Tag: self-promotion

Confessions of a Reluctant Self-Promoter

On By Lorraine Devon WilkeIn Latest Thoughts

It’s true. I have a confession to make: I hate self-promoting. I do. I really do.

In fact, I hate it more as I get older, and accrue more and more years of having done it for the sake of my books, plays, articles, photographs, screenplays, band gigs, etc., etc. As much as I understand the need, and can professionally frame it as “absolutely necessary to the success of (fill in the blank),” it never fails to make me feel like that needy little girl jumping up and down, waving arms to demand, “Pick ME!! Notice ME!!”

Maybe it’s being one of eleven kids. Despite my placement (third), and personality inclinations (funny and/or charming), I actually felt I had to jump up and down to be truly noticed. I mean, really noticed, in that one-on-one way children require.

Leave it to me, then, to pick a “look at me!” career and stick with it long enough to arrive at the point where artists can no longer be “just artists,” and the act of waving hands and jumping up and down is now requisite behavior!

That’s because we are now, in this not-so-new digital age, unequivocally tasked with promoting and marketing ourselves with the same verve and skill set of the “helper people” but without the protective shield of their professional connections, entree, business acumen, objective skills, and laser focus. Despite occasional successes and winning results, and since we’re in confession mode, let’s be honest: It’s exhausting, expensive, time-consuming, even sometimes painful. I miss my helper people.

Oh, I’ve had them throughout the life of my career, and, when I did, it was freeing, unburdening, and glorious. Then I got older, careers shifted, culture changed, the Internet democratized everything (good and less-good). Every medium of art and communication became saturated with every kind of art and artist, and those very helpful “helper people” got harder to find, engage, and sign on the dotted line. You either hired skilled publicists—wonderful when you could afford it; I could only briefly—or you become your own designated “helper-person.”

And I don’t wanna be—that’s my true confession. I too often feel like Irene Cara warbling, “Out Here On My Own,” and I don’t have the benefit of Fame! But I do the job to honor the work I’ve put tremendous effort and vigilance into making as good as it can possibly be. I’m proud of that work, and I really want you to find and enjoy it. Not because I need accolades or exclamations of “you’re such a good writer!”, but because these stories and their characters and themes mean a lot to me; they contain ideas, concepts, and existential musings I want you to read and ponder and share. The only way that happens is if you hear about it, find it, and obtain the work. The only way that happens is if I, despite my whining and recalcitrance, make you aware of it.

So I do. Reluctantly but earnestly do.

But finding the right balance is tough. Sometimes you get it wrong; you worry about people’s eyes rolling. Your small publisher can only offer so much, some in media don’t want to hear directly from the artist, and sometimes responses can be downright cantankerous. For example, this example:

Since all three of my novels are literary fiction that fall neatly into the “book club” genre, I started researching book clubs. I found several, sent out polite private messages and emails, and, when I found a viable one on Goodreads, went to their page, saw a drop-down menu with “suggest a book,” and wrote, again, a very polite introduction of my latest book with pertinent links, awards, and information. So far, so good.

My Three Books – 

I was then stunned when the book club leader tersely responded: “I removed your book suggestion from our site because we do not [emphasis hers] allow authors to self-promote their own books”… like I crashed their party & hogged the karaoke mic.

What struck me was the wrist-slapping tone of her note, with its presumption that I was a boorish amateur spamming their club, rather than a respected writer who truly thought her book might hit the sweet spot of their particular club’s book sense. Though I did not sent this particular response, I should have:

“Dear Book Club Leader: Please be aware that it’s hard out there for authors. Given the fluctuating status of our industry, many talented writers are on their own, trying to get good work into the marketplace as creatively & graciously as possible. Don’t assume they’re hacks. Don’t assume they’re spammers. Be open. Like any good gatekeeper, you don’t want to miss the gems because you’re too quick to slam the door. If an author suggests her book to your club, maybe check it out before you slap her wrist. It just might be your group’s perfect ‘next book.'”

