Scott Oldford Site

Category: Marketing

  • Here’s a Fun Way to Build Your Freelance Writing Brand — And it’s Free!

    Here’s a Fun Way to Build Your Freelance Writing Brand — And it’s Free!

    Even before I made a living as a writer, I had a portfolio of clips and press mentions.

    I participated in a photoshoot with Real Simple magazine about women who used creative techniques to land a job. I was quoted in TIME after calling unpaid internships “degrading.”

    Sure, I still play by the rules and pitch like any freelancer, but creating buzz has made a huge difference in my career as a freelance writer.

    These stories, from CNN to Jezebel, continue to drive traffic to my website and establish me as a credible expert.

    How?

    HARO.

    What is HARO?

    Help a Reporter Out (HARO) was founded in 2008 by Peter Shankman, who set up a Facebook group to help sources connect with reporters. The group quickly morphed into a mailing list with hundreds of thousands of subscribers.

    Today, journalists use HARO to find expert sources for articles and assignments. Sources use HARO to secure media coverage. But even if you’re a writer yourself, getting press mentions through HARO is a great reputation-builder, especially if you’re just branching into the freelancing world.

    Access is free and only requires an email address. You receive source requests via email three times per day, organized by topics like business, lifestyle and health. Here’s a sample query to give you a feel for how it looks:

    Summary: Female-only spas

    Name: Bob Bobson of BigBlog.com

    Category: Travel

    Email: randomnumbersequence@helpareporter.net

    Media Outlet: BigBlog.com

    Deadline: 7:00 PM PST – 2 February

    Query:

    I’m writing an article about women-only spas and am looking for interesting properties, businesses owners or women who have spent time at these types of facilities. I will need a high-quality photo of the spa or a travel photo if you’ve been a patron.

    Each email can have dozens of requests, so it may feel overwhelming at first. There’s a subscription option that starts at $19 per month to allow keyword filtering, search and text alerts. I just go with the free version — unless you’re a PR pro with dozens of clients, you probably don’t need the paid version.

    Queries vary. Many are specific. “I need middle-aged women in Detroit going through a divorce.” Others may just need to “talk to life coaches.” Each request contains the topic, journalist name, category, media outlet and deadline. It also includes a HARO-provided email address that expires at the deadline so potential sources don’t bombard the writer for months and years to come.  

    How HARO can grow your reputation

    HARO has been instrumental in growing my online brand. So if the Internet is at all part of your strategy to get clips and clients, getting press should be part of that strategy.

    The good news is: It’s easy and fun. A few reasons it’s worth paying attention to daily HARO emails:

    Added SEO power

    Regardless of whether you actively optimize your website for search, getting links back to your website is usually worth the effort. Many publications don’t link to their sources, but plenty of online publications do; if you end up exchanging emails with a HARO journalist, just ask if they’ll link back to your site if they quote you.

    Valuable introductions

    Just last week I answered a HARO query regarding a topic I’m writing an essay about. I mentioned the essay in my pitch and the editor said, “Send me your essay when you’re done, I’d love to read it!”

    Boom. A new contact at a new-to-me publication where I’m less likely to end up in the slush pile.

    New clients come to you

    After my feature in Real Simple where I sung the praises of Facebook’s ad platform, I received a dozen or so emails from strangers saying, “I found you through TIME. Are you taking on new clients?”

    It was that simple.

    To capitalize on this, make sure your site explains your services and includes your contact information.

    Press mentions feel fancy

    Look, I like that I can brag about my photo in Real Simple. I love having publication logos in the footer of my blog. I feel a sense of accomplishment and credibility I don’t often feel during my life as a work-from-home writer. Your press mentions can be a valuable reminder of your credibility as an expert in whatever field you write about.

    Tips for responding to HARO queries

    As you can imagine, reporters often drown in a sea of press releases, so you won’t hear back from every pitch. HARO is only valuable if you’re valuable.

    Here’s how I get the most out of HARO.

    1. Be the perfect fit

    Don’t respond to a query asking for photographers in France if you’re based in Australia. If you’re not an obvious fit but still think you have insight to offer, explain that to the journalist. Don’t make anyone guess your qualifications from your response.

    2. Be enthusiastic!

    You’re promoting yourself and your expertise. Capture attention by showcasing your passion. Whether you’re giving your thoughts on the latest social network or telling the story of how you met your spouse, your pitches need oomph.

    What doesn’t have oomph? Press releases. A list of stats. A cut-and-paste form letter.

    Stand out by caring. Write something personal!

    3. Answer the questions

    Never write, “Visit my website for more information.” Answer the reporter’s questions as they’re asked. If they ask for  “One sentence only,” write one sentence only.

    This is not the time to be an overachiever.

    4. Keep it short

    Don’t send your entire media kit, complete with past clippings and press releases. If your story or expertise is a good fit, the reporter will ask for additional information they need.

    5. Think outside the box

    If your experience is different, spell out why. If the reporter asks for opinions on dating, don’t give the same tired tips.

    The media loves controversy, different points of view and discussion. The best way to get publicity is to be different.

    6. Write a compelling subject line

    HARO tags all queries with the line, “HARO: New Pitch – Your subject line.” So make that line specific.

    If the topic is vegetarian cooking and you run a vegetarian cooking blog, say it right away. Your subject could read, “I run an Oakland-based vegetarian cooking blog.” Some reporters will tell you what specifically to write, so follow instructions if they’re available.

    7. Provide contact information

    End your message with a phone number, website or Twitter handle. Make it as easy as possible for reporters to get in touch for further questions.

    Bonus points if you include specific times you’re available to chat.

    8. Respond before the deadline

    If a journalist responds and wants to schedule an interview, reply as quick as you can. Most journalists are on deadline, so you’ll need to be speedy if you want to be featured.

    9. Manage your time

    I send HARO emails to a separate folder and sift through them once per day instead of as they arrive. I may miss out on the super time-sensitive requests, but doing this helps me manage my time and avoid getting distracted by endless queries.

    I spend maybe half an hour per week max responding to press requests through HARO. As a result, I’ve met some incredible people, grown my writing business and built up a solid online brand I’m proud to share.

    Have you ever used HARO as a source or as a reporter? Did you find it useful?

  • Want to Speak at Writing Conventions? How to Write a Great Pitch

    Want to Speak at Writing Conventions? How to Write a Great Pitch

    As publisher-backed press tours dwindle in an uncertain publishing age, authors are asked to do more to sell their books.

