T.R. Robinson's Blog, page 16
July 16, 2019
Seasonal Marketing
[image error]Marketing, for many authors, is an evil and sometimes terrifying concept. They would rather be left to get on with their writing and to live the quiet life of an introvert. However, like it or not, marketing is a necessary component in an author’s toolbox. How else will readers know their book(s) exist unless they are told about them.
Note: As usual for this website blog, this article is directed toward authors, nevertheless, others, such as small business entrepreneurs, may find some of the information useful.
A major difficulty many encounter is knowing how and where to aim their marketing and what to say. Engaging readers attention is no easy matter in an age when hundreds of thousands of books are published every year. Of course, authors with an established reader base have a starting point. But what about the new author and those seeking to attract new readers? How and where do they target their marketing? Naturally, it helps if they can establish the target audiences: likes and dislikes; where they like to spend their time; what activities they enjoy; etc. but that is not always possible when seeking new readerships. So what are they to do?
This is where seasonal changes and national celebrations may help. Every country to some degree or other experiences some alteration in season even if it is minor and every nation have days that are special. So why not link into these?
When utilising such times and events for marketing it is important the author ensures the content is relevant to the occasion. Everyone is now wary of anything that comes across as spam (being sent unwanted or unsolicited material). Marketing, unless in a newsletter, or similar, someone has subscribed for, should be done independently from personal contact e.g. through social media posts and genuine advertising.
To help concentrate the mind here are some of the major national and international holiday and celebration dates. This is by no means new information: over the years many authors, writing professionals, websites and blogs have shared similarly but it never hurts to be reminded and for those just coming to the craft it may prove helpful to see such lists.
USA National Days
Celebrations that occur annually in the United States of America.
Third Monday in January – Martin Luther King Jr. Day
1 February – National Freedom Day
14 February – Valentine’s Day
8-14 March – Mother’s Day (Floating but always a Sunday)
17 March – St. Patrick’s Day
Third Saturday in May – Armed Forces Day
15-21 June – Father’s Day (Floating but always a Sunday)
4 July – Independence Day
First Monday in September – Labour Day
31 October – Halloween
(In church calendar ‘Day of the Dead’ remembering those who have passed.)
11 November – Veteran’s Day
22-28 November – Thanksgiving (Floating but always a Thursday)
There are many more including the internationally recognised celebrations (see below).
UK National Days
Observed each year in the United Kingdom.
14 February – Valentine’s Day
1 March – St. David’s Day
17 March – St.Patrick’s Day (Northern Ireland but celebrated throughout the nation.)
March-April – Mother’s Day (Floating: 4th Sunday in Lent.)
23 April – St. George’s Day
First Monday in May – May Day
Last Monday in May – Spring Bank Holiday
6 June – D-Day
11-17 June – Trooping The Colour
(Celebrating Monarch’s Official Birthday.) (Always on a Saturday.)
3rd Sunday in June – Father’s Day (Always 3rd Sunday in June.)
12 July – Battle of Boyne (Northern Ireland)
14 July – Emmeline Pankhurst Birthday
Last Monday in August – Summer Bank Holiday
31 October – Halloween
(In church calendar ‘Day of the Dead’ remembering those who have passed.)
5 November – Bonfire Night
11 November – Remembrance Day (Informally Poppy Day.)
30 November – St. Andrew’s Day
26 December – Boxing Day
There are more including those referred to below.
Internationally Recognised Celebrations
Conventional holidays acknowledged, even if not observed, throughout the world.
1 January – New Year (Not in all nations e.g. China.)
March-April – Easter (Floating holiday and also dependent upon denomination.)
25 December – Christmas
Authors should bear in mind, when it comes to church calendar days, they are not observed by all and consequently they should frame the material sympathetically. For example, it is easy for those in the western world to assume Christmas is recognised and celebrated worldwide. However, the celebration is only relevant to those of the Christian faith though of course its commercialisation cannot be ignored. Naturally marketing my be linked to other religious celebrations provided it is done with respect.