Then, as I was figuratively trundling home to return my books to their shelves, I was introduced to NovelNetwork, an organization with the following mission statement: “NOVEL NETWORK is a global space dedicated to connecting authors with avid readers, an expanded professional network, and published peers. NOVEL NETWORK was created to help authors find more innovative ways to connect with readers and promote their books to wider audiences.”

Yes! That. Perfect. Huzzah!

Imagine how delighted I was when, after submitting my materials, I was invited to join with all three of my novels en tow. I suddenly had “helper people”@ And look, all three of my novels are tucked into their recent holiday promotion below and I had not a thing to do with it… Merry freakin’ Christmas!

Before I wrap this divulgence, let me add this: While I might cringe at the demand to persistently blow my own horn, please know how much I appreciate those in my circle who never seem to tire of my promotions; who’ve taken the time to leave reviews because they know how important those are to writers; who continually help spread the word and encourage others to give my books a read. I cannot tell you how very much this reluctant self-promoter appreciates every bit of that… THANK YOU.

And Happy Holidays, whichever ones you celebrate and however you do. Just remember: if it’s an occasion that involves gift-giving, keep this equation in mind:

 Books+Love=Perfect Holiday Presents!

(Lookie there… I did it… shameless self promotion!)

NOTE: From NovelNetwork: “Good news for individuals who do not have a book club home – you can still join NovelNetwork – simply register as a book club member and list ‘NovelNetwork Book Chat Group’ as your book club affiliation. We’d love to welcome you! Visit NovelNetwork.com to activate your free membership!”

“Pick Me” – original photo by Brooke Cagle on Unsplash
“My Three Books” by LDW
NovelNetwork Christmas promotion provided by NovelNetwork
“Equation” by LDW

 

Visit www.lorrainedevonwilke.com for details and links to LDW’s books, music, photography, and articles.

Step Away From The (Misguided) Advice and Do NOT Write Four Books A Year

On By Lorraine Devon WilkeIn Uncategorized

Book

No matter what experts tell you, no matter what trends, conventional wisdom, social media chatter, or your friends in the Facebook writers group insist upon, do NOT write four books a year. I mean it. Don’t.

Unless they’re four gorgeously written, painstakingly molded, amazingly rendered, and undeniably memorable books. If you can pull off four of those a year, more power to ya. But most can’t. I’d go so far as to say no one can, the qualifier being good books.

Beyond the fact that the marketplace is glutted with an overwhelming number of books already (many of dubious quality), writing good books simply takes time, lots of it. There’s no getting around that time. It involves learned skills, unhurried  imagination, fastidious drafting, diligent editing, even the time to step away, then step back, to go over it all again. And, unless you’re a hack (and we know there are plenty of those out there), isn’t the whole point of this exercise to write good books? 

Our most highly esteemed, widely applauded, prodigiously awarded, read, and revered authors know this to be true. Donna Tartt, last year’ s Pulitzer Prize winner for The Goldfinch, took eleven years to deliver that masterpiece. This year’s winner, Anthony Doerr, had only written four books in his entire career before he penned All The Light We Cannot See, wisely taking years to craft his stunning tale. The cultishly-beloved Harper Lee had only To Kill A Mockingbird in her catalogue before this year’s controversial release of Go Set A Watchman (which some are convinced was not of her doing). Even others amongst our best, who do put out work on a more regular basis, do so with focus appropriately attuned to the quality of the book, not the depth of their catalogue or the flash-speed with which they crank out product. 

photo-1462642109801-4ac2971a3a51

But, you say, I’m not interested in writing Pulitzer Prize winners, I don’t need to be on The New York Times bestseller list; I just wanna see my name up at Amazon and sell a few books to family and friends, and, hey, if I go viral, all the better! They say write to the market, so I gotta write to the market. I mean, look at E.L. James…she’s hardly Chaucer and look what’s happened to her!! 