    But whether you’ve penned the latest undiscovered bestseller or dabble in more academic fare, writers and book professionals of all stripes can find new audiences for their work through an often-overlooked venue.

    Literary festivals and conferences are a wonderful way to target market your writing while networking with other writers, publishers, and agents — especially for authors promoting a first book, freelance journalists looking for exposure or academics searching for exposure outside the classroom. Plus, most festivals and conferences are tremendous fun, with author parties and free access to other events.

    “As an editor and writing mentor, I’m grateful for literary festivals as places I’ve connected with brave writers in need of support, which means the opportunity to do more of the work I love,” says author, developmental editor and writing coach Jen Violi.

    As Violi points out, literary events are a wonderful way to find your tribe and garner more business.

    So how do aspiring presenters get started?

    Many festivals and conferences are open to unsolicited proposals, and writers of every genre and type can find a way to get on the dais as part of a panel if they know what steps to take.

    Some conferences, like The Association of Writers and Writing Programs (AWP), have a strictly structured submission process that even has its own handbook. But there are dozens of literary festivals in the North America alone, many of which are programmed by understaffed nonprofits who welcome a well-crafted proposal.

    As the former Associate Director of the The Tennessee Williams/New Orleans Literary Festival and an executive director of an arts center, I’ve seen firsthand how unknown-to-me authors who understand the process of programming a festival can persuade me to give them a chance.

    The problem is that many writers don’t know how to present themselves in a way that makes it easy for festival or conference staff to say yes. Below are a few tips for those who want to make the most of their marketing opportunities at literary events.

    1. Do your research

    Of course, it’s best if you can attend a festival first to get an idea of the atmosphere and make in-person connections with the organizers — but doing so isn’t always possible.

    If you haven’t attended before, make sure to research the event guidelines. Many organizations offer an FAQ or author page that provides guidelines for submitting ideas for their upcoming events.

    Be certain to look for these before you craft a proposal. If you don’t see anything, you can email program staff to see if they have a preferred method and format.

    Browse past years’ offerings to get a sense of the focus of the the festival or conference. If you’d like to talk about your latest memoir but see that the previous year offered a similar panel, develop another angle. If all the events are aimed at an edgy, younger crowd, don’t spin yourself as a boring fuddy-duddy.

    Some festivals are genre specific, like Travel Classics, which only deals with travel writers who have an established reputation. Knowing the event and its audience assures not only that you might get a green light to take part, but also that your appearance will be well-received by attendees.

    That success leads to sales and other opportunities.

    2. Plan ahead

    Many literary festivals and conferences set their schedules up to a year in advance. If you’ve got a session topic that you think might be perfect, you can always try to submit in the hopes of a last-minute cancellation; but you’ll have far more success if you start early.

    Some organizations have specific proposal submission periods, so again, research and tailoring are key. Timely submissions are another way of showing programming staff that you respect the hard work it takes to pull off events like these.

    3. Craft a pitch that persuades

    Don’t say, “I’m a great writer with a new book coming out and I’d like to come to your event.”

    Instead, provide a brief bio (really, one paragraph should suffice) and then suggest a panel you think fits well with the organization’s programs.

    Think like a journalist: Create a succinct pitch that compels organizers to see how your topic might work at their event. The more complete your proposal, the more likely you are to advance in the process.

    Many literary festivals look for a wide variety of content, so if you don’t write mainstream fiction, don’t be dissuaded from pitching a great idea.

    Some of The Tennessee Williams Festival’s most fascinating panels have come from academics exploring leprosy or literary theory. Remember, festival staff want smart, new ideas that come fully formed.

    Cookbook author? Propose a session where you tell the stories behind a few choice recipes, offer tastes to the audience, and share tips on getting a cookbook published. Such an event appeals to foodies and aspiring Ina Gartens alike.

    Think about what you would like to see at a literary event or conference and move beyond the staid and well-worn topics to offer fresh insight.

    4. Be specific, but flexible

    Sometimes, even if you have a terrific idea, the staff simply has no more room on the schedule grid.

    Most festivals and conferences take place at venues with strictly limited space and time. As part of your pitch, let staff know what other topics you can speak to. They may not have room for your particular idea, but have an extra seat on a panel that’s already committed.

    Alternately, you may become more attractive if staff can place you in several events. So if you’re an academic that wrote a book about feminist theory, but you also edit a literary magazine, let them know about your versatility.

    5. Be upfront about your financial needs

    Many nonprofit literary festivals operate on tremendously tight budgets with top honoraria reserved for big-name draws. If you need airfare and hotel in order to come and expect an honorarium of a certain dollar level, then be upfront about it.

    If organizers pay $100 for a panel appearance but you want $2,000, it’s not worth it for anyone to proceed. But if you’re flexible, mention that — and keep in mind that many festivals and conferences pay nothing or offer only small travel reimbursements.

    “The key is to estimate ROI,” says Matt Peters, writer and founder of Beating Windward Press. “Will you make more from the exposure than it will cost you to get to and participate in the [event]?”

    Peters says that even some unpaid conference appearances have ended up as wins and have helped him make contact with new authors, publishers and agents.

    Some writers can look outside the festival or conference for funding. Many universities offer travel grants or stipends for academics to attend events. Perhaps you have another partnership in mind that would share in the costs.

    Writing is a business, so think like a businessperson and present yourself as a smart buy.

    6. Build your portfolio

    All writers need to be comfortable with rejection, and you may not get into to every festival to which you apply.

    Don’t take it personally.

    While many organizations have some wiggle room in the number of new voices they can feature, it may not be your year. However, you can still gain exposure by going local. Before jumping into the bigger waters of major literary events, get comfortable on smaller stages.

    Reach out to your local library to ask if they’d like you to do a talk or a discussion. Inquire at your area arts center to see if they offer workshops or events from writers, and pitch a program there.

    Doing smaller-scale events will help you be more at ease once you get to the most prestigious stages, and if you have a friend film them, you can offer a quick clip to the bigger festivals when you pitch (just make sure you have participants sign a waiver so you can use the footage).

    So get going, writers. By taking the time to create a well-tailored idea, you may just get the chance to go interesting places, meet fascinating people and sell more of your own work.

    To get you started, here are some links to a few great literary festivals:

    And some international biggies:

    Have you spoken at a literary event? What tips would you add for aspiring conference speakers?

