How to Promote Your #Kidlitquarantine Event

The coronavirus pandemic is the first time in history that so many people, and so many children, have been quarantined at home. Millions of families are sheltering in place. That means millions of kids -- most of them normal, healthy schoolchildren -- are forced to sit at home all day long.

We aren’t used to thinking of authors and illustrators as “first responders,” but in this crisis, they have already started playing an important role. The children’s book community has stepped up to the plate in amazing ways, quickly organizing live-streamed readings, workshops, and activities to entertain young people stuck at home. (Search #kidlitquarantine to get a glimpse of the action.)

You can do it, too! Read your book on Facebook Live. Do a drawing demo on YouTube Live. Teach a poetry workshop on Instagram Live.

Do whatever lights you (and the kids) up.

But you want to make sure kids are actually watching, right? 

It’s important to get the word out in advance. Otherwise, you might be alone… and that wouldn’t be fun.

I've created a checklist to help you promote your #kidlitquarantine event effectively. Follow it step-by-step, and I guarantee you’ll have an eager audience waiting for you.

Download the checklist and get started.


What happened at Baltimore Comic-con with Misako Rocks

What Happened at Baltimore Comic-con

Last week I said I'd be at Baltimore Comic-con, exhibiting with Misako Rocks, and presenting a new workshop.

Here are my takeaways from the show:

1. Community matters.

The explicit purpose of a convention is to sell products and raise awareness about your brand. But for many of the artists and writers at the show, seeing their friends and exchanging ideas with peers is just as important.

I saw lots of old friends and met new people whom I'm sure I'll see again.

It's like fuel in the tank. It keeps you going.

2. People will sign up for your mailing list if you ask them.

Misako and I set up a mailing list signup on her website, and brought a laptop where people could sign up at her table. We also printed out a hard copy sign-up form as a backup.

Misako Rocks at Baltimore Comic-con 2019

Whenever someone would stop at Misako's booth and admire her artwork, we'd explain her upcoming book project and who the target audience is. Then we would ask, "Do you want to join the mailing list?"

I was pretty surprised by how successful we were. Everyone's email inbox is overloaded these days, and we were certainly not a "known quantity" at the show.

But almost everyone we asked said, "Sure!" and cheerfully gave us their name and email address.

This is incredibly valuable. I'll do an article soon explaining how effective your email newsletter list can be.

3. You need to experiment to find the shows that work for you.

Baltimore Comic-con calls itself "America's Greatest Comics Convention!"

Imagine a convention hall jam-packed full of vintage comics dealers and indie "action-adventure" publishers. That's Baltimore.

Translation: it's an awesome show for old-school superhero comics fans.

Misako, on the other hand, specializes in manga art aimed at middle school girls.

Not exactly the same audience.

Middle grade manga art by Misako Rocks versus variant cover by Jim Calefiore, Valiant Comics

The juxtaposition of these two pieces of art makes me smile. A bit of contrast, right?

So I knew Baltimore wouldn't be full of our target audience. But I also knew that Baltimore has a long-running and vibrant kids comics section, and that it has a "family friendly" reputation. When my friend (the ridiculously awesome kids cartoonist) John Gallagher offered us a space at the show, I figured, "Why not give it a try?"

I'd say my expectations were fairly accurate. We weren't inundated with potential fans, but every time a mom or dad passed by with a girl in tow, they invariably tugged at their parent's hand and said, "Hey, look at this!"

In the future, we'll be looking for opportunities at book and comics shows directly aimed at kids, like the Princeton Children's Book Festival or the Comic-con for Kids in Philadelphia.

So when you're picking a show to promote your work, think carefully about your target audience. Choose the shows that are most appealing to the type of people who love what you do.

4. I'm taking the "Insider Secrets: How to Build a Successful Career as a Creator" workshop online!

Baltimore was the first place I presented a new workshop, basically "Getting Started 101" for artists and writers. If it went well, I promised myself, I'd do it again as an online webinar.

One of the best ways to judge the effectiveness of a presentation is by how many people come up to the podium after it's over and hang around to ask questions and keep talking.

