Blogger: Janet Kobobel Grant
Several times recently I found myself having the same conversation with various Books & Such clients, and I realized what often seems obvious to me isn’t obvious to everyone: Every author has two audiences.
An Author’s First Audience
The first audience really is obvious–your readers. Many authors forget to consider who their audience is when they write their manuscripts; it can be especially problematic for novelists. As I conversed with a novelist, I asked him who his audience was. He found the question baffling. “People who like my books,” he finally answered.
“Yes, but what sort of books do those readers like?” I pressed.
He didn’t know.
I suggested he give more thought to the idea that his readers do fall into a specific category.
Figuring Out Your Audience
Sometimes it helps to think about other authors these readers are likely to enjoy.
Ask yourself: What genre do they write in? What are the similarities between their writing and yours? When you think about their audience, whom do you picture?
A look at Amazon’s “Frequently bought together” offerings on one of that author’s book pages offers clues. (Or one of your title’s pages, if you’re already published.) Also, “Customers who bought this item also bought” helps.
An Author’s Second Audience
The second audience is your publisher. Yup, your publisher.
Authors often don’t know when they should communicate with their publisher. They don’t want to be pests, but this reluctance to communicate can cause serious repercussions.
A few years ago I started to represent a multi-published author. When I met with her current publisher to find out how the publisher saw the relationship, I was dismayed that the author (whom I’ll call Teresa) was viewed as reluctant to promote her books.
When I told Teresa that was the perception, she presented me with an impressive litany of regular promotional activities she had engaged in for her most recent title.
“Did you communicate any of that to your publisher?” I asked.
“No, I just thought they’d see on my website and social media what I was doing.”
Why You Need to Keep the Communication Channel Open
Think about that assumption. How many titles does your publisher produce each year? How many authors do the staff work with each year? How much time do they have to track what each author is doing to promote his or her projects? (Especially since an author will continue to promote titles years after they’ve been released.)
Note: You should be sure that you’re connected to your publisher on all the social media sites you’re active on, whether that’s following their account or befriending them. That way the marketing department is much more likely to see your posts. And the publicist might well share your posts. Since most publishers have significant social media connections, they can help to broadcast your message.
I suggested that Teresa keep a log of everything she did to promote her writing and then to send that log once a month to the marketing and editorial personnel she regularly worked with. That small communication changed the publisher’s view of Teresa.
Soon I was hearing, “We can’t imagine anyone working harder than Teresa to promote her books.” What had changed? Teresa started to think of her publisher as an audience she needed to stay in touch with.
What she did wasn’t intrusive or even frequent. But it was informative. It told her “audience” what it needed to hear: That she was hard at work fulfilling her job as an author.
What You Should Communicate
Other items publishing personnel want to hear include: letters, emails, etc., you receive from readers, showing that individuals appreciate what you’ve written and are being moved by it–sometimes in life-changing ways; ideas of ways you could promote your title that the publisher might coordinate its marketing/publicity efforts with (be realistic; talk to your agent; send a list, not a scattering of ideas every week); pics of book signings and speaking engagements, especially if a nice crowd shows up. And especially if the signing is at, say, a Barnes & Noble. The B&N sales rep might well show that photo to the B&N buyer to underscore that the author is supporting B&N in his/her own way.
The main points to keep in mind when communicating with your publisher are:
- Make the communication regular but not frequent (monthly is about right)
- Send one email rather than a smattering of thoughts each time something occurs to you
- When in doubt, talk to your agent
- Make sure the communication is respectful and enthusiastic rather than whining or demanding
What would you add to the idea of each author having two audiences?
How did you figure out who your readers were?
What have you done in communicating with your publisher that has worked for you?
TWEETABLES
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Andrew Budek-Schmeisser
Actually, I think there are three audiences – I’m the first, because I write what I’d like to read. That segues into a definition of readership, because I have some idea of my own unmet longings…and the (at least partial) fulfillment of a heartfelt longing is really why we have stories in the first place.
* To itemize them:
– There’s a seeking for evidence of the transcendent breaking in through the curtain of reality, rending it from top to bottom in the full flame of God’s immanence
– There’s a hope that a basis for love and relationship beyond naked self-interest is possible, that physical attraction and passion are the jitterbugging shades of something much deeper, something that joins us, hand in hand, to the Lord of the Dance
– There’s the need for personal meaning, that all of our hopes and dreams are not mere sparks drifting toward a cold sky of extinction, lifted only by life’s fire’s transient heat.
* Everyone feels these things, at least to a degree, but the recognition of need requires both time and some degree of leisure to understand. So…drum roll, please…the people for whom I write are:
– Suburban American women (and men, but women read more fiction) with a household income of something over $75,000 who consider themselves Christian but are at least somewhat alienated by organized religion.