Point taken. Which actually brings us to the point: what is your point?

What’s your point as a creative, an artist; an author? A purveyor of the written word? Why are you here, what is your purpose, your goal as a writer? What do you hope to achieve? Is it fame and fortune at any cost, quality be damned? Or is it about finely crafted work? It’s important to know, to decide, because those principles will guide and mandate every decision you make from there on out.  

I bring all this up because I experienced a snap the other day, one triggered by an article from Self-Published Author by Bowker called, “Discovery: Another Buzzword We’re Wrestling to Understand.” In it, the writer lists many of the familiar instructions toward procuring success as an indie writer — social media, book reviews, networking, etc. — but her very first suggestion to self-published authors looking to get “discovered” was this:

 Publish. A Lot: For those of you who have spent 10 years writing your last book I have news for you. You have ten days to write your next one. Okay, I’m sort of kidding with the ten days but, candidly, the most successful authors are pushing out tons of content: meaning books, not blog posts. In most categories, readers are hungry for new reads, new books, and willing to discover new authors. You’ll have a better time getting found if you continually push new books out there. How many should you do? At a recent writers conference some authors said they publish four books a year. Yes, that’s right, four.  [Emphasis mine]

Wow.

So her first piece of advice to self-publishing authors wasn’t to put more focus on fine-tuning one’s craft, it wasn’t about taking time to mull and ponder what stories, what narratives, most inspire you to put “pen to paper”; it wasn’t even a suggestion to be relentless about working with professional content/copy editors and cover designers to create the best possible version of your work. No, it was the insanely insane advice to pump out at least four books a year. 

And people wonder why there are stigmas attached to self-publishing.

First of all, in looking at her point of reference, it depends on what you define as a “successful author.” I have a distinct feeling this may be where the disparities lie. Perhaps my own definition is a different one. 

When I self-published my first book, After The Sucker Punch, in April of 2014, I had, by then, put years into it, doing all those many things I itemized above. Because I not only wanted to publish a novel, I wanted that novel to be a work of art, a book of depth and merit, one that would not only tell a compelling story but would meet standards of publishing that authors of the highest regard are held to. I wanted it to be a book that would favorably compare with anything put out by a traditional publisher. My choice to self-publish was a result of not having engaged a publisher by the time my book was done and I was ready to market it. It was not based on the notion of joining the “second tier club” where one is unbound from the stricter, more demanding standards of traditional publishing. 

“Second tier club”? Yes. As insulting as that sounds, particularly in relation to self-publishing, there is no question that there are two tiers operating in the culture of the book industry. Take a moment to think about it, if you find that off-putting and you will see the evidence:

Based on what advice is given to self-published writers, some of which I shared above; based on the”free/bargain” pricing paradigms of most book sellers hawking those writers; based on the corner (quality)-cutting measures required to pump out endless product to meet the purportedly endless demand of those sites and their bargain-hunting readers, “second tier club” is no misnomer.

Where the best of traditional publishers set their sites not only on commercial viability but award-quality work, nurturing authors with enduring skills and profound stories to tell, in a climate that is selective (perhaps too selective) and based on the notion that that level of quality and commercial appeal is a rare and valued commodity, self-published authors are advised to, “Crank out loads of books; if you have to write little teeny short ones to get your catalogue pumped up, do that! Don’t worry about covers; your readers don’t give a hoot about artwork. It’s all about genre, easy reads, and low, low prices! And speaking of low prices, don’t even think about selling your books for more than a dollar or two, because readers who do bother with self-published books are too accustomed to bargain-basement prices to spend any more than that. This is the 99¢ Bargain Circus Book Store, where we push quantity over quality every day of the week!! CRANK OUT THAT PRODUCT!!”

I’ll bet good money Donna Tartt, Anthony Doerr, and other quality writers aren’t getting that same message from their publishers. First tier, baby.  