Other Days of Note
Many charities etc. now have times when their activities are acknowledged and highlighted.
4 February – Breast Cancer Day
8 March – International Women’s Day
1 December – World Aids Day
There are many other notable days which may be identified through local knowledge or by an internet search.
Marketing Purpose
In author marketing, all marketing in fact, the aim is to try and engage the emotions and intellect of the reader. To make them aware of a product and why it is they would want it. Consequently, the author should try to format and word the material to:
Connect with the audience’s likes and aims (where known).
Evoke some sort of emotional response.
Get the reader to take some sort of action (a call to action button).
When utilising seasonal changes or national days the content should clearly relate. At first it may appear an easy matter to connect with these occasions but in truth, to be most effective, it takes time and it is wise for the author to look ahead and schedule their marketing material. Best approach is to look ahead at least four months: creating unique and eye catching material takes thought, effort and time. For example, New Year is not just about the actual day itself. There is the aspect of New Year’s Eve which most recognise more as the holiday than New Year Day itself. Then there is the fact in many nations New Year Day is also a major sports day. Also, in some countries, such as the UK, it is often the first day of seasonal retail sales. There are therefore three different aspects marketing material may be attached to. New Year is not the only holiday to which this applies. Take time to think through each occasion beforehand.
Conclusion
Except for the few, marketing is never easy. Not only is it difficult to know where to target but also how to format and frame the information. Seasonal changes (Spring; Summer; Autumn (Fall); Winter) and national days provide some assistance and variety.
Authors should ensure their marketing is relevant and done with respect and does not constitute anything that may be considered to be spam.
Religious and cultural differences should always be born in mind and treated with respect.
As mentioned, the lists provided above are by no means exhaustive. Most technological devices include calendars which already highlight important dates within the country/nation the device is recognised as belonging to. And, of course, there is always the internet.
July 12, 2019
Writing Opportunity – Missouri Review – 1 October 2019
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The large number of independent (indie) author books being published each day are making it more and more difficult for authors, especially unknown indie authors, to gain public exposure. Consequently, it is worth their while to consider other opportunities for getting their works published.
One primary aim for this website and blog is to assist authors in their authoring career by providing free tips and suggestions about the processes, etc. In that spirit the decision has been made to share news of occasional writing opportunities when encountered and considered suitable.
Caveat: The following information is provided ‘As Is’. No endorsement or guarantee of validity is implied.
The Missouri Review is now open to entires for the Jefferey E. Smith Editors’ Prize.
The Missouri Review is based at the University of Missouri and is published quarterly.
Categories
Fiction; Non-Fiction; Poetry.
Word Count
Fiction and Non-Fiction = Each submission up to 8500 words (double spaced).
Poetry = Any number up to 10 pages.
Unpublished
The work must not have been previously published.
In addition, if it is accepted elsewhere it must be immediately withdrawn.
Fees
Standard entry fee is $25 PER submission. (No limit upon number of submissions.)
An additional service charge of $3.50 is payable for online submissions.
The fee includes a one year subscription to the digital edition of the Missouri Review and a free paperback book.
Eligibility
The competition is open to writers worldwide.
Previous prize winners and University of Missouri students and faculty may not enter.
Previous finalists are eligible.
Deadline
Tuesday 1 October 2019
Prize
$5,000 for the winner in each category plus publication and invitation to a reception and reading in their honour.
Winners will be announced in early 2020.
The Odds
The Missouri Review receives in the region of 12,000 entries per year. There can only be one winner in each category.
Submissions
May be made either Online or By mail. (Remember online submissions attract a $3.50 service charge.)
Disclaimer: Neither T. R. Robinson Publications nor T. R. Robinson have any affiliation to the company or organisation referred to above. Nor do either receive any remuneration for publishing the information or for referring to the company or organisation. These notifications are simply designed to offer assistance to authors.
July 9, 2019
Which E-Book Publishing Site?
[image error]New authors constantly seek advice about which self-publishing site(s) they should consider using. All authors have been there at some stage and no doubt many have benefited from the freely given suggestions and advice provided by those more seasoned in the craft.
