Tag Archives: marketing

… three winners …

A week ago I used the Goodreads giveaway programme (click here) offering 3 signed copies of Course of Mirrors to readers around the world. I put a one week time-limit on the contest. To my delight, 1152 reader took up the offer during the week. I’m not privy to who they are, but have been given the addresses of the three winners – one from Kentucky and two from Canada. It cost a bit to have my tomes winged and tracked across the Atlantic Ocean, but how encouraging that a whole bunch of book lovers from all corners of the world were interested enough to enter the giveaway event, helping the novel’s visibility. Roughly 10 % of those who signed on to the giveaway event have put the book on their ‘to read’ list. Heartfelt thanks to all, whoever you are. And congratulations to the winners – your book should arrive within a week.

 

 

 

 

 

 

More delight – I discovered Course of Mirrors in my local Waterstones bookshop, in good company too, which gave me the courage to approach the local paper. There may follow a feature on the novel and its quirky author.

So far three 5 star reviews have been posted, all on amazon.com (click here)   On other countries’ amazon sites, including the UK, it says on top of the page – be the first to review this item. To actually read the reviews one must scroll down the page. I don’t know if there are better ways to handle the various amazon pages, my knowledge and patience is limited.

What is annoying is that amazon tends to refuse reviews that cannot be sourced to a purchase with them. Friends, who bought my book at a signing event, for example, and like the story enough to share a few lines with potential readers, could try and add the line ‘purchased from the author at a signing event’ when they try posting a review on amazon. No idea if this works, creative ideas are welcome.

On my Troubador author site (click here) where I get better royalties from orders, one does not have to be a customer to paste a review, short or long, in the provided box, though it may take a while for new information to be updated.

It’s likely that by July I may have recouped 10% of my publishing expenses. It’s a start, but whether I’ll I recoup enough to publish the sequel to Course of Mirrors is written in the stars.

As for Goodreads – I was unaware that the site sports over 20 million readers. Click here to read up about its history. Amazing. My connections on Goodreads are few. I have not grokked how to best make use the site, but I look out for the reviews posted by my friends there and occasionally post my own book reviews.

That’s it – all about me and the excitement of having delivered my first novel into the public domain. I hope your forgive my indulgence. If it’s anything to go by, even my son was gripped by reading Course of Mirrors 🙂

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… a writer must selfie herself …

 

August 2016

August 2016

This  selfie of mine was taken last summer. As you can see, I’m an introvert.

If you’re in for a funny video on selfies, here is one I found on the Urban Dictionary website. Its definitions help to lift despair.

I was initially delighted when in spring 2013 my first novel was picked up by a small publisher. Course of Mirrors was in good shape, thanks to my dear beta reader friend and editor, Evlynn Sharp. Our selfie from 2014 shows below.

April 2014

When over time my publisher was prevented from preparing my novel for its launch, for various reasons beyond her control, I shelved my frustration, finished a sequel, and even started a third book – still, gradually my confidence suffered. Then again, if the promise for my first novel had not been there, I might not have continued writing, so whatever my misgivings, thank you Emma for loving my story.

Back in control, I decided to self-publish. And now I’m challenged, like many lovely writer friends whose fate I follow online, to set up a stage for ‘Course of Mirrors,’ squeezing myself into an overcrowded publishing scene.

I have lived and worked in England since 1978. When time allowed, I contributed poems and articles to specialist magazines and anthologies, but only started writing novels later in life. Writing was a vocation, not a career. An early humiliating experience at school, made me return to writing only through photography, film, and the freedom of another language. Though financially risky, I took time out, and writing became immersive.

Finding words to condense my myth into imagined worlds is totally satisfying, sans financial rewards. But then, forgive the sigh that escapes so many of us in the same situation, writing is a full time devotional activity, and I spent now many years writing and editing into midnight hours, a little financial reward would at least compensate for reduced income and allow me the occasional holiday.