  • Need a Book Blurb? 6 Steps to Getting an Awesome Endorsement

    Need a Book Blurb? 6 Steps to Getting an Awesome Endorsement

    It’s a good time to be a book lover. With more than 32 million books listed on Amazon, there is no shortage of choice for readers.

    Those same stats, however, are stacked against authors.

    With the average reader finishing only an estimated 15 books a year (and many picking up far fewer), you’ve got to squeeze through a pretty fine filter for a reader to pick your book over someone else’s.

    With competition this fierce, high-profile blurbs and endorsements are more important than ever to build your book’s credibility and visibility. Reader reviews are great, but they’re no substitute for praise from a bestselling author or high-profile leader in your field.

    You need a few good blurbs to help convince readers to pick up your book.

    If you’re working with a publisher, they may assemble an information package for you to send out to potential contributors, or even handle the collection of blurbs themselves. But most authors are their own marketing department.

    Even if you’ve got the support of a publisher, don’t leave it to them to solicit contributions without your input. Leveraging your direct — and even indirect relationships — will get a better response than an anonymous request from a publishing house ever could.

    Here are my top tips for getting the right blurbs for your book.

    1. Aim high

    To trigger actual sales, your blurbs need to come from people your audience knows and respects. They fall into four camps:

    Bestselling authors

    Name recognition trumps perfect alignment of subject matter, although it’s best if your contributors are strong in both respects.

    High-profile experts

    If they aren’t a household name, their title and organization must be. Think heads of large organizations and CEOs of major corporations.

    For example, a blurb from the director of cancer research at a major hospital would carry some weight. Your family doctor, not so much.

    Journalists

    If a reporter likes your book, they may give you a blurb even if they can’t do a full review. And if you’re successful at landing pre-publication press, of course you can pick out the best line for the book jacket.

    This doesn’t have to come from a literary reviewer or books editor. Depending on your subject matter, the endorsement of a health or tech reporter would have even more impact, as long as they’re affiliated with a credible media outlet.

    If a journalist has written and published a full review of your book, they should expect that you’ll want to use their words on your book’s jacket or in its praise pages. You don’t strictly need to obtain their permission to do so, but it’s good practice to run the cut-down quote past them, as a courtesy (and as a thank you!).

    Straight-up celebs

    Maybe we shouldn’t care what a movie star thinks, but we do. People are shallow. Send inquiries to their publicists. If you’re writing about a pet interest of theirs, they might just say yes.

    Start working on your dream list of blurb-writers as early as possible. Who’s name would you love to see on your book jacket?

    2. Work your contacts

    Sometimes the greatest rewards can be found closest to home.

    Tap any high-profile professional contacts you might have first, of course, but don’t be shy about putting the word out through family and friends too.

    If someone you know has a connection to a high flier, ask them if they would mind passing your manuscript along. And of course, put it out to social media. People are more helpful than you might give them credit for, but you won’t get anything if you don’t ask.

    3. Start early

    It’s never too soon to start drafting your network into providing endorsements for your book, especially if you have influential people among your personal friends or professional contacts.

    Even while you are writing, ask your warmest contacts to look at your manuscript when it’s ready. Keep their names and contact information in a spreadsheet, and make a note of who said yes, no, and maybe. It will be easier to get the goods from them later.

    Send your package out at the earliest possible opportunity. The manuscript must be complete, but not necessarily polished in order to send it out. A common time to start gathering endorsements is when the manuscript is with your copyeditor for fine-tuning.

    4. Make it easy

    When you’re asking someone a favor, make it as easy as possible for them to say yes — especially when this busy person’s help means a lot to you.

    Start with an email inquiry or third-party introduction. Include a single page with all the background information for your book: Synopsis, format (hardcover, paperback or ebook) and book specifications (number of pages, trim size), price, release date, and publisher info.

    Don’t forget to include a short author bio. Send full-color cover art too, if it’s ready, and maybe even a short excerpt from the book. The idea is to hook them into wanting to read more without overwhelming them with the whole shebang.

    Offer to send them the full manuscript by PDF or mail them a hard copy. But bear in mind that printed copies can be pricey to produce, especially when you factor in express mailing fees, so reserve these for A-list readers, or those who specifically request them.

    5. Be polite

    Give your blurbers plenty of time to read and respond to your package. Nobody likes to be under pressure for a favor.

    And do take no for an answer — graciously! You may only need two sentences, but it can be pretty time consuming to write a short, persuasive message. And, of course, they have to read the whole book first. Anything less than a two-week turnaround would be a rush job, and is likely to be turned down.

    Say please and thank you again and again, and offer to send them a copy of the finished book.

    6. Keep it brief

    Blurbs for your book jacket and praise pages inside the book can be short — in fact, they must be as brief and punchy as possible. Two sentences is plenty.

    Be clear about length when you ask for blurbs, so your contributors don’t spend time writing lengthy paragraphs that will only have to be cut.

    Ideally you’ll want to get blanket approval to edit blurbs for length, since almost all blurbs can be improved with a little tightening. If you do need to trim (or you want to tweak its focus) be sure to send the text back to its contributor for their approval before putting it through to the designer.

    Now you’re ready to get out there and round up some high-quality endorsements for your book. This process takes a bit of legwork — sometimes a lot of legwork — but it’s well worth it. If you get a real humdinger, be sure to put it right on the front cover. It will make all the difference for your credibility, media attention, and book sales.

    Already gotten a great blurb? Share it in the comments!

  • What You Need to Know About Publicity Before You Self-Publish

    What You Need to Know About Publicity Before You Self-Publish

    An efficient media strategy can put your name and your book in front of a far bigger audience of potential readers than you can possibly reach yourself.

    Unfortunately, many self-published authors assume that traditional publicity is out of reach. This couldn’t be further from the truth.

    Reaching a wider audience involves a solid author platform and a book marketing plan.

    Once those are in place, it’s time to focus on publicity and media coverage.

    Over 30 years working in the media, I’ve been contacted by all kinds of people who wanted access to my audience — including authors, filmmakers, recording artists, comedians, businesspeople, as well as publicists representing those people.

    Their pitches have ranged from elaborate and expensive (custom-made folders, branded tchotchkes, publicity materials printed on the fancy stationery) to some that were very simple (just an email or a few sheets of paper).

    The best pitches weren’t necessarily those that were the most elaborate or the most expensive. In fact, what the best pitches have in common has nothing to do with expense or extravagance.

