Talking Marketing with Beau Johnson

 

Finding out about author and cheese aficionado Beau Johnson is one of those serendipitous things that happen when you’re a writer who blogs. I don’t remember who put us together in the first place, but Beau has become a regular guest on OBAAT, and one I look forward to having. (Or why else would he be a regular?)

 

Aside from being a prolific short story writer, Beau is a tireless promoter of other people’s books. He’ll be here this summer when his new collection launches, but Beau posts almost daily on Facebook and Twitter about other authors’ work far more than about his own stuff. What is it about him that drives this passion to be supportive of others? Is it just because he’s Canadian? Read on to find the deeper motives behind this apparent selflessness.

 

One Bite at a Time: You tweeted recently about how hard it is for you to promote your own work, yet you enjoy doing it for others; my feelings are much the same. I know why I’m that way, and we may get into it later, but since this is your interview, why do you think this is the case for you?

 

Beau Johnson: Dana!  First off, thank you for having me here on your blog.  I always appreciate the space you give me.  As to your question: self-consciousness is the main reason I suppose.  I mean, I've seen that guy, we've all seen that guy, the one who promotes nothing but his or her own work endlessly?  I never wanted to be that guy.  I dread being that guy.  On the flipside, I came to understand no one else was going to push or care about my own work more than me. Since I was already doing my pay it forward thing (book pics for those that helped me during the release of my first book and some fine people who took me under their wing at my first and only con) I decided to expand and incorporate, settling on what I believe to be an 80/20 split.  I try to plug my own stuff no more than four times a week but if something other comes up, I'll adjust.  All told, it allows me to function on social media in a much better frame of mind.

 

OBAAT: I like that you have something of a formula to balance your promotional efforts. I need to come up with something like that myself, at least so I might be able to console myself by saying, “Sure, I flogged my book four days in a row, but I also posted or at least retweeted about three others each of those days.”  Do you ever find the balance hard to maintain? By which I mean, some days you just don’t feel like it?

 

BJ:  Ha! Yes, almost every day if I'm honest! Goes back to that self-consciousness thing---or something I call "too much Beau."  I mean, what I'm doing is fun, I choose to do it, (and seriously, there is no better feeling than making someone's day) but even I get sick of my mug after a while, you know?  However, I know I will never please everyone, so I go with the notion I'm only going to live once so I'm going to focus on the positives for the most part.  You don't like such things, and I'm quite sure there are people out there that do not, well, that's what the mute or block buttons were created for, right?

 

OBAAT: What’s the worst part of self-promotion?

 

BJ: I think you pretty much sum it up in your question. But to elaborate: I aim not to annoy or bore. 

 

OBAAT: I’m no shrinking violet. I enjoy time in the spotlight, whether it’s an interview or sitting on a panel. What kills me is asking people for those opportunities. Is that similar to your situation, or how does it differ?

 

BJ: Well, I think I have to be an extrovert to go about things the way I have.  I'll put myself out there, don't mind making light of myself, but really, I don't get many of the opportunities that you suggest.  I don't go looking for them either, so I have to own that too.  But when I say all this, I must add an addendum—this year and the end of 2020 have and are proving different. I have now been on three different podcasts (I wore a tie each time I swear!) with a fourth on the horizon, and attended and read at a Noir at the Bar, so things are looking up in the opportunity department.

 

OBAAT: Are you doing anything different to get these opportunities, or is it a matter of making the ask?

 

BJ: I'm not doing anything different, no, just a gradual process I think.  The pics, Beau's Book Nook, Not Beau's Book Nook, it seemed to hit a point where people began to really notice, or dug it, and hey, here we are.  I say this knowing full well I'm small potatoes compared to some, however, but hope to one day spread the greatness of what I like further than I'm currently able to.

 

OBAAT: You noticed an uptick in your sales the more you promote others’ books. Why do you think that is? Karma, or something more concrete?

 

BJ: I want to say that people have discovered the greatness which is Bishop Rider, and that word of mouth has travelled, but nah, it's karma, it's the writing community giving back, perhaps a little of both. I have no concrete answer really, Dana, but admit I'm enjoying the ride.

