In Your Corner: Home by Midnight

In the story of Cinderella, our heroine must get herself and her carriage home before the midnight bell, when the spell breaks that has turned a pumpkin into a carriage and a poor orphan servant into a lady. In some tellings of the tale, Cinderella doesn’t quite make it in time, and finds herself mixed up with the pulp and seeds as her carriage reverts to its original state. I liked these stories the best as a child, mostly because I can’t imagine explaining that to a prince (or a mean stepmother). Then I would imagine the scene as it played out, with Cinderella explaining: “I’m sorry, I lied about everything and am not a princess, but would you like some pumpkin seeds for your garden? I understand this variety can grow to be the size of a carriage!”

Now, if you search for “Cinderella” and “Halloween” together online, you’re likely to pull up a list of absolutely useless Halloween costumes based on the Disney animated (or live action reboot) version. They’re cute, but they’re not demonstrative of an actual connection between the two.

But consider: On this particular Halloween––that is, October 31st, 2020––the night between Halloween and a candy-induced migraine of a Sunday is also the night in which we get to celebrate midnight twice. ÂNDˆa full moon. This particular pumpkin patch of coincidences, in which Halloween, Daylight Savings Time, and a full moon. This particular full moon will be the Blue Moon, as it is the second full moon in the month of October, and that is a fairly novel event, which explains the origin of the phrase “once in a Blue Moon” to describe an event that is rare. It’s kind of weird, but it’s also kind of amazing. What a year, right?

Halloween is an astronomical celebration. It is a cross-quarter moon, which I am just beginning to wrap my head around, that falls roughly halfway halfway between equinox and solstice. But don’t trust me, trust diagrams from the great and wonderful Internet full of amateur astronomers!:

There’s a lot of fun science behind this astronomical event, one definitely worth celebrating (maybe even in a Cinderella costume). It is also, of course, considered something of a spiritual event, with both its lovers and its haters due to its pagan origins. Of course, a person could say the same thing––that there’s a lot of fun science behind it––about each of these things: the Blue Moon, a full moon on Halloween, and Halloween as a cross-quarter event.

Perhaps this is just me connecting the dots between two very different things, but I always think of Cinderella around Halloween, mostly because of that iconic pumpkin carriage scene. If there was indeed a ripe pumpkin on the vine the night that Cinderella’s fairy godmother transformed her into a high-status lady for the prince’s ball, then the events in the story may very well have happened on Halloween. There’s a shared wistfulness and aspiration behind the story of Cinderella and the stories of modern day trick-or-treaters (or since this is 2020, those folks who dress up for the day even though it’s difficult to go door to door safely in some areas due to COVID-19).

They are aspirational because they reflect some larger than life passion or desire. For Cinderella, that desire was to be seen for who she was inside and not be defined by her poverty. For many trick-or-treaters, often it reflects someones or somethings that they find interesting and compelling enough to put on as a costume. (Unless you’re an infant, in which case, it reflects your caregivers’ passions.) Kids dress up as superheroes, first responders, heroes and villains from any number of shows and movies and books––and they do so because they wish to be extraordinary too, deep down.

They are wistful because so often our lives take us in a different direction from those aspirations. (It’s extremely difficult to find available fairy godmothers these days who are taking on new clients.)

We as writers often feel similar things about the publication process, that it won’t ever possibly work because it’s too difficult, or requires specialized editorial or software know-how, and so forth. We are afraid of still being in the pumpkin as the carriage reverts, and feeling publication as an impossibility that one can only wistfully watch from afar as it happens to other people.

Today, as you go about your final preparations for Halloween (maybe complete with a splash of some Cinderella story), I want to challenge you to see publication as something that is, in fact, within your ability to achieve. This is where you see the connection between all of these different dots. Self-publishing exists for a reason. For many reasons. And unlike Halloween, to become a published author isn’t something that you can only ever be aspirational for. If you ever figure out how to get a radioactive spider to bite you, I want to know your secret. But suffice it to say, most Halloween costumes do not reflect achievable career paths. It’s extremely difficult for Spider-Man to pay the rent if he’s constantly running away from work to do a second, unpaid job of saving people and annoying Tony Stark.

(Yes, I’m a nerd.)

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But self-publishing isn’t some remote once-in-a-blue-moon possibility. It exists precisely to get you from your aspiration to whatever the complete opposite of wistfulness is. Celebration of past accomplishments, perhaps? Pride in a job well done, and pride in a dream realized. And it isn’t something that you have to do alone through impersonal computer-mediated steps. Self-publishing as an industry is absolutely packed with amazing people with useful and related skills who are not just happy to talk with you in a casual sense––they’re eager. And delighted to help aspiring authors become published authors, and then to welcome new authors to the author club.