    At the most basic level, a media pitch is simply correspondence that explains your story angle. It doesn’t require a formal press release, glossy paper, or a presentation over hors d’oeuvres or martinis.

    At the end of the day, all that matters is whether your story angle will keep my audience engaged. You can send it via singing telegram — sure, it would get my attention — but it’s not going to help you if I don’t believe that my audience wants to hear your story.

    [bctt tweet=”Here are five common myths about publicity for self-published authors”]

    Plus ways to break them as you start your own promotional campaign.

    [twl_reusable_block post_id=41455]

    Publicity myth #1: It won’t work for my kind of book

    Every type of author has a fair shot at being interviewed, profiled or reviewed.

    Sure, some types of books are easier to sell than others — but any kind of author with any kind of book is just as eligible for coverage from print, broadcast and digital media. It’s all in how you present yourself.

    The next time you’re standing in the checkout line at the grocery store, take a look at the magazines racked next to the candy. The cover text text shouts story hooks that pique your curiosity. That text has one job: Get you to flip open the magazine.

    The cover lines promise you the answers to secrets, gossip about someone’s private life, and tips to be healthier, wealthier, and/or wise. The text almost never proclaims, “Here’s a product that exists!” They’re always focused on topics and story angles that will make that audience turn the pages.

    Now, let’s look at your book. No matter its primary topic, there are likely to be more discussion starters than “This book exists.” The topic of the book may lend itself to discussions about money, health, or issues of public interest.

    But what if it doesn’t lend itself to an easy discussion starter? Maybe your book is a novel, a retelling of some obscure historical events, or a how-to book on building cabinets.

    If that’s the case, you may have to dig a little deeper. But discussion starters are in there somewhere. What can you share about what inspired the book, or what you learned while writing it?

    Publicity myth #2: Media coverage is expensive

    Actually, publicity, by definition, doesn’t cost anything at all. If you have to pay for it, it’s called “advertising.”

    You can book an interview yourself with just an email and a PDF copy of your press kit. And email and PDFs are free.

    Now, should you hire a publicist?

    Think of it this way: A good publicist can be like a guitar teacher or a tour guide or an athletic coach.

    You don’t need to hire that person to play the guitar, take a mountain hike or train for a marathon. But a good teacher or guide may help you get results faster than you would have alone.

    You may decide to hire a publicist or a marketing team. You just don’t have to.

    If you’re going to be your own publicist, the first job is to figure out whom to contact. How do you do that? Let’s think of it as a series of circles around your target. Working our way from the outside toward the center:

    Don’t be mesmerized by the size of a particular outlet’s audience — if that outlet doesn’t speak to your audience, you’re just wasting everybody’s time.

    Remember to tailor your media pitch — which is more of a letter than a traditional press release — to a specific person at a specific outlet. Start with a goal of contacting 3-5 media influencers. Get some small wins before you start gambling away your time trying to get on The Today Show.

    Remember, every time you appear in the media is valuable to your long-term goals.

    Publicity myth #3: The media only cares about famous people

    TV producers and print editors and webmasters only care about their audience.

    Media producers are interested in any guest or topic that will hold that audience’s attention. If you can make a compelling case for your news angle’s appeal to the audience, you have a realistic chance of getting booked.

    If you can make a case for your new book (as reviewed in myth #1), you’re well on your way to grabbing producers’ attention.

    Publicity myth #4: All I have to do is announce myself

    The best publicity pitches succinctly explain your story hook and why your idea is suitable for that specific audience. Since media professionals are always on deadline, “Here I am, figure me out!” pitches never get anywhere.

    If you want that media contact to take you seriously, make your pitch clear and to the point. Explain who you are, why you’re pitching, and your story angle for their audience.

    A strong publicity pitch will go past the “This book exists” angle and use that book as a discussion starter for that audience. In fact, the pitch may not even be about the book at all. It could be about a part of your research, or how current events can be viewed through the lens of your book.

    Your story pitch won’t always be directly about your book. The resulting coverage will always include your book, since you’re the expert. See the difference?

    Publicity myth #5: I only have one shot at media coverage for this book

    For several years, I was the editor in chief for a group of music magazines. During that period, one of the sharpest publicists I knew found a brand-new excuse to pitch something about a particular client every six to eight weeks.

    Some pitches got her client into the news column, some got the band into the review section, and some led to interviews. She understood that a strong publicity strategy unfolds over time.

    How about you? Can you think of five or more different points of entry to start a discussion about your book?

    As you plan your promotional campaign, think beyond “Here I am!” announcements and dig into what you have to offer readers, viewers and listeners.

    If you know your target audience, and you know the media outlets that speak to that audience, there’s no reason you can’t come up with a great pitch. More importantly, there’s no reason you shouldn’t come up with a brand-new pitch for that audience every few months until you publish your next book.

    And then the cycle can start again.

    What tips do you have for authors pitching themselves to the media?

  • Are Book Trailers a Marketing Must-Have?

    Are Book Trailers a Marketing Must-Have?

    Congratulations! You’ve written your book. You’re ready for its big debut.

    But with an increasing number of books published each year, combined with declining sales, it’s more important than ever to make sure your book stands out.

    One way to do this is through a book trailer: a short video introduction to a book. Book trailers come in many different forms: You could feature a scene from the book, show a clip of yourself speaking about your novel, or present a slide show relevant images and animated text.

    And since selling books in the digital age is all about getting exposure, a book trailer might seem like a natural marketing tactic.

    But is a book trailer truly the way to go? Here’s what you need to know about book trailers before you make a decision.

    Three reasons to make a book trailer

    Excited to show off your new book? Here’s why a book trailer might be a good choice for you.

    Book trailers can make a lasting impression

    A trailer offers a greater sensory experience than a typical print ad or online feature to communicate your book’s purpose.

    Since book trailers are still pretty new and not every book has one, your book has the chance to make a much stronger impression on a potential reader.

    They’re easy to consume and easy to share

    Let’s face it: Fewer people are browsing through bookstores and perusing book reviews in the newspaper.

    In an age of information overload, book trailers offer a low barrier to entry to consume. t’s easy to sit back and watch a one-minute clip, especially if it’s one you stumble upon in your Facebook newsfeed or YouTube suggestions.

    Viewers recognize video as entertainment, so while a book trailer might be one of your more labor-intensive pieces of your marketing material, it is one of the most shareable, with potential to go viral.

