Y o u r W r i t e r s G r o u p

Editor to Author: Letter to a Memoir Writer

Dearest Author,

I've been thinking about worth lately.

What's your story worth?

At a recent writers conference I taught a workshop on how I saw publishing changing. Modern publishing, the only time in history when we've had separate "markets" for books, has begun to fracture and redistribute. I've shared several times about how The Shack has shifted things. It isn't just a book, of course, it's a bridge. And those bridges are inevitable because it isn't only spiritual people or Christians who recognize God as creator.  

Blue Like Jazz came well before it and created connections between the Christian and secular markets. Lauren Winner's memoir Girl Meets God made some connection points before that, similar to how Eat, Pray, Love did more recently, from the other side of the spiritual divide. Several spiritual/worldly, secular/sacred books have become best-sellers as bridges in the long history of such books since the beginning of print, and some people have traced this line back to the best-selling book of all time: The Bible.

The Secret. The Purpose-Driven Life. The Alchemist. The Celestine Prophesy. The Late Great Planet Earth. Pilgrim's Progress. Books you've never heard of have sold over 30 million copies: Steps to Christ by Ellen White, In His Steps by Charles Sheldon, late-19th century Congregational minister and advocate of the ever-intriguing idea of "Christian socialism." Even Nikolai Tesla wrote about his life a true spiritual man and world-renouned scientist in My Inventions. The Canterbury Tales, The Odyssey, and The Divine Comedy by Dante, written in 1304, has "sold" more than anyone knows and we have no idea how it or any of these books have changed readers and the history of spiritual thought, becoming seeds for the trees of countless theologies.

But of course, we know this is what books are--seeds. And this is what they do: define life and defy death.

"So long as men can breathe, or eyes can see, So long lives this, and this gives life to thee."

So this story that's a part of you, that is you, that defines your work and all of your effort and sacrifices to share it completely (or as completely as possible) for others to use--what's it really worth?

Don't answer. You can't. Simply try to see the fullness of the question clearly. Continue on...

Do you know where your worth is really found?

Yes, in God's ownership of the life and love he's created you to embody (1 John 4:7-12). His ownership, creating, protecting, guiding and infusing of his great, unchanging spirit into us. He dies that we might live (parents always understand this principle). And we die that others might live through our sacrifices. This is the daily work of writing.

Do you know what that is really worth?

Intimately known and held, seen and heard and helped in every way, this knowledge is invaluable, isn't it? We can talk of worth and value, and shift our understanding of that from copies sold to readers influenced, but it's the knowledge a reader will have by the end of your story that makes what you're doing truly valuable. And this understanding of how God fills us and dies for us is the greatest wisdom, the most valuable in the world. And if you are practicing that, that makes what you're doing invaluable.

I want to give you, as a witness of your discovery of that unchanging love, my invaluable opinion on it, my affirmation that you've been seen and heard and that what you've written down is completely worthy. And with your assurance that it's been well established and others will see it and respond, you can continue, knowing it's incredible and invaluable. 

So do you see what your story is really worth?

Because there's no true price tag you can put on it. There's no proper estimating the value of my work, my seeing it, or others' receiving it either. It's in-valuable. We have to simply trust together that whatever comes of it is just a small piece of its fullest value as a seed for God to use, and not at all connected to the worth of what you've written, or what I've done to help. I know you've sacrificed and given for your story, and I've been brought into the processing of it, but regardless of how it will be published and the realities of our modern marketplace, you must know:

What's your story really worth?

I remain your solid co-laborer in the process of delivering these invaluable words. Never assign its worth to money, public perception, publication, or anything else. Your heart is here, and that's established and it's something you have written definitively, and just as we have agreed together at the outset here, others will when they read it.

We don't know how it will all play out. But I'm on your side and not looking for specific outcomes big or small. Don't think in terms of what's "fair," but decide you will pay with your life what's necessary to give to this project. What you give is directly proportional to what that seed will be able to produce in readers. And in terms of return and profit, I believe Cohelo is right: the universe will conspire in our favor.

So what's your story really worth?

 

Your Loving Editor,

Mick

Writers Conference "Dos and Don'ts"

From an editor's perspective, writers conferences can be a mixed bag. For those of you planning to attend one in the near future, or wondering whether you should, let me offer some dos and don'ts that apply to any writer's conference you might attend as an aspiring author...

