Writers' Questions: Do I Need an Author Website?

It’s been a while since I wrote a blog post in my Writer’s Questions series, covering the most searched questions from fellow writers. Previously, I’ve covered topics as diverse as AI and fiction writers, novel openings, pacing your story, and appearing on podcasts. Today, I’m diving into the subject of writer websites.

Why have a website?

Having a website is a great way to increase your profile and ensure anyone Googling your name has access to the information you want them to have about you.

Who needs a website?

A website is crucial if you’re getting traditionally published or self-publishing your own fiction as you’ll want to directly market to consumers and direct them to your book(s). It is less necessary to have a website if you’re at the querying or submission stages, though, if you have other work to feature (e.g., links to published short stories or essays), you may want to set up a website earlier.

What information should appear on my website?

Your website should include information about your book(s), along with links to where people can purchase. It should also feature a brief biography/about you section and contact information for you and/or your agent. Your website might also include details about upcoming events, links to press/reviews, socail media links, and a book club guide, if you have one.

How can I build a website?

You could hire a pro to build your website, but there are lots of tools out there now that make this largely unnecessary. I personally used Squarespace to set up my author website, www.finolaaustin.com, and found it intuitive, despite not being a web designer.

What costs are associated with maintaining a website?

This will depend on the service(s) you use. I pay annual fees for my website and domain and keep records of these as business expenses. 

What’s the difference between a website and a blog?

Think of your website as a detailed digital business card, while your blog is more of a public-facing journal. Many writers have a blog section of their website, rather than maintaining separate sites. For me, since my Secret Victorianist blog predated the publication of my debut novel and was initially branded without my name (it was a secret!), I chose to keep them separate, though I often link between the two sites.

Let me know what other topics you would like to see my cover as part of my Writers’ Questions series? You can comment below or get in touch, via Instagram, Facebook, or by tweeting @SVictorianist. Want regular updates from this blog? Sign up to my monthly newsletter here.

The Historical Novel Society UK 2024 Conference in Quotes

Last week, I flew back from England after attending my fourth HNS conference in person. This time we were in Dartington Hall in Devon, the theme of the conference was “from the author’s page to screen and stage,” and I spoke on a panel with fellow writers Heather Webb and Kris Waldherr about authors as “adaptors” in retellings. 

On the ground at HNS 2024

Throughout the conference, as usual, I took notes on the gems of wisdom shared by other speakers. I hope you enjoy this roundup of some of the best quotes…

“Nurses don’t say, ‘I can’t work today. I have nurses’ block.’” Bernard Cornwell urged us all to treat writing as a job and show up at our desks, even when we don’t feel like it.

“Go camping.” Matthew Harffy gave us all this unusual piece of advice for getting into a medieval mindset.

“People deep down are still people regardless of when they lived.” Sharon Bennett Connolly suggested getting into your characters’ heads by considering what has remained consistent about the human experience.

“Butterflies are best seen flying around.” Ian Mortimer uncovered what is problematic about traditional approaches to history and made an argument for historical fiction as the best way to “experience” the past.

“No battle plan survives first contact with the enemy. No outline survives first contact with drafting.” Kate Quinn gave us this apt metaphor for how novels evolve beyond the planning stages.

Finola Austin (the Secret Victorianist) reporting from Devon

“Give each person space to do the things they love. Writers are drawn to different story elements.” The two writers behind A.D. Rhine gave us this valuable insight into their approach to co-writing fiction.

“Static settings are uninteresting.” Deborah Swift suggested we bring motion to our setting descriptions to bring them to life for readers.

“[Adapting for the screen] is intellectually challenging and fun.” Diana Gabaldon disagreed with Bernard Cornwell about how involved authors should be in screen adaptations of their work.

“It is much more difficult to write about history that’s within living memory.” Jane Johnson cautioned us about the tweets you might receive if you get details wrong in late-twentieth-century-set historical fiction.

“If I’d known how much research was involved in historical fiction, I’d have written contemporary!” Helen Steadman jokingly suggested that for aspiring writers, ignorance is sometimes bliss.

“The key to being a writer is getting a dog.” Lisa Highton noticed a theme in the conference of writers having their best ideas when walking, with or without a furry friend!

“I just became obsessed with people who are dead.” S.G. Maclean shared her (all too relatable!) experience.

With Heather Webb & Kris Waldherr

Were you also at HNSUK 2024? If so, I’d love to hear your conference highlights. Please stay in touch by following me on Instagram, Facebook, or Twitter, or signing up to my monthly email newsletter here. 

The Historical Novel Society UK 2024 Conference: An Interview with Finola Austin

I'm currently in London en route to the Historical Novel Society UK 2024 conference in Dartington Hall, Devon, where I'm speaking on a panel alongside fellow writers Heather Webb and Kris Waldherr.

Check out my pre-conference speaker interview here! If you're also going to the conference, please connect with me, on person or online (on Instagram, Facebook, Twitter, or by subscribing to my email newsletter). 

The Secret Victorianist’s 2023 Holiday Gift Guide

Merry Christmas/Happy Holidays to everyone celebrating this festive season and welcome (back?) to the Secret Victorianist—my blog dedicated to nineteenth-century literature and culture. In today’s post, I share some gift (or let’s face it, self-gifting) ideas for lovers of books and Victoriana. Let me know what you think and what else is top of your wish list…

For the busy bookworm… Consider giving them an annual subscription to Audible, so they can listen to books with their hands full or while on the go.

For the Victorianists who read the footnotes… The Longman Annotated Poets series is incredible. Why not pick up their Selected Edition of Tennyson’s poetry?

