How to Promote Your Writing with Technology

by C. Patrick Schulze

Listen to a PODCAST of this Article.

The world of writing is about to roll over in the grave it doesn’t know it’s in yet. The writing industry is on fire and undergoing cataclysmic alterations to its landscape due to the advancement of technology. And everyone involved with writing, agents, publishers, book stores, readers and those who do the writing, are caught up in this technological conflagration. It is my opinion the landscape that emerges from this titanic struggle will look very different than the one with which we are now familiar. The industry will survive, no doubt, but in a vastly altered state from the one we see today. As to those who do the writing, I believe they will become business people who write, rather than writers who do business. In fact, this alteration has already begun in earnest as even traditionally published authors are now required to do their own marketing.

With this in mind, it becomes evident writers should embrace this technology if they wish to enhance their marketing efforts. Here’s some thoughts I garnered on how to do that.

As a writer, you should consider using podcasting and videocasting to promote your novel. Even Simon & Schuster acknowledged this was necessary. Here’s why.

First and foremost, people spend a lot of their time on the Internet which is already transportable. Even more, the future of the Internet is video. In fact, video search is growing in popularity at an astonishing speed.

If you’ve paid attention to how to market books in today’s environment, you know the new attitude toward sales is all about the human connection. This link builds trust between people and trust is a critical element in marketing. With this in mind, video is about as personal as we can get without being there.

The best aspect of video is it’s demographics. From Elites TV, you’ll find video demographics are “53% male/47% female. 55% urban with median income of $74K. Nearly 70 percent are college educated, 47% are married, median age is 33, 71 percent are employed.” Pretty strong marketing core, wouldn’t you say? And best of all, these are the people who buy the books.

Would you like one more reason to get into video casting? Few authors do it. That leaves you with a larger piece of that pie. Keep in mind as the younger writers among us come up, they’ll use video and leave those who don’t in the dust.

How do you get involved with videocasting? It’s simple, really. Pick up a video camera at your favorite electronics outlet then talk into it and upload it to YouTube. After that, promote the hell out of it. Check out Gideon Shalwick’s article GetYourVideoOnline.com for more information.

An offshoot to video is a book trailer. Joanna Penn of TheCreativePenn.com has a nice article on how to create your book trailer at Book trailers: 11 steps to make your own.

Next, you should consider podcasting as a marketing tool. Podcasting is about as easy a thing as there is to do. You download free recording software from Audacity, pick up a microphone and start talking.

Why podcast? Well, with the advent of the IPod and its multitude of copycats, your audience can take you with them anywhere they go. It’s free and the spoken word has a great deal of impact. However, one of its most important features is it makes you read your work aloud. This technique has magnificent powers of influence over your writing. I can almost guarantee your writing will improve by the simple act of podcasting. To get an idea of how this translates into real life, check out BlogTalkRadio.

I have one last comment for you on book marketing in this gilded age of the Internet. Check out this information from Joanna Penn for even more help. After all, much of my research for this article came from her.

Oops, I have one more one last comment. Fortune favors the bold, my friends. Be bold and embrace the technologies of writing and your writing career has a better chance for success. Until we meet again, I wish for you only best-sellers.

C. Patrick Schulze
Author of the emerging novel, “Born to be Brothers.”

Why I Will Self-Publish – Probably.

by C. Patrick Schulze

Listen to a PODCAST of this article.

I’m about to finalize my decision as to how I am will sell my emerging novel, “Born to be Brothers.” With that in mind, I must soon decide if I am to self-publish and endure all that entails or face the gauntlet of the publishing industry and all the rest that comes with that. (We have not chosen an easy industry, have we folks?

I see advantages with either scenario and I also see drawbacks with both. However, the more educated I become on the subject, the more it seems it is in my best interest is to go it alone. Here’s my train of thought. Please so advise if you disagree. I am open to an honest discussion on the matter.

Agents:

I like the idea of an agent who represents me and feel I have the capability to find a quality agent. That part doesn’t concern me. I really don’t like the process of how they choose the writers they represent. No, I agree with the query process. After all, even writers need a resume. What tweaks my cheeks is their query restrictions. One minor, unintended error that has nothing to do with the quality of your writing, and you’re only opportunity to have them read your resume is lost. Don’t get me wrong, they have to do this. I understand and even agree. I just don’t like it. I also consider how once I find the proper agent for me, will I be the proper author for them? The odds are quite limited. Why hang my future on such low odds when I have other options? However, the real rub? After I’m through with the exhaustive experience of agenting, then I have to deal with the pub houses.

