Networking for Writers by Lizzie Chantree

Today’s post will be of interest to all writers looking for advice on promoting their books. We are fortunate to have Lizzie Chantree on the blog talking about her new book: Networking for writers

Thank you so much for inviting me onto your blog today, Lorraine.

My name is Lizzie Chantree. I am a romance author and have been a business mentor for many years after running my own retail and wholesale business.  About seven years ago I wrote and published my first romance book as a completely unknown author. Today I have five international bestselling books and have hit the #1 spot on Amazon in my category. I believe this is due to my network. Writing books can be an incredible way to meet like-minded people in the book loving and writing community, but it can also feel quite isolating at times, so building a network can help to build your confidence and widen your customer base.

In my new book, Networking for writers, I talk about ways to grow your readership and author network, through some of the most powerful of all marketing tools - word of mouth and recommendation. Marketing can seem like such a scary word and can be very daunting when you are starting out as an author, but that can be turned around to make marketing something you look forward to. It doesn’t have to eat into precious writing time, or push you into procrastination because you aren’t sure which direction to take next. This book can be used as a writing reference, or as something to kick start a new way of looking at book marketing.

Book blurb:

Are you swamped with book marketing and looking for a way to find new sales? Whether you are a new or experienced writer, self-published or traditionally published, Networking for writers, will help you learn simple and effective networking techniques, to grow your readership and connect with other authors and book lovers, today!

This book will show you:

How networking can help you sell more books.

Why author branding is important.

How networking hours work.

Specific Facebook groups for writers

How to utilise social media to grow your readership.

How not to waste valuable writing time.

How to make our marketing more effective.

Throughout Networking for Writers, we will explore running or attending book signings, hosting seminars, finding a writing buddy or mentor, author networking groups, social media planning and so much more.

Book links: Lizzie Chantree.

Universal book buy link: If you love me, I’m yours: viewbook.at/IfYouLoveMe-ImYours

Universal book buy link: Ninja School Mum: viewBook.at/NinjaSchoolMum

Universal book buy link: Babe Driven: viewbook.at/BabeDriven

Universal book buy link: Love’s Child: viewBook.at/Amazon-LovesChild

Universal book buy link: Finding Gina: viewbook.at/FindingGina

Universal book buy link: Networking for writers: viewbook.at/NetworkingForWriters

Social media links:

Website: www.lizziechantree.com

Author page: https://www.viewAuthor.at/LizzieChantree

Twitter: https://twitter.com/Lizzie_Chantree       @Lizzie_Chantree

Facebook: https://www.facebook.com/LizzieChantree/

Instagram: https://www.instagram.com/lizzie_chantree/

Pinterest: https://www.pinterest.co.uk/LizzieChantree/pins/

FB Groups: https://www.facebook.com/groups/647115202160536/

BookBub: https://www.bookbub.com/profile/lizzie-chantree

LinkedIn:  https://www.linkedin.com/in/lizzie-chantree-03006425/

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I know it's a cliché, but ... #writetip

Trevor from Leeds wants to use clichés because he feels they do the job. He asks: are clichés really that bad? My writing group members are forever banging on about them, but sometimes they get across exactly what I want to say.

Yes, they clichés really are that bad. They are phrases that were once fresh and new, but are now stale and tired. To make your writing stand out and bring your own unique voice to life, you need to create your own original expressions. The words and phrases you use have to help flesh out your characters and also make the narrative sparkle.

You might well have a character speaking in clichés and there is nothing wrong with that. You’d be using it as a character quirk. But if the narrative is littered with clichés, or more than one character uses them, that is a sign of lazy writing.

Be bold – create your own similes and metaphors. You never know, in years to come your phrases might be so frequently used that they will be classed as clichés. After all, when Shakespeare and all the other great writers wrote what are now considered clichés, they were then original and fresh. It’s because they so exactly fitted the characters and situations that the phrases have been used over and over again.

As a writer, it’s your job to use words to the best effect. This means being innovative and allowing your voice to come through via your use of words.