It is only right for those authors, who are no longer newbies, to reciprocate such generosity by sharing what they have learnt and gleaned with up and coming new authors. Here is a chance to do so.
With so many ‘self-publishing’ sites now in existence it may help new authors to know which the more experienced authors: Have used; Which they prefer; and Why they like the site(s) they utilise. A survey to that end has been created. It should take no more than 1 – 1.5 minutes to complete the survey.
The survey may be accessed by clicking anywhere within this sentence.
Your participation will be appreciated and may well help fellow authors to success.
Thank You.
July 5, 2019
Sequel to the Novel ‘Peter’
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Earlier this year (2019) a reader’s review of the novel ‘Peter’ was published. Author T. R. Robinson thanks them for taking the time to read and review the book. In view of how popular audio listening is becoming it is thought readers may be interested to listen to a short extract of how it all began.
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Readers may be interested to know the sequel to Peter is to be published soon. Though it may be read as a standalone ‘Loving Maria’ is in effect a continuation of the family saga commenced in Peter. Nevertheless, readers are assured they will not have to have read Peter to enjoy this later book.
July 2, 2019
Authors – Where to Get Story Ideas
[image error]In recent months there have been several posts, in blogs, on social media, in discussions, etc., regarding where authors may find story ideas. Naturally, all authors are grateful for any recommendations however, whether they realise it or not, they already have a treasure trove to hand. Everyone, author or not, creates new memories each day. Some good, some not so good, others indifferent, nevertheless, they are all valid, and real. These could be: simply enjoying a peaceful scene on a warm summer’s day; observing a conflict between fellow commuters; watching children at play; taking in a news item; and so on. Even where there is some similarity, everyone’s life is actually unique and different as are the majority of their experiences and viewpoints.
Whether a writer of fiction or non-fiction authors, consciously or sub-consciously, draw information and ideas from their own lives, experiences and observations (from their memories). This is a fact many probably overlook or, in some instances, deny. Even fantasy may have its roots in a one of these. Of course, this is not to deny the viability and value of imagination. But those who benefit from such are rarely in need of story ideas, they will more than likely have more than they can cope with. This discussion is aimed at those who struggle for ideas; who have not been blessed with active imaginations; who do not, initially at least, feel they have anything to share. Naturally, research, especially for non-fiction authors, and sometimes authors of fiction, is valuable if not vital.
Aidé-Mémoires
‘Something, usually written, that helps you to remember something.’ (Cambridge Dictionary)
Many authors will confess ideas and developmental thoughts frequently arise at most inopportune moments, including the middle of the night when they are trying to get some well earned rest. It is also a fact most people lack a readily retentive memory. Consequently, many good ideas are lost altogether or lack their initial vitality when the author attempts to recall them. Essentially, this article is about how to overcome such losses.
Equipement:
As mentioned above ideas, events, observations, etc., may occur at any time. It is therefore sensible for the serious author to have some means of recording these constantly to hand.
Notebook and pen or pencil: (Some have developed their own shorthand but it is not necessary to have done so.)
Smartphone: (Most modern smartphones have a notepad and dictation facility.)
Electronic tablet: (Again most include a notepad and dictation facility and of course document creation software.)
Dictaphone: (Not used very much these days but for those who have never encountered them it is a small recording machine.)
Some authors also use smartphones and tablets to send themselves e-mails and texts of their ideas, thoughts and observations.
Content
Events and Experiences
It is not enough to just record bare facts e.g. ‘I stubbed my toe.’; ‘Clive and Andrea had an argument.’; ‘Watched a sparrowhawk catch it’s lunch.’; etc. To be of real use the note should include:
Psychological impact;
Emotional response;
Physiological damage (where relevant).
Of course, this list is not exhaustive. For example: the occurrence could impact how the author will view future decision making. However, in principle, most of the repercussions will fall under one or more of the above.