Look, if your point and purpose as a writer is largely related to the numbers—of books sold, of Amazon ranking, of reviews garnered, of Twitter followers and Facebook “likes”—then, certainly; follow the advice of the article quoted about. I know many self-published writers who are, and though I have no idea how well that’s working for them, it’s certainly the prevailing trend. 

But if your point and purpose as a writer is to take someone’s breath away, capture a riveting story, translate an idea—whether fantasy, love story, science fiction, human interaction, tragedy, thriller, family saga, memoir, non-fiction—in way that raises hairs or gets someone shouting “YES!”; if you’re compelled to tell that story so beautifully, so irreverently, with such power and prose as to make a reader stop to read a line over just to have the opportunity to roll those words around one more time, then don’t listen to that advice.

Instead, do the opposite: take your time, work your craft; look for the best possible ways to tell your story and allow yourself time to change your mind, sometimes often, until you know it’s right. Allow your editors time to help you mold your narrative into peak condition. Give your formatters and copy editors time to comb through your manuscript, again and again, to make sure everything is perfect. Work carefully with your cover artist to create the most gorgeous, most professional book cover you can. TAKE YOUR TIME.  

photo-1469460684636-7c3d8da2241e

Then take lots more to research marketing options; ask questions, weigh contradicting information, and come up with the best possible strategy for your book. Do what you choose with professionalism and without the misguided and frantic push to the “top of the list,” a pervasive attitude so rife with desperation and panic. You’re not in a race, with anyone. You are a professional author working your book your way. Be an artist, don’t be a carnival barker. Be a wordsmith, not a bean-counter. Be patient, not hysterical. Transact commerce wisely, but don’t lose your creative soul in the process. 

I know I’m bucking the trend here, and certainly there are quality issues and dubious motivations floating around both tiers. It’s also certain that, if you follow my lead, you will not be able to write four books a year, at least not four full-length books. You will write, perhaps, one. But if you do it right, taking time and taking care, you will have written one excellent book. One you’ll be proud of years from now. One your friends and family will keep on their book shelves. One readers across the globe will talk about on social media. One that tells the world, I am a writer and this book is my legacy. Then you’ll go write another of those…and so on.

The rest of it—sales, rankings, reviews, viralness, likes, tweets, awards, kudos, peer admiration… all that? If you do it right, if/when any of those things come, they will be warranted and well-deserved. You can celebrate them authentically, because you did not sell your creative soul to get them. You actually made the far, far better deal.

UPDATE: An addendum to this piece can be found at OK, So How About This Instead: Write As Many Books As YOU Choose…

Book photo by Gaelle Marcel
Fountain pen & book by Aaron Burden
Book stacks by Simson Petrol
Man writing by Evan Clark

LDW w glasses

Visit www.lorrainedevonwilke.com for details and links to LDW’s books, music, photography, and articles.

Horn-Blowing and Other Necessary Evils of The DIY World

On By Lorraine Devon WilkeIn Uncategorized10 Comments

horn blowing

“But enough about me, let’s talk about you… what do YOU think of me?”
— Beaches, 1988

I was originally going to title this post: “I Don’t Want To Talk About My Books Anymore!” but figured it might come off as a little whiny. And really, it’s not that I don’t like talking about my books—I LOVE talking about my books—it’s that I get twitchy when I’m the only one doing the talking, flashes of those obnoxious parents endlessly jabbering about their “really cute kids” while everyone smiles tightly and averts their eyes (cannot be one of those!). I’d prefer to talk about my books because other people asked about them; someone else wanted to discuss plot and character, or how to order a dozen or two copies. I’d rather respond to a whole other person tooting that horn than pull out the trumpet myself.

It’s hard out there for a book-pimp.