This has been a year of feeling alone in the face of all the things our world is throwing at us. But don’t fall into the trap of including publication on that list. You can chat with your local librarians, your local bookstore staff, the excellent employees of self-publishing companies, and yes, you can chat with me too.

Don’t let yourself be frightened to publish––or at the very least, don’t let yourself talk yourself into a self-fulfilling prophecy of publication being impossible. Get yourself and your pumpkin carriage of a manuscript home (and published) by midnight––and see what kind of wonderful things can happen when you believe in yourself.

You are not alone. ♣︎

Do you have ideas to share? Please don’t hesitate to drop us a line in the comments section, below.
Elizabeth

ABOUT ELIZABETH JAVOR: With over 20 years of experience in sales and management, Elizabeth Javor works as the Director of Sales and Marketing for Outskirts Press. The Sales and Marketing departments are composed of knowledgeable publishing consultants, customer service reps and book marketing specialists; together, they all focus on educating authors on the self-publishing process to help them publish the book of their dreams. Whether you are a professional looking to take your career to the next level with platform-driven non-fiction or a novelist seeking fame, fortune, and/or personal fulfillment, Elizabeth Javor can put you on the right path.
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In Your Corner: A Month of Romance (part 2)

Seamless pattern of Valentines Day candy. Fancy chocolate bonbons with love you message.

Let’s simply pick up where I left off in my last post, with the question:

Who writes romance?

The second question we have to grapple with when it comes to romance relates to authorship. As with readership (and our previous conversation on that), there are many misconceptions about who writes within this particular genre. And first, to deal with the elephant in the room: Yes, the Romance Writers of America recently went through a major reckoning with some internal racism that the organization really shouldn’t have been silent on, ever. I won’t say much more about it (but if you’re unfamiliar, you can read up on it in almost any major news publication, including the Guardian) other than to congratulate those who were willing to speak up and who have helped the organization evolve. What’s relevant here is that the Romance genre has history–and a lot of it, both good and bad and misunderstood. Outside perspectives have been almost as important to the Romance market as inside ones, with many of the 1800s and early 1900s Great Thinking Men dismissing the earliest English language novels (which were often romances, as is the case with Jane Austen’s) as frivolous and like as not to rot the reader’s brain and foul the author’s character. But of course, Jane was writing in a time of near-continuous war, and the other novels of the period were either examples of pure escapism or ponderous tomes that passed government censors. 

Because so many of Romance’s greatest (as in, most anthologized) authors have been women, and English-speaking white women at that, it would be easy to assume (and many go right ahead and do assume) that Romance is the province of female authors and female authors only. Here again, the Romance Writers of America comes in very handy; their website provides some useful reportage on the state of Romance past and present. On a page they title “Romance Trailblazers,” one can find plenty of English-speaking white women authors, yes, but there are also a good sprinkling of authors who are none of these things, or at the very least not simultaneously. (On that note, don’t overlook RWA’s diversity and inclusion resources, which include this fabulous crowd-sourced list.) I would also point you to the diversity reports from The Ripped Bodice, the only exclusively-Romance-selling genre bookstore in the United States. The 2019 bestsellers reflect exactly the kind of diversity that has made the genre so popular and given it such staying power; it may not always be beloved of the critics, but Romance has never lacked for love among the people. The Ripped Bodice reports also lay bare some interesting facts about the main publishing houses and their romance imprints, which simply don’t reflect their diverse readership fully in the authors they publish. There are some opportunities for nonwhite authors opening up, but we still don’t see anything like a realistic reflection of reader demographics there. This also holds true if we’re looking at percentages relating to LGBTQIA+ authors, who are vastly underrepresented within the major publishing houses. Meanwhile, male authors have had a foothold in Romance writing all along, with authors like Nicholas Sparks and John Green representing some of the latest success stories.

Luckily, we’re in the business of self-publishing, and in self-publishing, there are fewer obstacles (I won’t say “no obstacles whatsoever,” since I can’t speak for each and every situation) to Romance authors than there are in making it through the Big Five. But I can say it time and time again until I run entirely out of breath: self-publishing is a democratizing influence on the market. Since anyone can self-publish, readers are shifting away from finding their books exclusively in the turning racks at local bookstores and in end-caps at the grocery store–and they’re turning to fanfiction sites like Archive of Our Own and to services like Wattpad. They’re also turning to subscription services like Kindle Unlimited and to individually sold (and well-reviewed) ebooks. The pandemic has seen that shift become something of an avalanche, with many readers unable to venture out and many brick and mortar bookstores shut completely or open only for curbside deliveries. 