Do know your genre. Everything may be expanding into new genres and sub-genres, but there will always be a line of books that precede yours in content and style, both informing it and categorizing it for a quick comparison. You may not like that others have written books like yours, but the fact is, it's your duty to know them and how you're improving the mold. Categories help us know what we're getting, even as barriers are breaking down between CBA (Christian Book Association) and ABA (American Book Association). Some people may not like categories, but they help readers. Some people may not like books that push the boundaries, but they're a sign of health and vigor.

Do get a publishing professional to sit on a panel and use you as an example of a fresh, and engaging voice. It was at the Northwest Christian Writers Renewal conference (in 2008 or 9?) that I was introduced to Ann Voskamp. She asked me to help her edit, and went on to publish an amazing book called One Thousand Gifts. Her distinctive, individual voice is what makes that book work, a voice she developed for years of writing and blogging and seeking out gifts for which she was thankful. So many things go into making a book a best seller, but her experience in writing and reading developed her voice and that was absolutely a factor in getting her published, not to mention talked about. Don’t be conniving and crafty, but do be a crafter of unmistakably unique work.

Don’t simply go to the conference to be fed. I hear this often: “The singer / food / accommodations / teaching is so wonderful!” Well yes, but these are compliments for the organizers, and they need to hear them. When you’re with a pro, don’t gush. They're not interested in your experience of the trappings. Would you be here if it was the worst, backwoods conference on the planet, just to deliver my the book that’s going to make me fall out of my chair? (more on this in a bit) Which leads me to,

Don’t be a sycophant. If you don’t have the definition memorized, please go do so now.

Don’t miss the point. IN 2005, on a panel at ACFW, I recommended The Time Traveler's Wife as the best book I’d read that year. In a rare moment of foresight, I included a warning that it might be offensive to some, but for months after that, I still heard about grumbling: “I can’t believe a Christian editor would recommend that book.” Dear ones, you have a responsibility to know what’s being written and read currently. Professional editors, agents and writers are readers. If you aren’t, that’s a serious handicap. Yes, do skip the sex/language/violence, but don’t misunderstand: you need to find out why an editor is recommending a book. Understand what that author did and that’s your ticket into his stable.

Do pay attention. Much of the benefit, if not all, of a writers conference is what you learn while there. Authors' and editors' names, literary terms, methods of writing, clarifying, editing, working, thinking, appealing to the muse. Don't waste your time worrying about your pitch, selling your idea, trying to force your way up from the place you need to be to learn. It's not about getting published. It's about being in a place where you are being courted because you've acquired so much knowledge, and your book begs to be published. While many bad books do get published, publishing the good ones is inevitable. 

Don’t listen to amateurs. There is more slippery sludge thrown around by well-meaning Christian newbies than any of us can shake our fingers at. The blogging world has made this bad advice proliferate, and there’s far too much posturing and speculating that goes on in absence of good data and some honest humility. Pride and ego can get the best of anyone—so be smart and listen to those who know.

Don’t tell me your entire story. Just stick to the P’s: Pitch, Package, Platform. PITCH: Give me the essence in as few words as possible. (caveat: “Aliens meets Blue Like Jazz” is not helpful. “Philip K. Dick meets Don Miller” is better, but explain that genre with a more specific comparison like, “Dean Koontz meets Graham Greene.” (I've actually heard this one. And that gave me a great picture.) PACKAGE: Tell me about series potential, what else you've written, what your "brand" is, any foreword or endorsements you’ve got, good-sized* publicity and promo opportunities, which leads right into PLATFORM: How big and how wide is your network? Are you bringing any guaranteed pre-sales through your blog, business, website, contacts in ministry, media, or miscellany (schools, churches, professional organizations, etc.) *total network of 1000 or more is fairly baseline for mid-size Christian publishers. That won't get you in the door a big of NY publishers.

Do know something about what publishing houses publish. Know the catalog and general sales figures (CBA top 50 titles, at least), especially for books like your own. You can find info on sales figures by asking questions: an author/agent/editor or clerk at a larger bookstore.

Do get in a crit group with real writers. When you say you’re in a crit group with a promising author or authors I recognize, it’s a big indication you’ll be an author I want to take more seriously. This is an alternative to getting a respected agent’s highest regard, though having both would probably make me fall out of my chair.

Do make me fall out of my chair. I really am a nice guy. But I have to be efficient as an acquisitions editor making pitches against the competition of other editors and publishers. A vast majority of the pitches I hear at conferences are not good. Learn what you're doing. Read this blog, have a professional help you, and if you’re pitching know the person, their house, and publishing guidelines. Even better, know their publishing goals. Follow what they've published and read their blog! The professional in the chair across from you is looking to see that you get it, you understand the situation, and you’re well-prepared. Do that, and you won’t have to quiver and freak out. Learn the criteria of a good proposal. Read the publishing trades (mainly PW & GalleyCat for ABA, CBA Marketplace and Christian Retailing for CBA market) and relevant editorial (Christian Communicator, Books and Culture) so you know what’s happening in the business you’re hoping to join. And remember, it's a business.