See, all this self-promotion started when the entire world went DIY some years back, with everyone doing anything and everything for themselves. The trend was seen largely as a positive thing: a democratizing, equalizing, barrier-breaking thing for all those independent people out there with a dream. Writers could put up their own articles, artists and photographers could set up their own blogs to sell their art; businesses and private practitioners could hang shingles in the form of interactive websites, and authors, they self-published. It’s gotten so democratically DIY, I half expect women to start delivering their own babies with headphones and an online tutorial!

And it has been a boon in many ways. The DIY market has allowed countless creators of every industry and medium to move forward without the limitations of picky gatekeepers, elitist corporations, prohibitive budgets, and miserly invitation lists. But where it’s proven challenging is in the wrangling (i.e., affording) of ancillary team-members who typically help creators move, sell, and promote their products. The horn-tooters, trumpet blowers, PR flacks, publicity people. And while there is not one “self-anything” who doesn’t need those people doing those jobs, a big fat contingent can’t afford them.

A full-time publicist for any business typically costs thousands of dollars a month, sometimes many thousands. A big-ticket item. But smaller marketing and promotional campaigns can also run into many hundreds of dollars and must be cyclically and consistently rerun to be effective. Even artists lucky enough to be affiliated with “umbrella” companies that provide some marketing and promotional support will find they’re obligated to implement those efforts on their own time and their own dollar. In other words, no matter where you fall on the “self” spectrum, you’re pulling that horn out of the closet.

And doing my own trumpet-blowing has always made me a little queasy.

Maybe it’s because I grew up in a family of eleven children where one had to leap up and down and wave their arms to get any kind of non-generic, “oh, I see you” attention, but I find the “leaping” necessary to self-promotion (particularly in the glutted indie book market) to be oddly demeaning. Instead of your work drawing people to you while you stand there being quietly brilliant, you’re obligated to chase after them like a panting schoolgirl trying to snag the interest of the most popular guy (switch genders as applicable). Beyond that, it sometimes feels too self-focused, too attention-grabbing, too… I dunno… creatively narcissistic. I’d prefer that the work itself, or someone with excellent trumpet skills, speak for me.

But there’s no choice. As indie artists, we not only have to do the job, we have to be indefatigable about finding new and clever ways to get it done. There are thousands of businesses and websites out there tooting their horns in hopes we’ll hire them to help toot ours (sort of a DIY Circle of Life), but the costs can run anywhere from cheap (various “tweet your book” sites, featured pages, book-of-the days sorts of things) to downright expensive (Book Bub, Foreward and Kirkus reviews, online ads), and some, but very few, are free. Often you pay loads of money to set up sales in which you give your books away for free or very cheaply (always an odd oxymoron), and given the “effective marketing = persistent marketing” equation, even the most economical campaigns will add up.

So where do indie creators with limited budgets go? To social media, of course! It’s not only what’s left to them once they’ve tapped-out their budgets, it’s the information highway everyone uses, regardless of product. Which means social media is regularly BOMBARDED with streaming posts from all sorts of people touting the “latest with my fill in the blank (book, band, record, art, store, tour, company, etc.),” and, in some cases, that’s all they ever post. About their book. Their record. Their tour. Their whatever.

We get no other insight from them, no other angle on their personality or point of view; they don’t connect to or comment on other people’s posts, and far too often, their only contribution to the greater conversation is about that _________ they’ve created. Which makes their social interaction akin to turning a coffee shop into a billboard.

So my remedy, since we’ve got to do this horn-blowing thing whether we want to or not, is this: Get involved with other people, share about more than your own creation; “like” posts other people put up, jump in on a thread or two. Be human. Be interested. Be involved. So when you do talk about your whatever, we’re interested because we’re interested in you… and you’ve shown some interest in us. It’s an all-around happy social media thing, as it should be.