The only downside of this shift is that there is no standardized reporting on ebooks. Since ebooks don’t even technically require an ISBN for distribution (this depends entirely on platform), there’s no way to track how many Romance ebooks there are out there in the world, much less report on who’s writing and reading them. And if we expand our notion of ebooks to include completed stories on web-based platforms, the numbers get even muddier. The best that can be done are “best-of” lists and compilations by reviewers and Romance influencers who have sampled widely–but even these lists aren’t representative of anything other than that one person’s taste or that one platform’s sales data. So while we can point to countless authors who both fill and subvert the standard profile of a white English-speaking woman author, we can’t point to any comprehensive reports. And we certainly shouldn’t take Amazon’s word on its own sales without a sizable grain of salt; any for-profit company, especially one with carefully coded algorithms to boost sales of particular authors who fit particular profiles, has its own best interests in mind, not the general public’s.

So if we can’t definitively answer our own question, what can we depend on when it comes to authorship in the Romance genre?

  1. Currently, the numbers that can be gathered about the Romance genre indicate that a majority of both authors and readers are women, that a majority of both authors and readers are white, and that a majority of both authors and readers seem to be getting their Romance novels in English. 
  2. The numbers that can be gathered and compiled into comprehensive reports either come from the Big Five traditional publishing houses or from for-profit companies like Amazon and Barnes & Nobles, and these industry stalwarts are largely responsible for the lack of diversity in which authors they choose to let in the gates they keep.
  3. A lot of work remains to be done to bring traditional publishing in line with its readership if it wants to take full advantage of a new generation of digitally savvy and diverse readers.
  4. Self-publishing in the Romance genre is, from all that I’ve heard, doing juuuuust fine. And by that, I mean it may just be the top-selling genre of fiction among self-publishing companies and free platforms. (And those fan sites? They’re, like, 90% romantic takes on movies, shows, and books that don’t quite go there on screen or the page. And a lot of those takes are … well. Check the tags on each story before diving in, since many of them fit the Romance genre’s alternate description: bodice-rippers.) Readers are hungry for self-published romance titles. And they’re hungry for diverse titles, whether we’re talking about gender or racial parity among authors, or representation of LGBT+ and other marginalized groups in content. Since the Big Five aren’t anywhere close to providing good numbers of any of these authors and actions, self-publishing has picked up the slack.

With all this said, a more useful alteration to the original question would be:

Is there room in the Romance genre for me?

And the answer is, of course, yes. YES. There is definitely room for your personal voice and take on Romance, and there is a readership eager and ready to read what you write.

As for what to write, we’ll start to tackle that in my next post. Watch this space!

You are not alone. ♣︎

Do you have ideas to share? Please don’t hesitate to drop us a line in the comments section, below.
Elizabeth

ABOUT ELIZABETH JAVOR: With over 20 years of experience in sales and management, Elizabeth Javor works as the Director of Sales and Marketing for Outskirts Press. The Sales and Marketing departments are composed of knowledgeable publishing consultants, customer service reps and book marketing specialists; together, they all focus on educating authors on the self-publishing process to help them publish the book of their dreams. Whether you are a professional looking to take your career to the next level with platform-driven non-fiction or a novelist seeking fame, fortune, and/or personal fulfillment, Elizabeth Javor can put you on the right path.

In Your Corner: A Month of Romance (part 1)

 

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This being Romance Awareness Month, I thought this would be a great time to tackle the genre here on the blog .We have never done a deep dive into romance before, which I find somewhat surprising, given the number of romance authors I have worked with over the years. So today, we’ll be breaking new ground as I start a new series following the publishing and marketing processes behind releasing a romance novel into the world.

(If you do not write romance, never fear! Many of the steps through which a romance novel must go are the same or quite similar to the steps through which books of other genres must go as well. You’ll simply need to apply your own lens to the information in order to apply it to your work.)

Today I want to ask two very important questions we all have ready-made answers to, but which I think we must revisit to discover what’s really going on.

Who is romance for?

In 2016, Nielsen compiled its research on genre readership into one very handy infographic: “Romance Readers by the Numbers.” While I’m including the infographic here, I absolutely encourage you to read Nielsen’s entire report! It’s full of fantastic information that totally re-oriented my perspective on romance readership.

