Every author wants to put him/herself out there, and it’s important to build an online base. But it’s hard to get noticed on a website crowded with people doing the same thing. Twitter is a powerful tool that allows one to give updates consistently, meaning that connections are made and maintained.

For an author, this makes it easier to build a platform while writing a book.  In the long run, this effort and attention will help with promotion and networking. Yes, it can be intimidating and confusing to begin building a Twitter “empire.” The end result is a marketable writing presence before finishing one’s book.

1. Work Your Profile:

Fill out your bio with interesting information. Make it just a few lines long, but include your genre, your book’s title (or working title,) your passions, and profession. Including this information allows other Twitterers to find and add you.

Link your Facebook and website.  It’s quite normal for people to not use their real names on Twitter, so your Facebook friends might not think to look for you unless this link is established.

Use a relevant photo. Even if you don’t put in a self-portrait, it’s better to put in something that will catch your followers’ eyes. Use your book cover, or find some interesting focus of your writing a la vintage Penguin covers. It can seem tempting to use a photo of your dog in a Santa suit, but when people are browsing their home page, the picture is the main thing drawing their eye. The photo only adds to the recognition.

2.      Follow the Right People:

The best way to get followers is to follow people who will follow you back. While they’re interesting to read, celebrities probably won’t return the favor. Instead, imagine you’re at a networking event, and think about who you’d interact with. Try adding local writing clubs and bookstores; then look through their followers and find other writers, readers, agents, editors or publishers to follow (and interact with them).

If you’re writing non-fiction, find people who are experts in your subject, as well as people who share the same interest. You can find them by searching via hashtags and profiles. At that level, most people will follow you back.  Twitter is a better use of time when interacting with people who are helpful vs. falling into the trap of playing the numbers game.

3.      Say Interesting Things:

You’re building an identity as a writer. So, tweeting about your toast isn’t doing much good unless you’re writing a breakfast cookbook. How about posting a sentence from your novel that you’re particularly proud of or a really interesting piece of trivia from your research? Create posts that force interaction with followers. Create a hashtag (it’s as easy as putting a # symbol in front of a word- after that it’s automatic) and use it to monitor a contest or discussion you’ve created. Post a confusing photo and ask what people think it is. Look to how companies ask questions as a marketing tool. It will result in more interactions and increased traffic to your profile.

Use hashtags liberally. Almost everything you have to say can fit into a hashtag trend, and using hashtags helps people find you. Also, look at the current trends from your home page and post your thoughts using the hashtags.

Post pictures! If you see a funny book title in the library or have a new cover design, take a picture and post it using something like Twitpic. Pictures get people’s attention and are easy for people to follow.

Think about what would make you un-follow a person and avoid doing it! Anything that would be classified as TMI or potentially disrespectful to people should stay off your feed. You don’t want to alienate followers; it’s better to put one’s best foot forward.

Try to tweet twice a day. It doesn’t have to take a lot of energy or time, it just takes a minute to post a picture or some interesting trivia.

4.      Connect Your Twitter Identity to the Rest of It:

Include your Twitter username everywhere possible. Link to your personal Twitter page in the signature of emails, include it on business cards and Facebook – and more. It’s also easy to casually mention your Twitter username upon meeting another Twitter fanatic.  

With the assistance of an app, one can even tweet updates to a blog and post tweets on Facebook. Using a browser like Rockmelt for your social media posting makes it quick to connect to Twitter. There are also programs like HootSuite that are organized so one can hit almost every social media website at once.

One final note: There are people who hate Twitter. Please don’t be one of them. It’s a powerful tool and a great way to connect with people. And almost every design feature can be worked around. You can set your followers to come to you by RSS. If you feel like you don’t have the time to tweet once or twice a day, use a program like HootSuite or SocialOomph to schedule tweets for the future or use Ping.fm to text those tweets. With just a little effort, you can make Twitter work no matter what your style is.

In the end, the most important thing to remember is to put yourself out there. Don’t be afraid to “talk” on Twitter.  Don’t be intimidated to interact with others. Be yourself and express what you’re doing. People will come and be interested. It can only do you good, I promise.