And until a scenario involving an enthusiastic horn blower comes my way, know I’ll be doing it for myself on social media too. Graciously, I hope. Forgive me if I ever seem redundant or one-note; if I ask too many times for you to reiterate your wonderful email response in a review at Amazon, or push too hard to get you out to a reading. I’m obligated to honor my work by wearing this hat, blowing this horn, but know I’m trying to be nuanced and selective about the notes. This thing is tricky, but I’ve heard practice makes perfect!

LDW w glasses

Visit www.lorrainedevonwilke.com for details and links to LDW’s books, music, photography, and articles.

‘Share Stories About YOU’: Advice From a Twitter Follower

On By Lorraine Devon WilkeIn Uncategorized2 Comments
Little LDW...waiting for the cows to come home.
Little LDW…waiting for the cows to come home.

Self-promotion. It’s a crazy thing, isn’t it? 

It doesn’t matter whether you’re on Facebook, Twitter, Tumblr, or Instagram; it makes no difference if you’re famous, not famous, flinging commentary, sharing jokes; promoting books, movies, restaurants, mascara lines, or family pictures, everyone’s in on it. The rushing, churning, never-ending flow of information being pushed, shoved, bandied, and sometimes battered online. 

I regularly scroll through my Twitter feed and am amazed at the sheer volume of information rolling down the screen: this or that meant to snag my curiosity enough to make a click that leads to a link that, hopefully, compels a read, a retweet, or, most desirous, a purchase. It reminds me of those street bazaars where you wander through narrow aisles of merchandise as sellers wave items and hawk their wares in a rush of cacophony…or those scenes in movies where cars get stuck in traffic to be bombarded by rowdy street kids chattering over each other for a hand out. Frankly, it’s exhausting.

And I’m right in there with the best of ’em.

Yep, like every other self-whatever, I’m jostling along with the crowd, jumping up and down in earnest effort to grab attention for my work. Why? Well, first of all, because it’s worthy, and second of all…we have to. It’s what you gotta do to be viable in today’s world. It’s mandated by the “welcome to your self-career” handbook. 

But, despite business need and protocol, what you discover when you become part of that hand-waving, ware-hawking, book-bandying horde, is that you sometimes feel akin to a polyester-sweating used car salesman dangling bizarre freebies in hopes of closing a sale (“Buy today and we’ll throw in a toaster!!”). I know it’s part of the gig—dear God, I know it’s part of the gig—which is why I’m delighted to be working with a publicist in launching my upcoming novel, Hysterical Love. But beyond that thrilling collaboration, to the more day-to-day, “takin’-it-to-the-streets” stuff, damn if I don’t covet my own full-time carnival barker! 

Today was one of those days. So I posted this Tweet:

“Sincere question: what kind of tweets make you chk out a book? Cover? Blurb? Quote? I see so many & wonder what works. Feedback appreciated.”

And the first, almost immediate, response was:

“The WRITER! Share stories about YOU…”

Fascinating. I can’t say I’d have thought sharing stories about me was a particularly welcomed way to interest potential readers—what with our many unwelcomed narcissistic cultural trends—but I got the meaning. And it was appreciated.

Because, though I’m not shy, I do tend to steer away from anything that blares of self-trumpeting. I’d always rather talk about you than about me. And I’d certainly rather talk about the work than share personal anecdotes. When I spent my time years ago writing two-four articles a day for various publications, I figured people learned enough about me via my politics, my views, my philosophy; my take on things. Even now, I still write the selective essay that offers my perspective to anyone paying attention. But beyond what is gleaned from all that jabbering, I’m not much of a self-promoter. I’ve never taken or posted a “selfie” (and won’t); any travel pics I put up are usually bereft of images of me, and I’m not much compelled to participate in TBT. I will share special events or notable information related to my work, but, really… is there that much about ME that’s pertinent to selling my books?

Beyond my quick-commenting Tweeter, a business-savvy friend of mine says “yes.” She concurred that people want to get a sense not only of the book (movie, restaurant, mascara line) they might choose to enjoy, but of the person who created it. Which, okay, I’ll concede: considering how much I myself enjoy the interesting interview with people I find interesting, point taken.