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At its base level, many of your assumptions are true––of a majority. But I think it’s taking a closer look at those minorities, because if you consider that more than one in four fiction books on the market in 2015 was a romance, and that 16% of the readers reading those books are not female, that still leaves you quite an important market share––compared to, say dystopic science fiction. Nielsen hasn’t updated these numbers in a few years, but if the percentages hold true, that could equate to around 32 million reported units being read by men. Sure, women might be reading five times that many books, but 32 million is not an insignificant number if you’re smart in how you promote your book.

The same holds true, of course, for other minorities! Consider that more readers are not white than are not female, percentage-wise––up to 38 million readers of color relative to the (admittedly rough) 32 million calculation for male readers. And while the Nielsen infographic doesn’t have room to show it, LGBT romance ebook sales are on a sharp rise now that its authors have moved from fanfiction websites into the main stream of publishing and self-publishing. 

Keep in mind that Nielsen can only track books that are sold and tracked with ISBNs, and only about 1/3 of the ebooks sold in the year covered by the infographic (2015) had ISBNs. With ebooks soaking up around half of book sales overall, with that percentage leveling out but still growing (especially during quarantine), that’s a BIG chunk of ebooks that are just … an unknown quantity. Another report from the same year says that “the 2015 Smashwords sales report shows that 89% of their sales are fiction with romance taking 50% and erotica another 11%. K-Lytics indicates that romances on Kindle outsell cookbooks, for example, by a factor of 27 to 1!” Publishing numbers are still, five years later, trying to figure out how to measure and quantify and compare numbers coming from platforms that aren’t selling the written material they’re publishing, or that are publishing paid stories that are not in “book” format. Consider WordPress, storytelling podcasts, and interactive book apps like the ones created for Eric Carle’s The Hungry Caterpillar (as an easy-to-remember example). 

One also has to consider the old library sales that “if you make it, they will come”––readers have to know something exists and is attainable before they come looking for it. So if the Nielsen’s reported readership doesn’t match up to what you know your friends and fellow readers are interested in but aren’t being offered, that might be a sign that you need to help carve out a new niche. It’s not easy, but when it works––wow, does it work! Consider young adult fiction, which wasn’t a significant market share before the one-two punch of Harry Potter and The Hunger Games. Now there are dedicated rooms in libraries and bookstores dedicated to that readership. You can definitely launch new trends!

So yes, the majority of romance readers are white and female. But a significant number are not, and for many authors that means that yes, there is room for your unique take on romance. 

This ran a bit long, so I’m going to answer my second question next time so as not to overwhelm you just now:

Who writes romance?

You are not alone. ♣︎

Do you have ideas to share? Please don’t hesitate to drop us a line in the comments section, below.
Elizabeth

ABOUT ELIZABETH JAVOR: With over 20 years of experience in sales and management, Elizabeth Javor works as the Director of Sales and Marketing for Outskirts Press. The Sales and Marketing departments are composed of knowledgeable publishing consultants, customer service reps and book marketing specialists; together, they all focus on educating authors on the self-publishing process to help them publish the book of their dreams. Whether you are a professional looking to take your career to the next level with platform-driven non-fiction or a novelist seeking fame, fortune, and/or personal fulfillment, Elizabeth Javor can put you on the right path.

In Your Corner: Self-publishing Ripple Effect Marketing

Think of self-publishing book marketing as a marathon, not a sprint. Plan the journey, prepare to work, pace yourself, and not become discouraged when you the bear jumps on your back. Your second wind is right around the corner.

Unlike blockbuster books like Harry Potter, which sell 90% of their copies in the first 90 days of release, an independently published book is often the opposite––not surprising since titles like Harry Potter make up a percent of a percent of all books published. It takes time to build awareness. Sales may start slowly, but can climb over time if you persistently market your book.

If you’ve yet to nail down a specific marketing plan, I suggest starting in your own hometown. Build a following. Attract the interest and readers of people in your inner circle before you focus on your neighborhood. Then, focus on your neighborhood before concentrating on your city. Next your state and region, etc. This is known as the ripple effect.

It applies to both online and traditional marketing tactics.

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Thinking of marketing as something other than a sprint, or a laundry list of items to get through (“Poetry reading, check! Social media account created, check!”) is the wisest advice I’ve heard all year. Thinking of your marketing as you think of your other relationships–as more than just the sum of its parts, or the sequence of events–is important. Every action affects every other action, and the changes are cumulative or even, sometimes, exponential! Think, instead, of your marketing strategy as a whole, and a whole which is best contemplated as a web of interrelated components which all touch each other and all affect how the other components play out. Some pieces need to come before others in order for them both to work, and sometimes a misstep with one component will lead to a cascade of problems in the others.