So go to writers conferences and soak up the knowledge and the community of like-minded individuals, and help someone grow! When you do that, you win. You get noticed. You get inspired. And those around you will remember or realize for the first time how great it is to be in a place like this, doing work they love, with people who are making a difference.

I mean, that's what I hope for...

 

A repost from the archives as I head out to the OCCWF conference this weekend. Maybe I'll see you there!

How to Write What Matters

People still ask if I'm doing okay and I tell them I've never been happier. Sure, we're starting to recognize the gray insides of the silver lined clouds, but mostly, we're amazingly okay despite my decision not to return to analog publishing. 

Speaking of old publishing, feast your eyes on these libraries.

Oh, where will we bookies be in 20 years?

Incidentally, being let go in a big corporate layoff is a pretty good way to go, given the alternatives. But I've chosen to embrace the change and take my opportunity to move into the digital age. And I'm not concerned with the destruction of print so much as I am with the destruction of great writing.

I suppose in some ways I’m just more proof of the publishing implosion, the faint whispers of hope turning to rumors of impending doom. But I don't believe that. Publishing is alive and well; it just doesn't look the same as it used to. And I'm excited about the future books and what will emerge in the newly democratized land of the free.

And there's even a team spirit in the air, a widespread group of dreamers taking up the colossal fight to pull together and keep believing in great books. Part of our hope is that books can be created, shepherded, published and sold in ever more ways. And knowing that creating books is such a valiant, incredibly difficult battle, we're excited because it also makes for close friendships and complementary shaping. All of us may have different battles in this glorious fight for books and we all meet it in different ways. But we're exactly the same in heart and spirit.

The cause will go forward.

And as much as everything has changed, nothing is any different in the deep abiding love writers and book people have for great books. We may whine about how difficult it is to produce a respectable, not to mention decent-selling, book. And if you're a new author, your chances of being respected, let alone rewarded and allowed to grow are rather small even as the current publishing system expands.

It will always matter who you are and who you know.

But important books are still published every day, many by top traditional houses, some by boutique imprints, and even in the self-publishing sphere. And there are many excellent fresh voices among them. Not nearly enough. But again, that's what makes the fight so rewarding.

One characteristic anyone associated with this industry has is a joy for, or at least a pride in the struggle for books, fighting off myriad disappointments while clinging to dwindling shreds of sanity and perpetual hurry-sickness and information-saturation. I love my incredibly talented and principled friends who keep their corners of this industry pumping. And I see how their dedication involves difficult trade-offs and I hurt with them.

It matters what you write. It really does. It makes all the work worthwhile, in the end. These books that require so much more than one person to be born, if writers could only see how many hopes and dreams ride on them, maybe they'd dedicate more readily, more completely. Maybe they'd hold off accepting someone's offer to publish it before it's been critiqued and edited by someone beyond Mom and Aunt Hazel. Maybe their book would outlast the others being written that are too much like it and don't really speak of the deeper truth inside that will go unrealized and unnoticed.

Cue the ominous music...

Meanwhile, I remain hopeful that the support in bookland is there, and we're all continuing to believe and fight together.

 

Why the New Books Want to Be Free

Convergence.

Moving toward union or uniformity; especially coordinated movement of the two eyes so that the image of a single point is formed.

We might hold such truth to be self-evident, but convergence, the merging of distinct ideas, people, industries, and technologies into a unified whole balanced in equality, is the basis of our government, healthy relationships, of spiritual lives, and many things in between. It’s in the ying and yang of the ancients, predating our understanding of the perfect balance of love and justice found in God.

And this concept is just as operational in our world today. The synthesis of ideas, is happening at a faster rate today than it ever has before. So the ability to “hold to one without letting go of the other” is becoming increasingly difficult as well.

Maybe you feel this in your own life, this pull toward the “comfort” of extremes. Too often we’re attracted like magnets to the poles, wowed by the height the pendulum swings. These are the extremes. The world is full of them and they’re unbalancing factors and should be ignored. The unbalanced wants to be heard. But it also wants to be ignored as it argues for its own irrelevance (to pick on political talk show hosts: if they got what they “wanted” they’d go extinct).

This involves paradox and paradox is everywhere. If you’ve seen it and dealt with it honestly, you know that convergence is the answer.