    Book trailers are eternal

    While the financial investment in a book trailer might not pay off right away, it may over time. One of the greatest strengths of video marketing is that it’s eternal.

    Other book marketing efforts, like ads or launch parties, have temporary reach, but a book trailer will live on as long as it remains online. Over time, it can continue to introduce new potential readers to your work.

    Four reasons to skip it

    Not convinced it’s worth making a book trailer? These reasons might confirm your skepticism.

    Book trailers are held to a high standard of quality

    Anyone who comes across your trailer will expect a high-quality cinematic experience. Book trailers get compared to and essentially compete with movie trailers, according to an episode of Thomas Umstattd’s podcast, Novel Marketing. We’re used to the quality of high-budget movie trailers with superior editing, emotion-grabbing audio and exciting visual effects.

    But “a bad trailer is worse than no trailer,” Umstattd warned. A poorly made book trailer sticks out. It can damage the image of both you and the book, and it can hurt sales.

    Because they’re so memorable, book trailers that miss the mark can turn into painfully public marketing failures.

    Book trailers are not a universally accepted book-marketing tactic

    Many authors, publishers and readers are wary of the emergence of book trailers, because they intrude on the reading experience.

    It’s like seeing the movie before reading the book: The book no longer has the privilege of introducing readers to its world. The trailer can take away from the world the reader imagined.

    A good book trailer involves a huge investment of time, money, and skill

    A 45-second book trailer may sound simple to produce, but remember video is an entirely different medium than print — it requires a tailored perspective and set of skills.

    Think about everything needed to make a quality trailer: storyboard, script, scenery, music, props, actors and crew, camera and other film-making technology, editing expertise and more.

    While there are some great ways to make a low-cost book trailer on your own, an exceptional trailer can end up costing thousands of dollars.

    It’s hard to determine ROI

    Book trailers are notorious for getting few lifetime views and unimpressive conversion rates. Only 0.2 percent of people surveyed by the Codex Group in 2010 said they found their most recent book from a trailer, and 0.1 percent identified the book trailer as the persuading factor to purchase it.

    Buta great video on a sales landing page can increase conversions up to 80 percent, Unbounce reported in a recent podcast on video marketing.

    These statistics highlight a major risk of producing a book trailer: What if you make one, but your target audience never sees it? A video may get a lot of views, but not all viewers are potential readers.

    More promising prospective buyers find their way to sales pages, and that might be where a book trailer best contributes to sales.

    A book trailer has the potential to be an incredibly successful and valuable addition to your marketing campaign — or it could be a total disaster. It’s a risky marketing strategy, and a good decision depends on a strong cost-benefit analysis well before your book’s launch date.

    Does your book have a trailer? How has it contributed to your sales?

  • How to Use Periscope to Build Your Writing Brand

    How to Use Periscope to Build Your Writing Brand

    Can writers benefit from live video streaming?

    It seems like every time you turn around, there’s a new app or social media tool that makes claims about getting your name in front of a larger audience. The novelty of that new tool is quickly replaced by pressure to create content — and pressure to see results from your efforts.

    Live video streaming might not seem like a natural promotional tool for writers who work through the written word more than relying on their voice or image.

    But creating live video streams through Periscope could help you build your brand and engage with your audience in a fun new way.

    What is Periscope?

    Get the free Periscope app, link it to your Twitter account, and you’re ready to stream live video instantly. You can create private broadcasts for invited users or share them with the public via your Twitter feed.

    Videos are only available on Periscope for 24 hours, but broadcasters can save a copy of the video to be uploaded elsewhere, like a YouTube channel.

    Some peopler prefer a similar app called Meerkat, and Facebook is in the process of rolling out its own streaming-video option. But Periscope’s integration with Twitter has made it the most popular of the streaming video contenders, with 10 million registered accounts and about two million active users every day.

    Distraction, or marketing tool?

    Some folks see live streaming as a distraction. Marketing expert Chris Brogan has done several scopes to see how it will benefit his business. Even though he grew his list and made some sales, he hasn’t joined the growing numbers of mega fans, many of whom were disappointed he didn’t like the new platform.

    Others have completely embraced it. Derek Halpern of Social Media Triggers was intially skeptical, but gained a huge following on Periscope with just a few broadcasts of business tips, impromptu interviews with mega-preneurs like Marie Forleo, and book recommendations. Of course, Derek’s an ace in video blogging, so this platform is perfect for him.

    How to use Periscope to build your writing business

    So how in the world can writers take advantage of this?

    Freelance writer Carrie Smith of Careful Cents uses Periscope to offer behind-the-scenes looks at her work space and Q&A sessions about freelancing and budgeting.

    “I am really loving Periscope, and will definitely be leveraging it more,” she said. Smith sold a coaching session after a particularly successful scope.  

    Blogger Javacia Harris Bowser has created a weekly event tied to her organization, See Jane Write. She hosts #SeeJaneScope events where folks can discuss blogging, business and writing goals.

    Career writer Jon Acuff often summarizes longer social media posts into a quick list on Periscope, with titles like “10 Small Things Every Big Writer Needs to Know.”

    My Periscope streams have teased upcoming blog posts in a similar fashion. I’ve also used it to give live tours of interesting places I’ve visited. Most of my scopes have been brief and personal.

    Periscope best practices

    To recap: behind-the-scenes scopes, Q&As, blog teasers, regular events and video social media posts are a few ways writers can use Periscope to build your brand.

    But before you sign up, remember a few things:

    1. This is a brand new (and changing) form of social media

    Give Periscope the same respect as other new tools.

    And like those other social media tools, Periscope notifications can be quite addicting. You could spend an entire day watching broadcasts or creating broadcasts to ask people what nail color to pick at the salon (I saw this happen, for real). Try not to get sucked in.

    2. Be purposeful when creating and watching video

    You can automatically add everyone you follow on Twitter to your Periscope account. But since this media is just getting off the ground, not everyone is using it.

    Only follow people who broadcast regularly. If you go to someone’s profile and they only have one heart or have no recent broadcasts, it’s best to unfollow them. Hearts are insta-likes: viewers can tap the screen to indicate when they like something. You get one heart automatically for joining, so if there’s just one heart, more than likely they haven’t done any broadcasts.

    3. Integrate Periscope into your social media or content marketing plan

    Even if you scope sporadically, prepare for in advance and make sure you provide valuable content to keep people watching.