By that measure, I'd say the Insider Secrets workshop was a success.

So that means I'm doing an online webinar. Stay tuned!

 


Pssst... want to know some insider secrets?

Before dawn tomorrow morning, I'll be on a train with Misako Rocks, heading to Baltimore Comic-con. This will be the first comics show where she reveals art and merchandise for her upcoming graphic novel, BOUNCE BACK.

And it'll be my first show where I present a new workshop which I'm very excited about, entitled...

Insider Secrets on How to Build a Successful Career as a Creator

Woohoo! It's going to be fun. I'll be explaining things like...

  • the four factors that matter most to agents and editors when they're deciding whether or not they want to work with you
  • the three foundational pieces you need in order to grow a powerful "author platform"
  • my favorite ninja trick on how to research the children's book and graphic novel market
  • why creative work requires greater emotional strength and resilience than other types of professions, and how to build your own emotional strength and resilience

And of course, I'll be answering any and all questions you might have on this topic.

The live workshop is happening at 2:45 pm this Sunday, October 20th, in room 339-342 at the Baltimore Convention Center.

I will see you there!!!! Right?

Right?

Hm, maybe you're not attending Baltimore Comic-con. Sadly! I wish I could see you in person.

If you can't make a special trip to Baltimore on Sunday, but you're still interested in the Insider Secrets workshop, I have good news.

I'd be happy to do the workshop online. For free. But I need to know how many people are interested.

If you'd like to join a live workshop on this topic, could you just email me and let me know?


How to get noticed at a gigantic publishing conference

How to Get Noticed at a Gigantic Publishing Conference

On Wednesday morning I walked into the Javits Center on New York City's West Side -- touted as "one of the largest convention centers in the U.S." -- to attend Book Expo America. BEA is the largest publishing trade show in the U.S.

One of my goals in attending BEA was to get new book marketing ideas. After all, what better place to get ideas than a convention gathering most of the major publishers in the industry? I planned to wander the show floor, checking out publishers' displays and giveaways, to see if I could borrow any particularly creative ideas.

As I stood in line at registration in the cavernous glass-topped lobby, eventually, I looked upwards and started contemplating the enormous banners hanging from the ceiling.

via GIPHY

  • "New from Sarah Dessen!" screamed a banner nearby.
  • "A new series from #1 bestselling author Chris Colfer!" shouted another banner in the distance.
  • "The highly anticipated adult debut by #1 NY Times bestselling author Leigh Bardugo," announced a dramatic black banner to my right.
  • "Bestselling magic," proclaimed a tall, skinny banner right over my head, "Rainbow Rowell with Faith Erin Hicks -- on sale 8/27/2019."

Standing there in line, waiting for my badge, I had plenty of time to gaze at those banners. I hadn't even entered the show and I already had plenty of publisher promotions to look at. I started wondering how much they cost. They certainly cost thousands of dollars; perhaps tens of thousands of dollars.

But they weren't particularly creative. And my biggest question was, do they really help sell books?

My conclusion was... not really. Though I didn't necessarily think the publishers intended them to sell books. They were probably designed to reinforce "brand awareness." To emblazon an already popular author's new book even more firmly in the minds of the booksellers, librarians, rights and literary agents, and journalists attending the show.

What if you don't have the budget for gigantic trade show banners?

So what would a low-budget, under-the-radar, guerrilla publisher like me be able to accomplish at a show dominated by big-budget, publicly traded conglomerates like Penguin Random House and Harper Collins?

Quite a bit, as it turns out.

Although trade shows have traditionally been a place where new products are unveiled and hyped, that raison d'etre is being eroded by the Internet. You don't necessarily need an expensive in-person display to spread the word about a new product anymore.

While one of the primary purposes of a major trade show has been usurped by the Internet, however, the other major purpose has not: convening a large group of people from across the country or the world in one place at one time to discuss a common interest.

That's the major opportunity that conferences still provide. It's easier than ever to connect with people via video or webinars or online conferences, but there's still something different about meeting individual people face to face.