Does God still speak today? And would he speak through prophets who are paid no heed? What if we’re missing his words because we don’t have ears to hear? Would God choose to have a prophet speak through publishing a book? My question to the traditional publishers, most now owned by conglomerates: Can you hear above the other master’s voice? And if you can, what special measures are you taking to ensure your readers reckon with it?

What needs to happen now? Chris Anderson reminds us in Free, “information wants to be free, it also wants to be expensive because it’s so valuable.” (Stewart Brand)

Paradox. Convergence.

I believe we’re entering a new age where the ideas of freedom that were relegated to the control of gatekeepers can no longer tolerate the restriction. Publishing is a game of “rights management,” a euphemism for ownership and control, but the information wants to be free. And despite their “purchase” price and devoted resources, the publishers do not own it. Not even the authors own the ideas, any more than they created their own brains and the life that sustains them. We can’t even control the influences that go into shaping the new ideas. And as for who “owns” wisdom and understanding, let alone the capacities for such things, we can all agree, it isn’t us.

Why shouldn’t everyone benefit from the current convergence of an idea surplus and the unlimited access to publishing it?

It’s time to hack in. To circumnavigate. To rethink and rebuild the new system.

Democratization of publishing is underway. I don’t believe my job is to help someone control the information. I’d rather make it easier to distribute. And that means convincing people to share their ideas for free. If enough innovative authors agree, publishers will be forced to change.

I think it’s relatively inevitable, but that doesn’t change the hard truth. Some will ask why this should happen. And it’s simple: the idea of controlling someone’s message, idea, or intellectual property, is profoundly connected to the control of those people themselves, and ultimately leads to a no-win for everyone involved. Author becomes indentured servant, publisher becomes greedier, and end consumer is charged increasingly more for a decreasing quality product.

It may not always bear out in every instance, but tending toward entropy is the natural cycle. New opportunities overthrow existing paradigms. Revolutions and tyrannies are cyclical. This is simply a current one. Or maybe, as Anderson says, it’s simply the most recent part of the continuing revolution that bits (computers) have made possible.

And something in me is encouraged to think it’s all outside my control.

 

The All-Time Top Reasons to Pursue Big Publishing, Part 1

So this is a quick, rather spurious post full of some rambling thoughts. But this is where my brain is and I'm hoping for some feedback from folks on this. It's an intriguing topic...

What are the arguments for pursuing traditional royalty-paying publishing? Some I know of are professional editing, design, & production. And these are usually great b/c corporate publishers tend to have some top-notch professionals. Of course, they're also overworked and understaffed these days, and they are working on dozens of books a year, so it's usually the most expensive projects that get the most attention. This holds all the way down the line too: sales and marketing, publicity and promotion. And with these, there's also the growing public disinterest in traditional advertising and selling methods. Big authors can do better on their own, why not small ones? Same principles for each.

Maybe a key is distribution. I know this can be a big one for mid-list authors who've maxed out what they can fulfill on their own. But with PDQ (check out Dan Poynter on this) and some great partnerships with self-publishers by the top distributors now, I'm not sure even this reason holds much anymore.

Advances can be nice, but they're really just loans and you pay them back out of your own royalties. And usually, you won't make it back as a new author, so you're out for any future deals. And if you do make it back, your royalty rate is lower than it would have been with a smaller or self publisher, so are you really better off with an advance? Most of the time, I'd have to say I've seen it being more of a liability to authors than a help.

Being on the shelves at B&N is a big draw. This is the cache reason. And I get it. It's not fun to have a book out no one can go and get at a bookstore. But just because it isn't stocked on the shelf doesn't mean they can't get it, and if people go in asking for your book, how many times do you think it takes for them to realize they may need to stock it? Maybe you can have friends in strategic places around the country help you out with this and save the hassle of hiring a publisher with a sales force.

What are some others I'm forgetting?

Writers for God, How Can We Answer the Call in All 5 Stages?

If you’re a writer, you might as well accept it: you need help.

Your friends have been saying it for years, right? But if you write for God, you need more than mental help. In 2004 I started this blog to inspire authors to write for a greater purpose. I envisioned a website where writers could learn, socialize, develop and spout off. Since then, the industry has changed. A lot. Some say we’re in the perfect publishing storm and no one knows what will emerge out the other side. Many people are holding their breath, afraid to blink or cough too hard.

Bottom line, it’s not getting any easier. And if you're still fighting to believe and write for God, it's probably safe to say you've been "called." I'm not entirely comfortable with the implications (how do you know that you know?) and it's Christianese, but if you're called to write for a greater purpose than seeing your name in print, you're part of a quiet writing revolution. Yes, a revolution.