In the past it was common practice for people to keep a diary within which they recorded each days activities and experiences. Though not so popular today, it may well be worth a consideration because in a lot of instances these have provided the material for many books.
Ideas and thoughts
Authors minds are constantly active, both consciously and sub-consciously, with ideas upon:
How to enhance that niggling stubborn paragraph.
How to carry a plot point forward.
How to incorporate a sub-plot.
How to enhance a character’s description.
A new concept.
A new story idea.
Etc.
Each person is unique and different and will have their own thoughts and ideas nevertheless, the majority will undoubtedly fall within the above parameters.
Sometimes it may be sufficient to just record the framework of an idea though for some, who know their recall limitations, it may be wise to include more detail.
Conclusion
Whether they believe it or not, all authors have a cache of resources within themselves. They just have to look within.
Life is full of experiences from which ideas may be drawn.
The wise author always has a means of recording events, thoughts and ideas constantly with them.
This is a brief, non-exhaustive article upon the topic but it is hoped it will prove useful to some, especially those new to authoring.
Please feel free to add a comment with any additional ideas which could assist authors further.
June 28, 2019
Mobile Reading – Apps and Sources
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No, it is not mobile libraries that are being referred to, though for rural communities where there is no, or a very weak, signal, these are an excellent resource.
The ready convenience of mobile technology, primarily smartphones, tablets and e-reading devices, appears to be changing many readers habits. Many, or so it seems, now prefer to read on these devises rather than face the burden of carrying a physical book. Of course, these cannot replace the pleasure of actually holding a book though it seems for numerous readers (new generation and increasingly more of the older ones) this is no longer an issue. It is an undeniable fact the ability to store an almost endless number of books in one device also has an impact, especially when the reader is a commuter or on vacation. To carry the same quantity of physical books would indeed be onerous. There is also the added incentive of e-books (digital or electronic books) usually costing less to purchase than their physical equivalent.
Where to find e-books
The following are well known resources for many but there may be those new to digital reading who will not know of them all. This article is simply aimed at helping them and perhaps highlighting some resources others may not have heard of or encountered before.
Each of the following have their own professional websites from which books may be purchased but, to enable ease of reading, and to encourage readers to purchase from them, most also provided reading apps (applications) for downloading onto virtually any device. A few also have their own e-reader devices available for purchase. Relevant links are provided below.
Amazon
Naturally, as the largest worldwide book retailer Amazon deserves a mention.
Website The website URL depends upon where the reader is located. In all cases it will commence with the usual https and www. then amazon after which the country destination has to be added e.g. for UK = ‘.co.uk’; for USA -=‘.com’; for France = ‘.fr’; etc.
Note: The above link goes to the United Kingdom site however, by substituting the appropriate country extension the reader will be taken to their relevant site.
Kindle e-reader Amazon also have their own variety of e-reading devices.
(Again goes to UK site but may be changed as above.)
iBooks (Apple Books)
Website (Again substitute appropriate country extension.)
Though it is possible, with a bit of manoeuvring and the finding of obscure software apps to read apple books on non-apple devices, the facility is principally restricted to use with iPhones; iPads and Mac PCs.
Google Play Books
Android device users will be most aware of Google’s Play store of which Google Play Books is just a part.
There are versions of the Google Play Books App for all devices.
Guidance for downloading to varied devices.
Nook (Barnes & Noble’s e-book site)
Barnes & Noble are a major book retailer based in the USA.
Barnes & Noble provide reading app versions for all devices.
Nook e-reader Barnes & Noble have a variety of e-readers available.
Kobo
Website (Goes to .com site – Readers country may be selected from this link.)
Kobo e-reader Kobo have a selection of e-readers to choose from.
Smashwords
Smashwords is a major distributor of independently authored books and is a good source for all types of reading.
All books are available in formats to suit EVERY TYPE of device.
Roundup
The primary well-known book retailers and reading app and e-reader providers have been highlighted above. The list is not exhaustive and there may be other ones readers would like to mention in a comment. Please feel free to add any information that will assist those looking for books to read or apps and/or e-readers to read in/on.