-Gwen is the wonderful intern behind the scenes, who makes life at Red Sofa Literary smoother.  She can be contacted at Gwen@redsofaliterary.com or found via Twitter at @GwenFitzgerald

As 2011 is officially over, I thought it would be a good idea to share my observations on the query process.  Specifically in regard to Red Sofa Literary.

In the world of publishing, any agent will confirm that our representative categories are often ignored.  So much that it takes a special dose of patience to avoid being frustrated. Sadly the assumption that our clearly stated submission guidelines will be honored is sometimes too much to ask. 



Observation #1
Here are some of the many categories of book queries received at Red Sofa – that fell outside my representative categories:

Business
College Reference
Religion/Spiritual (a ridiculous amount)
Academic
Genre Fiction (of all types)
General Fiction
Memoirs
Self-Help
Parenting
Medical
Cooking
Poetry
Wedding/Ettiquette
Screenplays

If you take a glance at my agency categories, it’ll be evident I don’t represent books of this nature.

THE LESSON:  Go to any agent’s website and consult his/her representative categories before sending a query. Definitely use the print guides, but take an extra step of visiting agency websites, in order to save time and frustration.



Observation #2
Frequency of memoir and fiction queries for Red Sofa in 2011 = 25.8%

Here’s a story: Let’s say you open a coffee shop.  The only thing you will be selling is black coffee and Americanos. Those are the only items available on the menu. Before opening, you’ve of course ensured all print and marketing materials state clearly those are the only options. Assuredly customers will understand this. Right?

Now imagine 25% of your customers attempt to order ham sandwiches and ice cream (every day), despite these items not being available. Despite the clear communication before and after opening the coffee shop. In summary, people ignore the menu.

THE LESSON: Take this “caffeinated” situation and compare it to publishing.  When agency categories are ignored, both the author and agency will walk away unhappy. The most efficient use of one’s time is to explicitly follow the submission guidelines of agents queried. Hopefully this will result in a more successful query process.



Observation #3
Does your memoir really need to be published? Specifically with a large commercial publisher. 

I have to say that with all the memoir queries received, the plethora of material is beyond depressing. Books on cancer, abuse, bad parents, death, the end of the world, mental illness, failed relationships, other world dimensions, hopelessness and more came across my desk. 

Anyone who knows me well will state that I don’t expect happy, Hollywood-like books or endings to books. But I do have to draw the line with the utterly depressive nature of today’s memoirs found in the query pile.  I madly, truly believe we do NOT need any more books with topics of this nature – unless they are innovative, different, or set a new standard.  And of course queried to agents who are actively seeking memoirs. . .

THE LESSON: As Neil Genzlinger wrote in his editorial, “The Problem With Memoirs,” on Jan. 28, 2011 (for the NY Times) “That’s what makes a good memoir — it’s not a regurgitation of ordinariness or ordeal, not a dart thrown desperately at a trendy topic, but a shared discovery.

Maybe that’s a good rule of thumb: If you didn’t feel you were discovering something as you wrote your memoir, don’t publish it. Instead hit the delete key, and then go congratulate yourself for having lived a perfectly good, undistinguished life. There’s no shame in that. “



Conclusion:

Overall I’m hoping this will encourage more than discourage. I’m constantly reminding aspiring authors that all of us are part of the book publishing process. That it’s better shared, than going about alone. The only thing those of us in publishing ask is that basic submission guidelines are followed.  

We all know that writing requires a special commitment and passion for words. So please try to appreciate (and treasure) the overall experience of writing a book, whether you’re published or not. That should be the most basic expectation when all is said and done.

Please note this is not a new concept. Anyone in publishing would immediately see this reflective of “building a platform” or a “writing platform.” This may not apply as much those writing a novel, but right now, anyone who wants to break out in the nonfiction market needs to have a personal “brand” to match their book idea.

Think about it. Would you take a nonfiction writer seriously if s/he didn’t bring the necessary expertise to the book you’re reading?

ex: If someone is writing a book on being a Cat Whisperer, wouldn’t that person need to bring years of experience and knowledge on how one does it? What if that person only has experience buiding canoes, but thought it would be great idea to write a book on cat whispering? Would you take this person seriously? I doubt it. As the background of the writer doesn’t equal the expertise needed for that book.