So in a nod to my responding Tweeter, I offer this little anecdote…yes, about me! 

Though I was born in Chicago, I grew up in a tiny farm town in Illinois—Richmond (does every state have a town named Richmond?)—and when I was a little girl, my father threw out our TV and demanded we spend our free time reading books. He’d bring home boxes from the Chicago library and, despite my true annoyance at not being able to imbibe in Saturday morning cartoons and the like, getting those boxes was like a never-ending literary Christmas. It did, no doubt, have much to do with sparking my love affair with words and writing.

My favorite writer during that period? Laura Ingalls Wilder. Her books transported me to a time and place I could actually see, touch, and feel. As a young country girl surrounded by prairies myself, I became part of that big, frontier family she chronicled. It was a transformative experience. She later became an inspiration as both a tenacious female author, and one who didn’t have success until later in life, two things to which I  can relate!

And, this last fact might intrigue you: the same father who encouraged my passion for reading was also the one whose enigmatic journals incited the story behind AFTER THE SUCKER PUNCH… 

There. How’s that? A little something about me. I hope my Tweeting friend enjoys it! And maybe I’ll try it again some time… you never know, this could be fun! 🙂

[Btw, the photo at the top is a favorite of mine from our days in Richmond; one day—either before or after that shot was taken—a cow rambled by that same swing set without much notice of me and my siblings playing in our scruffy back yard! Gotta love the country!]  
LDW w glasses

Visit www.lorrainedevonwilke.com for details and links to LDW’s books, music, photography, and articles.

From INDIES UNLIMITED: The Persistence of Self-Publishing Stigmas and How To Transcend Them

On By Lorraine Devon WilkeIn Uncategorized

Indies Unlimited

In the world of independent writing there exists an enormous pool of resources designed to guide, educate, inform, cheerlead and help independent writers. Indies Unlimited is one of the most popular of those sites, one that works hard to provide what authors, writers, and those working with them need to move constructively forward in a constantly changing industry. I was delighted to be invited to write a “guest post” for them.

In thinking about what salient issue to cover, I decided to throw some focus on the conundrum around “the quality of self-published books,” an ongoing discussion, even debate, that rages (OK, maybe rages is too harsh; how about persists?) amongst publishers, marketers, promoters, reviewers; magazines and newspapers, certainly readers and even writers, as the self-publishing trend continues to expand.

Those of us in the category are inevitably faced with a set of preconceived ideas and opinions about what a self-published author is and what that author provides by way of their independently published book, and while many of those notions are folly — or certainly non-applicable to the better writers — they DO, unfortunately, apply to far too many. This piece offers some rethinking about how to change that reality:

The Persistence of Self-Publishing Stigmas and How To Transcend Them:

We self-published writers are like the big kids Mom and Dad left at home with the baby; there’s a list of instructions on the refrigerator but we’re basically on our own. Which means we have no choice but to step up. To meet the challenge. To make sure the “baby” that is our book flourishes as well as the one down the street with the high-priced nanny…

… yet one [writer] remarked that most self-published writers can’t afford editors and cover designers and so they “do the best they can,” their books going out “as is.” Another told me, “Readers are less picky because ebooks are so cheap”….

 Click HERE to read full article at Indies Unlimited.

LDW w glasses

Visit www.lorrainedevonwilke.com for details and links to LDW’s books, music, photography, and articles.

About Those Book Reviews…

On By Lorraine Devon WilkeIn Latest Thoughts
Woman praying for… excellent book sales? Lotsa “likes”? Good reviews?

Self-promotion. Ugh.

To the creative soul awash in inspiration, artfulness, and flights of fancy, there is nothing more antithetical to the Muse than blowing one’s own damn horn. “Shameless self-promotion,” as a friend of mine puts it, which comes replete with discomfort and the awkwardness of braggadocio. But still… it seems we must.