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Run, Jane, Run! #writetip #passivevoice

David from Vancouver sent in the following question. I belong to a writers’ group and keep hearing that writers shouldn’t use the passive voice, but no one can tell me why. What’s wrong with the passive voice and why is it such a taboo?

Because new writers tend to overuse the passive voice, many writing teachers advise their students not to use it. This has resulted in lots of confusion, with people condemning usage of the passive voice without really even knowing what it is – or recognising it when it’s used. However, there is definitely a place for it in modern writing, so it seems a shame that it has become such a taboo.

The passive voice differs from the active voice because it places the emphasis on the result of an action or on the receiver of an action, rather than on the action itself. This is appropriate in cases where the person carrying out the action is unknown, unimportant or anonymous.

A knife was thrown into the room and it hit Jane. This is passive voice. A knife was thrown into the room by John and it hit Jane, is also passive voice, even though we now know that John is the knife-throwing nutter who Jane should most probably have ditched years before.

However, John threw a knife into the room and it hit Jane, is active voice.

Active voice is more immediate and makes it easier to visualise the action. Too many sentences in the passive voice make a written passage wordy and dull and you should limit your use of it, but that doesn’t mean it should never be used. It is particularly useful when you don’t want to let on who has said or done something.

Jane was told John was dangerous. This is passive voice because we have no idea who told Jane she should duck when John turned up with sharp objects. Jane was told by George that John was dangerous, is also passive voice. On the other hand, George told Jane John was dangerous, is active voice.

Either way, Jane should run and John needs to get help with his anger issues.

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Points of view #writetip

Rob from the Costa del Sol writes: Many of our writing group members have been struggling to resolve the issues surrounding the ‘Point of View’ often simply referred to as POV.

Our main POV problem lies in writing in the 3^rd person and the introduction of multi POVs. Is this permissible or must it be avoided?

ANSWER

The use of multiple points of view is one of those areas where you will most probably receive a different answer from every person you ask.

For very short stories, it is certainly not advisable to use more than one point of view, as it is easier for the reader to identify with a single character. For longer works, there is no reason why you cannot use several points of view, as long as your reader is able to follow what is going on.

Changes of POV can be very confusing unless clearly signalled, but the technique is extremely successful when used correctly. Anyone who has read Lord of the Rings will be aware of just how effective it can be. The POV switches were used to increase the tension, leaving the reader gasping to know what was happening to the characters they’d left behind, but at the same time relieved to catch up with others.

Some writers say you shouldn’t change POV within a chapter, but I think it is fine to switch, as long as the guidelines below are followed. 

• Don’t change point of view mid-scene
• Clearly signal a point of view change by leaving a line of space, or inserting three asterisks, before moving on to the next character’s viewpoint
• Make sure the reader knows from the very first sentence whose point of view they have moved to (it is very frustrating to think you are still reading from one POV, only to find out several paragraphs later that you are, in fact, in a different POV)

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Magazine Article Help #writetip

Elizabeth from Whitstable in Kent wants to know about sidebars. I sent away for article guidelines from one of the major weekly magazines and they say they want sidebars included with travel articles. What is a sidebar?

A sidebar is the term used for information which is relevant to an article, but which doesn’t appear in the main text. For example, when writing a travel article, the details of how to get to a town, or other information pertinent to the reader, such as the tourist office address and opening times.

These details appear to the side of the main text, usually in a box, to draw attention to the information. Sidebars can also contain quotes, polls and lists related to the article.

The term is used in both newspapers and magazines and is also now common in web design, where sidebars are used to make links stand out more readily against the text.

When submitting your article, the sidebar facts should be given on a separate page and clearly marked as additional information. Many articles, but particularly travel pieces, are enhanced by the use of sidebars. It is a good idea to mention in your query letter the type of additional information you intend to include.

