I wanna hold your hand

300px-DrawingHands

Escher, Drawing Hands, 1948

I do not have an agent. This bothers me.

The whispers have it that it’s easier to get a publishing deal than it is to get representation. I don’t know about that, but I do have a book coming out and I’m finding myself somewhat at a loss.

Agents are great. For a relatively modest fee (that you don’t pay up front) they make sure your work is tip-top and that you’re not getting screwed in negotiations.

You don’t actually need an agent to do these things for you: you can find beta-readers for free or pay an editorial company to review your work for you. Similarly, I got The Society of Authors to check the proffered contract for me (a free service once membership is paid), which gives me a little more confidence that I’m not going to lose out if everything goes pear-shaped.

So why am I bothered by not having an agent? Well, at the moment it’s this: what happens next?

I’m a debut novelist: I have a book coming out. I know that I’m expected (and want) to help promote my book. I don’t know how to do this. Am I responsible for sorting out podcast appearances? Launch events? Press releases?

I know I can ask my publishers this but I’m afraid to hassle them. I don’t want to be that person – the one who’s looking over their shoulders all the time asking ‘are we there yet?’ And yes, I know that says more about me that it does about the world; and yes, I’d probably have the same fear about hassling an agent.

There are other things too, though, like the possibility of getting another book published. My publisher has the right of first refusal on my next work. When the hell am I supposed to broach the issue with them? How do I best present myself to get a career and not be just a one-off?

I guess what I really want is for someone to be there for me. I want reassurance. I want someone there to hold my hand.

An agent is not a therapist and I know that what I’m saying here may make all reputable agents black-ball me forevermore. But I want to be good at what I do. I feel like I’m not doing enough to sell myself; that I’m spending too much time on the whole ‘writing’ thing and not enough of building my brand.

I also feel like I’m trapped: that this ‘rights to the next book’ will act as a disincentive to agents in the future, even though I signed the deal knowing full well what I was getting into.

I am worrying too much. This is almost certainly the case. That doesn’t make it better. What I really need is someone to help me organise this period, to tell me what I should be doing, to act as a guide and a confidante.

Thankfully I’ve got Twitter. And so do you. Never has it been so easy to ask for advice, to go direct to the people who a) know what they’re talking about, and b) are willing to share their time and expertise.

Not for the first time, and certainly not for the last, I find myself dependent on the kindness of strangers. Now I just need to get over my fears of bothering them.

The propaganda war: how to sell your masterwork

Okay, here’s how it works: if you’ve just released a book – self-pubbed or trad – and you’re wondering how to promote it then you’ve already got it wrong. Sorry if that’s a harsh message, but it’s true. In order to successfully promote your work then you have to have been building a presence on the internet (because what else matters?) for months – if not years – prior to your first release.

It’s a rare thing that anyone will buy a book simply on the basis of its cover or its glowing Amazon reviews or on the endorsement of people they’ve never heard of. Studies (that I can’t quote, sorry) show that you have to have heard an author’s name (or a band, or an artist) at least five times before you’ll consider buying one of their works. I’m proof of this. I’m on Twitter. Some names I come across with regularity. Those people – whose comments I appreciate and enjoy – are the ones I’m going to take a punt on. The one-note shouters will never see my money, thank you very much.

Selling books is not an overnight thing. You are fighting the long war, deep in the longue duree. That’s why I’m writing this blog. That’s why I’m on Twitter and LinkedIn. I have no product to sell – yet. One day I will have. And I’ll have a body of work – more than that, I’ll have a personality. I’m (hopefully) not just another barker shouting on the street corner. I’m a human being and people are much more impressed with humans than they are replicants.

That’s what I think, anyway.

With that in mind, here’s my incomplete list of methods of promoting your book and a few thoughts thrown in, just for good measure.

Social media

o Twitter

Twitter is my favourite method of social-mediaising but one that is magnificently and amusingly misused. Anyone whose tweets consist of nothing but self-promotion will soon find themselves followerless. There is a rough guide or rule known as the 50-30-20 breakdown: 50% of your tweets should be other people’s posts retweeted; 30% should be your own thoughts/comments; and only 20% should be promoting your own work. Personally I’d say it should be more 45-45-10

o Facebook

I’m not quite sure why authors use Facebook other than to separate their personal and professional lives – which is not an insignificant thing and is something I intend to get round to doing at some point. I’d say that the same rule applies here as given for Twitter. Don’t just use it as a selling-point. The best thing you can do with all thee things is to get people looking at your blog/website, on which more later

o LinkedIn

LinkedIn isn’t a selling platform and shouldn’t be used as such. It is, however, a good way of communicating with other authors and building up networks, as well as finding interesting debates and learning more about other people’s perspectives/experiences

o YouTube

I’ve never done this, so my experience is perforce somewhat limited. But I gather that it’s increasingly common for authors to promote their work with book trailers and/or audio readings. I’m not too sure what to make of this. I’d suspect that you’d need something really well-produced (which is not the same as flashy) to make an impact. If anyone’s tried this I’d be interested to see how it worked for them

Being Nice to People

This section was originally called Networking, but people get the wrong idea about this. They think that it’s all about schmoozing in trendy Soho winebars (or, if you’re American, insert a poncy area of New York), or trying to catch an eye at a party, of pushing yourself beyond human decency for the sake of a small advantage. Hell, you’re probably thinking of the casting couch or something, aren’t you?

It’s not. It’s none of these. It’s about looking around you at your friends and asking yourself who they know. Or what they do. It’s about asking favours. It’s about being polite and respectful and not pushing – but asking nonetheless.