For historical fiction fans… Some of the best #HistFic books I read this year were Booth by Karen Joy Fowler, Joan by Katherine J. Chen, The Daughter of Dr. Moreau by Silvia Moreno-Garcia, A Witch in Time by Constance Sayers, and The Orchid Hour by Nancy Bilyeau.

For fans of the Victorian aesthetic… Buy them a locket or a cape or a fan or a corset or a parasol or a print of a Pre-Raphaelite painting or William Morris wallpaper. 

For those looking to time travel… Consider booking an experience (e.g., getting tickets to a ball, visiting a stately home, or having afternoon tea).

For letter writers… Beautiful, monogrammed stationery makes for a wonderful gift. Wax seal = optional. 

For Bronte fans… My fiction pick for the year is Rachel Cantor’s Half-Life of a Stolen Sister (check out my review here) or my own novel Bronte’s Mistress, of course, while I recommend Lucasta Miller’s The Bronte Myth to those who prefer non-fiction.

For historical novelists… Buy them a ticket to the Historical Novel Society Conference 2024, at Dartington Hall in the UK. We’re going to have a blast. 

Have more ideas to add to my list? Share them below, on Facebook, on Instagram, or by tweeting @SVictorianist. Want a signed copy of Hope C. Tarr’s Irish Eyes (2023), another great historical fiction read? Sign up to my monthly email newsletter by December 7th for a chance to win!

A Q&A with Hope C. Tarr, Author of Irish Eyes (2023)

Welcome back to the Secret Victorianst for a different sort of blog today—an interview with fellow historical novelist, Hope C. Tarr. You might remember Hope from the virtual panel event I did with Lady Jane’s Salon, the NYC-based romance readers’ club she co-founded, back in 2020. Next month, Hope’s debut historical novel Irish Eyes will be released by Lume Books, and I know readers of the Secret Victorianist are going to love it. Irish Eyes opens on the Aran Islands in 1898 and takes readers on a journey, with its heroine Rose, to the streets of late nineteenth/early twentieth-century New York City. I hope you enjoy my conversation with Hope and enter for a chance to win a copy of her novel below!

SV: How did you first get the idea for your novel, Irish Eyes?

Hope: Irish Eyes is very much a love note to my Irish ancestors, who came to America on the coffin ships at the height of the Great Hunger. For years, I batted around the idea of writing something with an Irish heroine. Finally, on a hiking trip to Western Ireland in (gulp) 2008, I stopped at the famed Cliffs of Moher and gazed across Galway Bay to the trio of islands known as the Arans, and Rose O'Neill’s story began taking shape in my mind. Back in Manhattan, running along the Hudson River, looking out to Ellis Island and Lady Liberty helped further flesh out Rose’s story.

SV: How did the book evolve from your first to your final draft?

Hope: Whoever first said that “writing is in the rewriting” was wise indeed. Irish Eyes changed so many times. Originally, I had a prologue, in fact two prologues, which I really loved. The first prologue began with Rose in 1922 at mass narrating her life story to the parish priest. The second prologue started with Adam, Rose's future love interest, at the Battle of San Juan Heights during the Spanish-American War. I've actually shared that prologue on my History With Hope Substack! To pick up the pacing and start in the thick of the story, both of these very different prologues ended up on the chopping block. A la Stephen King, sometimes you really do have to murder your darlings. 😉

But by far the biggest shift in molding the story was also the scariest. At the onset, I'd written the entire book in my trusty go-to perspective: third-person. But something was missing. The story wasn't... gelling. As a reader, I'd always adored novels written in the first-person—du Maurier’s Rebecca, anyone? —but I'd never had the courage to try first-person POV myself. Once I did and rewrote the entire book in Rose's voice, it all began coming together.

SV: How did writing historical fiction differ from the genres you've written in in the past?

Hope: After wonderful years spent writing 20+ romances for Penguin, Harlequin, and Macmillan, I was ready for a BIG change. Ready to push the boundaries of genre and do a deep dive into history, in this case, mostly early twentieth-century history. Ready to write the sort of big, sweeping historical novel that I'd grown up devouring. Books like Diana Gabaldon's Outlander series, technically romance, where you get to spend time with the characters, who evolve over not days/weeks/months but years. In other words, a saga. For a while now, “saga” has been something of a dirty word in American publishing. For that reason, I suspected I was going to have a tough time selling this book, especially as it would be my historical fiction debut, which probably explains why it took me so long to finish it and then shape it into a shoppable manuscript. That being said, if I had to sum up the experience of writing Irish Eyes and bringing it to this point, that word would be “freeing.”

SV: Do you have any tips for writers of historical fiction who are trying to make their books relatable to modern readers without being anachronistic?

Hope: Admittedly, this can be a tough balance to strike, especially when keeping in mind younger readers, who approach fiction with a very different set of expectations than I did at that age. With Irish Eyes, as with any historical fiction, I try to step back and ask myself, “how critical is this point/word/phrase to telling a great story?” If the answer is “not so much,” I may leave it out rather than veer into anachronism. But I also think it's important to understand how we've collectively evolved over the eras. And not evolved. So many of the issues addressed in Irish Eyes—immigration, the roles and rights of women, labor reform, income inequality—are eerily reflective of our present moment. History is cyclical, not linear. It's important to bear in mind that we are making "history" every waking moment.

SV: Your novel, while it's one woman's story, touches on major world and local events, e.g., WWI and the Triangle Shirtwaist Factory fire. What was your process like for naturally weaving these references into the novel?