I observe that marketing and advice professionals possibly outnumber writers. However brilliant these experts may be at their job, I can’t afford their services. Now even simple questions I hoped my publisher would support me with shout for answers: What’s your genre? What readership do you hope to address? How will you capture the tone of the novel in a title image? Should the cover express the concept, or a scene from the novel? What’s the unique angle of your story? How does your story differ from others in your genre?

In a public sphere over-saturated with information, how does one engage a reader’s attention without having to boast? I feel like having to provide an answer at gunpoint to one question only – Who are you?

Frankly, I have no idea. Maybe I’ll find out. As I said, I’m an introvert. Like my protagonist, I’m a suspended character. The whole circus is a gamble. I can only hope that you, the readers of my blog, will stay with me through this labyrinth of my author-creation.

While I struggle with particulars, and hopefully amuse you with updates, I’m planning to launch ‘Course of Mirrors’ through Matador/Troubador in spring 2017.

Here, to deliciously confuse you, is a river of keywords relating to Course of Mirrors:

Course of Mirrors combines literary genres to thread in elements of: fantasy; mystery; thriller; adventure; friendship; romance; humour; suspense; magic realism and tragedy. It is adult and young adult fiction, and it includes allusive cultural references spanning: imaginal odyssey; coming of age; quest; road trip; identity; the single child; cinematic style of chapters; psychology; intrigue; loss; murder; betrayal; speculation; metaphysics; insight; poetics; irony; future; despair; passion; triple soul; compelling characters… and in the sequel – Shapers – shape-shifting and time travel across decades.

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… the gulf between writers and readers …

This post was sparked by a stimulating and taxing interview Philippa Rees conducted with the writer Vivienne Tuffnell  P1060427lower - CopyThe interview attempts to re-define the gulf between writers and readers in the way commercial algorithms define values for readers, blanking out the appearance of new green shoots.

This disrupted my sleep, in addition to lots of other stuff going on, so I tried stepping back for a wider perspective. No answers, only a few muddled reflections …

My generation, whose early years were without TV, needed to adjust to rapid periods of change, particularly the change from analogue to digital recording, – two entirely different metaphors. The true significance of this shift has not yet been absorbed by the general public.  In a dissertation during a sabbatical film degree as a mature student in the mid-nineties, I quoted Jean Baudrillard  who saw the forced silence of the masses no longer as sign of passivity or alienation, but as ironic and antagonistic. He commented on the strategy of the masses:

‘… refusal of meaning and refusal of speech; or of the hyper-conformist simulation of the very mechanism of the system, which is another form of refusal by over-acceptance. It is the actual strategy of the masses … it is the winning one today, because it is the most adapted to the present phase of the system.’ Moroc, Marrakech Riad roof, golden vision - low

I recognised this as the Zeitgeist  gradually reaching across the globe. My continuous studies, driven by curiosity and endless questions, prepared me, but I still find it difficult to accept a reality where, for many otherwise intelligent people, the beautiful term ‘soul’ has lost its impact. I place the word carefully in my work and in my writing to avoid bias. Marion Woodman  uses it powerfully … ‘Our very survival depends on spirit embracing soul.’  

The quote becomes poignant through experience, not theory.

Don Cupitt – a philosopher of religion who rejects authoritarianism, once said … ‘The soul, the self, has died. The self in an animal with cultural inscriptions on its surface.’ Sobering, and true, depending of course from which plane of experience one perceives.

In our present culture the commercial speed train whistles through every zone of life. Publishers are among many enterprises struggling to survive amidst overproduction. The ‘Road Closed Pending Repairs’ signs Philippa refers to in her interview grow like mushrooms. Small businesses, for example, vanish at an alarming rate, at least in my little town. Be it a supermarket or a bookshop, I’m bombarded with buy-one-get-one-free or two for three offers. Plenty of people I know look beyond the more-is-better and cheaper hype, but their numbers won’t topple the algorithm-driven logic of mass-cargo firms like Amazon (click for latest newsletter.) Their long term strategy is to please the consumer, which, now, increasingly, includes writers who self-publish … To make profit in an oversaturated market requires ever-new smart inventions.