The next step beyond showing that expertise is one’s reach to have an established readership, as well as potential future readers. It’s absolutely essential one has strong roots wherever s/he is writing a book (reflecting this expertise). Still, the “branding” concept would otherwise indicate that the reach needs to go beyond one’s comfort zone. Are there readers/followers outside of your state? In multiple states? In multiple countries? Can you prove to me, or any other publishing person, that MANY people will purchase your book?

ex: This book on cat whispering – your only readers are located within 100 miles of you. You have no website.  No social media presence.  No extensive network with other cat whisperers.  No writing experience with the general public regarding your knowledge of cat whispering.  Before approaching publishers/editors/agents, make sure that you find even more readers/followers in other cites, states, possibly countries. This will improve the overall writing platform, “your brand.”

How long does this take? Sadly there’s no shortcut to the process. It can take 6 months, it take a year, it can take longer. My opinion is that I’d rather a writer take the necessary time to build the necessary “buzz” around his/her self, so that the expertise will stand out, vs. attempting to rush the process.  Rushing the process will not result in a strong brand. 

Just like Jim Tyrell-Smith states that one needs to be strategic with a brand for the job market, getting prepared before approaching publishers is not a choice.  I promise that building your own personal brand is very possible, with some planning and some figurative elbow grease, it’ll make a significant difference in establishing your writing platform.



Required reading:

Building yourself through social media – interview with Tim Tyrell-Smith by  host Tess Vigeland (APM Marketplace)
Get Known Before the Book Deal - by Christina Katz

Martha is also adding a little spice to today’s chats, in that for the next two weeks.  We’ll be having a drawing for Rae Carson’s book, THE GIRL OF FIRE AND THORNS.  So make sure to leave  question or comment for Martha on here!  We’ll be choosing the winner on June 16th.  So enjoy!  And make sure to follow Martha on Twitter!


Bio:  Martha Mihalick is the associate editor at Greenwillow Books. In her nearly ten years at Greenwillow, she has worked with many acclaimed authors and artists, including Kevin Henkes, Lynne Rae Perkins, Megan Whalen Turner, Peter Sis, and Naomi Shihab Nye. She edits books spanning all age ranges, from picture books to edgy teen novels. Some recent books she has edited include Entwined by Heather Dixon, Nightspell by Leah Cypess, A Touch Mortal by Leah Clifford, and the forthcoming The Girl of Fire and Thorns by Rae Carson. You can find her on the internet at marthamihalick.com and on twitter as @marthamihalick. Plus you can see what Greenwillow Books is up to at greenwillowblog.com.

1.       Why did you choose to become a children’s book editor?

Books have always meant a lot to me, and I think the books I read as a kid and a teenager have meant the most. I feel that I am who I am because of Matilda, A Wrinkle in Time, The Secret Garden, the Drina ballerina books, Narnia, Tamora Pierce’s Alanna books, and Robin McKinley’s Beauty, among many others. I wanted to be part of giving other children the books that will help them find themselves. And there’s absolutely nothing better to me than reading an author’s story and helping him or her to make it the strongest it can be.


2.       Are there any projects you wish you could have edited?

Oh, well, sure! I see deals on Publishers Lunch that make me feel pangs of “Oh, I wish I’d seen that!” And I admire—and love—so many of my friends’ and colleagues’ books. But I think that books and authors find the right editor for them. That said, I’d love to see more manuscripts that have the creepy, dreamy quality of Nova Ren Suma’s Imaginary Girls, or the adrenaline rush of The Hunger Games, or the humor of the Scott Pilgrim books.


3.       What are you reading right now (for personal reading, for fun)?

What’s this “personal reading” you speak of? Honestly, I’m mostly trying to get on top of my submissions right now. I haven’t finished a non-work book since my vacation at the beginning of February. But I’m slowly finding time to reread Fire & Hemlock by Diana Wynne Jones. And I’ve started two grown-up books, but have not gotten very far: Swamplandia! by Karen Russell and Bonk by Mary Roach. My to-read piles are gradually overtaking my apartment.


