Week Forty: Building Your Author Brand

I've noticed an odd phenomenon recently. On Amazon, new books have begun to crop up. But not like any books we've seen before. These are pre-orders on books not due out yet.

Nothing strange about that, of course. Books have always been promoted before publication day. What is strange here is that some of these pre-orders, on books from big-name authors, are for books not published for almost another year. Most are going on Amazon with no proper covers, only a glossy publicity shot of the author. A few haven't even got a title yet, they are so early in the process that turns an idea into a published novel.

In the past - and indeed still today - these early books would go live with only a 'placeholder' cover. A grey space with 'cover not yet available' across it.

Now we get these ...

UNTITLED: Jojo Moyes (out Feb 2018)

This says to me that publishers are focused on a new way of selling books. And that new way is based on the idea of the author brand.

Nothing new there either, of course. The idea of the author brand is as old as, well, authors. In the Regency era, polite society eagerly purchased new volumes from Romantic poets like Byron or Shelley because they bought into their 'brand' or personality. It wasn't only about the tortured poet, the romantic soul, but the real person behind that trope, with reports of outrageous behaviour and naughty goings-on to thrill readers and feed the salacious gossip machine ...

But in these days of social media, once again we are talking about authors, rather than books. Books are the product, but authors are the draw for readers, the brand.

That's why we have these covers with the author mug-shot, reminding browsers whose book it is they are buying, putting the manufacturer front and centre, before the product, the book itself.

On social media, we see profile pictures. Pictures of authors. We hear about their day, their cats and dogs, their kids, their cookery disasters and triumphs, their struggle with writing or editing ... We identify with them and turn to their books with an increasing sense of familiarity. Ah yes, there's Jill's new sequel. There's Jojo's new novel. I must get them.

This Could Change Everything: Jill Mansell (25 January 2018)

Putting out books on pre-order as many as nine or ten months before publication is about sales, yes. Let's not be naive. But it's more about increasing long-term sales' potential than any short-term, 'make a quick buck' mentality. It's about the long tail, the backlist, the whole show, not just the headliner act.

And we as authors, particularly as indie authors perhaps, need to emulate that thinking if we want to build a brand around our author name like these publishers are doing. Not just by making all our covers look similar, or writing a series, though these tricks also help to build an author brand. But by building ourselves as the force behind the fiction, by selling the author, not just the book.

Selling an author rather than a title means greater sales overall, because readers will then come for the author regardless of the book on offer.

That's the theory, anyway.

The Image Of You: Adele Parks

But how to achieve this in real terms?

Not being a publisher or a marketing expert, that's not so easy to answer. One way I would suggest is to increase visibilty on social media and elsewhere online, and to be consistent with it. I know this is old hat to most writers now, but I would suggest there's a new emphasis here that we can adopt. To propel readers towards us as people, and as authors, rather than towards one individual title we happen to have released. To adopt an overall author promotion strategy rather than single 'book' campaigns.

I don't always follow that advice very well myself. Although I've published about forty books traditionally - I lost count some time ago - and maybe ninety titles self-published on Amazon now, mostly shorts and novellas, my own career has been very scattered, across various names and brands and genres, none of which have been particularly well-developed in promo terms. (With the exception of my romcom persona, perhaps, Beth Good.)

But some authors do manage very well in building a brand. And I am gradually beginning to see how it could be done better ...

One way, highlighted here with these pre-orders, is to keep your author brand ever-present by putting out pre-orders on books not yet written, or written to a certain extent. This is hard for indie authors, who need a file to upload on Amazon for a pre-order. Not only that, but Amazon don't allow pre-orders to go live more than three months before publication date. Which means we can't put up books for sale a year in advance like one of the big five publishers, for instance. It's not a level playing field in that regard. But it can be done with an unfinished file, three months in advance, which is then replaced nearer publication time with the finished book.

And perhaps you could experiment with one of these author 'New Book Coming Soon! covers, if you're particularly photogenic and have a good, well-lit professional shot to put up there. To heighten awareness of you as the author, as a real person, as a saleable brand.

If you have other ideas to share about how to increase awareness of an author brand, do let us know in the comments below ...

My new thriller, ALL YOUR SECRETS, on pre-order now!

