutely love and which illustrated the story wonderfully. The kids look exactly like the little boy and girl in my novel, and there’s even an issue with the heroine’s son kissing the hero’s daughter against her will. I’d already finished the cover before the Anaheim RWA conference, so I naturally included the cover image for my upcoming release on the promotional material I distributed in the Goodie Room.
As I was admiring my handiwork on the flight home (in coach), my flamboyant alter-ego, L.L. Kellogg, sauntered back from first class to gloat about how much roomier her seat was than mine . Since my butt is twice the size of hers, you can bet she grated on my nerves.
She snatched the promotional card I’d distributed at the conference from my hand. “What the hell did you do!” she shrieked loud enough for the passenger in the closet-size john at the rear of the plane to hear. She pointed at the sweet covers for my next two releases. “These are awful! Where’s the sexy hero and half-naked heroine? Is this a romance between children?”
“No,” I answered, “but the hero and heroine are both single parents.”
“Aww, isn’t that sweet.” She tossed the card over her shoulder and into the lap of the sixty-ish female passenger on the opposite side of the aisle. “Change it,” L.L. demanded.
“Why should she?” the passenger interjected. “This looks like a wonderful book. Exactly the kind of heartwarming story I’d like to read.”
“Do you like hot, sizzling love scenes?” L.L. asked the woman. “Because I forced her to make the hero walk in on the heroine while she’s bathing in his huge whirlpool tub, and things get mighty steamy—and not from the hot water, if you get my drift.”
The woman blushed. “Well, I don’t mind a little kissing, but I really don’t prefer explicit love scenes.”
“Then this book ain’t for you, lady. It’s hot! Especially the skinny-dipping scene when they finally get it on.”
The woman dropped the promotional card as if it were covered with the Ebola virus.
L.L. picked up the card and flapped it in my face. “THIS is exactly why NY wouldn’t buy your book. Their marketing department couldn’t think of a way to illustrate the fact that, although your stories are heartwarming, they’re far from sweet. You’re cave painting again. Remember what your son taught you.” She turned and wiggled her way back up the aisle to first-class and shouted over her shoulder, “Are you a writer or a freaking cave painter?”
As much as I hated to admit it, L.L. the bimbo-beeyotch was 100 percent right. Granted, the marketing blurb (see below) makes it crystal clear it’s a sexy story, but the title and graphics indicate the exact opposite. The passenger across the aisle had given me a glimpse of the awful reviews I could expect from outraged readers who didn’t bother to check the blurb before clicking the buy link. And the saddest part was they would have every right to be upset about not having their expectations met.
Naturally, as soon as I arrived home, I immediately redesigned the cover. I don’t like it nearly as much as my original cover art (I love the adorable kids), and it’s not accurate to the story. At no time does the heroine run around the hero’s kitchen half naked.
However, this IS a sizzling, different worlds, Cinderella story. The contrast of a sexy, barefooted, penniless heroine kissing a successful lawyer who’s wearing $900 Italian leather shoes is a much better marketing tool and will give shoppers a more accurate impression of what they’ll get when they buy The Parent Pact—Steamy, Heartwarming, Romantic, Fun!
Cinderella and Prince Charming never had to consider the welfare of their children
When widower Tyler Fitzpatrick meets Annie Barnes at his daughter’s school, his libido goes tilt. The sexy single mother is everything he and his grieving little girl need. Unfortunately, Annie flatly refuses his dinner invitation. She wants a husband and a father for her son—not just a boyfriend. And the last time she checked, wealthy, summa-cum-laude lawyers didn’t marry high-school-drop-out housekeepers.
Tyler concedes there’s a vast difference between their experiences and lifestyles. Still, he’s inexplicably drawn to the impoverished young woman—even though her little boy reminds Tyler of an underprivileged past he’d rather forget. While becoming better acquainted, he offers Annie a job caring for his daughter and home in Redemption, PA. He also proposes a Parent Pact—an agreement to become role models to each other’s child and to fill one another’s needs as single parents while they continue to search for true love.
Accepting Tyler’s offer would solve a lot of Annie’s problems. However, surrendering to her weak-in-the-knees attraction to the irresistible widower could very well leave her and her son heartbroken. Yet, when circumstances threaten her ability to feed her child, Annie reluctantly agrees to the pact, making it clear she has no desire for Tyler to fill her so-called needs in bed. It’s a bald-faced lie, but she knows the man’s desperation to give his daughter the nurturing she needs will compel him to accept a purely platonic relationship.
Now, Annie’s only problem is resisting the overwhelming temptation to let sin-in-a-tailored-suit Tyler seduce her.
So the next time you pick up a book with a cover that doesn’t accurately depict the story, think about why the publisher chose the picture they did to market it. And if your publisher gives your novel a cover you hate, consider the marketing aspects. You may realize that, even though the artwork may not be pretty or accurate, it’s eye-catching and a great selling tool.
Now I’d like you to share your experience. Can you think of a cover you really didn’t like, but you can see why the publisher used it? Have you ever quit reading a book simply because the picture on the cover didn’t accurately illustrate the events or characters in the story? What do you envision as a cover for your WIP and why?
Leave a comment to enter a random drawing for a free digital copy of The Parent Pact, available now at Amazon and soon to be released for the Nook and paperback.
Posted by Cate Rowan Sep 10 2012, 12:02 am in Indie Publishing, Marketing, publishing industry, story length, word count
Once upon a time—okay, about ten years ago—we romance writers all knew how long a story should be. If you were writing for a Harlequin line, there was a specific word count to be met for it. If you were writing a single-title novel for another publisher, it needed to be 90-100,000 words. There were exceptions, to be sure, but for the most part, things were set and clear.
Very few novellas were published. Due to the constraints of efficient print publishing, novellas had to be grouped into multi-author anthologies or into anthologies by a single (generally best-selling) author. Short stories had almost no place to go. There were no other options.
Five or six years ago, single-title lengths were trending downward, toward 80-90,000 words.
Now, with the explosion of self-publishing, stories of any word count can find a home—and readers—and sales.
As an indie author, I have every length to play with. Sometimes I’m certain that the story I have in mind will take a whole novel to tell. Or I may know I’m aiming for a very short story, or a novelette, or a novella. Of course, some of those times when I think I know, I’m, well, wrong.
I was going to announce a release today, but instead, I’ve found myself holding off, because I think the story wants a little more room.
I’m grateful I have that option. But these days, even trad-pubbed authors have more choices. Digital publishing makes shorter works possible. Publishers don’t have to concern themselves with how much (or how little) paper a story will use, and whether it can be published efficiently.
Authors on every publishing path are finding advantages to shorter stories. Short works can entice readers toward longer ones and bring in readers who might not otherwise find you. For example, in the last two weeks my free fantasy short story, Swords and Scimitars, has received two reviews from guys. Yay! Men aren’t the typical fantasy romance reader, but maybe, just maybe, they’ll keep reading and go on to discover the rest of the wonderful genre of romance. Gateway drugs! 🙂
So I’m curious: have you found yourself writing shorter works now? Do you enjoy writing shorter tales as an author—and do you enjoy reading shorter ones as a reader?