Publishing Houses:

Publishing houses do ease, though not guarantee, entry into the brick and mortars, which are the premier distribution channel for the writing industry – for now. However, distribution is their only remaining asset of any real worth and with the explosion of technology, I see their grip on distribution slip with each day that passes. In fact, I believe the Internet is about to leave them in the dust and take over their monopoly with distribution. Amazon, a technology company, even affects their sales model. That’s not a sign that instills confidence in me relative to their strength or ever their stability within the writing world.

Another major issue I have with pub houses is they’ll hire some salesman who MAY give my book a ten second pitch. If he wants to. Honestly? I want that salesman to answer to me, not some conglomerate who sees me not as a customer but as a product. Again, I understand and have no solution for them, I just don’t like the system.

Further, there’s almost no chance for an advance, which means I work on commission – a commission based not on my productivity but some unknown salesman’s capability. Now, I’ve worked on commission before and made a bunch of money doing it. But I either held the salesman’s position or the salesman worked directly for me. Under their arrangement, I’ll most likely never even meet this person, let alone develop a relationship with him. And yet, my career hinges on his efforts. It’s a scary thought to someone like me who has always pulled up his own boots.

The pub houses will not assist with marketing, so that effort and expense lies with me regardless.

The pub houses sometimes offer editing services, but even that benefit is dying. Plus, I can purchase that service on the open market and have a say in whom I hire. They do have book cover design services and that’s nice, but I give up all control over how they present what, in the final analysis, is my work. Further, I can purchase that service on the outside at a reasonable price and maintain total control.

Something else of which I do not approve? The publishing industry is absolutely subjective and good novels are lost all the time to this limiting aspect. Again, I do understand and it can be no other way, but that also dilutes my potential to a great degree. Again, I could lose not on my abilities, but on a stranger’s tastes or even their emotions of the moment.

This whole process just does not send that proverbial tingle up my leg.

So as I see it, to work with a major pub house, I give up a huge portion of my potential profits in exchange for little more than a diminished distribution system based primarily upon old technology? Hum…

Self-Publishing:

I do have one advantage most writers do not. I’ve owned and operated my own businesses since the days of paper boys with bicycles. I’m experienced with going it alone and I’m comfortable with the idea. I will admit this aspect of who I am influences me a great deal.

The major drawback to self-publishing? All the issues rest with me. I don’t worry too much as I’ve been a business decision maker my entire adult life, so making these kind of judgments are sort of par for the course.

Cost. It’s a big issue. However, it won’t break the bank, so it’s not too large of an issue. Besides, my wife is on board, so the real hurdle is already crossed.

Marketing. This is a major issue with those who self-publish and beyond the well-written novel itself, it’s the meat and potatoes of success. However, I’ve been self-employed and marketing since I my tenth birthday. Though the cost of it is a consideration, the Internet has supplanted much of that cost. I can work up copy, build web sites, use social networking and all the rest. I’ve even got contacts.

Product: I do believe I’ve got my breakout novel in hand and am convinced my novel will sell with correct marketing. It’s a great story and the narrative is well written and well edited. In fact, I dare say it’s better than most books the pub houses crank out. I know… I know… we all feel that way about our babies, but I’ve written two stinkers, so I’ve got somewhat of a handle on good vs. bad. This one is good.

Publishers: I’m not too worried about that. I’m good enough at research and I’ll find a good print shop with benefits, which is really all they are. I used to own a wholesale print shop, so I have a feel for what to look for.

Editing: I’ve got a relationship with an excellent editor who is reasonably priced and brutally honest with me. Besides, I’ve grown into a pretty good editor myself over the years.

Book Cover Design: Graphic artists are everywhere and some are even reasonably priced. Besides, I’ve got some great ideas and I’d like to see them fleshed out.

Distribution. Now here’s the other of the three big issues which also included cost and marketing. Again, I’ll forgo the brick and mortars for the Internet any day. The B & M’s are a dying breed and the Internet allows me to get my marketing message into almost every home in the English-speaking world. I’ll have a worldwide market, which includes their customers. So again, marketing is the secret to distribution. By the way, have you noticed the B & M’s now sell the very products that will either kill their business model or force them to become something other than a book store? “Here’s yer sign.”

Profit potential? I’ve worked up a business plan and feel I’m actually ahead with self-publishing. Especially when you consider the digital end of things. I’ll not have the overhead the pub houses do so my business plan gives me an huge edge when I keep all the profits rather than some small percentage. I retired from the business of coaching other businesspeople and did so for many years. I have confidence in my plan.