Just take a moment to think about your friends and acquaintances. Where do your colleagues work? Might they be willing to ask a favour on your behalf? Are they easily bribed with wine or chocolate (because a favour deserves a thank you)? By this stage in your career you should be in a writing group; there, already, are a lot of people who might have thoughts or ideas or contacts. Ask them. I wager they’ll be willing to help. The only price, save the aforementioned wine, is that you’ll be expected to return the favour.

Example: in my writing group there is a local writing festival organiser. There are a few who work for major (non-fiction) publishers. There was a professional copy-editor. At least one is agented: several past members are fully published. This is only a small selection – and here I’m only looking at professional activities. I’ve not even touched on their friends.

There is a reason why Six Degrees of Separation is a game/concept. You know people who know people who know people. You don’t have to push, you don’t have to dig, you don’t have to be some arrogant Hollywood big-shot to network. Just be polite. Be nice to people. Help others. And they’ll be a lot more willing to help you in return.

Personal appearances

Whether public appearances work for you or not really depends on your personality and the nature of your work: it’s a lot harder to do school visits if your work is a Regency Bonkbuster or The New Stephen King than a nice educational children’s book. Below are a few ideas, tailorable to your particular idiom:

o Book release parties
o School visits
o Library visits
o Care home visits
o Workshops
o Stalls in markets
o Book Fair appearances/stalls

A few notes: I don’t know about you, but the idea of most of these fill me with horror. The best way to overcome your fear is to combine your efforts with those of other local authors. If you’re not in a writing group then you’re missing out. The mutual support is invaluable.

Secondly, make sure you invite everyone. Not just your friends, but contact the local press, any book-bloggers you might be following on Twitter (not for school visits: they’re a bit fussy, these days, about who walks in to chat with the kids) – hell, take punts and invite celebrities. Remember what I said about having to have heard a name five times before it settles in the brain? Most people you invite won’t come. But really – what have you got to lose? Email is free. Just be polite and unpushy. Invite literary agents because you never know who might be in town. Note, though, that if you’re theming the event – for example if all the authors appearing specialise in science-fiction – then you’ll lose credibility if you send a group email to every single entry in the Writers’ and Artists’ Yearbook.

Actually, never send group emails. To anyone.

The Written Word

There aren’t enough journalists these days. Those that still exist are overworked and underpaid and are desperate for copy to fall on their desk that they can shove in the papers without any input from them. So whatever you do make sure you write a press-release and send it out to the local rag. And when I say ‘local rag’ I mean any rag that you’ve ever been local to. For example: I was born in Bradford, moved to Norfolk, went to university in Belfast and now live in Oxfordshire. So that’s four places to which I am local, every one of which has multiple papers to target.

I won’t go into the ins and outs of writing a press release here. I’m sure you can find guides around the internet. A few quick notes, however:

o  Attach a photograph of you and your book
o  Say you’re available for interview (which can be done over the phone, Skype or other modern contrivance, so don’t worry too much about travel)
o  Personalise your letter to the area you’re targeting: for example, in my letter to Bradford I’d say how the local libraries shaped my writing growth
o  Try and make it ready to be inserted, as is, into their paper. Minimise the work the editor has to do to make it ‘fit’
o  Don’t send a copy of the book but do make it clear that you’ll provide a copy for review upon request

If they get back to you and invite you for an interview (don’t laugh; it’s happened to people I know) then for heaven’s sake take them up on the offer!

o Reviews

Before your book is released you should be contacting all the book-bloggers you’re following on Twitter (you are doing this, right?) and asking if they’re willing to review your book. Many won’t: the biggest will be choked with people like you. But you can only lose if you’re rude or abusive. And some will take it – and if you do a get a review, be grateful – even if they say you’re a horrible writer whose entire back catalogue should be ritually purged and all mention of your existence be expunged from history.

o Merchandise

It’s always worth getting some bookmarks (which double as business cards, with your internet presence highlighted – probably not email address: Twitter, Facebook and your website/blog addresses will be fine) to give out at any events you do host or take part in. Bear in mind that many people aren’t prepared to spend money on the spot. Most people like to go away and reflect before committing to a purchase. Make it easy for them. Chances are that if they have to hunt to find you they’ll just give up. Don’t let that happen.

o Your personal blog/website

I’ve left this until last because it’s the single most important thing you can have. It also ties together everything I’ve mentioned above. It doesn’t have to be anything like this: it doesn’t have to consist of regular musings on your life and of your irritations with the way the world is persistently ignoring you.

What you need is a portal from which people can see everything I’ve outlined above. It’s a place for people to springboard onto your Twitter feed, your Facebook group. It should outline your work and provide links for people who want to buy it. You can copy (or link to) any mentions you get in the press. Any events you’re involved with should be mentioned (and, if it’s an open event, this is where you place the invite).

Publishers and literary agents do look at these things. A good website might not sell you a deal but a bad one – or an absent one – might lose you one.

If you’ve not got one of these, do it. Do it now.

A final note (or two):

Perhaps the best thing you can do to promote your own work is to promote the work of other people. That might sound counterintuitive but it’s true. People remember nice people: not only the person you’re helping (who might well return the favour) but the casual Twitter-stroller will notice, maybe not even consciously, and will lodge you somewhere in their brains as someone to do – so to speak – later. I’ve followed many people because they’ve shared something I’m interested in: never heard of them before; oh, they’ve put something up. Let’s have a look at their profile…

It works. Try it.

Finally, just remember what I said about the longue duree. This isn’t a sprint. These things don’t happen overnight. No one single thing is going to make you the next Hugh Howey or – god help you – EL James. It takes sustained effort, time and patience to make a career as a writer. But it is doable. Relax. Take your time. Enjoy the process.

Remember: nice guys finish first.