    If you have a plan a certain number of Facebook or Twitter posts every week, do the same with Periscope broadcasts. Include them on an editorial calendar with other content you produce.

    Periscope is new and features will be added (and possibly removed) as the needs of its audience changes. Just like any other social media platform, if it’s not for you, don’t include it to showcase or market your writing.

    What do you think of this new platform? Do you think you can use it in your writing business?

  • How to Market Yourself as an Author Before You Have a Book to Sell

    How to Market Yourself as an Author Before You Have a Book to Sell

    Let’s say you have a book out and want to promote it. So you contact a website and offer to write a free guest post (or several) for them.

    In exchange for providing the free content, you have some requests:

    • You want the column(s) to be accompanied by your book cover
    • You want the column(s) to be accompanied by your headshot
    • You want the column(s) to be accompanied by your bio, with a link in the bio that will redirect readers to a buy page for the book — Amazon or IndieBound or whatever you ask

    Some people may have further things to promote, like classes or workshops or consultation services or an eBay profile full of knickknacks. It doesn’t matter.

    The point is that if you’re writing the column for free, what you want out of the exchange is the chance to promote something. Simple and easy.

    This is Guest Blogging 101, and everyone wins in this deal.

    The best time to promote yourself: now

    But what if you don’t have a book or anything to sell yet? What are you selling then? Simple:  You’re selling a connection to yourself.

    Sure, you don’t have a book for sale now, but you will in the future — so you need to connect yourself to interested individuals now so you can inform them of the book release down the road.

    You can encourage potential readers to stay connected to you in a few simple ways:

    • Follow you on Twitter
    • Sign up for your free email newsletter
    • Like your Facebook fan page, or befriend you on your personal page
    • Subscribe to the RSS feed for your blog

    If you get someone to connect with you in any of these ways (preferably in multiple ways), then you establish a lasting connection with a person that doesn’t likely disappear.

    This means that when your book comes out in three weeks or three years, you still have an avenue to inform them of its existence, and thus possibly make a sale. This is your author platform, plain and simple.  

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    Give people a real reason to connect with you

    Not sold on this concept? Let’s imagine a simple, watered-down scenario.

    Say you get a call from the local Toastmasters Group. The coordinator says, “We just had a last-minute speaker cancellation. I’ve got 50 people in this room waiting to hear a speech. I got your name from [acquaintance] and she said you were an aspiring writer and a very good speaker. I wonder if you might be able to come down and talk to my crowd.”

    Your answer is yes. You throw on some nice clothes and head down. Then for one hour you speak in front of this Toastmasters crowd about [anything you want].

    At the end of the speech, you motion to a sign-up sheet near the door. “If you enjoyed what you heard today,” you say, “please sign up for my email newsletter so I can update you from time to time on my writing.”

    This is the key element. You’ve given them 60 minutes of information for free. The whole payoff is them signing up for your newsletter.

    Then all 50 people slowly get up and mosey out the door, with not one leaving an email on your sheet.

    If that happens, then what was the point of speaking?

    Fifty people just walked out the door and you have no means to contact them later.

    If you don’t have a product or service to immediately promote and sell, you must connect to people so you can have a selling avenue down the road, or else they can slip away forever.

    If they befriend you on Facebook or subscribe to your blog, then you nabbed that valuable connection and can potentially get them interested in your future products and services when you reach out down the line.

    Keep in mind that people need motivation to stay in contact with you — they need to know you’ll be giving them something of value.

    Let’s just say the Guide to Literary Agents didn’t exist and I had no books to sell, but I did have social media accounts.

    In my bio on a guest post, I would say, “If you’re looking for a literary agent, check out Chuck’s blog, sign up for his newsletter, and follow him on Twitter. All those channels include free information about queries, submissions, new agents, interviews, platform and more.”

    In other words, I don’t just say “And follow me on social media — pretty please.” I drive home the incentives of connecting with me.

    And by doing that, more people link with me online, and I gather more followers to inform of a book down the road.

    What tips would you add for forging relationships with potential readers?
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  • Why Skipping Writing Conventions Hurts Your Career

    Why Skipping Writing Conventions Hurts Your Career

    How many conventions and conferences have you attended this year? How many do you plan to attend in 2016?

    If you’re not building conventions into your freelancing career strategy, you’re missing out on invaluable opportunities to meet other people in your industry, build connections and establish yourself as an expert in your field.

    How do I know? Because my career wouldn’t be where it is without my convention presence.

    Why I’ve made writing conventions an important part of my career strategy

    Having an online career is great. I can write from my home office while communicating with editors via email or Hipchat.

    Social media platforms like Twitter and Tumblr help me meet and interact with other editors and writers, and I can both build my network and promote my work.

    But you still can’t beat the in-person interaction. Many of my career’s biggest jumps have come from meeting people in my industry face-to-face, and so I’ve made it a priority to meet as many of these people as possible.

    Where do people in this industry gather? At writing conventions.

    Sure, you can always arrange to meet an individual editor for coffee. But when you go to a convention, you might meet several editors at once, not to mention writers, producers and other people who keep the online writing world going.

    At conventions, you get to interact with people in a structured social environment.

    Conferences are kind of like school: You attend panels or courses with other attendees, you all go to the same hotel restaurant for lunch and dinner and — depending on the convention — you might end up at a dance or rock concert together.

    It becomes relatively simple to start up conversations, whether you’re asking someone “What type of writing do you do?” before a workshop begins, or asking “Didn’t I see you at the pitching panel?” when you run into someone at the bar. (If you enjoy social drinking, the hotel bar is one of the best places to meet people at conventions.)

    The fact that you’re all sharing a similar experience makes it easy to interact with people. Remember how you made friends at school just because you happened to be in the same homeroom? Conventions are like that — and that’s why they are an important part of my long-term career strategy.

    Which conventions should you attend?

    Now that I’ve sold you on the importance of attending conventions, which conventions should you attend?

    It depends on a few factors, including distance, reputation and your interests.

    If you’re in a major city, start with a convention in your city. If you’re in a small town, see what you can find in a day’s drive.

    Sure, if you’ve got the time and the cash, you could drop everything and fly to New York for Bindercon in November, but it’s easiest to get your convention feet wet close to home. Plus, if you start attending conventions in your home city, you’ll get to know other local freelancers and writers — an invaluable resource.