For a guerrilla marketer -- or author or publisher -- a single conversation with one person might be vastly more effective than a gigantic banner that thousands of people see. Because that conversation opens a new door or provides entree to a new community or potential partnership.

Let me tell you another story that illustrates how powerful this can be.

The Artist at the Wednesday Night Party

On Wednesday evening, I attended a comics industry shindig at a hip "drinking establishment" in a converted 19th century warehouse on 11th Avenue. (Are all hipster bars located in converted warehouses?)

As I made the rounds, chatting with little groups of people I knew from various stages of my publishing career, a librarian friend of mine came up to me and said, "You've got to meet my friend! She's the artist I told you about, who works at my school."

I remembered that she had told me about this young woman, an aspiring graphic novelist, who had attended art school and was now working as a para-professional at a junior high school. I looked across the room and saw the artist sitting on a low settee near a couch and a few armchairs overflowing with people.

The artist wasn't looking at anyone. She was holding a sketchbook and sitting there drawing, in the midst of the party. People all around her were guzzling cocktails and gossiping, while she worked on a piece of art.

"Cool!" I told my librarian friend. "I'll come over in a minute to say hello."

It took me more than half an hour to extricate myself from various conversations before I could make my way to the other side of the room. And within that half hour I already overheard someone whispering to a colleague, "Check out that girl over there. She's really talented."

By the time I finally made it over to her and introduced myself, I knew I was at least the third or fourth person to be purposely seeking her out.

"Hi!" I said. "Margie told me I should meet you!"

"Nice to meet you," she responded with a shy smile. "I'm kinda introverted, so I've just been drawing."

I asked her about what she was working on, and she explained the storyline of her current project. It sounded interesting. I was pretty sure there were publishers in that room who would be intrigued.

After speaking with me for a few minutes, she said again, "I'm not that good at schmoozing, so I'll just keep drawing." And with that, she put her head down as if to say, "Thanks for the chat -- I'm done talking now!"

I smiled. She was doing her job. She showed up and put herself in the middle of a bar filled with publishing bigwigs, then proceeded to ignore them and draw in her sketchbook.

In a room of people who love art and storytelling, an artist drawing pictures is like a lightbulb surrounded by moths.

Put Yourself in the Middle of the Action

Conferences bring together movers and shakers. And attending a conference usually has almost no barrier to entry, other than the registration fee. You pay the entrance fee, and then you can literally put yourself in front of those movers and shakers.

Simply by being in the middle of the action, you become part of the action.

The same thing happened for me. Although I had intended to examine publishers' marketing collateral and go to panels to get some good ideas for my clients' projects, it didn't take long for me to realize that the marketing collateral wasn't that important.

It was the chance conversations that mattered.

Over the course of two days at the conference, I had at least seven or eight pivotal encounters.

  • I spoke in person with several different distributors and came away with the desired result: "Let's continue the conversation."
  • I told a journalist from a leading trade journal about what I'm doing, and he asked me to follow up and tell him more.
  • I met a blogger from a key industry website, told her about Bounce Back, and she also asked me to follow up after the show.
  • I reconnected with a Hollywood licensing agent whom I knew years ago.
  • I ran into a highly regarded publicist who has extensive experience on Kickstarter campaigns (just the sort of expertise I need!)
  • I chatted with an organizer of a number of major comics festivals who perked up when he heard about Misako Rocks's manga teaching experience; he's interested in finding out more.

So, How Do You Get Noticed at a Gigantic Publishing Conference?

It doesn't start with banners or ads or a fancy booth. You just need the right person (or handful of people) to hear what you have to say.

A single conversation can move you forward leaps and bounds.

 

 

 

 


Seeking beta readers: how to find beta readers for your children's book manuscript

Seeking Beta Readers for a Middle Grade Graphic Novel

I am working on publishing a graphic novel with my friend-client-crazy collaborator Misako Rocks! (Just so you know, I didn't put an exclamation mark at the end of that sentence -- it's part of Misako's name.)