Hope: The biggest challenge in writing Irish Eyes was to decide what historical events not to include. (Back to murdering those darlings!). The book covers 24 years in Rose's life. While the 24/7 news cycle is a recent phenomenon, newspapers were a big, busy feature of turn-of-the-century life. In writing the novel, I put in, and later took out, several events that, while interesting, wouldn't have directly impacted the immigrant community of my fictional heroine and her growing family. For example, the assassination of President McKinley (September 14, 1901) gets a brief mention while the Triangle Shirtwaist Factory Fire of March 25, 1911, in Lower Manhattan, gets a half-chapter.

SV: You're a New Yorker yourself. How did this help your process in writing the book?

Hope: Living here as I've been privileged to do, the city's history is all around, waiting to reveal its stories to those open to knowing them. I was here in 2011 for the centennial commemoration of the Triangle Shirtwaist Factory Fire at the Brown Building (formerly the Asch Building) where the factory was housed in 1911. The long-anticipated memorial was dedicated in October 2023. The adjacent Washington Square Park began as a potter's field when a series of yellow fever outbreaks starting in 1797 caused the city morgues to overflow. Human remains still rest beneath the elegant fountain and curated plantings. McSorley's Old Alehouse, NYC's oldest continuously operating bar (1854-present), which I recently revisited for another History With Hope episode, serves the same cheddar cheese and onion platters it did back when the great illusionist Houdini stopped in for a post-performance pint.

SV: What historical novels have you read and loved recently?

Hope: I'm very keen on World War II at the moment, likely because I'm working on the sequel to Irish Eyes, set in occupied Paris. I recently finished, and loved, Good Night From Paris, by Jane Healey, a fictional account of the real-life Hollywood screen actress, Drue Leyton, who was living in Paris with her French husband when the Second World War broke out. Rather than return home to the States, Drue accepted a position broadcasting from Paris to the (then neutral) US. Under the Nazi occupation, she repeatedly risked her life working for the Resistance.

SV: What should we look forward to seeing later in the American Songbook Series?

Hope: As I cagily slipped in above, I'm at work on a sequel, Stardust! The second book in my American Songbook series, Stardust follows Rose's granddaughter, Daisy, into the late 1930s and 1940s. Fashioned in the image of her indomitable Irish grandmother, Daisy will take the reins of Rose's Kavanaugh's Department Store when the time comes. In preparation, Rose sends Daisy to Paris to apprentice with the iconic couturier and fragrance entrepreneur, Coco Chanel. In shadowing the mercurial Chanel, Daisy is thrown into the thick of a glittering and treacherous cast of characters—American and British expats, the Parisian haute-monde, war correspondents, and German spies—all of whom congregate at the Hotel Ritz. While she's there, the Nazis invade and occupy Paris. Like the world-famous Chanel No. 5, a blend of 80 secret ingredients, no one in occupied Paris is what they at first seem. 😉

Hope C. Tarr

SV: Thank you so much for speaking with me, Hope, and for giving me the chance to read Irish Eyes ahead of publication. 

Hope: Thank you so much for having me! I hope readers will enjoy Irish Eyes as much as I loved writing it.

Would you like to win a signed paperback copy of Hope C. Tarr’s Irish Eyes, alongside a signed paperback of my own historical novel, Bronte’s Mistress? If so, sign up to my monthly email newsletter here. Anyone who subscribes to the newsletter between 21st November 2023 and 7th December 2023 (the Irish Eyes release day!) will be entered into a random draw to win both books. Already signed up? Spread the word to friends and family who might want to win and stay in touch with me via Facebook, Instagram, and Twitter.

Writers’ Questions: Should Authors Worry About AI?

Welcome back to my Writers’ Questions series, where I write blog posts answering authors’ and aspiring authors’ top questions related to the craft and business of writing, drawing upon my own personal experience. This week I’m writing about how generative artificial intelligence is changing the industry. Search engine data and IRL conversations I’ve had over the last few months demonstrate that there are lots of questions out there about AI, but, for authors, many of these boil down to just one: “how worried should I be?” My answer (at least for right now!) is, “Don’t sweat it.”

Many fiction writers love to cling to the traditional and familiar. After all, we’ve chosen to write novels in an age dominated by short-form video content. And in the past few years I’ve heard people prophesy the death of the novel due to Amazon, e-books, audiobooks, Netflix, social media, self-publishing and more. Yet, people are still reading, and great books are still getting written. New formats and publishing possibilities have complicated, but not killed, the business, and successful writers have learned to evolve with the times. I believe the advent of accessible generative AI tools will have a similar impact. So here are a few reasons I advise you not to worry.

Bots write in cliches

The AI bots out there currently, like ChatGPT, parrot material they’ve been trained upon. What this means in practice is that they are typing/talking (if not walking) cliches. If you’re using an AI tool to help you plot your novel, I’d almost advise you to write the opposite of what it comes up with. Otherwise, you’re likely to end up with an outline so trope-filled your readers will be rolling their eyes.

AI tools avoid the negative

The makers behind the best generative AI tools out there are sensitive to PR disasters (remember when that bot on Twitter became a Neo-Nazi in under 24 hours?). What this means is that bots are often trained not to give answers that skew towards the dark side. However, pain is at the heart of great fiction. Ever heard that old adage about putting your main character up a tree and then throwing rocks at him? Yeah, an AI bot is less likely to do that and any fiction it produces will be poorer for it.

AI can be your assistant

Even as a fiction writer, there’s a lot of non-fictional material you need to write, e.g., marketing copy, email newsletters, and author biographies of many different lengths. An AI tool could help you speed up some of these tasks, letting you get back to what you’re best at—using your imagination. Just note that if you’re using an AI tool for research, double check anything it tells you, as the bots are known to “hallucinate” (i.e., give you information that isn’t true!).