Why? Read on.

But first, here are the five things you must do to answer the call to write for God:

1. Write.
2. Edit.
3. Brand.
4. Network.
5. Publish.

Now, traditional publishing may or may not have something to do with that last one. But it has nothing at all to do with the first 4. Before the first 4 stages have been thoroughly exhausted, no publishing option is right. And obviously, each has multiple steps; entire libraries have been written about each one.

So which stage are you in? I’m somewhere around 1.6.4 and maybe I'll be 1.6.5 by next week. I’ve lost track, but my novel’s been more than 7 years in the making and I’m doing it to the glory of God, nothing half-assed. And someday soon, I'll think about publishing options.

But first things first. All writers must be driven to completion.

Of course, drive isn’t all we need. Each of these 5 things require humility, teachability, tenacity, patience, and some would say stupidity. Vital components, each one. But to fully complete any of these stages, I’ve found writers absolutely must keep the inspiration level high. Like, full tilt. There will be times you'll want to quit and never open that document again. You’ll lose your way. Lose your file. You won’t want to keep going. You’ll doubt. One way to improve is to begin thinking like a professional. This helps you resist the resistance (thanks to Ann for her recommendation of Steven Pressfield's The War of Art).

But after we've prepared for setbacks and failures along the way, after you've accepted and learned from them, we still need support to keep on going.

I've seen this is true for many writers no matter which stage they're in. We can take each stage one at a time and commit and pray and push ourselves forward, but that's not enough. Today, from my new home office in Beaverton, Oregon, surrounded by boxes and paint cans and wondering when I’ll have a normal work schedule again, I know if I can push through to just the next task in this stage, and the next, the work will eventually get done. But will it be as good as it could have been if I'd had a community around me providing input?

See, I need help, as I've found many writers do. Maybe you, too.

Now if you're in the writing stage like me, there are some great options for support out there. But what if you want to develop in the other 4 areas as well and learn from professionals, not just peers? And what if you're writing Christian nonfiction? Memoir, advice, self-help, devotionals, studies, your options are slimmer. And what if you want balanced info about what the changes in publishing mean to you?

Publishing is changing almost completely and over the past decade, no single year has held so much change. And it's not over yet. There are some blogs and websites out there where you can pick up some pieces about this and the different stages. Conferences can be a great option too, if expensive.

But rarely do we get the whole package of what we need--experienced advice, hands-on help, considered wisdom, inspiration, and encouragement.

This is what I want from Your Writers Group. Tall order, I know. But the view I've gotten from behind closed doors has made me realize that the same needs to apply to me personally and professionally: I need to completely change how I've been doing what I do. And I need encouragement and inspiration to consistently grab my opportunities and actualize them. You see, I have several steps and several stages beyond that left to go.

For years I’ve been dreaming about starting a website dedicated to developing the whole writer. It’s been a long time coming, but it’s right on time. I'm hanging out my shingle with as much restraint as I can muster and beginning to gather the best advice from my time as an acquisitions and developmental editor, editing manuscripts for publication, consulting others who needed advice, and preparing authors for their release into the wild. This has been my day job and will continue to be. But while I work through the 5 stages, I want to offer my experience as lessons, especially as publishing gets stranger and stranger by the day.

If you’ve been looking for help and inspiration to navigate the emerging professional writing world, I hope you’ll stick around. My big idea here is no more than being open to new talent and offering an open forum to develop our talents through some good old cooperation—like Sesame Street used to be. Only in this neighborhood, we’ll also have everything to develop the whole writer for the new opportunities before us—creatively, mentally, spiritually, and practically. And everyone is invited.

I want to introduce you to some of my favorite people, the amazing writers I’ve gotten to know in my travels around the country. The ones who’ve continued to smile while shelling out good money to be told most publishers don’t want them. The ones who’ve continued to believe, despite rampant questionable practices in mainstream publishing, that there's a place in the new market for them.

I can’t tell much more than this but it’ll be a low-fee paid service for serious authors looking for serious help. And I’m giving away 100 free 1-year memberships to make sure people know this is comprehensive information you just can’t find anywhere.

Who knows, this may be someone’s ticket to future fame and fortune. And no reason we can't make some great friends in the meantime.

It’s all coming very soon, so hang on. I think you’re going to like this new frontier.

And as always, if you have a comment or suggestion, feel free.

The Spiritually-Interested Publishing Revolution

Christian publishing may be more recognized than ever. But that doesn’t mean anyone knows how to sell to the avowed-unaffiliated, spiritually-interested audience.

