Booktrailers – Be Careful

booktrailer

A book trailer can be a valuable tool in promoting a literary work, but it must be used carefully. Moreover, a cinematic book trailer, where the trailer mirrors many of the elements used in movie trailers, including utilizing actors, locations, dramatic pacing with editing and music, etc., must be used even more carefully, as the objective is to garner interest in the work, not detach potential readers from interest in the material.

 For example, in The Silent Partner’s cinematic book trailer, I utilized actors and dialogue from the actual novel, but I was careful to illustrate conflict within the visual promotional “tease” of the book, while not telling much of the story. In fact, many people gave me similar feedback: “It looks very interesting, but I don’t know exactly what the book’s about.” This was the exact reaction I had hoped for. (The Silent Partner‘s book trailer is available on YouTube HERE.)

You know when you go to the movie theatre and see a three-minute trailer, only to be turned off from seeing the actual film and muttering to your friend, “Ahhh, I’ll skip that one”? I used my own real-life experience to avoid doing this exact thing, so the viewer doesn’t believe they’ve seen the best that the source material has to offer. The objective is to leave them wanting more.

Most book trailers are not dynamic and, in my experience, fail to bring about a feeling of any kind by the viewer. Why bore people to death? They can love the humor, dislike a character, or be frustrated by something happening to a character, but they have to care. Protect your visual promotion of your storytelling by ensuring that the viewer is more interested in your story after seeing the trailer, not less.

A book trailer may or may not significantly add to your book sales. My utilization of the trailer did help me get a couple specific interviews, including one with a FOX TV affiliate in San Diego, but it’s hard to tell exactly how many books have been sold due to the trailer. Rather, the trailer provided additional interest in the overall process of self publishing, and that in itself has in some cases been more interesting to some than the content of the source material. The trailer helped build the profile of the book and build my Twitter following, as well as gain interest from some in the novel. Truly, though, it’s hard to tell of specific ROI impact.

A simple checklist for producing your very own book trailer:

  1. Like with your book, draft out key points to showcase your story. Think of elements you can tell or enhance with visuals, and stay away from spoilers. Have a plan.
  2. Put together a crew. You can’t do it yourself. Get different people with skill sets in different areas, and find ways to compensate them. If not with money, use food, furniture you would have gotten rid of anyway, etc.
  3. It will take more work than you’re prepared for, so don’t set any promotional dates until after it’s completely done. Completely.
  4. Be nimble and prepared for actors or crew members to drop the ball. It’s your responsibility to pick up the pieces, so when something goes wrong, look at the situation as an opportunity to improve your work. There’s no reason to accept defeat.
  5. Try to be less than 3 minutes in length. It can be hard, especially for a 300-plus page novel. It was difficult for me.
  6. If someone is more talented than you in some way in putting the trailer together, hear their voice and utilize their talent, but don’t compromise your overall theme or feel of the original work.
  7. Use the ecosystem you’ve built with your blog, Facebook, Twitter, LinkedIn, etc., to publish access to your promotion.

Good luck in bringing your writing to life!

Advertisements

Things to Ponder When Doing Your Book Acknowledgements

friends-e1340552290653

The last thing you probably think you need to think about is how to thank the people who supported you through your enterprise of writing and publishing your book. Whatever the size of this magnificent stable of psuedo-fans–many of whom would also be in your cheering section should you, say, be on trial for murder–there will absolutely be important people you forget. Or people you should have forgotten. Friends may be slighted for reasons you cannot imagine, from their position in the supporter roster (“Did I make the first page?”) to their dissection of what names preceded theirs. (Clearly you, the writer, have a deficiency if that person supported you more than that one.)

Be aware of this possible disappointment, and don’t go off course because of it. Simply, it’s most important that you thank the people that must know that they contributed to your success. Be genuine. Then, no matter who grumbles, you know what you always knew: you thanked them for the right reasons.

Um . . . You’re the Crazy Ones

Image

God bless my friends and family who’ve said I should proud of the accomplishment of completing and publishing The Silent PartnerTragically, they have no idea what they’re talking about.

“You should reflect and be proud of yourself.” “It’s such an accomplishment, you should rest awhile.” “You should be so proud of that review!” “Bask in the glory and be proud.” Glory? . . . REST?? . . . Pride? . . . Are you friggin’ kidding me? I’m behind! I’ve got to promote the novel somehow while I conceive my next work! There are more rules to learn, more writers to meet, more stories to tell . . . all while the clock ticks and the publishing world continues to evolve into a new universe while the economy doesn’t get off its ass. It’s madness!