Your voice is unique

The best novels have voice, meaning they don’t sound like anything that’s been written before. So even if another writer had exactly the same plot idea as you—or someone fed that idea to ChatGPT—the final product would be very different. This is the beauty of writing and so, if anything, I hope the age of AI makes fiction writers step up our game. There are still questions that need to be answered (e.g., how to ensure AI tools don’t plagiarize published authors’ works and that writers are properly compensated if their intellectual property is used in “training”), but right now we have our humanity and our voices on our side. Trust me, this blog post is MUCH more entertaining than the response ChatGPT gave me when I asked it to answer the title question. Why don’t you try it for yourself and see?

Let me know what topic you’d like to see me tackle next as part of my Writers’ Questions series. You can get in touch here, on Facebook, on Instagram, or by tweeting @SVictorianist. Want regular updates on my writing and me? Sign up for my monthly email newsletter here.

Writers’ Questions: What are some writing websites I should know about?

In my Writers’ Questions series, I’ve been sharing advice about the writing and publication process for the past four years. In today’s blog post I’ll be sharing more free writing resources—five great websites that should already be on your radar…

Chill Subs: Submitting short stories or poems to literary journals? Entering writing contests? Applying to residencies? You need to check out chillsubs.com. Not only is the browsing interface free and easy to use, but you can also track your submissions and show off your publications.

Answer the Public: Do you run a blog or write journalistic articles? Make sure you’re answering the questions real people have about your topic of choice by using my favorite tool for search engine optimization—answerthepublic.com. Warning: you only have a limited number of free searches each month, so use them wisely.

Hemingway App: Working on improving your “window-pane” prose? You’ll soon be eschewing adverbs and banning passive voice with hemingwayapp.com. Just copy/paste sections of your work in progress into the tool—no download required. 

Shepherd: So, you’re active on Goodreads and BookBub, but what about shepherd.com?  I love how readers can browse by topic and how authors are encouraged to promote their own books, by giving love to thematically similar reads. Check out my own article here.

Reddit: Are you writing about a part of being human you haven’t had direct experience with? e.g., having long hair, being passionate about knitting, or dealing with a toxic mother-in-law? Whatever experience you’re writing about, there’s probably a subreddit for that (trust me, r/JustNoMIL was a vital part of my research for Bronte’s Mistress), so check out reddit.com, even if you’re not usually a social media fan.

Fellow writers, I’d love to know what other website are a vital part of your writing and publishing process. Let me know—here, on Facebook, on Instagram, or by tweeting @SVictorianist.

Writers’ Questions: Why, oh why, is writing so hard?

I’ve been publishing blog posts as part of my Writers’ Questions series since 2019, covering a range of topics related to craft and the business of writing. But many of my most-asked questions really boil down to one that’s psychological, rather than artistic or technical, in nature: why is this writing thing so damn hard?!

Feeling down? Digest these tips and eat some ice cream...

First, I feel you—being a writer isn’t easy. Second, if you’re currently struggling with the emotional toll of writing, this blog post might help by digging into some of the potential reasons why…

You're realizing writing isn't for everyone. Literacy rates are very high in the countries where I and most of this blog’s readers live. That means that almost everyone can write and does write (emails, texts, ranting comments on the internet etc.) all the time. But don’t confuse that with thinking that everyone can write well. One thing that’s hard about pursuing this as a career path, or even a hobby, is that it’s very easy to start writing (unlike say, picking up a violin and starting to play), but, at some point, you’re going to hit an issue and understand your lack of experience. If this is where you’re at now, don’t fear! Recognizing where your writing could be better is vital for improving your craft, and thinking your prose is perfect as a beginner is a recipe for disappointment.

You’re not looking after your physical needs. There may be a certain appeal to the trope of the starving artist, but, if you’re tired, hungry, cold etc., trust me—you’re not going to be producing your best material. Get better at diagnosing what’s actually wrong when you’re feeling low and understanding what your mind and body needs and wants. It’s not virtuous to push yourself to breaking point. Great writing might be about suffering but should never require it.

You like the idea of writing. I hate to break it to you, but writers love the act of writing, not just having written. When you’re at your best (i.e., not tired, hungry etc. as I list above), can an hour slip away from you, unnoticed, as you type at your keyboard or scrawl in a notebook? If not, why on earth are you doing this to yourself? If you want someone to listen to you, consider therapy and/or get better friends. And if you want fame, fortune, and praise, there are much easier paths to take.

You’re playing an imitation game. Maybe you’re dissatisfied with your writing because you’re copying your literary heroes, rather than developing your own style. If you’re doing this, it’s unsurprising that you’ll always be underwhelmed by the result. Stop trying to be Tolkien. You’re never going to be Tolkien. 

You’re writing the “wrong” thing. Or maybe it’s the type of writing you’re doing that’s the problem? You could be better suited to working in a format other than a novel e.g., penning a play, poem, screenplay, or short story. Perhaps secretly your heart is with another genre and you’re forcing yourself to write what you think you should be writing (e.g., following the market or writing literary fiction when you prefer to write genre). When in doubt, try mixing it up, and see if things get any easier.

Your inner critic is being too harsh. Self-editing is part of a writer’s job, but too much self-critique can be paralyzing. If you struggle with this, then try to operate in different modes (writer mode vs. editor mode). Then assign these versions of yourself to different shifts. When your inner editor is away, let your inner writer play and enjoy.