So, that’s my way of thinking on this important writing decision. I challenge you to show me where I’m wrong.

In the mean time, how ‘bout some referrals to self-pub houses that have impressed you?

Thanks for your help.

C. Patrick Schulze
Author of the emerging novel, “Born to be Brothers.”

The Monkey is on Your Back

We, as novel writers, have had more than just a monkey jump on our backs. The proverbial eight-hundred pound gorilla has landed with both feet. I’m talking, of course, about how writers are now their own publicity agents, in contrast to the “good ol’ days.”

If you are among the flattered few who sign a contract with a publisher, the odds of him putting money into marketing your work are nil. And what is the net result of this? If you want to sell your book, you are the marketing agent.

Many authors write a sterling book but simply don’t have the money, time or personality to market and sell their work. But really, how many of us have the cash lying around to purchase that full-page ad in the Times? We, therefore, must look to other, less expensive, avenues with which to market our books.

You remember the old saw that you must spend money to make money? The good news is that is no longer true. Today, marketing can be almost free if you utilize the blogosphere and other virtually free methodologies. I know you don’t want to hear this, but you need to learn how to leverage the Internet and effectively use Twitter, FaceBook, LinkedIn, WordPress and the like. The Internet is your answer, at least early in your novel writing career.

These days you must, and please note the word, “must”, delve into these new technologies to succeed as an author. Even if you have a publisher, he’ll insist you develop what is called a platform and reach out to touch people with these 21^st century tools. So, get used to it, face the music and bite that bullet. Pick your cliché, but just do it, jump in with both feet and learn how to reach your buying public by building your platform. If truth be told, it’s amazing how many people you can touch with these techniques.

Devote a couple of hours a day to this and, regardless the size of your wallet or the time you have available, you’ll be amazed at the huge audience you can develop.

Until then, good writing and I wish you only best-sellers.

C. Patrick Schulze

Character Types in Fiction – Part 2

by C. Patrick Schulze

In my most recent post I introduced two types of characters, The Hero, (protagonist), and the Mentor, (Wizard, Wise Old Man / Wise Old Woman). Today, we’ll continue in the same vein and introduce additional character types for your novels.

Next in line of our universal characters is the Threshold Guardian.

As we know, our protagonist must traverse many obstacles while on his quest and in many instances some of those hurdles are watched over by Threshold Guardians. Its goal is to keep the unworthy from entering. The common placement of the Guardian, as you might expect, is as a gatekeeper, most often for the Big Enchilada. It is not necessary for these people to have an evil demeanor and attitude, but most authors seem to portray them in that light. In unusual circumstances they can even be secret helpers to your hero.

These sentinels can take most any form you wish. They can be fierce creatures ready to devour your hero or something as nonthreatening as a child who withholds a secret. When your hero encounters the various kinds of guardians, they can be overcome, bypassed or even turned into allies. They represent the hero’s inner demons or serve as training for more difficult tasks he has yet to face.

How is your hero supposed to deal with these impediments? The answer lies in the guardian’s unique nature or personality. Your protagonist must find a way to get under the beast’s skin. In some instances, they do so literally, as when Sam and Frodo dressed like the Eye’s warriors to traverse the badlands. With luck, your hero may simply ignore or bypass him. In most stories, however, the Threshold Guardian must be fought, bribed, educated, turned, appeased, convinced or killed.

Despite the looks of it, a Threshold Guardian is often a positive thing to your hero. After all, doesn’t he warn everyone the Big Bad Wolf is near? They can also help your hero in another fashion for as they test the good guy, your hero grows in strength and knowledge. The good guy might even pick up a weapon or two.

Our next key character is The Herald.

In studying how to write a book, you’ll find this guy brings two things to your hero. The first is an announcement of major change your hero is about to face. The other is motivation.

In the early telling of the typical story, the hero muddles through his life by way of current knowledge or dumb luck. All of a sudden, some new problem crops up that is beyond his skills and he can no longer get by on his own. This new imbalance, called The Call to Adventure, is delivered by none other than The Herald. This guy gets your hero’s great quest moving along.

Herald’s represent coming change. In “Star Wars – A New Hope,” who is The Herald? Who is it that brings Luke Skywalker an announcement of some great change that gets the story moving forward? It’s R2D2. He is the character that shows Luke the message from the princess, thus announcing the coming transformation in Luke’s life. Remember how Luke gets excited by the message? There’s his motivation.