In fact, there’s strong evidence a big house can’t because more readers are moving “off the grid” every day. Someone said recently that a quiet cultural revolution is underway, especially in publishing—the anti-establishment sentiment seems to be at a fever pitch amongst certain readers and growing louder by the day.

Oh, you’ve noticed? That’s good. Because whether or not CBA survives its uncertain and awkward teen years (never threatening the reach of its big brother ABA, even in a good year), the association of Christian retailers and affiliated Christian suppliers is scrambling to keep up with the morphing and fracturing that’s shifted into high gear. The addition of viable self-publishing, new indy publishers, and a welcoming general market have all but destroyed the arguments that we need more acceptance of Christian books. And while the lingering effects of the recession are preventing many publishers from risking on new authors, there has never been so much opportunity for diverse messages in this industry.

Let the good times roll!

CBA gatekeepers and storeowners can continue to keep “seeker” books out of their stores all they want. Christian publishers can be wary. But those authors and houses who want to do more seeker-friendly books have plenty of ways to reach that broader audience. Outside CBA lies the open sea of the general market and the bottomless Internet. Is viral and guerilla marketing as effective as store placement, big ads, and catalog spreads? It’s hard to argue “No,” when talking about the spiritually-interested book. Spiritual forum discussions, videos, blog tours, downloadable bonus content, interactive web interviews, and other creative promotions are generating interest and sales. Traditional live events, media coverage, reporting, and book reviews, are morphing into online content through alternative news and spiritual websites like Salon.com, Beliefnet, and book clubs. And anecdotal evidence says more people are seeing an author’s self-promotion in regional independent ABA stores more often and faster than those going through the traditional grueling channels (targeting an agent to sell to a big house, re-shaping to fit standards, and hiring a publicist to get you into chain stores while hundreds of other books arrive with yours). Maybe for the first time, the odds of success in spiritually-interested publishing are shifting toward small and independent.

 

By the way, we know it’s been building for several years. These readers have always been a fairly …unusual breed…okay, nerdy nonconformists. Sure, they liked believing they could be accepted in the establishment in-crowd, when it was still new. But marketing has changed all that. The big houses now feel phony and old and sad trying to target the unaffiliated. So for authors, this means the vision you construct for convincing retailers to take your spiritually-themed book will be easier to pitch as unique and desireable (and money-making) for not being mainstream. Because here’s the sound-byte of the century: aligning with big mainstream publishing—general or Christian—can be a liability to spiritually-curious readers.

Plenty of people still like the establishment, including myself. But that doesn't change the fact that these are interesting times in publishing. Any case studies? Leave a comment and we'll discuss.

Answering Cross-Market Questions

Welcome spiritually-curious readers and writers. If you have questions about the audience of The Shack or wonder about the best ways to reach this nebulous psychographic of readers, you're in the right place.

 

Ready to look at our burning questions from last time?

 

Q: Why are these [spiritually-interested] books without a clear goal or “take-away” so vastly superior for this audience?

 

This is an answer you need when it comes time to pitch your book. Bottom line: the experience of these books IS the take-away. The story is the appeal. Fiction and non-, the point is in the journey, not the goal or destination. This means the emphasis is on allowing the entire progression of the narrative to “teach” the message, and not offering the usual didactic, message-driven approach propped up by illustrations or manipulated scenes in a novel. Authors of these books start at a different place, often intending to discover alongside the reader, not to design a coersive read. Largely, these are writers seeking after mystery and beauty, not answers or reassurance.

 

Q: What's the best way to prove I can reach these readers?

 

By doing it. Reaching this audience absolutely requires a satisfying read like the one I just described. Whether that’s self-help, memoir, fiction, or investigative journalism, you have to get people talking about the amazing and unique experience your book is. And that writing skill goes hand-in-hand with your skill in marketing. The shift toward more author-driven marketing is strong proof of our increased desire to hear an authentic individual’s story as opposed to the familiar hard-sell coersion tactics of ad campaigns and publicity spin-doctors. You either embrace this new-world thinking and feel passionately about it, or you don’t. As I always point out to potential authors, if you’re onto something and you know it, it’s just a matter of time before others know it too. Ultimately, your marketing should be an extension of your passionate search in your writing. How you prove that is by being an authentically passionate connector (We’ll get more specific about this in next week’s post).

 

Q: Should I just self-publish my spiritually-interested book?