You're struggling with feelings of rejection. Lastly, maybe you’re unhappy right now because you’ve faced a spate of writerly rejection. “No” is a word we hear A LOT in this business. This is emotionally difficult—there are no two ways about it. And you’re allowed to wallow for a few minutes when you receive bad news. But don’t let rejection cramp your style or stop you writing. Instead, I recommend distracting yourself, while waiting for news or after receiving bad news. Start a new project. Indulge in some guilty pleasure writing that reminds you why you wanted to be a writer in the first place. No agent, editor, judge etc. can ever take that restoring feeling of the joy of creation away from you. 

What question would you like to see me tackle next as part of my Writers’ Questions series? Let me know—here, on Facebook, on Instagram, or by tweeting @SVictorianist.

Writers’ Questions: What IS Historical Fiction?

Hello and welcome back to my Writers’ Questions series, where I answer burning questions you might have about the craft and business of writing. As a writer of historical fiction, I’ve posted previously about some of my favorite and least favorite tropes in the genre, but I’ve never posted about what historical fiction actually is. Think the answer is straightforward? You might be mistaken…

At its simplest being an author of historical fiction means writing stories set in the past. But how far back would you consider “history”? As anyone knows who’s ever been to a thrift store and noticed clothes from a decade you remember being labeled as “vintage” knows, it can be very disorienting to see period you lived through being treated as historical. Yet, at the same time, World War II, one of the most common settings for historical novels being published in the early twenty-first century, is within living memory for some people alive today. 

Because of this, rather than choose an arbitrary number of years’ distance for a book to be labeled as #histfic, I favor Margaret Atwood’s definition: historical fiction is “set in a time before the writer came to consciousness.” That means that if I ever write a novel set in the 1970s, 1980s, or even the super early 1990s, I’d consider my setting historical. If another writer were a teen or adult during those decades and wrote a book drawing on memories as well as research, I wouldn’t consider it to be historical in the same way.

So much for the “historical” part of the name, but what about the word “fiction”? Believe it or not, this can be controversial too, as it’s very common to see real (and really famous!) historical figures showing up in the pages of historical novels. My answer here is much simpler: it doesn’t matter who your characters are; if your novel is set in the past and you’re making things up, it’s historical fiction. 

If your novel is primarily about a real person who lived in the past, you might like to use the label “biographical historical fiction”, and this is valid whether or not your protagonist is a household name like Napoleon or someone lesser known, like Lydia Robinson, the titular character of my debut novel, Bronte’s Mistress. Super recognizable historical figures are sometimes referred to as “marquee names” by those in the publishing industry as they are powerful marketing tools, but this term isn’t one that readers are usually familiar with. On the other hand, if a big historical figure just makes a cameo appearance in your book (e.g., you’re writing about London in the 1590s and William Shakespeare wanders into one of your scenes) that’s not enough for the sub-genre to be “biographical”.

Historical fiction is a wide genre bucket, so we see many crossovers with other genres too. Love stories that are set prior to the writer’s consciousness, which follow the romance novel structure, are designated “historical romance”. If your book is about a detective character solving a murder, many decades or centuries ago, congratulations, you’ve written a “historical mystery”. And if your historical setting has a magical twist, it sounds like you’re an author of “historical fantasy”.

Let me know what topic(s) you would like me to cover next in my Writers’ Question series! You can always contact me via the comments below, on Facebook, on Instagram, or by tweeting @SVictorianist.

Writers’ Questions: Book Publicity vs. Marketing—What’s the Difference?

Hello again, everyone, and welcome to my Writers’ Questions series, in which I’ve been answering your burning questions about the writing and publishing process. In the last blog post in this series, I covered how to get your book featured on podcasts. This time I’m back with another marketing-related topic.

So, you’ve got a traditional book deal or you’re pursuing self-publishing, and now you’re hearing about both “Marketing” and “Publicity”. Maybe you’ve been introduced to both a publicist and a marketing person at your publisher, and you’ve been left scratching your head and wondering what’s the difference?

When it comes to promoting a book, or any product really, it’s all about attracting consumer attention—and attention can be either bought or earned. Therefore, simply put, your marketing person will be dealing with paid advertising and other paid opportunities, while your publicist focuses on earned media and promotion. 

Let’s break this down with some examples.

Getting you featured as a guest on a podcast? That’s the realm of Publicity. But promoting your book in an ad, which plays midway through a podcast? That’s Marketing.

Sending your book to reviewers at top publications? Publicity. Buying you space on a billboard in Times Square? Marketing. 

What about social media and influencers? There may be differences in how publishers divide responsibilities here, but it’s likely that organic posting and gifting copies of books to major Bookstragrammers falls to Publicity, while paid social media ads and sponsored influencer posts come out of Marketing budgets and are managed by that team.

So why does any of this matter?

If you’re working with a big publisher knowing this distinction can help you address your questions, thoughts, and ideas to the right person, though there’s no need to be embarrassed if they occasionally have to redirect you! 

And if you’re working with a small press or going it alone via the self-publishing route, you can better manage your own budget and plan more easily if you start to identify which opportunities are paid (marketing) and which are free (publicity). 

What question would you like to see me answer next as part of my Writers’ Questions series? Let me know—here, on Facebook, on Instagram, or by tweeting @SVictorianist. 

Writers’ Questions: How Do I Read Like a Writer?

If you’re an aspiring author who’s read any writerly advice online, you’ve probably come across the adage that good writers should read…a lot. But what are the key differences when reading as a writer rather than as a regular reader? Today, in the latest blog post in my Writers’ Questions series, I’m giving you some pointers for getting the maximum value out of your reading time.