Disclaimer: Other than being customers, neither T. R. Robinson Publications nor T. R. Robinson have any affiliation to any of the corporations, companies or service providers mentioned. Nor do either receive any remuneration for mentioning them.
June 18, 2019
Genre – Defined
[image error]Authors and readers frequently refer to a book as falling within a specific genre but does everyone truly understand what a genre is? Do they understand what type of work each genre encompasses?
Prior to considering a variety of genre it is worth understanding what the word itself means.
‘Style of art or literature.’ (Oxford English Dictionary)
‘A category of artistic, musical or literary composition characterized by a particular style, form, or content.’ (Merriam-Webster Dictionary)
The word originates from 1770 French and meant ‘kind, sort, style’. In particular it was used to refer to ‘independent style’. There is suggestion the word is further rooted within the definition of gender (membership of a word or grammatical form).
In modern usage the word principally refers to style and category.
Types of Genre
Though most of the following ‘high-level’ genre are commonly used, does everyone truly comprehend what each covers? For the purposes of conciseness only dictionary definitions will be given below. A simple search of the internet will provide more comprehensive explanations for those who want them.
Note: The order in which the genre are presented is not indicative of any preference or suggested value of one above the other.
Fantasy
‘The imagining of improbable things.’; ‘An imagined situation.’; ‘Fiction involving magic or adventure.’ (Oxford English Dictionary)
‘A pleasant situation that you enjoy thinking about but is unlikely to happen, or the activity of imagining things like this.’; ‘A story or type of literature that describes situations that are very different from real life, usually involving magic.’ (Cambridge Dictionary)
Science-Fiction
‘Fiction dealing principally with the impact of actual or imagined science on society or individuals or having a scientific factor as an essential orienting component.’ (Merriam-Webster Dictionary)
‘Fiction based on imagined future scientific or technological advances and major social or environmental changes, frequently portraying space or time travel and life on other planets.’ (Oxford Dictionary)
Romance
‘A medieval tale based on legend, chivalric love and adventure, or the supernatural.’; ‘A prose narrative treating imaginary characters involved in events remote in time or place and usually heroic, adventurous, or mysterious.’; ‘A love story especially in the form of a novel.’ (Merriam-Webster Dictionary)
‘A genre of fiction dealing with love in a sentimental or idealized way.’ (Oxford Dictionary)
Thriller
‘A thriller is a book, film, or play that tells an exciting fictional story about something such as criminal activities or spying.’ (Collins Dictionary)
‘A book, film, play, etc. depicting crime, mystery, or espionage in an atmosphere of excitement and suspense.’ (The Free Dictionary)
Mystery
‘A mystery story is a story in which strange things happen that are not explained until the end.’ (Collins Dictionary)
‘A novel, play, or film dealing with a puzzling crime, especially a murder.’ (Oxford Dictionary)
Suspense
‘A quality in a work of fiction that arouses excited expectation or uncertainty about what may happen.’ (Oxford Dictionary)
Note: The suspense genre is often included under, or with, Thriller (See above).
Dystopia
‘An imaginary place or state in which the condition of life is extremely bad, as from deprivation, oppression, or terror.’; ‘A work describing such a place or state.’; ‘An imaginary society in which social or technological trends have culminated in a greatly diminished quality of life or degradation of values.’ (The Free Dictionary)
‘An imagined state or society in which there is great suffering or injustice, typically one that is totalitarian or post-apocalyptic.’ (Oxford Dictionary)
Biography
‘A biography of someone is an account of their life, written by someone else.’; ‘Biography is the branch of literature which deals with accounts of people’s lives.’ (Collins Dictionary)
‘An account of a person’s life written, composed, or produced by another.’ (The Free Dictionary)
Autobiography
‘The story of a person’s life written by that person.’ (Oxford English Dictionary)
‘The biography of a person narrated by himself or herself.’ (Merriam-Webster Dictionary)
Memoir
‘A written account of events etc. that you remember.’ (Oxford English Dictionary)
‘A narrative composed from personal experience.’ (Merriam-Webster Dictionary)
Roundup
Some may consider the above as ‘Teaching grandmother to suck eggs’ (giving advice to someone in a subject with which they are already familiar). It is not intended to be such. The aim is simply to try and bring some clarity where there may be uncertainty: Linguistic understandings can differ from culture to culture, society to society.