 

Good question. It follows a more important one: Do I have one book or several? If you are a career writer, you need to put in the time to your craft and learning the business to find a partner you feel best understands you and serves your ambition level. If you have one book or one burning story within you, it might be best to look outside of professional publishing. I make this distinction when it comes to spiritually-interested books because few writers can (or want to) write several. Staying in a perpetual state of searching is hard to keep up (ask Don Miller). There’s something of a life-stage consideration here—an age where self-awareness and spiritual evaluation is where you are, and a possibly more spiritually-mature stage where you are more decided in your outlook. Your comfort with mystery vs. assurance may change over time and that’s normal. Another reason is producing your book on your own can actually be a benefit in reaching this audience since you aren’t affiliated with any established, traditional house and won’t have to cater to them or compromise to fit their assumptions about the audience. Smart readers like yours are very aware of that dynamic and actually like the idea of an undiluted read (The Shack as exhibit A here again).

 

Q: Are some publishers and retailers really actively seeking these books?

 

Absolutely. In fact, I’m not sure you can find an adult general trade publisher in Christian or general market who wouldn’t be open to looking at a book for the spiritually-interested audience. All will have their own particular flavors and assumptions, but again, self-publishing is a great way to prove you have an audience and can connect with them before attempting to find a publishing partner. Of course, you need to consider how well a potential Christian publisher partner is able to reach the general market, because the place these readers are generally not is Christian bookstores or the Christian shelves at Barnes and Noble. If you see yourself next to John Eldredge and Bruce Wilkinson, you might want to reconsider your approach.

 

As always, your questions, comments and complaints are welcome and appreciated. Next time we’ll talk about what you can specifically do to find readers and build a following. Until then, don’t sweat any of this--and keep writing!

Promoting Your Cross-Market Book, Pt 1

Congratulations, you've just finished your cross-market book. So how are you going to increase visibility (and all-important sales) to your audience? Will you choose:

 

A. By reading Mick's brilliant blog post here.

B. What? Promote? That's the publisher's job. Or

C. I figured I'd learn all that once I get a contract.

 

If you answered B or C, give yourself a little slap. Wake up. While you were sleeping, it became your task to prove why your book is important. And the best way to do that is to show how it's a part of a sizeable movement—the "spiritually-interested" movement.

 

The top Christian publishers owned by larger NY parent houses may be positioned to exploit this large area, but their awareness of it and how to reach it is still fairly, well, not always stellar. Some have seen moderate-to-big success with these kinds of books, but whether by accident or intent is largely conjecture. The encouraging news is that many of the authors of these books had modest platforms, or no platform at all before, and whether or not a particular publisher is heavily personality-driven in its philosophy, the appeal of these books is often message-driven, content-driven, and reader-need-driven. In short, there’s a strong “heart incentive” here for readers you can tap into in your marketing. The author best positioned to succeed in winning readers in this audience is the one who proves he or she can lead the way to defining and even shaping this newer category (I like the word “psychographic”) of publishing.

 

And you thought you were just writing a book.

 

Some big reasons to take control of your publicity:

1. This new territory is wonderfully wide open. That means you can largely define the shape of your approach (more on that in following posts).

 

2. This spiritually-curious audience is media-saavy and uber-connected. There's a good reason top-Twitterer Ashton Kutcher found The Shack.

 

3. Existing CBA stores are closing at a faster rate than new CBA stores are opening, and commerce in general is shifting away from brick-and-mortar stores to the Internet. This has been going on for some time, but most CBA retail commerce is controlled (and limited) by just a handful of channels—including FCS, LifeWay, Mardel, CBD, Choice, Parable, and a collection of independents. When you add up all the units typically sold through these channels, first-year sell-through projections are rather low for all but a handful of Christian authors. So publishers are finding it necessary to follow authors' leads who can effectively identify and sell into the new online and viral sales channels (to which, spiritually-interested books are especially suited). This means you're much more likely to find a top publisher if you're already active in promotion.

 

4. Most importantly, you need your message to go to more than book-readers, believers, or any other category familiar to a publicity team. Let's just say these spiritually-interested folks don’t typically shop in CBA stores. Christian and general market retailers are generally averse to new genres (and even to many established genres). They like their usual areas--Christian living, genre fiction, diet books, whatever--and maybe a few others (proven best-selling authors and really cheap books). This limits publishers commercially. Taking on a new mission like this is attractive to a house and spurs greater innovation, creativity, and entrepreneurship. And again, authors have a huge opportunity to be the lead entrepreneurs here.

 

In short, as author of a spiritually-interested book, you have the opportunity to identify and test new strategies in sales and marketing, in line with the present and future of book publishing. And that's attractive no matter what kind of book you've written.

