On Surviving ‘Big Opportunities’ Part Deux

I’m back from the ACFW conference. After going to bed at 9 p.m. for the last two nights, I feel like I might be getting back to normal (it’s a process that involves a little crying here and there). The conference was rewarding, but it pushed this introvert fairly far as I shook hands, flashed my lanyard, and explained what my novel is about to people waiting to tell me about theirs. Each night I fell asleep with my mouth open, Golden Girls blaring on the hotel TV, while other conferees partied and swapped business cards.

Some takeaways: be prepared that your best laid plans might not be the ones you stick with, and that’s okay. Be nice to people, just because, and let them be nice to you. Don’t keep eating the spicy dessert because you can’t think of anything to say to the table full of strangers.

close up of human hand
Photo by Pixabay on Pexels.com

More takeaways: my novel is interesting to agents. I will have to write a proposal. It’s good to be humble, but it’s also good to put yourself out there. Just because you want to keep “creative control” doesn’t mean you can’t compromise in order to get some help. Everyone defaults to Facebook when it comes to social media and building a brand except for one person, and she said YouTube was better. I’m trying to decide which of those I find more horrifying.

Final takeaways: my teenagers got taller in four days. God is good to me. I really, really like my own bed.

A Way Out

Oh, my goodness. Just when I’d made up my mind I needed a couple or three social media accounts in order to build an author platform, Austin Kleon comes along and reminds me why I don’t want to.

The conundrum (and, yes, I know it’s boring to bring up) is that to be a creative with an audience, you have to find people who might benefit from your work. In today’s world, that means finding them online. But to find them, you have to spend time thinking up ways to virtually “connect” on social media when you’d rather be exchanging ideas with an actual person.

And, look, you have to make the connecting feel real. Not too real because that’s weird. But certainly not fake.

photo of women taking picture
Photo by bruce mars on Pexels.com

You have to do this while everyone else in the entire world is also connecting in the same giant room, at the same time, and you have to try not to feel too depressed that no one’s listening to anyone else.

It’s like going back to high school, only meaner, plus you will never graduate, and the principal is selling your data.

There’s got to be a better way to find your tribe. I don’t know what that way is. I’m just wanting to believe it exists.

Austin?

 

 

A Book by Any Other Name

One of the things fiction writers are supposed to be sure of is where their writing fits in the book world.

Do they write romances, sci-fi, or horror? If so, they’re genre writers. Genre writing, also known as commercial writing, is extremely popular. It’s mostly plot-driven stuff and fulfills specific reader expectations. Book marketers and publishing houses call it commercial because it sells.

action book books bookshop
Photo by Pixabay on Pexels.com

The other type is called literary, and boy howdy are there ever different views on what that word means. Some say it’s writing that’s character-driven, full of subtext, or has an overarching message. Others say it’s a way of warning readers a book has no plot. Still others think of literary writing as the kind your English professor assigned you in college (the kind you bought Spark Notes for).

the last bow book
Photo by Clem Onojeghuo on Pexels.com

Guess which kind I write?

I’m attending a huge writer’s conference in early Fall. I’ll meet lots of industry professionals there, and do you know what at least one of them will tell me?

That literary fiction doesn’t sell.

They may also inform me that calling my book literary fiction (even if the plot is well-developed with plenty of action and clean writing) is the kiss of death in terms of marketing.

In the past, I might have said, “Then tell me what to call it, and I’ll call it that. Only let me write the way I have to.”

But times have changed. My writing is literary, and that’s what I’m going to call it. It’s not full of talking heads in cafes or one dream sequence after another. It’s not esoteric or high falutin’. It is character-driven. And, yes, I’m trying to say something.

I’m not worried about the label because there are people who want to read books like that (I know I do). It’s my job to find them.

 

 

 

 

Thoughts on Marketing

I sort-of watch my teenagers play video games together. They talk trash while making little square-headed men jump up and down. The ceiling fan goes ninety miles an hour over my head, drying my eyes out as it always does, because our T.V. puts off heat.

As I listen to the kids argue about which avatar is the lamest, I think about the uncomfortable position writers are in now. Gone are the days when an author wrote a book and let a publishing house handle the marketing. Now they’re expected to “promote themselves.”

Promote: to cheerlead for a team made up of oneself.

It turns out, I really don’t want to do it, along with lots of other creative types.

people notes meeting team
Photo by Startup Stock Photos on Pexels.com

A book launch guy, a big name who knows what he’s talking about, tried to convince me I should think of marketing as being “relentlessly helpful” instead of salesperson-y.

Thing is, I don’t know how to be relentlessly helpful–to anyone, not even myself.

No matter how you slice it, marketing is saying, “You should pay attention to this thing over here that I made that you should buy.” To a crowded room.

And when everyone is saying the same thing about different things, the room gets loud.

And annoying.

And I don’t want to say any of it.

If it were enough, what I’d say is, I write books I care deeply about and labor over. I want to share them with you.

But I’m not sure that’ll cut it.

These are the things I think through as I watch my kids grow up in our living room.