It is also a fact some authors, to give books greater exposure, may include terms in descriptions that do not truly align with the book’s content or are only marginal. Sometimes this is simply from not fully comprehending a genre’s definition.
Naturally, the above is by no means a complete list of genre but, as already stated, for the purposes of conciseness (most people are very busy) it has been restrained to primary high-level ones.
If there is an additional genre you would like defined, please add a comment stating which and it will be seen what may be done.
May 21, 2019
What is a Blurb?
[image error]This topic was originally intended to form part of an overall article within which the variances between blurb and synopsis would be considered. However, it quickly became evident the eventual length of such an article would be unwelcome. The decision was therefore taken to consider synopsis’ and blurbs’ separately. What is a Synopsis? has already been published.
In modern language usage it is often found words or phrases which in the past were clearly understood and comprehended are now frequently interchanged. Naturally this has lead to miscomprehension and some confusion. To assist the reader of both articles, the following is a minimalistic explanation of the two aspects.
Blurb: Short description.
Synopsis: Brief summary of major points.
Definition
A blurb is:
‘A short description written to promote a book, film, etc..’ (Oxford English Dictionary)
‘A short description of a book, film, etc. written by people who have produced it, and intended to make people want to buy it or see it.’ (Cambridge Dictionary)
‘A brief advertisement or announcement, especially a laudatory one.’ (Dictionary.com)
A blurb is what usually appears on the back cover of a book. After the cover image and title it is the most important selling point for prospective purchasers/readers.
Target
Some would coin the phrase ‘Joe Public’ however, it is too general a description because books are categorised by genre and it is toward readers of the specific genre the blurb should be directed.
The blurb should:
Let the reader know what the book is about.
Indicate protagonist’s dilemma.
Share an engaging plot point (sometimes referred to as a ‘hook’).
The whole intent is to stir (peak) a prospective reader’s interest.
Content
The following are some thoughts upon what to include in a blurb:
Introduce primary characters. Just enough for a reader to see if they will appeal to them.
Set stage for conflict.
Identify stakes – What would be result if conflict not resolved, without giving ending away.
Outline plot – sufficient for reader to comprehend what book about without giving too much away.
Reveal theme e.g. family saga; historical drama; etc.
Keywords but only if will not take space from more vital information.
Important: It is vital what is shared is accurate and in no manner misleads as to the true content of the book.
Style
It is essential the blurb is a fair representation of the book as a whole. It should:
Be true to ‘voice’.
Create mood, feeling and value.
Avoid endless detail.
Include cliffhangers (hooks), provided they are valid.
Cater to the prospective audience. (How the author’s readers like to communicate.)
One suggestion is to treat blurb sentences as if they were ‘pick up lines’.
Note: Fonts and font sizes must be comfortable e.g. not over small or large. Authors should remember readers only have limited time and attention spans therefore, if the blurb is difficult to read they may, and probably, will skip pass and go onto the next item.
Length
As with all matters there are various opinions nevertheless, most will agree a blurb should, must, be short and concise. 150 – 200 words are normally recommended. The driving forces behind this are primarily twofold.
Physical Books: Back covers are required to carry several pieces of information, including barcode and author details. Consequently, there is little space left for the blurb though it is acknowledged, depending upon font and font size, there may be room for more than 200 words.
Digital Books: Even where a physical edition exists, most books are now also published in digital (e-book) format. In these instances the blurb appears in online retailers book pages as a ‘description’. However, though the author will have entered the complete blurb it is a fact in many instances, only the first couple of lines will be initially displayed.
It may therefore be seen, practically, blurbs should be kept concise.