What form does The Herald take? Like every character in your story, it takes whatever shape you wish. It can be a person, a note, a feeling, a telegraph, an animal. It matters not. Just know as you learn how to write a story, a herald is necessary.

As with every character in your story, The Herald may be good, evil or neutral. In most stories, The Herald is brought in early to get your hero moving toward his quest, but his appearance depends on when and how you decide to have your hero’s quest started.

Now for one of my favorite characters, The Shapeshifter.

This powerful archetype is shifty, two-faced. You see him for the first time and he’s helping. Yet, the next time you cross his path he’s trying to destroy you. (Every see this type in real life?) The classic example of The Shapeshifter is found in the opposite sex, though this in not necessary.

The function of this creature is to confuse the hero and the reader. It is the bringer of doubt and the propagator of confusion. In our earlier example of “Star Wars,” a Shapeshifter is Lando Calrissian. Remember him? The boos on the cloud mining operation, he first comes out to meet Han Solo with a grimace and a complaint. He then hugs him, betrays him, then saves Solo and finally joined the Rebellion and is given the rank of general for the climactic battle scene. Boy does this guy alter his appearance – four times. He kept you guessing throughout most of the movie.

Shapeshifters may change in any way imaginable. They may alter their personality, form, allegiance, or just their clothes. Regardless, all these changes bring uncertainty and apprehension to your hero and your readers. Consider if you will, the Wicked Witch in “Snow White and the Seven Dwarfs.” She shifted from a queen, to a witch, to a dragon to a pile of ash as we progressed through that story. Wow!

Next comes The Shadow.

This guy is often your villain, though he need not be so. The Shadow represents your hero’s doubt. This character might not be a character at all, but a force, of sorts, that rises and falls within any or all characters as needed in your novel. It can shift from character to character but always plays the same role – one of slipping out of normalcy and into doubt.

Remember in the hobbit story when Frodo is about to drop the ring into the eternal fires of Mount Doom? He hesitates. He considers the power his is relinquishing and doubts if he can or even should toss the ring into oblivion. In that same series, doubt rears its ugly head in the good guys at the time when the Eye’s multitudes surround the king and his meager band of warriors just prior to the Eye’s ultimate end. If you remember, as soon as those massive gates open and the good guys see the number of bad guys they face, the good guys shy back a step, brows high and eyes wide in doubt.

Can The Shadow also be a formal character? Sure, and in fact he often is. In the movie, “Independence Day,” the president fires one of his advisors, (can’t remember his name), and the other characters as well as the viewing crowd almost cheer. Doubt has been erased and the president has risen to the role of confident hero in that instant. (Fanfare here.)

Shadows need not be of absolute evil. In fact, a secret to creating Shadows is they often make better characters if they hold some element of goodness. Think of a villain who, just as the hero is about to slay him, exhibits some level of goodness as with “Dr. Jekyll and Mr. Hyde.” In this case, we see evil incarnate surrounded by a very real, and good person.

The Shadow may be internal or external. External Shadows are easy to spot, the Emperor in “Star Wars,” for example. Internal Shadows may be more difficult to visualize but you need only to look to Darth Vader to view internal shadow. After all, this once good, then evil creature turns against his puppet master to save Luke and transforms into something good again. (In this case, the Shadow is also a Shapeshifter.)

Our final character is The Trickster.

The typical Trickster is the comical sidekick. They are utilized to bring your hero down to earth, often by way of comic relief. They also like to stir up trouble for no reason other than to do so. They are what’s called “catalyst characters.” They that change others, but rarely change themselves.

Without them, the conflict in your story may lead to reader exhaustion. An old saw in drama tells us to “Make ‘em cry a lot; let ‘em laugh a little.” This “laugh a little” is the job of your Trickster. Tricksters can be cohorts of the hero, as with Giordano in “Sahara”, or may even be the villain. They also might not be related to either of them.

One of my favorites is the aforementioned Giordano. The hero is given a coin minted in limited quantity by the Confederate Government. He’s all excited about the implications of his find. Giordano’s response? “My father has a coin collection.” Giordano’s meaning, of course, is that coins travel the world all by themselves and the hero needs to get his head on straight as to the significance of this single coin he’s found.

A variation of the Trickster is the Trickster Hero. In fact, our very same Giordano is such a character. Not only does her provide the comic relief, but he is also a minor hero in his own right. He is, after all, the guy who finds and dismantles the bomb, is he not?

Well, there you have it, an outline of the various and interesting characters with which you may populate your novels. If you have any questions, please leave a comment and I’ll get back to you.