Back in the day – or if you have the sort of career in which these characters appear – publicists, marketing and promotion specialists, managers, agents, handlers, etc., did the heavy lifting when it came to the strutting of stuff. The artist was protected from this crass commercial cacophony by virtue of having a team, a cadre, a crowd of enthusiasts who knew just what to say, when and to whom, to get that artist a front cover, a high-profile radio interview, the best book tour, all the right appearances at all the right places. Now? That cadre? That team? It’s you.

Well, it’s you if you are one of the growing number of independent artists who revel in the passion of creativity but wearied of shuffling behind velvet ropes held tight by the gatekeepers. Or, in simpler terms: damn, it’s hard these days to get an agent, publisher, manager, publicist, any of those folks!!

So what’s an artist to do; an artist who trusts their own voice and is willing to walk their own road even if those gate won’t open? Well, those artists are doing it for themselves. Just like the sisters.

Musicians made the leap first. When big labels tumbled into the swirling eddy of the digital revolution and no one understood how to proceed when all previously held paradigms blew into bits, musicians, bands, and singer/songwriters figured out how to transcend; how to get into those Pro-Tools studios and get the job done with a level of excellence that used to drain bank accounts but could now be covered by Mom, Dad and your freelance fees. And when they had their records recorded, mixed and mastered exactly as they wanted, without interference from bean-counters and suits with no idea of artistry, they got busy promoting the living hell out of those records, creating viable, accessible, impossible-to-pigeonhole careers as independent musicians. Which meant lots of teeth-gritting but ultimately necessary – and often quite effective – self-promotion. Entire careers have been built on that.

Now it’s the writers’ turn. The writing/publishing industry is/has been going through a similar upheaval and the pain is starting to show. While the Big Six publishing houses (some say it’s now the Big Five) have struggled against the turbulence of changing tastes, trends, and delivery systems for the written word, companies like Amazon have rewritten the book, so to speak, on how books are sold, writers are advanced, and readers are supplied. Money in traditional publishing has become unpredictable and unsustainable, which has led to gatekeepers selecting only a few who are predicted to fit the mold, meet the formulas, and overcome the changing tides. Which left out the other talented folk who, heretofore, would have been amongst the chosen. Have you seen the new Noah movie yet? Picture the bulk of writers as those left behind on terra firma as Russell Crowe battened down the hatches and floated off with his handpicked horde.

So those of us left outside have taken a cue from the indie musicians. Courtesy of Amazon and other sites, independent writers have been given the power to move forward despite closed door. The demand remains for excellent,  extraordinary, really good work; for brilliant stories, goose-bumping prose, and unforgettable characters. But, lo and behold, it appears a great many writers who were not let in the gates can and do provide that standard of literature. How lovely that the industry has evolved to the point that these outliers now have a portal, a support system, a facility with which to publish their own work! It’s quite brilliant. But…

Back to self-promotion. Because even though Amazon and affiliates do quite a good job at the various and creative ways in which they promote their authors – clearly a win/win situation – there’s no getting around the fact that independent writers MUST blow their own horns. Which means a great many things, not least of which is asking readers who’ve read their books to leave their – hopefully – positive reviews on their Amazon page… or wherever else such things matter, like Goodreads or Shelfari or other book sites. Reviews are not requested for the sake of ego; they’re requested for the sake of algorithms that rank a book by many things, including the number of reviews those books elicit.

So when a writer asks you to leave a review, understand that they are being a good, independent artist, taking very seriously their commitment to do right by their work, their art; their business. And if you can, if you are so inclined, if you are interested in supporting that artist, and, in a bigger sense, the independent publishing industry, you will be happy to leave one.

And that artist will be very, very grateful.

Woman Kneeling in Prayer by Émile Plassan @ Wikimedia Commons

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Visit www.lorrainedevonwilke.com for details and links to LDW’s books, music, photography, and articles.