Another great image to keep in mind is the ocean. Yes, the ocean operates under the same physical principles and constraints as a ripple in a swimming pool–but would we really compare their behaviors and say they’re the same thing? There’s more at work than simple scale; the ocean works on its environment in a multitude of ways, and one of its most impressive qualities is its ability to wear anything down–given time. The ocean is interminable, it is unstoppable, and it is unwearying in its work upon the seashore. Wave after wave after wave can lead to an entirely new shoreline, right?

So as we head into Fall, think about ripples and oceans. They are the same thing … except they aren’t. Steal from both. Steal the cumulative effects of the ripple (and the interrelationships of the web) and steal the repetitive unstoppability of the ocean. This is your arsenal against the soporific atmosphere of midsummer.

You are not alone. ♣︎

Do you have ideas to share? Please don’t hesitate to drop us a line in the comments section, below.
Elizabeth

ABOUT ELIZABETH JAVOR: With over 20 years of experience in sales and management, Elizabeth Javor works as the Director of Sales and Marketing for Outskirts Press. The Sales and Marketing departments are composed of knowledgeable publishing consultants, customer service reps and book marketing specialists; together, they all focus on educating authors on the self-publishing process to help them publish the book of their dreams. Whether you are a professional looking to take your career to the next level with platform-driven non-fiction or a novelist seeking fame, fortune, and/or personal fulfillment, Elizabeth Javor can put you on the right path.

In Your Corner: In a Time of Social Distancing, Come Together (Digitally) for Children’s Book Week 2020

If you’re one of the many authors whose lives have been touched by recent events, you might have found that the line “children’s books are much harder to write than you think” has more resonance than ever. Authors, editors, and publishing professionals alike must face up to the peculiar challenges of the genre–which include writing a captivating story, generating eye-popping illustrations, and creating a marketing strategy which will appeal to both the children who make up your primary audience AND the adults who must pay for its purchase–all in a time when everything feels just a little bit harder. Even the biggest event related to children’s books, Children’s Book Week, has had to make accommodations.

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Event planners have compromised by preserving the original week of celebrations (May 4-10) and taking them digital, then moving the offline aspects of the program to November 9-15. Join us and tens of thousands of others in celebrating in May by using the hashtag #BookWeek2020atHome and making use of the Children’s Book Week website’s many fun at-home resources for kids and adults.

There are ways to write and publish children’s books which will sell well to folks of all ages, and here we have put together a top six tips list to help you create your own.

  1. Mind your length. As any preschool teacher or children’s librarian can confirm, reading with children is most enjoyable for both parties when the book in question contains just enough text to carry the story along without exhausting their attention.
  2. Pick a timely subject. Picture books are more likely to be picked up by parents, teachers, and librarians on the prowl if they tackle subjects which these adults want to prepare their children to face. Take advantage!
  3. Don’t dumb it down. You heard right—baby talk doesn’t carry as compelling of a story as a book which treats its younger audiences with a rich vocabulary and age-appropriate but sophisticated sentence structure. 
  4. Voice morals carefully, and cleverly. Few will argue against picture books as prime tools for teaching sound decision-making skills, but most of these success stories find clever, quiet ways to do so without alienating readers by being too “preachy.”
  5. Think about those end materials! Many of today’s best picture books include a few pages at the end which include notes for adults on how to make best use of the book in teaching a skill or an idea to young readers. Hint: this is especially useful to parents grappling with becoming educators as a result of stay-home directives.
  6. Humor me. Or rather, humor them! Children have a keen sense of humor, and are particularly sensitive to farce and comedy. Adults are more attuned to situational and other forms of irony. A good picture book will entertain everyone!

In an ideal world, you would be able to focus on the act of writing your picture book, and not have to worry about the complicated minutiae of publishing and marketing your book which you may or may not feel prepared enough to tackle. Luckily, we already live in that world! There are numerous options available if you’d rather trade your limited time and energy for a paid service. These companies offer a comprehensive list of services which they hope you’ll take advantage of as you work to translate your vision to the page. And of course, I’m here for you as well!

You are not alone. ♣︎


Elizabeth

ABOUT ELIZABETH JAVOR: With over 20 years of experience in sales and management, Elizabeth Javor works as the Director of Sales and Marketing for Outskirts Press. The Sales and Marketing departments are composed of knowledgeable publishing consultants, customer service reps and book marketing specialists; together, they all focus on educating authors on the self-publishing process to help them publish the book of their dreams. Whether you are a professional looking to take your career to the next level with platform-driven non-fiction or a novelist seeking fame, fortune, and/or personal fulfillment, Elizabeth Javor can put you on the right path.