 

OBAAT: Have you ever considered a partnership with Kraft or Saputo to tie their cheeses to your books? Maybe some kind of a product placement deal? (You knew I couldn’t go an entire interview and not ask about cheese.)

 

BJ: Ha! I was hoping there'd be a cheese related question! For sure, let's get Saputo on the phone: we'll call it the Cheesening!

 

(Learn more about Beau and his books on his Down & Out Books page and his own web site.)

A Pleasant Surprise

The primary thing that got me to quit writing—I got better—was the level of bullshit it looked like I’d have to endure after having got past all the bullshit it took to get a contract in the first place. Force of Nature Charlie Stella short-circuited me around the pre-contract bullshit, so a cynic/realist (there’s no difference, not anymore) would expect things to be that much worse in the post-contract phase.

Well, I was wrong again.

Stark House has been a pleasure to work with from Day One. I had dreaded the editing process, having heard stories of contracts signed only for the publisher to require major changes on tight deadlines. Rick Ollerman had a small handful of suggestions, all of which made perfect sense to me, and, in total, amounted to a haircut, not the surgery I’d feared.

Now the drop date nears and marketing rears its ugly head. Rick and Greg Shepherd, the publisher, have picked up some things about which I had no clue, and been very cooperative and helpful with the my own ideas. What I’d dreaded as a large company treating me as a not particularly valued employee in their stable has, in fact, been a highly cooperative and educational experience.

Of course, much of this has to do with the size of the enterprise. Stark House has two active writers: Charlie Stella and me. Everything else is reprints: Margaret Millar, Bill Pronzini, Bob Randisi and a host of others. That’s good company, and I’m proud to see my name on the list. It’s also great to know that, when I trade emails with Greg Shepherd, I’m in touch with Mr. Stark; it’s his house. Try swapping ideas with Mr. HarperCollins some time. I’ll bet even Elmore Leonard can’t do that, not and get much more than a head patting.

(An aside here to wish Mr. Leonard a full and speedy recovery from a recent stroke. He wouldn’t know me if I robbed him at gunpoint, but he has provided me with more hours of entertainment, and worthwhile tidbits of writing advice, than I can remember. I hope he’s around for a long time, even if he never writes another word. He’s earned it.)

So, this whole post-contract business has been a pleasant surprise so far. The horror stories are still out there, but you’re not getting one from me.

Incoming Flack

I've been fortunate to write over a hundred reviews for New Mystery Reader over the past five years. During that time, I have been ever luckier to deal almost exclusively with NMR's patient and long-suffering editor, Stephanie Padilla. Stephanie has made sure books got to me and interviews were set up, so I rarely had to deal with the major publishers' publicists. For that I am eternally grateful.

Earlier this week a publicist slipped through my previously effective cordon and sent me an email directly. She must have got my address from a predecessor, as I don't recognize her name, but I did speak with a few publicists at Bouchercon a couple of year ago. Anyway, this (presumably delightful young) woman (since aren't all publicists that way) sent me an email with the following subject line, which has been tastefully redacted:

A brilliant blend of fact and fiction, XXX unravels one of the greatest unsolved mysteries …!

The body of the email was not only awfully familiar for someone who probably doesn't know me, but made it clear by the end she doesn't know me at all:

How are you? I wanted to check to see that you received a finished copy of XXX. Offering a fresh, contemporary spin on a fascinating period, XXX paints a lively world XXX, expertly capturing the panorama of social change and rich historical intrigue XXX. It is a fascinating work that I hope you will seriously consider for reviews and features in your publication or an interview with the author on your show. I look forward to speaking with you soon.

I had to ponder a suitable reply for a few days. This is what I came up with:

Dear XXX,

I am fine; thanks for asking. Sorry for my delay in replying, but it's been a hectic week. Who would have thought the Prince George's County jail doesn't take Discover? (Visa and Master Card only.)

As I have not received a copy of the book, I must reserve judgment for the time being as to whether it truly is "a brilliant blend of fact and fiction" that "[offers] a fresh, contemporary spin on a fascinating period in XXX's history." Nor can I determine if the lively world XXX paints expertly captures the panorama ofXXX. If the book arrives, I will happy to give it a look, though you need not send another, as I am currently between review publications and do not have a either a radio or television contract, much to my dismay.

Thanks for thinking of me.