– They are likely to have dabbled in New Age spirituality but found it unsatisfying, and to have a knowledge of the basic tenets of Eastern religions.
– They are most likely liberal in their political orientation (which is a hoot, because I’m not), and while they are sympathetic to immigrants and other ‘disadvantaged’ groups do not participate in social activism.
– They drive sensible cars, but within each breast beats the heart of a hot-rodder (in other words, there is a hidden desire for physical adventure).
– They are likely married, and have children, but are somewhat uncomfortable with the authority that comes with parenthood; they feel diffident about it, as if they were ‘children raising children’.
– They watch ‘This Is Us’, but are often irritated by the characters’ shallowness, and their lack of any visibly grounding faith.
– They like Creedence Clearwater Revival…because I do!
* So my readers clearly aren’t a reflection of me, not even an opposite-sex funhouse-mirror reflection. They’re simply kindred spirits, people I’d choose to talk with over a coffee at Starbucks.
Shirlee Abbott
Publisher . . . and agent. And for both (if when I have them), I want to be known without being known as annoying. Thanks for the guidance, Janet.
Elizabeth Bohan
Janet, thanks for further information to think about and plan for. I do see the two parts, or two major divisions for an audience, the publishers who pay the author to write the book, and the actual readers to purchase the book (even though people in the publishing house read it too, it is from a different
angle). In all things communication that is clear and concise at regular intervals is a must. It is part of what nurses call, the continuum of care. Once you have a patient, you are expected to chart, and communicate verbally or in writing in a concise and clear manner so everyone is on the same page, so to speak, with the care of the patient. You don’t want to drop the ball or the patient can suffer, in small or significant ways. Also the care team relies on each other to do the part they are assigned to for the ultimate benefit of the patient and his lived ones who are waiting for him or her. I transfer this over to writing and the successful publication of a book. After thirty plus years as a nurse it feels natural for me to communicate to others about a mutual interest.
Since, I am in the beginning stages of my career and calling, I have yet to communicate with a publisher. BUT, hard work, patience, and Lord willing I will be in the future.
Janet Grant
Elizabeth, yes, your “continuum of care” nursing example sounds like a very similar approach. It boils down to being reminded that clear, regular communication makes for the best professional relationships, doesn’t it?
Elizabeth Bohan
Indeed it does.
Amber Schamel
Thanks for this thought-provoking post, Janet. I hadn’t thought about the publisher exactly as a “second audience” however I’ve been around the blog enough to realize that each publishing house has its own preferences when it comes to likes/dislikes in a story, as well as in the authors they work with. I’ve also been around long enough to know that we do have to “sell” ourselves as an author to the publisher. Why work with an author that is stubborn and difficult when you could work with one that is cooperative and creative with the same amount of skill/talent?
I believe you’ve shared this Teresa example before and it is a helpful story. It stood out to me because I do tend to be the type that doesn’t want to pester someone, so I tend to under-communicate.
Identifying an audience of readers was hard for me as well. When I realized it could be “if they like so-and-so’s books, they’ll like mine” it became a lot easier. It wasn’t so much about age, occupation and statistics, because those can be very broad, but it was about certain tastes and interests.
Thanks again for this food for thought.
Janet Grant
Amber, you’re right, I have shared Teresa’s story before. It’s set in my mind as the perfect example of what an author assumes and what a publisher can’t do–keep careful track of each author’s marketing efforts. Publishers simply have a “sense” of what the author did, which means the marketing staff develop an idea of how much marketing the authors does based on what they happened to see online. That’s why it’s important to friend and follow the publisher’s social media, and to link your publicity efforts to the publisher.
Norma Brumbaugh
I hadn’t thought of the publisher in that light, as an audience. Highlighting communication as a must is a prompt to get the ball in motion if need be. Your post helps me see the big picture. I’d be one of those holding back not wanting to be bothersome or annoying. Someday I hope to have the pleasure of putting this into practice. Great post. Thanks.
Janet Grant
You’re welcome, Norma. I’m glad the post gave you some insight into how the relationship with the publisher’s marketing team tends to work.
Mary Kay Moody
Thank you for once again lifting the curtain on the publishing world, Janet. Reminds me of the challenges of a person moving to a new country. In many ways, we know automatically that we need to connect, but the cultural variations of the preferred way may elude us. I’m so grateful for you and the B & S staff who shine a light for us.
michael richard
Great article Janet.
Hope you are feeling better from a couple months ago.
Best
Michael
Crystal Caudill
I am so far behind on this, but I am so glad I read this post! Printing it off and saving it. The idea of documentation goes farther than I expected but if I look at is as part of the job, it isn’t surprising. As a teacher, I had to document everything. Now I will need to bring that into my writing career as well. Thanks, Janet.