Of course, I’m surrounded by good intentions with spirits around me that are pragmatic, thoughtful, and grounded. In some cases, very loving. However I, like many artists, can be creative, emotionally charged, searching, and inspired. I try to manifest all the aforementioned characteristics, well, most of them . . . and while I don’t know how I’m always doing with this bombardment of conflicts, paradoxes, and mixed emotions, I know when I’m focused on something, it will happen.

I knew once I started the book, I’d finish it. I knew I’d publish it. No matter what. To me, this isn’t amazing at all. I said, “This is what I’m going to do,” and I did it.

You’re already working on your next book? What’s wrong with you?” Some people think that a writer who submerges his or herself into a writing project for YEARS has a serious problem with reality. I think skydiving or racing a car from zero to 60 in 5 seconds is crazy. Coming from a family with 4 siblings, having that many children is crazy.

I’m fortunate to have an amazing array of wonderful people in my life. They’re just the ones who’ve lost their minds. Clearly.

What I Learned From My First Book Signings

For any writer thrilled to (finally) share their work, a book signing should be an exciting time. Puppy dogs and ice cream. I’ve done two signings so far, and it was exciting to prepare to share the experiences with friends, family, and supporters. It took much more work than anyone had ever told me to set them up, and that, of course, is time and focus that wasn’t devoted to other writing, work, or play. And as many of us know, all work and no play makes Jack a dull boy. (An homage to James Howell and, most famously, Stephen King.)

I learned a lot and met some great people through the book signing experience. (The people at Mysterious Galaxy Bookstore, by the way, are fantastic. Both locations: San Diego and Redondo Beach. I imagine it could have been much more difficult to work with bookstores that found “un-famous” authors to be a nuisance.) Here is what I learned:

  • Always be prepared with more books (in your car, if necessary). You never know.
  • If you’re getting a cardboard poster of your book cover made to display, plan a month ahead. At least.
  • These people, humbly speaking, are there to see you, but respect their time. Multiple sources told me I should speak for 30-60 minutes. Surely, an author should provide their “fans” (should that be what we call them?) insight into the process behind the book, interesting details, etc. While 30-60 minutes works for some authors, I spoke for what I hope was an engaging 10-15, and that worked out well for everyone, especially those with kids. It is, after all, their time as well. (You can see the video from my very first book signing HERE.)
  • People will gobble up your promotional materials. Have them available.
  • It’s up to US, as writers, to promote just about everything with our work. Mysterious Galaxy included me in their social media, which was great, but we have to be our own promotional machines. There’s a lot to learn and do.
  • Your besties might not show up at your signings, for whatever reason. All good.
  • You’ll never forget the people who showed up for you. I’m pretty sure I never will.
  • No matter how many books you sell, it’s not about the money. Not once did I do any dollar calculation of books sold. (Mysterious Galaxy handled all the transactional details anyway.) For me, that was never the motivation to start a 5-year-plus writing project.
  • Black Sharpies are awesome signing instruments.
  • And the number one thing I learned: The book signings were fun, but the writing is considerably more fulfilling and necessary. An unexpected discovery that’s probably quite healthy. It’s about the work first . . . THEN the promotion. This is the beginning of everything else in the process of exposing the work.
  • What have YOU learned?

Now, it’s time for me to get back to work and play. So I don’t lose my mind.

How to Avoid a Self-Pub Nightmare

When you’re self-publishing, all typos, errors, ineffective use of color on your book cover, any mistakes of any kind . . . are YOUR FAULT. With fiction, there are more choppy waters to navigate through and avoid, like superfluous characters, one-dimensional storytelling, and undeveloped or forgotten story arcs, among other common hazards for new writers. (Though it’s probably more common than we’d like to discover these mishaps with celebrated authors, with novels coming from big publishing houses. Here is someone taking issue with the number of errors in Suzanne Collins’ The Hunger Games.) As any fiction writer knows, there are many more writing hazards. Self-published fiction hazards can be brutal. Here are some ways I’ve discovered to avoid them:

  1. Use one, maybe two, professional editors. Your first editor will discover errors you missed and problems you never thought of, and will help you with the fundamentals. The second editor can help you with nuances, because you’ve (hopefully) remedied the problems caught by the first editor. You may think your untrained but critical eye is good enough. It’s not. And once your work is out there, it’s open for critique. Employing a professional editor is like insurance, you just get the immediate results and answers, before mayhem strikes. (Actual mayhem, not the Mayhem guy in those Allstate commercials) Many self-publishing houses provide an editor (or editing team) to you during the self-publishing process. I’d recommend using a professional editor first. By the time you’re submitting your work for print, it should be polished, not go through the first round of professional editing.
  2. Friends and family are awesome. And friends who care enough to read your work and provide insight and help you in any way are priceless. But, read number 1 again.
  3. Book cover: Do something simple, and try to stand out. You can be poetic or ironic, but few will catch this or even care. Review other book covers and find something that suits your taste or your genre. You don’t have to duplicate, but be aware of what’s out there that others have determined to be marketable, and make it your own.
  4. Take the book cover text seriously, including and particularly the book summary on the back cover (or front book jacket for a hardcover). I had used a summary for literary agent submissions as a place to start, and still found improvements that “sell” the story better.
  5. When working with your self-publishing house, review your and their work carefully. No one will (or should) care more about your work than you, and once you sign off on your book going to print, it’s done. Blind faith can be unforgiving.

Of course, you can try to blame your publisher for your errors. Probably won’t work.

Fighting for Your Writing Focus

If your personal relationships and obligations aren’t obstacles to your storytelling mojo, and you’re still having problems focusing on your writing, it’s possible that extreme levels of media stimuli are the culprit. From experience, I’ve been the happy, intended victim of over-stimulation of all media–that is, music, film and TV, sporting events, news in any form, social media, books (Gasp! Yes, this can happen.), and advertising all around us–all of which can hamper the coveted discovery of fresh, purposeful prose. And, sans the advertising plate that has glared at me from the urinal (the front sports page is much more pleasurable), I’ve been content and accommodating in absorbing it all, as it got in my way.

No doubt, sometimes various media have contributed to or downright inspired compositions from many of us writers. A song ever inspire you? A news story? A bad movie? (“Oh, done right, this story could have rocked it!”) A great one? Social media helps us connect–and sometimes promote, the news informs, and other stories around us may provide us springboards for our inspiration to tell our own tales. So how do we turn it all off so we can focus? Aren’t reading books supposed to help us with our own writing? (Absolutely they do.) So with the bombardment of inspiration and distraction, how do you determine which media to embrace and which to turn off?

What’s worked for me: Simply, if there’s a story that demands to be told, and it needs you to tell it, and you’re on a roll, stick with reading books and news headlines, watch the relevant games only, and embrace the music that fuels your fire. Doing this for two years or more of a writing project is impossible for most of us, but for those days or weeks when you’re in the zone (when our best work emerges almost magically), managing your focus in storytelling is simply keeping new, emerging stories in your head from vying for your attention. Keep a clear head the best you can.

You can also avoid public restrooms. If appropriate.

Manuscript Submissions to Agents, Review Copies, and Shoeboxes

If you’ve ever submitted a manuscript to a literary agency in hopes of scoring literary representation, you know that the process is (almost) as artful as the development of the manuscript itself. There are scores of tactics that writers have used to get their work in front of their target audience, ranging from the blind query letter (boring), to the literal elevator pitch (really . . . in an elevator . . . which can, depending on the agent, border on assault). A friend of mine sent a copy of his manuscript in a shoebox, with a shoe, mind you, and a note pleading his case that he was just trying to get his foot in the door. Creativity through this process can bring attention to the submission, send a literary agent away screaming for their space, or–quite possibly–land you in jail. (For me, a reevaluation of friends may be in order.)

Agents are inundated with submissions, so who’s to blame the ambitious author who provides their work in a shoebox? Despite its cheesiness, it’s hard to fault the ambitious author who does whatever he or she has to do to break through. Maintaining professional dignity through the process, however, may provide an an agent a desirable client. Indeed, there’s no one right way to get a book published, and agents have a spectrum of sensibilities in regard to submissions. For The Silent Partner, review copies of the book are in development for reviewers, bloggers, and agents and acquisition editors, and some free copies for a grassroots fanbase in development. (In the end, it is the work that matters, and its marketability, but building a desirable readership has its advantages, too, in bringing attention to the material. We’ll see how this goes.)

For me, a shoebox is out. I’ve never seen 8 1/2″ by 11″ shoeboxes that would fit an unfolded copy of my manuscript anyway.