Michelle (msagara) wrote,

Self-promotion thoughts, part I

I apologize because this is long. I'm not finished yet, and it's long.

Social media is everywhere, and for stay-at-home writers with small children, it's often the only reliable way of, well, socializing; all other social events take a lot of organization and lead-time. If your small child needs attention Right Now, you can pause email in the middle with no harm done; you can post short status updates or tweets, and you can read and contribute to your social streams when you can manage to steal a few minutes here or there.

My children are not small anymore, but I'm still at home most of the week, working on two deadlines (or more, depending on the month). Twitter is like a water-cooler during work. When I'm stuck on a scene or I'm tired of the isolation mixed with door-to-door intrusions I duck into Twitter and read or respond.

Twitter - for me - is a little bit of social interaction in the middle of a day (well, mostly night) that would otherwise be All Work. It's a way of keeping in touch with my friends or their kids, and many of the people I follow on Twitter, I know in real life.

I don't, of course, know all of them.

(I know I said this was about self-promotion, but as usual, before edits and revisions, I err on the side of context.)

My social media is social, for me.

Because I am a writer, and because I've been writing for a couple of decades now, I know many writers, so my Twitter stream is very author-heavy. That said, what I want from it is still social in nature.

More context.

I've worked in bookstores since I was sixteen years old. First, at Classics, a now defunct chain, as a part-timer, and later, at Bakka, as full-timer, and then manager. During the first ten of those years, there was no social media. And during the first ten of those years, which saw the publication of my first few novels, the common and accepted wisdom was: Writers write. Promotion was not something we were required to worry about, and in fact, my then-editor discouraged it.

Books, however, still sold without that promotion.

Sometime while I was working in the bookstores, the larger chains that dominated the North American landscape began to charge for placement. When I was working at Classics, for the whole of my tenure, there was no placement fee charged for books; we decided where they would go. We decided how many pockets were faced out at the front (usually and not surprisingly, this depended on how many copies we received). We decided what went in the windows, on the front counter, everything.

No authors sent us bookmarks. We did get ARCs when publishers went all out, as well as posters, publisher-printed bookmarks and other bumpf. Classics didn't use dumps, although they were shipped from time to time.

But we didn't get spam, because there was no spam; we didn't get twenty-five links a day, because the web was still mostly run on Lynx.

Books still sold.

Now? Authors are expected to do their own promotion. But the expectation is handed down largely by publishers in my experience. I've done the bookstore slog, but my chain experience was a looong time ago, and anyone who's been in those trenches more recently, please feel free to correct me.

No one I ever worked with in a bookstore cared that authors promoted themselves. If the authors were hideously pushy -- and twenty years ago, it was far easier to be classified as pushy, people being more conservative -- it was offensive; it wasn't seen as helpful to us if they were friendly, although it was certainly nicer. I.e. We didn't expect the authors to be out in the ether shilling their own books so we could sell them.

No - we were foolish enough to think we knew what would sell in our own stores.

In this day and age, with the spread of ebooks and self-publishing, some promotion on the part of those authors is necessary; I understand that. Being in a brick and mortar store or chain is itself a higher level of promotion than many people realize if they haven't started the self-publishing route from scratch; J. A. Konrath, famous for his success selling his ebooks wouldn't have had a platform without those earlier, traditional sales, because no one would have known who he was.

HOWEVER (yes, I know, long context, long digression).

I am primarily coming to Twitter as a reader. I come to LJ as a reader who writes. There's a community here that I'm part of, and if I have long absentee stretches when the workload rises above breathing level, I always return. I feel at home here. But: I'm a writer.

Balancing the social with the promotional is hard. If LJ were my only on-line presence, it would be very close to impossible because putting up notices every few days in the month before a book's on sale date doesn't work for me as a reader - so I've no expectation that it will work for anyone else who's here as part of the LJ community. (Seanan McGuire doesn't count. If you ask me why, I'll explain later).

I have a web-site on which information about my books, past, present, and future, is available, and on that website, I try to answer more focused my-work-only questions as they come up; I also post news about upcoming releases there. I feel much less self-conscious about posting status reports and pre-pub notes about various books on that site because it's not connected to LJ and the LJ community.

My web-site does have its own small community (although there is a lot of crossover), but because many of those people found the site by googling after they'd read my books and wanted more information about them, I kind of feel like progress reports and publication news are public service announcements. It's part of what they're looking for. I also don't feel like I'm monopolizing conversation by answering questions that are entirely and only about my books there, and it means that people who hate to read about my cats or children -- or, more germane, my musings about process, craft, business and the occasional rant -- don't have to.

People who do come to my LJ know that my LJ is less focused on those things, and they're happy with the wider angle of view.

However, if I posted the same things on LJ, and only those things, I think that the LJ writers would drift, because the conversation would be turned inward, rather than outward; this is also why I don't crosspost between the two. LJ writers pretty much are my community on LJ, because many of my readers here do also write.

And because my desire to be on LJ comes from the desire to socialize, I really don't want that.

Twitter is the same for me; LJ posts (like this one) do take a lot of time, and it's often time I shouldn't have (and of course, what am I doing right now?). But the drive to use social media as an advertisement is strong. Writers are often afraid. They're afraid their books won't sell if they don't. They're pressured to self-promote, but no one is handing out manuals, and frankly, if we were all excellent at socializing, we would probably be in different professions.

So some people take to extremes because they feel it's necessary for their books. I understand that fear and that drive. But.

If writers do this a lot, they are promoting themselves out of my reading existence. I understand that they feel they need to do this, and I'm not saying they shouldn't; I am, however, saying that what I need is at least as important to me, and what I need is not advertisements in a constant stream.
Tags: community, self-promotion
  • Post a new comment


    default userpic

    Your IP address will be recorded 

    When you submit the form an invisible reCAPTCHA check will be performed.
    You must follow the Privacy Policy and Google Terms of use.