Read in the Genre You’re Writing In

Inputs (i.e. your reading material) will impact outputs (i.e. your writing), so read deeply in the genre(s) you’re hoping to the publish in. While you don’t need to exclusively read the sort of material you want to write, picking books of the same genre and age category, published in the last few (~5) years, will allow you to a) hone your craft, and b) conduct market research simultaneously. 

Read the Acknowledgments

Books are usually written by one person, but they’re produced by many. The best way to understand this is to read the Acknowledgments section that ends most books published today. This is where you’ll find the name of your favorite writers’ agents and editors, helping you identify the people who might, on day, be your agent and editor too!

Read the Author Bio

There are many different paths to becoming an author. I have a day job in digital marketing and, while I have two degrees, neither is in Creative Writing. Other writers have pursued MFA programs or made a name for themselves writing short stories before publishing a novel. Reading author biographies is a great way to chart the career paths of the writers you admire and hope to emulate.

Note the Publisher and Imprint

Look at the spine or the copyright page of any published book and discover which publisher/imprint published it. Then turn to Google and do some research. This is an easy way to teach yourself about the industry (who publishes what you write?, which imprints are part of the Big Five?, is there a small independent publisher which could be your perfect fit?). 

Support Writer Friends

Are you in a writers’ group with someone who got published? Are you doing a public reading with a group of other authors? Who are you sharing a table with at the convention center? Spread the love and support fellow writers by reading their books (even if they are outside your usual genre). Being there for others will usually be paid back to your tenfold, as those you’ve supported will be much more likely to blurb your book, do an event with you, add reviews to Goodreads, or boost your presence on social media. Plus, it’s the right thing to do.

Read Reviews

Speaking of Goodreads… Maybe you’re a writer who chooses never to read your own reviews. And that’s more than okay, if you find that best for your mental health. But reading other authors’ reviews can be a great way to understand the public’s tastes and comprehend opinions that differ from your own. I love reading one-star reviews of my favorite reads, and, conversely, delving into five-star raves of books which for me were a “meh.”

Analyze What’s (Not) Working

And what about when reading the book itself? The biggest difference when reading as a writer is that, rather than being swept away by the story, you should pause and analyze why you’re responding the way you are. If a scene is exciting, try to figure out how the writer generated a feeling of excitement. If you’re rolling your eyes? Maybe you’re identifying a trope that’s bordering on cliché territory. Some writers might read a book twice—once for fun and again to unpack why it was fun in the first place.

What topics would you like me to cover next as part of my Writers’ Questions series? Let me know—here, on Facebook, on Instagram, or by tweeting @SVictorianist! 

Writers’ Questions: What’s in a format? Hardcover, paperback, e-book and more.

My debut novel, Bronte’s Mistress, came out in paperback yesterday (!), having been released in hardcover, e-book and audiobook in August 2020. So, in this latest post in my Writers’ Questions series, it felt apt to talk about the different formats books can be published in, and what you need to know about them as an author. Check out the rest of the series for other publishing questions I’ve covered, on everything from finding an agent to formatting dialogue. 

E-book

A digital book might not be the first format you think of if I ask you to imagine “a book”, but I’m starting with this format for a reason. E-books are the cheapest type of book to produce and, for this reason, they’re a natural first choice for self-published authors as well as, nowadays, always part of the equation for traditionally published authors like me. E-books are accessible for those with eyesight issues and because of their lower price point. They also allow people to start reading right away when they order your book online. For these reasons they are particularly popular in high volume genres (think of readers who race through several romances or mysteries a day), but e-book sales are now crucial no matter what you write and for whom.

Hardcover

Not every book comes out in hardcover, but those that do seem to fall into four main and overlapping categories. 1: Books deemed high brow/elevated/literary by a traditional publisher. 2: Books predicated to sell a lot of copies. 3: Self-published books, where the author wanted to see their book in this format. 4: Books that were paperback for the consumer market but which had a hardcover edition for libraries. In this last instance, this is because hardcover books are more durable than paperbacks, so can withstand the wear and tear of multiple readers. Hardcovers are more expensive to produce than paperbacks and retail at a higher price point. Typically, traditionally published writers receive a slightly higher royalty on hardcovers than paperbacks.

Paperback

The modern publishing industry distinguishes between two types of paperbacks—trade paperbacks, of the kind you find at bookstores, and “mass market” paperbacks. Mass market paperbacks are shorter, fatter books, printed on lower quality paper, which you might pick up at a mass grocery store. Again, not every book will have a mass market paperback edition. These are most common for bestsellers, genres with widespread appeal like romance and thrillers and authors with a huge readership.

Audiobook

We’re in the midst of an audio revolution, and this has affected the fiction business too. Yet, while increasingly popular, audiobooks are expensive to produce (prohibitively so for many self-published writers), and not every traditional publisher will exercise audio rights even if they purchase them. Some established writers have sought to have the audio rights to their backlist returned to them, to self-publish and ride the audio wave. Meanwhile, pay-per-minute vs. credit business models for audio are gaining popularity abroad, demonstrating that the audiobook landscape it still evolving.

So, there you have it. I hope that this quick overview has been helpful for you as you navigate the complex world of publishing. Check out the other posts in my Writers’ Questions series here and get info on my novel, Bronte’s Mistress, (now in all of these formats!), here. You can always contact me on Facebook or Instagram, or by tweeting @SVictorianist. And you can stay in touch by signing up to my newsletter below.

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Writers’ Questions: How should I format my manuscript?

Since the sale of my debut novel, Bronte’s Mistress, in 2019, I’ve been sharing advice for writers on this blog as part of my Writers’ Questions series. Today, I’ll be talking about how to format your novel manuscript to set yourself up for success when submitting to agents and/or editors. Please note that this advice is aimed at writers seeking to be traditionally published vs. those preparing books for self-publishing.