Penny from Sheffield has had her first magazine article acceptance, but panicked when the editor asked for a short bio. She posed the following question: Should I write about myself in the first or third person? Although most of the bios I’ve seen have been written in third person, it feels a bit weird writing about myself in that way. How long should it be? Also, what should I put in it? This is my first success, so I don’t have much to say.

Firstly, Penny, well done on having your article accepted for publication. The bio should be written in the third person, exactly as you want it to appear in the magazine. As far as length is concerned, if the editor hasn’t specified the number of words, then you should count the words of other bios used in the publication. As a general rule, magazines tend to use bios of about 60 words.

An author bio shows that readers can trust the writer because of their expertise in the field. So, let’s say your article is about witchcraft, but you have no previous writing credits, then mentioning that you come from a long line of witches would more than compensate.

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Passive Aggression #writetip

David from Vancouver sent in the following question. I belong to a writers’ group and keep hearing that writers shouldn’t use the passive voice, but no one can tell me why. What’s wrong with the passive voice and why is it such a taboo?

Because new writers tend to overuse the passive voice, many writing teachers advise their students not to use it. This has resulted in lots of confusion, with people condemning usage of the passive voice without really even knowing what it is – or recognising it when it’s used. However, there is definitely a place for it in modern writing, so it seems a shame that it has become such a taboo.

The passive voice differs from the active voice because it places the emphasis on the result of an action or on the receiver of an action, rather than on the action itself. This is appropriate in cases where the person carrying out the action is unknown, unimportant or anonymous.

A knife was thrown into the room and it hit Jane. This is passive voice. A knife was thrown into the room by John and it hit Jane, is also passive voice, even though we now know that John is the knife-throwing nutter who Jane should most probably have ditched years before.

However, John threw a knife into the room and it hit Jane, is active voice. 

Active voice is more immediate and makes it easier to visualise the action. Too many sentences in the passive voice make a written passage wordy and dull and you should limit your use of it, but that doesn’t mean it should never be used. It is particularly useful when you don’t want to let on who has said or done something.

Jane was told John was dangerous. This is passive voice because we have no idea who told Jane she should duck when John turned up with sharp objects. Jane was told by George that John was dangerous, is also passive voice. On the other hand, George told Jane John was dangerous, is active voice.

Either way, Jane should run and John needs to get help with his anger issues.

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Writing Questions #writetip

Jessica from Southport asked: If someone has read my book or a piece of my writing, and given me a written quotation, can I use it on publicity material?

Yes, you can use quotes from a review on your website, blog or any other promotional material. If you have received a written review prior to publication, then you could include excerpts from it on the book cover when it is published.

Liza from Brighton sent in this plea for help: No matter how hard I try, I just cannot get to grips with when I should use passed and when I should use past. Is there an easy way to remember?

This is something that many writers have difficulty getting right. The way I deal with it is to determine whether the context requires a verb or another part of speech. If you decide the sentence needs a verb, then you can only use ‘passed’ (apart from this exception, to be past it, which is colloquial usage, meaning old or no longer of use).

They passed the time by sleeping.

The ball passed over their heads.

I passed the house on my way to the bank.

Remember this: if you use any form of the verb ‘to have’ then it will always be followed by ‘passed’ and NEVER by ‘past’.

I have passed my exams.

He has passed his driving test.

For all other parts of speech you should use past.

As an adjective: I’ve been waiting for news for the past week. (‘Week’ is a noun and ‘past’ is an adjective modifying the noun.)

As a noun: It happened in the past. (‘The past’ is a noun.)

As an adverb: He hurried past. (The verb is ‘hurried’ and ‘past’ in this sentence is an adverb.)

As a preposition: He hurried past the house. (Because there is an object [the house] after ‘past’, it is a preposition and not an adverb, but the effect is the same and knowing the parts of speech doesn’t change the fact that you use ‘past’.)

If you have a writing-related question, please feel free to ask. Obviously, some things I won't know, but I will always try to find the answer for you.

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How to plan a successful book tour #writetip

by Trish Nicholson

A couple of years ago, after completing a successful writers’ workshop tour in Europe, I shared tips here on how to do it.

