How Street Teams Can Hurt Authors

by Mindy McGinnis

First off, I want to be quite clear that it's very possible to be drunk and not rude, and also to be rude and not drunk. I have nothing against drunk people, but I do dislike rude people. This is just a general, for the record comment before I get to my point. Ahem...

There's been a lot of talk among authors lately about about the usefulness of street teams as a form of marketing and promotion. In theory, I like this idea. It's grassroots, it's out-of-the-box, it's people telling people about books, and hey—that's what I do for a living in the 40/wk.

But there's a drawback to street teams that I want to mention here, as it's relevant to our nation in general at the moment.

I live in a swing state. Anyone in Ohio will tell you that if we took all the political ads in our mailboxes alone and mashed them into paper mache we could have a decent facsimile of the Trojan Horse. It goes without saying that the TV, radio, billboards and yard signs are as clogged with political yeas and nays and Vote This Way Not That Way information than the nose of the average person with a sinus infection.

And then there's the people—the campaign teams of citizens who are donating their time to promote the ideals of someone they believe in, to raise the awareness of their candidate and platform. And good for them, I applaud the people out there who have that kind of conviction and selflessness to do that.

Except for the ones who are kind of assholes about it.

Not that long ago I went out to eat and as I was walking through the parking lot a carload of young political types came roaring through, a big fat sticker on the passenger door of their car loudly proclaiming who they supported. They drove too fast in the parking lot and parked crooked so that whoever was next to them had to slide through about two inches of space in order to get into their own car (no doubt noticing the sticker as they did so). Then the group went into the restaurant, drawing attention to themselves even as they walked by nature of how loud and abrasive they were, particularly their laughter, clearly designed to broadcast exactly how much fun they were having and precisely how clever they all were.

And trust me, they weren't.

And then the behavior continued inside, where they got nice and drunk and everything went up a notch, except of course the cleverness which continued to degrade.

Here's the thing. I'm not a prude. I get drunk. I can be loud. I know that in their minds these people were off the clock and just out being young and awesome. Their goal of having fun had no political agenda—but the car they were driving automatically associated them with someone who needed to make a good impression on the public, and the connections being made by that particular group on that particular night with that particular candidate were not so positive.

I think for authors street teams are open to the same connotations. Especially as debuts, we're excited to have people who want to promote us. It has so many attractions—free labor, word-of-mouth for audiences beyond or below your age range, no geographic limitations, etc. But you can't control the actions of your volunteers. Even your most enthusiastic reader and supporter might make a side comment to her friend that a pedestrian overhears and dislikes. What will they remember? The face of the girl, or her words in connection with the shiny swag with your name on it?

I'm still split on the idea of street teams for this reason.

What are your thoughts?

Mindy McGinnis is a YA author and librarian. Her debut, a post-apocalyptic survival tale, Not a Drop to Drink, will be available from Katherine Tegen / Harper Collins in Fall 2013. She blogs at Writer, Writer Pants on Fire and contributes to the group blogs Book Pregnant, Friday the Thirteeners and The Lucky 13s. You can also find her on Twitter & Facebook.

You Can't Trust Me, I'm the Marketing Man

by Mindy McGinnis

Too many authors think of self-promotion as the equivalent of a used car salesman. I can't tell you how often I've heard writers say they just don't feel comfortable pushing themselves - or their book - at people.

There's a neat little trick to get around that feeling of icky - give people something they already want and make the fact that it has your book, your links, or even your face on it just a useful sidebar. They get something free, you're giving away yourself without feeling pushy.

That sounds totally easy, right?

Ugh.

NOT A DROP TO DRINK is fast approaching cover time, which is exciting and intimidating at the same time. I need to start thinking about innovative ways to get my book out there, without rehashing the same stuff that everyone has seen a thousand times over. In my opinion the exception to that is the business card, which I don't think will ever cease to be a staple. I'm talking about that particular piece of swag over on From the Write Angle today.

There are options, sure. Pens, pencils, band-aid dispensers, t-shirts, personalized mints, postcards, bookmarks... and everything else you've seen a dozen times and conditioned your mind to stop noticing. DRINK is a genre-buster; I want something new and fresh for my debut baby.

Unfortunately the rest of the world has already discovered what I had originally wanted to do for DRINK - customized water bottle labels. How perfect is that for a book built around the idea that the world has run out of fresh water? However,  I recently took an author branding class that addressed swag. One of the big rules for swag is that in order for it to be cost-effective it should be something that the recipient will use more than once, not toss away.

I don't know many people that use a water bottle more than once, but I think the simple idea of tying my book to the idea of a water bottle could have a heck of an impact. The obvious water message is an easy association, and even if they throw away the bottle I put my cover on, the next time they take a drink out of a bottle they might think... "Oh hey! That book looked pretty cool. Too bad I threw the bottle away..." But with a name like NOT A DROP TO DRINK they might be able to remember it in connection with water, and a Goodreads or Amazon search might just land them in my lap.

I don't see this working for bookmarks in the same way. Someone might think, upon seeing another bookmark, "Gee I wish I hadn't thrown away that other bookmark..." but unless the name of the advertised book was NOT A BOOKMARK LEFT I doubt their brain will be able to make the association leap for a good Google result.

And giving away water would hardly make me feel smarmy. Everyone needs it. Most people like it. It's very useful, and I have yet to meet someone allergic to it.

What do my fellow readers and writers think? Is there a magic swag item out there that you've always wished someone would put your brand on or that you've wanted to see handed out?
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Mindy McGinnis is a YA author and librarian. Her debut NOT A DROP TO DRINK - a post apocalyptic survival tale will be available from Katherine Tegen / Harper Collins Fall, 2013. She blogs at Writer, Writer Pants on Fire. You can also find her on Twitter and Facebook.