What the hell. It's not like XXX was thinking of publishing me anytime soon. Even I should get to have some fun in the publishing business, right?

Something to Consider

Writers are often told it's pointless to chase the market. By the time your book is ready, the market will have moved on. Write a young adult book about wizards and everyone wants religious symbol thrillers. Write one of those and the world has moved on to vampires. Write a vampire story and it's minotaurs everyone wants.

"Write what you'd like to read." Makes sense, since you're going to be reading the hell out of it for a year or more. No point going over and over something you don't want to read in the first place. There's a catch to this, too. What if your tastes aren't mainstream enough?

For most writers, I'm willing to wait for the paperback to come out. There are a small handful for whom that doesn't cut it. I want the new book as soon as it comes out. (Sooner, if I can wrangle an advance copy out of them.) Only one has a secure income from writing alone. One works a day job. Another works his ass off as a freelance writer, doesn't even have a contract now. Another has just written a book that I think nudges its way into masterpiece territory, and may lose his contract.

Most of their books don't sell well, though all of them write rings around me. And they're who come to mind when I sit down to "write what I'd like to read." Explains a lot about my level of success.

Book Trailers

This may be a sore subject, as I know a lot of folks who have produced trailers for their books, but this article in Slate got me to wondering about the key question regarding trailers:

Does anyone know if they work?

For me, personally, no. I can't imagine buying a book based on a video trailer. Part of this is because I can't imagine watching a video trailer, unless someone I knew asked me to check one out for him. If I wanted to spend my time watching television, I'd watch television. Books and TV/movies are completely different story-telling media. The video is a far more passive experience for the viewer than a book is for a reader. I have a suspicion those who watch a lot of videos don't read a lot.

It might be a cool thing for someone established in a certain kind of story (Stephen King, J.K. Rowling) to let fans know their new book is available, because their readers are looking for something of an extraordinary experience. (Using "extraordinary" to mean "beyond ordinary," not "great," as it is sometimes used. Not that their writing isn't great; their subjects are extraordinary.) Video might appeal to them. To me, not so much.

I'm a writer, so this might make me the oddball. (Okay, not just writing does that. I mean in this specific situation.)

What do you think? Do book trailers influence you? Has anyone ever seen any empirical evidence that implies they're wirth the time and effort?

Worth a Read

Over at Editorial Ass, Moonrat has posted a compilation of her blogs about publishing, editing, agents, and other items of interest. Well worth reading.

Marketing and the Publisher's Role

Authors have been expected to pick up increasing amounts of the marketing responsibility for their books in recent years. The recent economic slump has not diminished publishers’ inclination in this direction. It is often recommended to include potential marketing hooks, and to describe what the author intended to do as a marketer, in the initial query letter.

Among the marketing ideas often promoted are tchotskies (bookmarks, postcards, pen, pencils, etc.), blogs, guest blogging on others’ blogs, web sites, FaceBook and MySpace pages, book signings (both as part of a tour or drop-ins), setting up print and radio interviews, and several others I’m sure I’m missing off the top of my head. All of these require substantial investments of time, and possibly cash, from the writer.

If this is to be the way of the world, so be it. No one is going to change because I don’t like it. What’s disturbing is how little guidance the publishers seem to provide in this matter. They have the contacts, marketing staffs, experience, and expertise. The author is a writer, who almost certainly lacks all of the above, and may well lack the skills to develop any of them. What works? Which of the current marketing methods are the most efficient, per dollar or hour spent? I do a lot of reading of blogs and Crimespace, and most of what little I have seen on this particular topic comes out as, “It depends.”

I readily admit I am, as yet, unpublished. Maybe the publishers do connect the dots once a contract is signed. If so, I see little public evidence. From my current position, it seems the author is on his own for much marketing, which means the publisher’s responsibilities are reduced to, essentially, advances, production, and distribution. Advances appear to be on the wane. Production and distribution are overhead, which is anathema to any self-respecting MBA, it would be no surprise to see these services cut back, as well.

Are publishers truly leaving authors so much on their own in the area of marketing? Following this to a logical conclusion can lead to the belief that publishing houses may be complicit in their own eventual demise, as they increasingly decline to perform the functions that make them necessary. That seems simplistic, even to me.

What am I missing?