    You also want to consider a convention’s reputation. Good conventions attract good people, and you should look for a convention that is likely to attract people working both at your current career level and at the levels above you. You don’t want to spend the money and time to attend a convention only to find  you’re the most experienced writer in the room!

    Look for conventions that reflect your interests. The people who attend FinCon are going to be very different from the people who attend AWP.

    There are conventions for content creators, for novelists, for sci-fi and fantasy writers, and for bloggers. It’s your job to find the convention that is closest to both your interests and your career goals.

    Here are some conventions to consider:

    • Bindercon: This is the convention version of the popular Facebook group that focuses on professional development for women and gender nonconforming writers. If you can’t attend in person, they also offer online programming, like livestreams of some panels. 
    • AWP: This huge literature convention includes an enormous bookfair. You’ll probably get a lot out of it, but you might feel like a tiny fish in a big pond.

    • BlogHer: It feels like BlogHer has been running conventions since the beginning of the Internet. If you’re a woman and a blogger, check it out — and search the Twitter hashtag #BlogHer15 to learn more about previous attendees’ experiences. (If you’re reading this from the future, just change the year on the hashtag to see the latest!)

    • Intervention: This small convention focuses on building an online career around your passions and skills. I’ve been every year since it launched in 2010, and I consider it one of the best things I’ve done for my career.

    • Norwescon: There are a number of highly reputable sci-fi and fantasy conventions across the country. I live in Seattle, so I attend Norwescon. It’s a good space to meet other writers and editors and talk about the industry; last year, George R.R. Martin was the guest of honor.

    • FinCon: If you’re into personal finance or write about money matters, this is where to go.

    Advanced convention techniques

    I’m about to get on a plane to Minneapolis for the first annual Nerdcon: Stories. I bought my tickets the day the convention was announced, because I knew it was important for me to be at a convention that’s celebrating stories and diverse methods of storytelling.

    It’s also important for me to be at this convention during its first year. Attending a convention during its early stages, while it’s still relatively small, gives you a chance to meet the other early adopters and form the friendships you’ll strengthen as you return to the convention year after year.

    Repeat attendance at conventions is essential. If you enjoy your convention experience, make it a priority to come back the next year — and if you’re trying to figure out which conventions to fit into your schedule, focus on the ones you’ve already attended.

    It’s like summer camp; the more you come back to the same place with the same group of people, the stronger your relationships will grow.

    It’s also worth it to get to know the convention organizers and ask them about panel opportunities. I regularly get asked to participate in panels on everything from “running a crowdfunding project” to “handling your online image,” but it took about a year of reaching out to various conventions before I got to the point where conventions started to reach out to me.

    When you do panels, you get your name and your face in front of a lot of people in your industry, whether they’re editors, writers or potential new readers.

    You also often get invited to convention VIP spaces, like green rooms or special parties. You won’t get paid, but the convention will generally cover the cost of your badge and ply you with plenty of free food.

    If you do participate in enough conferences, you might get invited to be a featured guest. That’s when they pay you. I’ve had several conventions pay to fly me out and put me up in a hotel. In return, I do a lot of panels along with some kind of special guest performance.

    If you’re looking for additional ways to fund the cost of your convention travel, remember you can also pitch stories about the convention. I try to get at least one paid story off each convention I attend. Some conventions require you to get a press badge, but many do not; check before you start interviewing people.

    Lastly, you’ll want to talk to your individual CPA, but your convention attendance could likely be considered a tax deduction. After all, it’s an important part of your writing career.

    Do you regularly attend industry conventions? How have they helped your career?

  • Ready to Sell Your New Book? 9 Book Marketing Mistakes to Avoid

    Ready to Sell Your New Book? 9 Book Marketing Mistakes to Avoid


    When an author hits “publish,” they often think the hard work of book publishing is done. After all of the writing and editing and formatting, finally having the book live in various online marketplaces seems like a relief.

    But while publishing a book is an enormous deal, and one that you should be proud of, you’re not going to sell many books without marketing.

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    Many authors are overwhelmed by the thought of marketing. It is not an easy group of tasks to complete, and it feels overwhelming.

    Here are nine frequent book marketing mistakes. They may seem like common sense, but each one is based on mistakes I’ve seen authors make in the past.

    1. Not asking for what you need

    It can be hard to ask for help. But you cannot do it all by yourself.

    You need reviews, social media shares, and enthusiastic fans to help spread the word about your work.

    While you don’t want to wear out your welcome, don’t be afraid to ask your friends and family to help you. Start to develop a street team or launch team; such a team will include hardcore friends (or your mom) that you’ll ask to help on specific tasks.  

    2. Ignoring book marketing beginners

    Sometimes, the help we need is more than our friends and family can provide. When that happens, it may be time to hire help. If you choose to work with a blog tour company, a virtual assistant, or a book marketing company, don’t ignore the new ones.

    While it may seem smart to go with a more established company, sometimes the new ones who are trying to make a name for themselves will work harder to help you — and sometimes at a cheaper rate, too. They need to build their base and you can help them. It’s a mutually beneficial relationship to consider.

    3. Ignoring SEO

    When you have good SEO, or search engine optimization, it’s easier for people to find you among the ocean of information online.

    Hashtags and keywords are a huge part of how people find you. Make sure to use the right ones on your blog and social media posts. Pay special attention to the wording in the blurb on the back of your book. Pick up books similar to yours and see what words they’re using in their blurbs and online product descriptions.

    If you can get an idea of what keywords people are searching for, then you can work with those keywords to improve your blurb and other marketing materials. Consider using Google’s keyword planner to gauge interest levels in certain keywords.

    4. Not engaging online

    Interact on social media. Be polite on social media. If a blogger helps you out and shows interest in helping you, be generous in your thanks. Make sure to respond promptly, and professionally. Do not forget to thank people who help you.

    I wouldn’t personally thank every person who reviews your book, but bloggers, writing groups, and blog tour companies should get shoutouts. These people are doing you a service by exposing your work to their followers; when you thank them publicly, you’re returning the favor.

    To meet new readers, look for Twitter chats, Goodreads giveaways, and Facebook takeovers to participate in. That being said…

    5. Spamming people

    A million tweets screaming “BUY MY BOOK!!!” will not sell your book. It will make people block you. A Facebook post every half hour pointing out that your book released a day ago will only annoy, not encourage, those who follow you.  