 

As authors, we must define this vision and ensure it’s understood in our proposals and manuscripts. We must incite passion in our publishing teams for reaching this large audience. And we need to explore nontraditional ways to “pitch” the appeal of these books.

 

We'll unpack much of this with more practicals in the posts to follow. Some questions we'll answer next time:

 

Q: Why are these books without a clear goal or “take-away” so vastly superior for this audience? 

Q: What's the best way to prove I can reach these readers? 

Q: Should I just self-publish my spiritually-interested book?

Q: Are some publishers and retailers really actively seeking these books?

 

Come on back. I think you'll like the answers.

Crossing Over: Writing to the "Spiritually Interested"

"Spiritually interested" is the rather obtuse designation Cathy Grossman borrowed for her article in USA Today speaking about the audience of The Shack. The term comes from Wayne Jacobsen, one of the publishers of the book, attempting to define the larger market for Christian books that Christian publishing is not serving. Since one of my stated goals for this website is to bridge that gap, I think it might be instructive to discuss whether Christian publishing should appeal to more than Christians. After all, like faith without works, or a church that doesn't evangelize, the situation seems unnecessarily restrictive at best, at worst unbiblical.

 

So our question from last time was, How does one capture the tone, approach, and appeal in this blossoming category of books for the spiritually interested? Some primary distinctives are that these books:

 

• Do not identify with the Christian subculture or the Christian product and media industries.
• Focus on experiential faith over propositional truth: Not arguments or lessons, but immersion in a direct, story-driven experience.
• Show supernatural experience not “evidence” (natural or biblical): The transcendence of God intervening in everyday life through “dispatches from the other side.”
• Are mysterious over convincing, allowing an experience that’s open-ended, unexplained, and even inconclusive.
• Are timely and timeless, revealing the here-and-now God unbound to traditionalism, and intimately involved in our uncertainty about the present and near-future.
• Reveal love triumphing over law, in relationship-affirming and life-honoring freedom from formal religious dogma, judgment, or mediation.

Before hurrying on, we should talk more about that first bullet. Those looking for books outside the strict confines of popular Christianity generally don’t seem to spend much time looking in places the gatekeepers control, namely Christian bookstores. And though there are several exceptions, the obvious limiting factor in getting these books read is that they are not “Christian” enough for Evangelical Christian readers, and up until recently, were too spiritual for most NY houses.

 

But now you see, that’s changing. These books for the spiritually interested are not coersive, they don't pound principles, which is a major reason they fit better in the general market than the Christian subculture. They aren’t closed to including what doesn’t currently fit modern Christianity. These books are redemptive, but their redemption comes in the jouney, not the destination. The “take-away” is of becoming engaged in an exploration, not to fix something, convert skeptics, or even evoke a quatifiable change, but to enjoy a satisfying read. The Shack, while not high literature, provides an example of book-as-interpretive-experience that causes readers to explore. That exploration attracts many “recovering Christians,” but the transcendent experience is broader and more profound than simple affirmation. The Shack challenges stereotypes about God to present him as a generous, fun-loving, approachable mother/father, with a single agenda of bringing unconditional, sacrificial love into the world. In religion and in larger society, that's an easy reality to miss. And what I find so exciting about this example is that despite its initial rejection by CBA and ABA publishers, it's revealed a huge desire for discussion about this God who doesn't necessarily begin and end in our established categories.

 

So why did Christian or NY editors believe their houses shouldn't publish it? Several possibilities, but "too risky" and "not up to snuff" seem likely to this editor.

 

The Shack proves there's an audience of spiritually interested folks who are not being served either by the so-called Christian ghetto or the ivory towers.

 

Some take issue with the idea of designating books as Christian at all. One result of The Shack's success is that readers now recognize there's something more to God and maybe even this word "Christian" than they realized. Maybe David Sessions wasn't just being bombastic when he said that the divide between Christian and mainstream designations has been the single most damaging idea to Christianity in the modern world.

 

Of course, here are the sticky swamplands. If it's not Christian, how do we know it’s wholesome? Can we really let people be their own judges of that? Many rely on labels in today’s hyper-marketed culture, myself included. Where do we redraw the lines of this demographic? And I don't want to waste time arguing about the morality of blurring this line--hoping for a greater reach isn't a failure of faith. I don't question those who still feel called to be Christian writers, and never anything less. But the challenge remains. There's a big underserved audience out there. How are we going to reach them?

 

The good news is, reaching this spiritually interested audience isn't only possible, it's profitable. So next time we'll take a closer look at some comparative books and content characteristics that should reveal a bit more about how we define this emerging category.