4.       How do you utilize Twitter? How do you believe it has changed the way we go about publishing children’s books?

I use twitter to talk to fellow editors, to agents, authors, librarians, booksellers, and sometimes even non-publishing friends (gasp!). It’s terrific for talking about books and making connections and generally being kind of a nerd and finding others who are, too. I don’t think it’s changed how we publish books, but it’s certainly helped me get to know people and to see the community that can form around books. The children’s book community is particularly genuine and supportive, so it’s a nice medium for everyone to share that enthusiasm.


5.       If you had a crystal ball, where do you think (or hope) publishing will be in 5 yrs?

Jeeeez. I think (and hope!) that we will still be publishing good books and getting them into the hands of readers. The processes and even formats may change, but stories are always going to be important, and helping to make stories the best they can be and get them to readers are at the heart of publishing.


Thank you so much Martha! Questions, thoughts? Let us know what you think!

One additional note, this is the first time a GROUP has been interviewd for the Red Sofa Chats, to which these ladies pulled it off fantastically.    Thank you so much Jamie, Regan and Meghan! 

Bios:

Jamie Millard is the Co-Editor in Chief and Operations Director of Paper Darts. Having relocated from the south, Jamie embraces the lit and arts community thriving in the Twin Cities. When not working on big picture strategies for Paper Darts, you’ll find her feverishly tweeting behind @PaperDarts.

Personal Twitter: @jjmillard


Regan Smith is the Co-Editor in Chief and Editorial Director of Paper Darts. She lives in Minneapolis and makes rent/candy money working as a librarian and freelance writer. If you buy her shoes, she will probably trade them for beer. If you buy her beer, she will probably drink it. 

Personal Twitter: @regglandsbest

Meghan Suszynski is the Creative Director and Co-Editor in Chief of Paper Darts. She is a freelance graphic designer working from coffee shops in Uptown Minneapolis. 

Personal Twitter: @cloudcarvings

1. Why did you choose to create Paper Darts Literary Arts Magazine?

When we started Paper Darts in August of 2009, the economy was at its worst and the publishing industry, particularly the magazine world, had been on the decline for years. We saw the need for a new literary magazine platform, one that heralded humor, beautiful design, and accessibility without compromising quality. We saw a groundswell of talent from individuals with an “underdog” mentality, and we believed there should be something that showcased their work in a way that people would actually pay attention to. Being young, underemployed, and overly ambitious, we decided to utilize the new DIY technology available and take on this creative revolution through the creation of Paper Darts.



2.  Paper Darts seems to be a work of love, of words, of further developing the Twin-Cities writing and art community.  Was this your goal?  How do you believe Paper Darts will be able to further support and develop these writerly experiences (locally or otherwise)?

Further developing and engaging the TC lit and art community has always been one of our goals, but none of us fully realized just how vibrant the community already was until we actually started actively contributing to it. The goal of any artist or writer is to connect with as wide an audience as possible in as many ways as possible; the harder we work to make people connect with Paper Darts, the easier it is for our contributors to do just that. It seems like a pretty simple formula, but there are a lot of publishers (magazine and otherwise) who are so caught up in their own schtick that they don’t think about what’s benefitting their contributors and the greater community at large.



 3. What are each of you reading right now (for fun)?

JM: Reality Is Broken by Jane McGonigal

RS: Among the Missing by Dan Chaon

MS. The Heyday of the Insensitive Bastards by Robert Boswell and Swamplandia! by Karen Russell



4. How do you utilize Twitter? How do you believe it has changed the way we go about publishing literary journals and other periodicals?

We use Twitter to connect with our audience one-on-one and en masse,  and to learn about what other artists are creating. The casual nature of the medium breaks down traditional communication barriers–we’ve been able to build relationships with organizations and individuals that we would have previously considered inaccessible. Media tools have always influenced the publishing world. In order to thrive in an era of new media, any publishing group must adapt their product to embrace new technology and connect with a new type of audience. Just as the printing press increased literature’s accessibility and shaped its form, social media is having a similar influence.



5. If you had a crystal ball, where do you think (or hope) the general world of publishing will be in 5 years?

Self-publishing will be much more common and probably more acceptable. Who knows, DIY magazines like Paper Darts just might explode. One thing is certain. Print is not going anywhere. We are sick of the Chicken Little treatment of the publishing industry. The literary sky is not falling. But we do think this is an exciting time for digital publishing. In five years print wont be the only place to find BIG IMPORTANT LITERATURE. You will find many more writers and artists who use the computer screen–or tablet–as an intended medium. The writer Ander Monson is a good example of this with his book Vanishing Point: Not a Memoir.  He was able to embrace technology and he created something truly mind blowing while commenting on technology at the same time. Wow. We want more of that, please.