First up, a word on software. I’ve written a whole post on this topic, which you can refer to here. I personally use Scrivener while drafting my novels. However, Microsoft Word is still the standard word processor, and .doc/.docx the required file format when submitting manuscripts. So, as soon as I’m ready to share my work with others (writers’ groups, my agent, my editor etc.), this is the software I move to. Now, let’s get into the formatting.

Cover Page

Your manuscript should begin with a cover page that features your book’s title, your name, and the manuscript’s word count. If you’re submitting your manuscript to someone who doesn’t know you (e.g. you’re querying vs. submitting to an agent you’ve already signed with), it’s a good idea to also include your contact information (most commonly an email address and maybe a phone number). Make it easy for the reader: at a glance, they should be able to tell what it is they’re reading and how to get in touch with you.

Font

I submit in Times New Roman at size 12, but any classic font (e.g. Arial) should be fine. Courier I see more often as the number one choice for screenwriters vs. novelists. Please be aware though that agents and editors may have their own preferences and change the font to read your manuscript. For this reason, I don’t recommend using multiple fonts in your book e.g. to convey different points of view or formats (letters, newspaper clippings etc.). 

Header

After the cover page, I include a header on every subsequent page in the format LAST NAME/BOOK TITLE, e.g. AUSTIN/BRONTE’S MISTRESS. Agents and editors will almost certainly be reading multiple books in any given week, so make their jobs easier and label your work.

Page Numbers

Include them! Books are long and page numbers make them more manageable. I put the page number in the footer in the bottom right corner.

Chapters

Should begin on a new page. I start each new chapter five lines down the page.

Sentence Spacing

Should be double. The aim isn’t to make your manuscript look like a real book yet. It’s all about making an editor or agent’s life easier and the spaces make for cleaner editing. 

Paragraphs

Each new paragraph should begin with an indent. 

Scene Breaks

I use three asterisks (***) between scene breaks that occur within a chapter. In a published book, these may be indicated by fancier symbols, or no symbol at all, just white space, but in a manuscript, clarity is key, so I go for this standard marker.

And there you have it! There’s no need to get fancy when formatting novel manuscripts, and, in this instance, blending in with the crowd is much better than standing out for all the wrong reasons. A manuscript is a working document and adopting the right formatting is a great way to show that you’re professional and know what you’re doing. 

Do you have any other topics you’d love me to cover in my Writers’ Questions series? Let me know—here, on Facebook, on Instagram, or by tweeting @SVictorianist. Want to read my novel, Bronte’s Mistress (now in beautiful book vs. manuscript form)? It’s available in hardcover, audiobook and e-book now. And don’t forget to subscribe to my monthly email newsletter below. 

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August Articles by Finola Austin, Author of Bronte’s Mistress

Wow. August was such a month that we’re now midway through September and I still haven’t recovered! Thank you so much to those of you who made the release of Bronte’s Mistress so special. Haven’t ordered your copy yet? There’s a list of places you can buy the book here (please note, for those of you in the UK, Waterstones is your best bet for speedy delivery…thanks, Covid). 

I’ve previously run roundups of the February/March, April/May, June/July articles featuring Bronte’s Mistress. But in August so much happened that I’m divvying up the content into three posts. In this first, I’ll list the articles I wrote that were published during release month. In the second, I’ll share the Q&As and interviews I did, which included some great questions! And, in a third blog post, I’ll detail some of the wonderful articles and reviews penned by others.

So, without further ado, let’s get into it.

The article I was most proud of getting published last month was a piece for Women Writers, Women[‘s] Books on “How Writing My First Novel Prepared Me To Write My Debut Novel.” While the release of my first book was a huge moment of celebration, I’ve been rejected many times along my writing journey. I was so pleased with the positive response I received when I shared this story with others. If you’re a writer who’s aiming for publication, know that it does happen. You don’t need connections. You can get an agent from cold querying. You can pick yourself up and write another book.

I was also pleased to have two of my articles land in MAJOR publications. I wrote an essay, “Was The Graduate Inspired by a Bronte Family Scandal?” for LitHub (one of my favourite websites), following the death of Charles Webb, author of The Graduate. And I wrote about the inspiration for my book for Oprah Magazine (!) in “This New Novel Explores the Secret Lives of the Other Two Bronte Siblings.”

I also courted controversy in a piece for Frolic on “What I Learned Writing About One Of History’s ‘Bad Feminists’.” I talked Bronte scandal with Historia Mag in “The Bronte Affair: researching the scandal that enveloped literature’s most famous family.” And I shared “6 Tender Stories of Forbidden Love” with Off the Shelf, showcasing some of my favourite reads when it comes to taboo romance.

I was also a guest blogger for three of my favourite blogs as part of the Bronte’s Mistress Blog Tour. I shared “10 fascinating facts I learned about the Brontes while researching Bronte's Mistress” with Bronte Blog (home of all things Brontes online). And, while we can’t travel right now, I gave readers a glimpse into my research trip to Yorkshire in “The Villages of Great and Little Ouseburn—the Forgotten Stops on the Bronte Trail,” for English Historical Fiction Writers. Finally, I was a guest for a day on the Silver Petticoat Review, writing a piece on “The Brontes and the Victorian Mrs Robinson.”

Writing and publishing these personal essays has been hard work, but it’s also been very rewarding. With each one, I’ve considered something new about Bronte’s Mistress and what my novel means to me. I dreamed of writing pieces like this when my novel existed only in my head. Thank you all for reading them!