In the mean time, I wish you all best-sellers.

C. Patrick Schulze

Author of the emerging novel, “Born to be Brothers”

POV Tips for Fiction

Last night I was working with my critique group and they stunned me with some of the errors they found still hidden within my novel, “Born to be Brothers.” Two, (count ‘em), of those errors were in Point of View, or as it’s know, POV. With last night’s lesson clear in my mind, I thought today’s post should encompass that great bugaboo, Point of View.

Let’s first try to understand what POV is. In a sound bite, it’s who is telling the story. Is a single character narrating what is going on, or are a number, or even all the characters, telling the reader what is happening? POV is nothing more than the writer’s method of determining which character is presenting the narrative. See, it’s not all that mysterious.

As to the types of POV, there are four perspectives for telling your story, though some say there are five. Regardless, my focus will be with the three most common uses of POV in fiction, and then primarily upon the Third Person, as it is the easiest to use and most common POV in novels. Know that each POV has its advantages, disadvantages and typical uses.

The three major types, with primary subdivisions are:

• First Person POV

• Second Person POV

• Third Person POV

o Limited

o Omniscient

o Objective

Keep in mind when you write, you’ll settle into the one or two POV’s that serves your storytelling and writing style. In fiction, the primary POV is Third Person.

Let’s define these POV’s.

• First Person POV First Person POV has the writer, or narrator, personally telling the story. In effect, the narrator is speaking to his readers about what is transpiring and it can be told in either present or past POV. It is most often used when one is authoring a book about ones’ personal experiences or opinions. You’ll see the writer using the common pronouns of I, me, my, mine, we, our and ours.

It can fit into fiction, but is widely used in memoirs.

An example sentence is:

As I looked at Jill, I knew she was upset.

• Second Person POV

Think of this as how to write an instruction manual and extensive use of the word, “you.”

This POV is rarely used in fiction as it simply tells the reader what the characters are doing and what they see. It is an awkward way to write with limited access to creativity. However, it does grab the reader’s attention.

It can also exist in past and present forms.

An example sentence is:

You, Jill, will then purse your lips and furrow your brow.

• Third Person POV has three subtypes and we’ll discover each on its own.

o Third Person – Omniscient POV

Third Person Omniscient POV is having all the major characters in your novel telling the story. What is nice about this POV is the freedom it affords. The author can tell the reader what everyone’s motivations are and what it is they are thinking. It allows the writer to give or withhold information at will.

The difficulties lie in lack of control and its potentially cumbersome nature. If you are not careful, by showing what’s inside every character’s head, the reader receives too much information and can become frustrated as your POV loses cohesion.

You overcome this drawback by insuring consistency in your POV and by having only one person at a time tell the story. Also, eliminate any information that is not pertinent to the story. Have each chapter focus on one individual will help eliminate “head-hopping,” or jumping from one character’s POV to another within chapters.

Your example:

Jack wondered what Jill was thinking while Jill knew quite well what thoughts rattled around Jack’s mind. Bill was surprised by what Jill was thinking.

(See how this can get out of hand?)

o Third Person – Limited POV

Third Person Limited POV is perhaps the easiest to utilize and most popular when writing novels. Here the author writes from a single person’s vision throughout the entire book. In third person POV, you’ll see pronouns such as she, he, her, him, hers, his, it, its, they, them, theirs.

The disadvantages come with the writer’s limitation as to who sees what. The character telling the story cannot get into the head of another to read his thoughts. He can only surmise what the other guy is thinking by that person’s facial expression, actions and such. It’s also very easy to shift out of this POV.

Your example:

Jak understood Jill’s irritation, for her pursed lips and furrowed brow told him everything he needed to know.

o Third Person Objective POV

In this POV, the author only tells his readers what happens by way of action or dialogue. Their characters’ feelings or thoughts are never revealed. It is not the most effective POV for fiction.

Your example is:

Jack watched Jill furrow her brow and pinch her face.

When the major POV’s for fiction are broken down by types, it doesn’t seem quite so overwhelming, does it? In fact, as you read the names of each type of POV, it should be easy to remember each of them. Limited, has a limited number of narrators, Omniscient, (Omni = all),  has everyone telling and Objective has no one telling.

The secret to POV is to learn what type works well for your writing style and the types of stories you tell and then allowing these factors to drive your POV. Focus on the one or two you need and let the rest go for now.

I hope this has helped a bit, and I wish you only best-sellers.

C. Patrick Schulze