In June/July this year, I will be taking my new non-fiction, A Biography of Story, A Brief History of Humanity, on tour to present talks at festivals, bookshops and libraries in the UK. Arranging this different tour boosted some of my earlier tips but also produced new insights, so it seemed useful to write a new post.

When it comes to book promotion, all authors are now expected to do a major part of the work however they are published. Many authors struggle with this side of their career. But a book tour exposes your work to fresh readers, attracts publicity and forges promising contacts for the future.

Publishers arrange book tours for only a tiny minority of their authors. You can join that lucky band by planning your own:

Pick a location:

Competition is so keen that even publicists for bestsellers are scrambling to get their authors into the big national events. But there are advantages at regional and local levels. You need to be smart.

• Focus on smaller festivals, especially if your book has a connection with the area; you already have local contacts (via social media for example); or you are known in the town.
• Independent bookshops are often the best bet for author talks/readings – they may prefer evenings so as not to disrupt trade.
• Most bookshops will host a ‘local author’ or a book set in its locality for a simple ‘meet and sign’ event.
• Be flexible, some major bookstore chains offer group events for local authors. If it fits your tour calendar – join in, and shine.
• Depending on the nature of your book, schools, colleges, libraries and interest groups may be happy to host you.

Pitch at the right time:

Start planning early and be aware that potential hosts may work with different time frames. Everyone is busy – make it easy for them.

• Book festivals generally plan their programmes at least a year ahead, and need details to print their brochures four months beforehand.
• Bookshops usually plan events 2–3 months in advance and will probably lose your request if you send it much earlier.
•  If possible, arrange to meet in person, but don’t send emails on a Monday morning or Friday afternoon, and be prepared to send polite reminders.

Offer good value:

Unless you won the Booker Prize last year, simply offering your presence will not get you signed up.

• Offer a reading, talk, demonstration, Q&A session or whatever fits your book and the theme of the festival or the speciality of the bookshop.
• ‘Freebies’ help event hosts to attract bookings and make eye-catching displays. And they provide long-lasting promotion: my giveaways are bookmarks and tote bags printed with my book’s cover image.
• Donating a signed copy of your book for a raffle or competition prize increases its exposure and desirability.
• Festivals may have their own publicity materials but bookshops and libraries appreciate banners, posters, bookmarks, flyers, and a plate of cakes or wrapped sweets can draw attention to your signing table.
• Performing for free makes you more attractive and helps self-funded local festivals and small independent bookshops.

Prepare, prepare, prepare:

Before you contact anyone, do your homework.

• Most festivals have a theme. Research their past events and submission procedures, identify the current theme and pitch your proposal to fit.
• Bookshops may have a speciality. If you search their sites to find stores that feature your genre, you increase your chances of acceptance.
• Write a concise pitch – describe what you can offer, what their audience will gain and how it relates to your book (100 words).
• Write a brief bio (50 words), and a book blurb (100 words).
• Paste your proposal into the body of an email after a short introductory paragraph – people are wary of attachments from strangers.
• Well before the event, start building your confidence.
• Rehearse aloud and time a talk carefully – professionals don’t overrun.
• For Q&A, identify likely questions and think about your answers.
• Research venue locations to ensure you arrive on time.
• Festivals usually let you sell your books – order enough copies.

Publicise your event:

Use social media to publicise your event with blog posts, your tour programme pinned to your Twitter stream, Face Book pages and Pinterest, and promote your hosts’ publicity. Adapt your proposal as a Press Release to local media for interviews or articles mentioning your event.

Show up and smile:

It is not unheard of for even seasoned authors to find only a couple of punters come to ‘meet’ them or hear one of their readings. Even a single reader deserves your smile, your grace, and your best performance. They will never forget it, and for the rest of their lives will tell everyone they know how brilliant you are.