DIY Promotions

by Barbara Claypole White

On Friday, October 19, Book Pregnant is heading to Myrtle Beach for the South Carolina Writers’ Workshop. David Abrams, Anne Clinard Barnhill, Lydia Netzer, Brenda Remmes, and I will be giving an intensive workshop on how to create a village to help promote your debut novel.

I first went to SCWW four years ago as a terrified newbie. Desperate to take workshops on craft, mingle with agents and editors, and meet other writers, I also daydreamed about winning the fiction category of the Carrie McCray Memorial Literary Awards, sponsored by the conference. In 2009 I placed second with the manuscript that would become The Unfinished Garden. Next week, with a little help from Harlequin MIRA, I will birth this book. I think that makes SCWW my baby’s godmother.

Returning as a faculty member is my tiara moment. I am thrilled to be part of this Book Pregnant panel, with each of us talking about a different aspect of marketing. 

Me? I’m the bargain basement girl of promotions. Partly, this comes from my outlet shopper mentality, but it’s also the legacy of my former life as a London PR for young fashion designers. My clients were wildly creative and perennially broke.  

As a debut author, the task of promoting your novel can seem overwhelming. But creating a marketing plan, or the less scary marketing to-do list, is no different to excavating a plot. Come up with a few ideas and then unleash your mind. Follow every crazy tangent; trust your gut; think around corners. And here’s the best part: the price tag is zero.

Start by asking some basic questions about your settings and characters. What gives them reader appeal? How can you build on that? For example, the countryside plays an important role in The Unfinished Garden. My heroine owns a woodland plant nursery in rural North Carolina, and a pivotal scene unfolds at a famous dairy farm. This was the angle that persuaded a local protect-our-countryside group to plug the novel in its monthly newsletter.  And as for my beloved hero?  He’s obsessive-compulsive, and OCD is an unusual hook for mainstream fiction. When I asked the local library about hosting an author event, I decided to suggest something different—a reading during OCD Awareness Week. The librarian was delighted.

Of course, the best free coverage comes via the media. Contacting journalists is no different to querying agents: research, customize, and never ask a question that comes with a yes / no answer. (Do you want to write a lovely article on my novel? No.)  Two-thirds of The Unfinished Garden is set near my childhood village in England, and who doesn’t love a hometown success story? After a regional magazine ran a piece with my local-girl-sells-debut-novel angle, numerous people stopped my mother in the supermarket to congratulate her. Jackpot. I boosted motherly pride and pre-order sales at the same time.

Finally, when life throws a curveball at your promotional endeavors, adapt. I created a spiffy marketing plan (this used to be my thing, you know?) and then discovered my mother needed heart surgery. I lost a month to being a full-time caregiver and house elf in England, and my head was wedged down the pity pot.  But twice a day, I had to exercise Sally the pampered hound. So I began an online walking tour of the settings that inspired The Unfinished Garden and posted a photo a day to my Facebook page. The response was incredible. After I uploaded a picture of the old coaching inn where I used to work, a long-lost acquaintance popped up to say, “That’s my local pub! I have to read this book!” My life was circling the family drain, but I was back on the promotional bandwagon, selling my novel one copy at a time. Sometimes that’s enough.

Blurbs - What are they good for?

(Apologies to Edwin Starr)

A few months ago, my publisher asked me to supply a list of authors who might want to provide a blurb for my book, The Midwife’s Tale: A Mystery. After a few missteps (“Oh, she’s dead? That complicates things.”), I submitted my list, but I began to wonder:

Do cover blurbs sell books?

I have to admit that I began life as a blurb skeptic. In my experience (sample size 1), if I’m not already inclined to buy a book, no blurb is going to make a difference. Moses could come down from the mountain and tell me he liked Twilight, and I’m still not going to read it. And I’m going to read David Abrams’s Fobbit, whether or not there’s a blurb on the front from Joseph Heller. (He is alive, isn’t he?)

So, what good are blurbs?

It turns out the blurbs are for an audience beyond the book-buying public. (Oh, I said. I had no idea.) These people include:

Reviewers and Bloggers. Unless your publisher is going to pay for a national media buy, some of the responsibility for finding reviewers is going to land in your lap. But it’s a competitive world out there, and you are going to have to sell your book to someone before they’ll take the time and energy to review it. This is where the blurbs come into play. As fellow BPer Sophie Perinot put it, “A couple of bloggers I pitched to review my book (and I mentioned endorsements in my pitch) said, ‘you had me at Michelle Moran.’” In this case, you’re not convincing readers to buy the book, but you’re convincing someone else who might convince the readers.

Librarians and other Book Buyers. These folks are overworked and underpaid, and are having to make a ton of decisions in an increasingly-crowded marketplace. Blurbs situate a book among its peers, and will help librarians and other buyers know what kind of book it is, and to whom it might appeal. If a library’s clientele is primarily old, conservative, and devoutly religious, a blurb from Chuck Palahniuk won’t do you much good. But if you have one from Pat Robertson you might be in better shape. In this case the blurb keeps the buyers from having to buy a book sight unseen.

Another BPer, Amy Franklin-Willis, made the excellent point that a blurb can help if you have a book that straddles genres. Nancy Bilyeau’s book, The Crown, is both a thriller and historical fiction, and she was able to land blurbs from writers as diverse as Deborah Harkness (Discovery of Witches), M.J. Rose (Book of Lost Fragrances), and Katherine Neville (The Eight). It’s not going to pull a reader or buyer all the way over the fence, but it can demonstrate that you book has broader appeal than might appear on the surface, and once again this is something that the buyers will want to know.

So while I started the day as a blurb skeptic, I walked away convinced that they do make a difference, just not in the way I expected.