    Find a happy medium. People want to interact with their favorite authors. Personal interaction will help sales; spam will not.

    6. Doing only one thing

    Readers are everywhere. If you only post on Twitter, you miss the people on Facebook. If you only post on Google+, you miss the people on Twitter.

    While you may have some of the same people following you on each social media platform, each one will appeal to different people for various reasons. Marketing a book is a little like throwing spaghetti at the wall. You want to do a wide range of social media engagement and see where it sticks.

    You need to focus your energies on what works, while always continuing to throw spaghetti at new walls to find other methods that stick. Marketing will ebb and flow, and it’s up to you to recognize new opportunities to interact as new tools and methods rise in popularity.

    7. Forgetting to think locally

    Book marketing isn’t only an online thing. Look around you. Local book stores, consignment shops, coffee shops and the library are all good places to get the word out about your book. Scheduling a reading at your library or local bookstore can be a major piece of your marketing plan.

    Don’t forget about local newspapers. Many will be interested in writing a profile about a local author. Check their websites to see about submission guidelines or who you need to contact.

    8. Waiting until the book is ready to launch

    In a perfect world, you should start marketing about six months before your book comes out. In these early stages, focus on talking to people, networking, getting plans in place for promotions.

    These efforts are all crucial. They should be done early. You want to create buzz, anticipation, and momentum. If you start to build buzz around your new work, you should already have a small audience for when the book launches — and a small audience will help you build a bigger audience.

    If your book has already launched, set a promotion date for several months into the future, and plan to tie your future marketing to this promotion date. (Go back to point number one for a reminder to ask for help!)  

    If you’re not sure when to set the date, think about things that are happening. Will you be getting ready to release another book? Then six months prior to that release would be perfect. What about holidays, or before summer vacations start?

    9. Expecting overnight success

    Very few authors enjoy overnight success. For the rest of us mere mortals, it takes time and hard work. Marketing a book is either a labor of love or a job. Either way you look at it, it’s going to take a considerable amount of time. You should be committed to putting that time in.

    The thing about book marketing is that it is difficult to mess up too badly. Even if you have made one of these errors, you can usually fix it, learn from the mistake, and move on.  

    What lessons have you learned while marketing your books?
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  • The Best Way to Sell Books: Follow This Marketing Rule

    The Best Way to Sell Books: Follow This Marketing Rule

    Want to know why most writers are unsuccessful at marketing their books?

    It’s because they consistently violate the cardinal rule of selling: Your success in selling anything is directly related to the amount of value you give your customers.

    What’s valuable to your potential readers is the same as what’s valuable to everybody, including memorable experiences, positive feelings, connection, usefulness, inspiration, and so on.

    Consider the artists, musicians, writers and companies you truly enjoy. When you do business with them, is it simply an emotionless transaction? Or is there something more profound, something greater that your association with them gives you?

    Here’s a prime example: Jimmy Buffett hasn’t had a hit record in more than 30 years. But his shows consistently sell out huge venues. He’s built an empire of eateries, music venues and products (even his own tequila brand) under the Margaritaville umbrella and he’s an icon to millions of fans.

    How did he make that happen? By giving his fans massive value. And by building a tribe to keep the connection growing.

    When his tribe (fans known as Parrotheads) assemble, people who may have had a tough week in the workplace get to put on Hawaiian shirts and silly hats and pretend that they’re on a beach somewhere. They feel connection with each other and they feel connection to the artist.

    Between shows, the value continues. Videos, social media, blog posts, books, emails — they all reinforce the common bond that draws his fans together.

    Where’s your value?

    Now consider how most authors market their books.

    Most authors don’t even think about marketing until they release their book. Then they flail around, hoping to get some attention.

    If you ask one such author, “What value are you giving potential readers?” they’d likely say “The value is in how good my book is!”

    Well, that’s nice. But no one has read your book yet. You’ve actually provided zero value. No wonder you aren’t selling books!

    Now, let’s examine another scenario.

    The same writer builds a tribe — a community based around a shared interest, belief or outlook — and showers them with value: fun stories, memorable quotes, small gifts, a platform for tribe members to share their feelings and experiences, a place for likeminded folks to meet each other, and so on.

    Then the author releases her book.

    And what happens?

    Her tribe repays the value she’s provided them many times over. They are rooting for her. They are excited for her. They buy her book and go on a mission to share the book with others.

    And remember, the biggest of tribes start small. Don’t be intimidated if you don’t have a large following yet.

    A dose of book-marketing reality

    I’m going to be very direct here, so my apologies if this rubs you the wrong way, but no one cares about you and your book. At least not right now.

    You need to make them care. And you can’t do that if you spend all day plastering your book’s Amazon link all over Twitter and Facebook expecting people to buy it. And you can’t do that by starting a blog and then posting one article a year.

    The way to make them care is to give real value before you even talk about your book. If you can get someone to say “Wow, I’m really happy this person is in my life,” you’ve officially reached a status few writers ever attain.

    So right now, you need to ask yourself this very important question about your current marketing efforts: Are you giving prospective readers any value, or are you just pushing your book in their direction hoping they’ll buy it?

    If you’re doing the latter, you need to stop right now, and ask “Who is my potential reader? What does he or she care about? How can I introduce myself by giving value, nurture our relationship by giving value and then lead them to the ultimate value I have to offer them: my book?”

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    How to create value before you release your book

    To get moving in the right direction to create value for your readers, ponder these questions:

    • Who is my ideal prospective reader? Male or female? How old? Where does he or she live?
    • What are some things that my ideal reader and I have in common? Do we care about similar issues? Do we see the world in a certain unique way?
    • What kind of things get my ideal reader excited? Social connection? Information about a particular passion? Reinforcement of their worldview and beliefs?
    • If I were to meet my ideal reader at a cocktail party, what would I talk to him or her about before I even mention that I’ve written a book they would enjoy?

    The goal of this exercise is to form a human connection with your prospective readers before you attempt to sell them anything.

    Do this and your marketing efforts will not only be more successful — they’ll also be far more enjoyable and energizing for you. That’s because you’d have moved beyond the realm of “selling something” and into the much more pleasurable experience of adding value to people’s lives.

    The bottom line? If you can make someone feel grateful you’ve entered their life before they even read your book, you’ve got much more than a customer. You’ve got a fan.

    And when you’ve got fans, you’ve got a career.

    What’s worked for you when it comes to marketing your books?
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