******

A Biography of Story, A Brief History of Humanity is available from UK bookshops or worldwide from The Book Depository  [TBD link: http://www.bookdepository.com/A-Biography-of-Story--a-Brief-History-of-Humanity/9781785899492 ]

 Many more tips on writing, publishing and marketing can be found in Writing Your Nonfiction Book: the complete guide to becoming an author. [TBD link:  http://www.bookdepository.com/Writing-Your-Nonfiction-Book-Trish-Nicholson/9781784620660 ]

  Find out more about Trish’s books and read her articles at www.trishnicholsonswordsinthetreehouse.com and follow her on Twitter

@TrishaNicholson https://twitter.com/TrishaNicholson

Bio: Trish Nicholson is a social anthropologist and author of narrative non-fiction and short stories. She lives in New Zealand and is a member of the NZ Society of authors.

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Mistakes Writers Make #writetip

“I feel certain this is going to be a great resource for non-fiction writers.”

It was those kind words – written by Lorraine Mace, the host of this guest post – which were the first ones to be left on my blog, Mistakes Writers Make, when I launched it seven years ago with the first Mistake, Believing You Can DIY.

Having at that stage been a tutor for the Writers Bureau for two or three years, I’d been critically appraising the work of beginner non-fiction writers for some time. While showing and telling new writers what to do certainly has its place, I came to fully appreciate that this prescriptive method may not be sufficient or even productive for some learners. It was good constructive criticism that really seemed to move many forward, I noticed: pointing out the errors, and offering guidance on how to correct them, while giving praise for what was being done well, of course.

Not all aspiring writers can or want to enrol on a course, though, and I began to wonder whether a resource dedicated to showing wannabe writers what they might be doing that they shouldn’t be doing would be popular – and might serve those writers more effectively than merely giving them instructions, as many writing guides do (and indeed do well).

The idea for a blog focusing on error sprung from this, and it is still going – although as a writing resource I’m not sure it has ever quite got anywhere near that greatness Lorraine so supportively predicted in its early days! It’s not all about the bloopers, though: the ‘Mistakes’ are supplemented by publishing and other opportunities, product recommendations and book reviews, as well as occasional rants about such hazards as copyright-grabbing writing competitions, which writers have to negotiate.

Some years ago I began to think a more structured guidebook taking the reader sequentially from A to Z might work for those looking for an introductory manual in writing non-fiction. The Mistakes on the blog are not logically ordered – they not only go from A to X to D to P, but since I introduced guest posts they now also take in a few Cyrillic and Greek letters as scenic detours – and whatever Mistake happens to take my whim at any given time becomes the next one in numerical line. Not necessarily ‘friendly’ to a total beginner needing to learn from scratch!

And so the ebooks were born. The first, 50 Mistakes Beginner Writers Make, was published in 2015; the second, predictably titled 50 More Mistakes Beginner Writers Make, just last month.

They start with the basics – generating ideas, approaching editors, researching and crafting an article – before tackling slightly more advanced subjects – dealing with editors, editing techniques, understanding contracts, interviewing skills and much more. I can’t deny that occasionally the books tell the reader what to do – but when they do they do so through the prism of error, to which I think some people (not all) respond better.

Although some of the more important posts on the blog have been included, albeit in updated or adapted forms, most are fresh and new. Several more books are planned. Curiously, the more mistakes you write about, the more you find to write about, and I have come to be really quite fond of errors. The cock-up is not something to be hidden, ignored or denied, but something to be almost celebrated, albeit possibly not repeated. As I say in one of the books, no doubt I make many errors myself in my job, but they don’t seem to be stopping me from doing what I do or want to do, which is to make a living from words.

Perhaps, then, the trick is to correct the ones that are stopping you from doing whatever it is you want to do?

I hope the blog and the books might help you identify those blighters and banish them. If they do, you probably have Lorraine to thank. Had it not been for that first encouraging comment, the Mistakes Writers Make blog might have met an end as grim as that of some of the characters in her Frances di Plino novels ...

Alex Gazzola’s 50 Mistakes books are both available on Amazon.

His blog can be found at www.mistakeswritersmake.com

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