By me: out 2017

Week Twelve: The Company of Writers

RNA Conference 2014. Yes, that's me in the foreground. Photo by Anita Chapman.

My apologies for the late posting of this blog. I recently returned from a long weekend at the annual conference of the Romantic Novelists Association and have been recovering. Since the conference is what's uppermost in my mind right now, my blog post this week will be about the key reasons for novelists to attend a writers' conference, plus some associated thoughts.

Richard Lee (Waterstones, at podium) and Matt Bates (WHS Travel) talk sales to a packed lecture theatre, RNA Conference 2014

Conference-going can be exhausting. It does not have to be, you can always duck out and spend a few hours alone in your room, or go for a walk or drive to clear your head. But I spend so much of my life locked in a small room with my thoughts, I prefer to suffer exhaustion and not waste a moment of the conference experience napping or walking. When I am not much older, I suspect slipping away to my room will become a necessary part of staying the course, because it is genuinely tiring to get up early, go to bed late, move relentlessly from one session to coffee break to another session, chat with fellow writers, and perhaps attend the odd kitchen party, all for two to three days in a row. But for now, I'm still pushing through the pain barrier to make the most of my time there, albeit with a rictus grin on my face ...

So here are the chief reasons why a writer, especially one new to the industry and hoping to be published in the future, should attend a writers' conference. At a conference, we can:

• Swop horror stories about writing and publishing
• Allow ourselves fresh hope
• Develop a feel for the market
• Take the opportunity to show our work to agents and editors
• Bare our souls
• Drink deep
• Take (and compare) notes
• Learn from experts
• Give presentations and share our knowledge
• Become part of a community

Coffee time chat with fellow authors, RNA Conference 2014

At this year's RNA conference there was much talk of 'the death of the midlist', i.e. the increasing erosion of those writers and titles which are not expected to sell mega bucketloads, but normally sell a reasonable amount, and so get published but do not enjoy the kind of massive promotional push from their publishers that a writer such as Stephen King or Philippa Gregory might expect. (Ironically the kind of writers who desperately need that push are the ones who rarely get it, the financial risk being considered too steep.) Advances for midlisters are dwindling along with their sales, and publishers are dropping huge swathes of midlist authors in favour of brand-new faces or top-notch commercial hits. This cull is not about talent or market fit. It's simply about money and there not being enough of it to go round. So the new and the sure-fire get it instead of the cannon fodder.

There is no easy answer to this dwindling of earnings. Some writers have called for publishers to pay their authors larger percentages as royalties, and there is a case for this; the 8-10% we traditionally enjoy on paperback retail sales was fine back in the days before the collapse of the Net Book Agreement, when discounted sales were not permitted and most successful writers made a good living. Now though, with piracy and supermarket discounts and multi-media competition working against us, and our much-beleaguered books selling in far smaller numbers at knock-down prices, that meagre 10% barely allows us to earn out our advances - if we got one at all. Digital royalties are improving and approaching 30-40% in most places now, but of course digital prices are even lower. So we lose out both ways.

A drinks reception sponsored by Kindle Direct Publishing: some famous faces here ...

Conferences are places where the open discussion of such problems can happen in a wide arena packed with industry die-hards and newbies alike, some traditionally published, some self-published, some unpublished but ever-hopeful of success. But success has become a moveable feast. Success for writers used to be six-figure contracts and all the trimmings: book launches, posh dinners with agents, international tours. Now, for the midlist at least - the stalwart foot soldiers of publishing - it has become about selling enough to stay in work, even selling enough to stay alive. And it feels as though nearly everyone below superstar level is suffering, even those who seemed unassailable ten years ago.

So a conference not only gives us a chance to talk to our heroes and press our latest manuscript into the hands of agents and editors, it also allows us to discuss these industry failings en masse, and hopefully suggest remedies to each other.

Not that the remedy to publishing's current sickness lies in our hands alone. But we can suggest ways to continue making money from our art, to diversify, to seek new outlets for our writing, perhaps to leap into the wind and become publishers ourselves. And even though the outlook is bleak, there is still the solace of the company of other writers, other creative souls trapped in the same impasse, passing the bottle at some late night party in student accommodation ... just like the old days.

QUESTION: do you attend writers' conferences, and what do you hope to gain from them? Has attendance at a conference ever improved your writing and forwarded your career?