6. Do any of you have individual aspirations of getting a book published?  What are you currently working on?

JM: Zero aspirations for writing a book–I’m much more interested in facilitating publishing for others. Ha, I can’t even keep an updated blog–I can’t imagine writing a book!  [Jamie, I TOTALLY know this feeling...lol]

RS: I’ve always had a pathetic dream of getting published. It’ll happen one day, but the definition of book may have to be stretched a little. Like, say to “series of half-finished, quip and pun filled essays about the Nasonex Bee and other weird obsessions.” Yeah, I think I could handle that.

MS:  I hope to find a creative home in artists’ books. I write and I make art. I want to combine those worlds of mine in the future.



As usual, let us know what you think. Do you have any questions that Jamie, Regan or Meghan can answer?  What are your thoughts on the state of today’s magazine and journal publishing?

1. Get some rest!  – Remember how I mentioned the brain would feel like mush?  That eventually a sense of information overload would occur?  Was I correct?  Are you exhausted?  I know I am.   For at least a day or two, do other things.  Focus on your non-writing life at least.  Do something fun.  Go eat a cupcake.  Maybe read a fun book.   I promise the “mushy” brain feeling will go away. 

2. Think about what you learned & come up with a plan -  Did you learn something new, something that gets you excited?  Did you realize that your idea needs to be tweaked/edited/rethought?  Is it time to come up with a long-term plan of how you’ll build a large readership?    Once you’ve had a few days to unwind, start this process.  Determine a reasonable timeline.  And just “do it.”

3. Keep your new network of fellow writers and publishing colleagues close – You’ve met an entirely new group of people, and probably even touched base with some old colleagues.  Make an effort to keep in touch with these folks! 

4. Never forget why you want to be a writer - Hopefully attending any writer’s conference will reconfirm why you wanted to be an author in the first place.  Writing conferences exist to help you become a better writer, and provide a chance to celebrate the overall writing experience.

Now I’m going to hide and try to relax a little after this weekend’s fantastic experience at the DFW Writers’ Conference.  Thanks to everyone who atttended, who I was able to meet, and to the fantastic crew who made this conference such a pleasure to participate in! 



P.S.  Besides some great panels, gong shows, and general awesomeness….I have to say that one of my favorite presentations was Jean Sagendorph and Colleen Lindsay’s class on “Author Platform.”  Super informative, and totally worth sitting in on.

I find in order to do my job efficiently (and effectively) certain things have to be accepted.

1.) I cannot (and will not) write my authors’ books. The world should appreciate that, I’m not a person who has any desire to write a book and one who lacks that special talent to turn words into 200+ pages of engaging text.

2.) I cannot (and will not) give a strict writing schedule to my authors. If I like their book ideas enough, and we seem to work well together, I’m going to simply give very basic deadlines (as to when things need to be done) and input (on their projects).   I will not oversee how those deadlines will be met on their ends, as I have enough work to do.

3.) I will plan to run with a project when it’s strategically smart. I believe most of us agents like to come up with a tentative plan, when to execute it, and how it will be executed. The process in how this is completed should be left in our hands, barring any life altering/crazy circumstances that would prevent us from being able to do our jobs effectively.

4.) I always try to be fully aware of the others’ who make this publishing process work (and function) accordingly.  They too have deadlines and other work-related tasks to juggle too.



So let’s look at the various roles, to which I know I’m probably missing some of folks – I promise it’s not intentional.  My goal is to keep this basic –  here are the main roles to remember (during the publishing process):

The Writer -  Known as the Author. That would more than likely be the person reading this post.  You are the creative element, the person with a love for words.  The one who wants to put them into a certain order, so that your story can be told. 

The Editor – The special person who makes sure those words are ready for publication.  Also the person who works actively with the Sales Department in making sure the book reaches readers; ultimately a newer, busier role in today’s industry.   In summary, a good working relationship with one’s editor is absolutely essential.