Do you have a book club that would love to read Bronte’s Mistress? If so, I’d love to join your meeting via Zoom! Download the Bronte’s Mistress reading group guide and contact me via my website. Alternatively, get in touch via Facebook or Instagram or by tweeting @SVictorianist. 

June/July Articles Featuring Bronte’s Mistress

Oh my goodness! My debut historical novel, Brontë’s Mistress, comes out next week (!!) from Atria Books. There’s still time to pre-order your (hardcover, audio or e-book) copy before release day—you’ll find a list of suggested retailers here.

It’s time for another round up of recent articles the book’s been featured in, following on from the February/March and April/May editions. August promises to be even busier…

First—lists. Whose recommendation is more trustworthy than Oprah’s? I was beyond delighted that Brontë’s Mistress was included in Oprah Magazine’s round up of the best Fall reads. The Uncorked Librarian included the book in lists of the top 15 Powerful August 2020 Book Releases and the Most Anticipated Summer 2020 Book Releases. Living Read Girl suggested the book was perfect for a summer staycation, while Page and Palette had it as one of their virtual book club picks, and Forever Lost in Literature listed it as a “can’t wait” read.

Next—previews. Austenprose published an exclusive excerpt from Branwell Bronte and Lydia Robinson’s first meeting in my novel. What’s more, if you’re based in the US, you can read my first chapter on the book’s Amazon page. I also read an excerpt during a Facebook Live event with the 2020 Debuts group. You can check out a video recording here.

I was delighted to be featured in some local press back in my childhood home of Northern Ireland. The Carrick Times published a piece on the book, which also appeared in the Larne Times and News Letter. I even made it onto the Carrick Times front page in print!

On a serious note, I was quoted in a brave piece in Marie Claire penned by fellow debut author Leah Konen on the intrusive questions (women) writers are often asked. You should definitely check out her essay and, for the last time, no, I have not had sex with Branwell Bronte!

Lastly here are a few book reviews I enjoyed—from A Book Wanderer, Susan Monroe McGrath, Bless Their Hearts Mom, and Yaya Reads A Lot of Books.

If you’re interested in hearing more about Brontë’s Mistress, please consider attending my virtual launch event on August 3^rd. All registration details can be found here. And to stay in the know about future events, follow me on Facebook, Instagram, or Twitter, or sign up to my email mailing list below.

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How to support your writer friend

So your friend has written a book. That’s amazing! But maybe you’re not sure how best to support them, especially if you’re not a writer (or even a big reader) yourself. In this TOTALLY-NOT-SELF-SERVING blog post, two weeks before the publication of my own debut novel, Bronte’s Mistress, I’m sharing a list of ways you can show your friend you care.

This post assumes that your friend is published traditionally (not self-published or aspiring to publish), but let me know if you want additional posts talking about these scenarios too.

Buy their book

Writers need to sell books, so there’s no better way to support your friend’s career than by purchasing a copy. However, everyone has different financial situations, and, especially mid-pandemic, you might not be in a position to spend much on non-essential items. Here are some helpful things to note. If your friend is traditionally published, it doesn’t matter to them financially which format you buy their book in. Royalty percentages vary, so the dollar amount that goes to the writer is going to be similar whether you go for that glossy hardcover or the cheaper e-book. Similarly, if your friend’s book is on offer somewhere (maybe Amazon has reduced the price or another book retailer is doing a sale), this means savings for you, without hurting them. Their royalties are going to be calculated based on recommended retail price.

Borrow their book

If money is still an issue though, or if you want to read a physical book while embracing extreme minimalism in your home, consider borrowing the book from your local library. If they don’t seem to have the book, request it! This could mean a sale for your friend without you having to spend a dime.

Gift their book

Maybe you know your friend’s book just isn’t for you. It’s horror and you’re easily horrified. It’s a romance and you’ve never enjoyed the genre. That’s okay! Consider buying the book instead for someone else you know who might genuinely love it. It’s better that than nuking your friendship by leaving a one-star review. Speaking of which…

Write a (good) review

Sure, you may be a little biased, but if you loved your friend’s book and are comfortable doing so, shout it the world! Amazon and Goodreads are the two most important places for book reviews. Leaving a five-star review will take you less than five minutes, but will be a gift that keeps giving to the author.

Post on social media

Is your Instagram feed your pride and joy? Do you post to Facebook ten times a week? Now is your moment to shine. Book covers are writers’ number one marketing tool, so that pic of your friend’s book beside your morning latte is marketing gold for the writer. Just remember to tag them, as long as you’re not saying anything negative!

Attend their events

Writers with books coming out in 2020 are having to forego the typical book launch party, but this does mean their events are a much smaller time commitment and so easier for you to attend. Watch Facebook Live in your PJs or wave at your friend on Zoom. They’ll love you for it. (Speaking of which, you’re all invited to my launch event—all the info here!).

Invite them to your book club

Are you in a book club that would love to read your friend’s book? A lot of writers would be flattered and delighted to be asked to join a book club meeting for a Q&A. And you’ll get kudos for knowing a real life writer. ;)

Just be a friend

Launching a book can be stressful, so sometimes support can be simple as checking in. Maybe your friend would love to escape for a day or evening and talk about anything but their book? You know them best, so whether the foundation of your friendship is gaming, fishing, complaining, laughing, or drinking copious amounts of wine, you’ll understand instinctually what will matter most to them.

Do you want to support the launch of Bronte’s Mistress? Now you know how to…

Pre-order the book!

Attend the launch event (virtually)!

Message me on Instagram, Facebook, or Twitter, if you want me to join your book club for a Q&A. J

 

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