Conclusion
Blurbs are important for publicity and marketing and should be designed to gain readers and prospective purchasers attention. These should not be confused with synopsis’ which are primarily for agents and publishers.
The blurb needs to be concise but include sufficient information regarding what the book is about and what the prospective reader may expect.
Some suggest blurbs should include comparisons with other similar ‘popular’ books and, where available, positive endorsements received. Naturally, it may be seen these would help encourage prospective readers/purchasers nevertheless, these should not be included at the detriment of omitting other more revealing and important information.
Blurbs should be written in the same style and voice as the book.
A point regarding keywords: In modern internet based communication keywords play an important role. However, authors should take care not to ‘stuff’ blurbs will such. To do so will diminish the impact and may well bring condemnation and turn people off.
Drafting a blurb may sometimes feel more challenging than the actual writing of the book. Nonetheless, it is worth the author’s time and effort to work on these until they are able to provide a clear, concise, impactful, blurb.
May 14, 2019
What is a Synopsis?
[image error]This article was originally intended to consider variances between synopsis and blurb. However, it quickly became evident, if the topic is to be dealt with adequately, the eventual length would be unwelcome. The decision has therefore been taken to consider each aspect separately. This article will consider what a synopsis is and its purpose. A subsequent article will deal with the subject of blurbs.
In modern language usage it is often found words or phrases which in the past were clearly understood and comprehended are now frequently interchanged. Naturally this has lead to miscomprehension and some confusion. To assist the reader of this article, the following is a minimalistic explanation of the two aspects.
Synopsis: Brief summary of major points.
Blurb: Short description.
Definition
As already stated this discussion is restricted to the subject of synopsis’.
‘Brief Summary.’ (Oxford English Dictionary)
‘A brief summary of the plot of a novel, motion picture, etc.’ (Dictionary.com)
‘A condensed statement or outline (as of a narrative or treatise).’ (Merriam-Webster.com)
Target
Agents and Publishers.
Before an agent or publisher can realistically consider whether to take on a project, they need to have a clear idea of: what it is about; what is involved; whether it has appeal; if the quality is up to standard; etc. They will be making a financial commitment and need to assess if their investment will be recoverable and would also result in some degree of profit. After all it is a business they are running not a charity.
It is the synopsis, if properly drafted, that provides them with the necessary information. Unlike general marketing material (including blurbs) a synopsis should:
Convey a story from beginning to end .
Provide the whole narrative arc.
Show what happens.
Outlines who changes.
Must reveal ending.
Agents, publishers and editors consider a synopsis important because it is from them they are able to assess whether characters’ actions and driving forces are realistic and sensible. They may also reveal faults in the story and/or plot.
Content
Bearing in mind a synopsis is only intended to be a summary but is also required to convey the whole story, if can be difficult knowing what to include or omit.
Include:
Tell story of character(s) the reader will primarily engage with, especially the protagonist but only characters who are pivotal to the story.
Talk from protagonist’s point of view.
Outline conflict and how the protagonist succeeds or fails.
Characters who have direct impact either by generating conflict or by helping the protagonist.
Show how conflict resolved.
Convey how the protagonists situation (internal and external, as appropriate) has/have changed.
It may be difficult deciding which characters to include and which to omit. A good ‘Rule of thumb’: if the ending would not make sense without them then include but be circumspect.
With specific genre e.g. science fiction; fantasy; etc. it may be necessary to include some brief details of the ‘world’ within which the story takes place. This should be kept to a minimum (100 – 200 words at most).
Omit:
Dialogue unless it forms an important plot point.
Backstories unless essential for the synopsis reader’s understanding.
Detailed explanations. Keep to basics.
Mention of secondary characters unless relevant to comprehension of plot point.
In addition to the above, authors should not:
explain themes and structure;
pose questions;
try and impress with prose. This is not the place for that.
Length
There are no hard and fast rules regarding the length of a synopsis. Nevertheless, it is sensible to remember agents and publishers are busy people who are constantly inundated with requests. General advice it to keep it short; between 500 – 600 hundred words, single spaced. Two pages at most. However, as stated, there are no rules and some agents and publishers are happy to accept lengthier versions.