The Literary Agent – The author’s advocate.  The person who brings the responsibility of connecting an author’s work with the Editors.  The person who must also be an entrepreneur at heart, and equally fearless in championing his/her authors’ works.  Once the Author’s book is ready, the Author must hand off that work and allow the Agent to do his/her job.  There’s more I can list here, but for the moment I’m trying to keep this simple. 

The Publisher – The place where the Editor works.  The place that the Literary Agent approaches.  The place that has the final say on IF it will publish a Book, and more.  Once again, many responsibilities fall on this player in the process of getting published.

Other important folks worth mentioning – the Sales and Marketing Departments, Contracts Departments, Co-Writers, Ghostwriters, Production Editors (Print and/or Digital), the Interns (usually unpaid or minimally paid), the Book Distributors, the Book Reviewers (Print and/or Online)  the Book Store Buyers, the Book Sellers and more. 

The big reminder is that each of these folks brings an important job to the table.  If any of these people  try to do another person’s job, the process can easily come to a halt, or slow down considerably.   Ultimately as an Agent, I find that keeping in touch with the folks (I work with) in publishing is absolutely necessary.  Yet I would never try to do their jobs, as they wouldn’t want to do mine more than likely.

For Writers, this means that once you do decide to get published, these are some of things that need to be remembered.  Ultimately focusing on one’s writing, in addition to one’s writing platform is going to be much more productive than attempting to participate in the other roles.    The one entity that will most benefit from that attention is your Book.  And your Book will appreciate it.

Instead of rushing the query process, contacting agents and/or editors BEFORE one’s writing platform is fully established – actually attempt to be strategic with your entrance into the publishing “world.”

Let’s refer to Aesop’s story of “The Tortoise and the Hare.”  The Hare leaves too early, is too confident for his own good, and tries to take shortcuts off the main path.  The Tortoise goes slow and steady, keeps his eye on the prize, and stays on the path.   In the end, the Tortoise wins the race. 

Yes, sometimes people will get published going the route of the Hare, that is to be expected.  However, the majority of writers, if they want to be represented by an agent and/or published with one of the big houses,  should learn a lesson from the Tortoise.  Sometimes a good book takes time to “bake,” to develop into a book ready for the publishers.    If the Tortoise could do it, anyone can.

Every literary agent has been in the same shoes as the author querying them-waiting for a response, SOME kind of response   Here are some goals to aim for, so that the overall query process is a positive one. 

1.  Avoid calling and/or email the agent once the requested materials have been sent. 

In an effort to balance the rest of our agent duties, we try our best to read an author’s book proposal and/or manuscript in a timely manner.  Most agents (including myself) will state clearly the turn-around time in printed directories.  Hence, contacting an agent the following week isn’t to one’s advantage.  Assume if contacted directly to email/mail one’s book idea, it is seriously being considered for representation.  If more than two months pass, by all means drop a followup note to the agent, usually by email.

2.  Avoid sending a revised proposal and/or manuscript after the fact. 

If you were on a road-trip, would it be a good idea to return to the starting point and start a new route altogether? No, it wouldn’t. It’s not the best use one’s time or money. 

Assume the same in regard to requested materials for an agent.  We prefer to read the final copy of the book proposal and/or manuscript, not the working version.   The author comes across as more professional, plus this  level of professionalism ensures that the idea will be fully considered.

3.  Use that time to further promote one’s writing platform. 

This is a fantastic use of time, so do it.

4. Notify the agent if the book is no longer available for representation. 

Any writer would be esctatic to have more than one agent clamoring to represent his/her book.   If another agent offers representation, first and foremost celebrate!   Then take a moment to notify the other agents (who are reading your book materials) that representation has been found.  No offense will be taken, just appreciation that the notice has been been given, thereby everyone’s time saved.

What he states is very true, there is so much to look forward to, and that embracing the changes is okay (and exciting).  Walking away from that editorial, my hopes of publishing maintaining its footing with readers (and increasing readership) are even higher. 

Yes, technology has changed things.  Everyone is more dependent on technology in our daily lives, so much that even books, and how they are read, is slowly changing.   It is hard not to be optimistic, as more people will be reached.  Call it the librarian side of my education, or a general love my job, either way this new year will be a fantastic one. 

Have a wonderful 2010 everyone!