Works not created from templates, but from inside out, which, sigh,  includes my novels, will struggle to find a position on consumer maps. Traditional meanings are collapsing.  New genres for books are proposed. The box marked cross-genre sounds like a stir fry of left overs. How, as a writer, does one shoulder the marketing speech for novels not fitting into boxes? Crime? No! Romance? No! Religious? No! Paranormal? No! Sci Fi? No! Fantasy? No!

The distillation of a life’s experience, a work of creative imagination? What’s that?

Authors of such ilk have the formidable and possibly worthwhile task of writing their own obituary. Are any of the thoughts a writer expresses original? I don’t think so. Thoughts happen to us. What’s original is their processing and linking based on personal experience, which may offer a new window of reference. I look at my bookshelves and ponder what I would have missed had the authors whose works snuggle up to each other had lost faith in their work. Few commercially produced genre books leave impressions that live on. They’ll drown in ISBN databanks. Our shelves at home hold unique books that surprised and inspired us over the years, and until we become cyborgs and can, with a mere thought, make book pages fall open on any surface of our choice, this will not change soon.

I admire self-published writers. Vivian published several novels herself,  as did Philippa, which speaks for their tenacity and belief in their work. And I admire Philippa’s poignant questions, and how Vivienne exposes herself to them …

the very uniqueness you want to write about? Could you define why that is so difficult? Is it simply too much surrounding noise? Or something else?

‘… is writing the way in which we confront out existential loneliness, and are readers who ‘get’ and share that now the substitutes for lovers?’ 

MercatsSuch questions and similar ones are worth their salt, and expose our vulnerability … do writers, any artists, want to be truly seen? Is one person’s interpretation of truth going to be interesting to others? Will the public feel preached to? Such questions haunt many of the most inspired artists, poets and writers who weave works from layers and layers of their psyche. To expect an instant resonance from crowds will bring deep disappointment.

And yet, the most deeply personal experiences, combined with some magic ingredient of presentation, can, over time, have universal appeal. Stan Brakhage, an experimental filmmaker, put it this way … ‘I had the concept of everything radiating out of me, and that the more personal and egocentric I would become the deeper I would reach and the more I would touch those universal concerns which would involve all men.’

If I’m positive about the future it comes from an understanding in tune with Walter Benjamin  … ‘Technology, instead of liberating us from myth, confronts us as a force of a second nature just as overpowering as the forces of a more elementary nature in archaic times.’

To me, this means learning and unlearning accelerates in condensed time. Think how we make ourselves visible by blogging. How brave and scary to step in front of a public mirror … Virtual or not, the psychological process of engaging with virtual friends and foes is totally real. Sherry Turkle expressed this … ‘I believe that our experience with virtual reality, with artificial life are serious play; our need for a practical philosophy of self-knowledge has never been greater.’ My self-understanding is now aided by the relationship with people I have not met face to face – I never shook hands with or exchanged a hug with Vivienne, but I emphasise with her loss of joy, and her frustration with the ironic and antagonistic attitudes of people who belittle deeper strands of truth for fear of looking inside, and the sense of being a square peg that doesn’t fit the neat round hole of genres and algorithms.

Many writers will recognise these obstacles, including Philippa, and myself. How do we attract and persuade people to sample the green growth in our plot? At the same time, I’m convinced we are co-creating artists of our continuous self-invention. Mourning a not-yet existing frame for our work  might hinder this process, which moves and dances naturally through each breath. And I’m heartened by how writers and poets influence us over time.

A poet and mystic from over 800 years back examplifies this phenomenon …

‘The minute I heard my first love story I started looking for you, not knowing how blind I was. Lovers don’t finally meet somewhere. They’re in each other all along.’ – Rumi

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