Important: Always read the agent’s/publisher’s submission guidance and comply with it.
Except in very rare circumstances, a synopsis should not be broken into sections. Individual paragraphs are of course appropriate as long as they carry the story through in a sensible and understandable format.
Conclusion
As with all things there are varied opinions upon how a synopsis should be presented. In the above discussion it is implied it should form a continuous flow whereas there are those who suggest commencing with a brief summary of 30 – 75 words and then a more detailed overview of between 350 – 500 words. The best guide if for authors to comply with agent’s/publisher’s stated submission requirements.
What has been shared above is intended to provide some general guidance upon synopsis presentation nonetheless, as pointed out in a couple of places, there are varied opinions and ideas and no doubt others may be able to add (or subtract) from the above. It is simply hoped readers will find the above helpful.
Considering this website is primarily directed toward assisting independent (indie) authors who are usually either unable, or do not have the means, to engage an agent or publisher, discussion of this topic here may appear irrelevant. However, some indie authors do find unexpected success and are approached by agents etc. It is therefore helpful for them to have some idea of what is required in a synopsis. In addition it may assist authors, though they have no agent or publisher, to write their own synopsis through which they may identify anomalies they may have otherwise missed.
April 16, 2019
Character Interviews
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The following text is based upon a guest post contributed by T. R. Robinson to the Library of Erana blog.
Just to clarify: Character interviews are interviews with the primarily fictional protagonists and characters in a story. Of course, these may also be conducted with ‘real’ characters but where a book has real characters it is normal for the book to be biographical meaning their life story will, in the majority of instances, already form part of the tale.
Character interviews are not frequently encountered. Though there have been one or two elsewhere, the majority the writer has come across have been in the Library of Erana blog. Initially these were deemed to be silly and pointless and were consequently skimmed over. Not a usual habit but may have been the result of time pressures and deadlines to meet. Later, upon further examination, having come across a further steady flow of these interviews, their validity was contemplated. They were subsequently given more attention.
The question did occur about who these interviews were for? The reader or the author? The conclusion? Probably for both. The following considers the value of such interviews from both perspectives.
The Reader
Of what interest are character interviews to readers?
Entertaining. (Perhaps with the exception of some self-help or scientific books, the majority of readers are looking to be entertained.)
Enhancing. (Usually provide further idea of the character’s true nature, aims and goals.)
Informative. (Provide some backstory details which will enhance the eventual read. Assuming they do go on to read the book the character is in.)
Intriguing. (Build interest in and expectations for a story.)
The Author
What benefits do character interviews provide for authors?
Display writing skill. (Readers do not readily pick up books by unknown authors. These free interviews provide them with an idea of what they could expect from the author’s books.)
Avoid ‘padding’. (Able to fill-out character personalities with additional information that would not fit or be appropriate to include in the primary manuscript.)
Know characters. (Authors are advised, for best results, to fully know their charters by writing biographies. Interviews go part way, probably a long way, toward this aim.)
Refreshed mind. (Continuous writing on the same theme can lead to fatigue and some degree of stagnation. Writing something different usually breaks the trend.)
Marketing/Publicity. (Done right, interviews may set a story’s scene and create intrigue and interest in it.)
Of course, the above are by no means the full extent of what readers and authors may gain from these interviews. Everyone is different.
Conclusion
Character interviews do have their place in the reading world:
For the author it is an opportunity to intrigue and add some backstory that may not be appropriate for inclusion in the primary text of the book.
For the reader they enhance and fill out who the character is; help them decide beforehand if the book is one they will be interested in; enable them to learn about the author’s writing style.
Authors and readers are encouraged to read and take note of any character interviews they come across. They can be fun as well as informative.
Authors: Remember in most instances these interviews are primarily suitable for fictional characters. When writing about real people the information that would emerge through an interview should, in the majority of instances, be drawn out within the story.
The original guest post may be viewed here.