The process of publishing a graphic novel is loooooooong. First you come up with the idea, then you outline it, then you write the first draft, then you edit the first draft, then you revise and edit many more times, then you draw it (and maybe edit and revise the drawings a few more times), then you ink it, then you color it, then you design it, then you print it, ship it from printer to warehouse and from warehouse to retail -- and all along the way, you've got to be figuring out how to market and sell it and executing said marketing and sales plans.

Right now, we are at the beginning of that loooooong process.

But not the very beginning -- we have an edited first draft! Hip, hip, hooray!

So that means, we're ready to find BETA READERS.

You might be nodding and saying, "Way to go, Misako and Janna! You're on the cutting edge of 21st century publishing best practices!"

Or you might be scratching your head and wondering, "Huh? Beta readers? What's she talking about?"

How to find beta readers step by step

The Hoopla About Beta Readers

This whole hoopla about beta readers comes from the world of software development. All forward-thinking progress comes from Silicon Valley, right?

Right?

OK, never mind. But a few forward-thinking good ideas do come from Silicon Valley.

This concept of beta readers is one of them.

Basically, a beta reader is someone you ask to read an early version of your book and give you honest feedback on what's working and what isn't, and what they like and don't like about it.

It's the same idea in the software industry. You give a "beta user" an early version of your software and instruct them to go to town with it. You ask them to tell you what they like and don't like, and where they found the "bugs."

Obviously, the benefit of having a group of people "test-drive" your writing early in the process is that you'll find out what you need to fix/refine/improve -- and you'll also find out exactly what's resonating with people.

But there's another benefit, as well. The type of people who volunteer as beta users in the software world tend to be the more engaged, passionate, and knowledgeable software users. They are the early adopters who latch onto cool new things and start spreading the word about just how awesome they are.

This is true with beta readers too. There's a whole "beta reader community" out there in all the different literary genres -- romance, fantasy, sci-fi, mystery, etc. -- and you can bet those people are the people who like to talk about books.

When you reach out to find beta readers and a group of people raises their hands and says, "I would love to read your 200 page manuscript for free and tell you everything I think about it!" -- congratulations! You have started to build your tribe. Those same people who give you useful early feedback will also, more than likely, cheer you on when you're further down the road and have a publication date and a book cover and a marketing plan.

Those people are your advance guard. You keep them apprised of how the book is going, and they'll help spread the word.

So remember, your beta readers are EXTREMELY IMPORTANT PEOPLE. Treat them with care. Invite them into your inner circle and give them lots of love. (Never forget to say thank you!!)

How do you find beta readers?

The first and most crucial step to finding beta readers is to identify your target audience.

Your target audience is the type of people who would really enjoy your book. They are the book's ideal readers.

In the world of children's books, it's important to note that you're almost always going to have two target audiences: 1) the type of kids who'd love your book; and 2) the "gatekeepers" who would give your book to those children. The gatekeeper could be a parent, librarian, teacher, or some other grown-up with a close relationship to the child.

So when you're looking for beta readers for a children's book, it's a good idea to get feedback from:

  1. actual kids with your ideal reader profile
  2. parents, librarians, teachers, and other people connected to those kids

Back to where I started!

Misako and I are on the hunt for beta readers for BOUNCE BACK.

Bounce Back is a middle grade graphic novel about a Japanese girl who unexpectedly moves to the U.S. with her family and finds herself torn between two very different groups of friends at her new middle school in Brooklyn.

The target audience for Bounce Back is 5th through 8th grade girls who like reading graphic novels with tons of "middle school drama."

Are YOU interested in being a beta reader?

We're interested in anybody who is:

  1. a 5th through 8th grade girl who likes reading graphic novels with tons of "middle school drama" (DUH!)
  2. a grown up who likes kids graphic novels
  3. a teen who likes graphic novels and remembers being in 5th through 8th grade and what if felt like
  4. a grown up who has ever interacted with 5th through 8th grade girls and has a good sense of what they like

Basically, if you volunteer, we're going to assume you have some affinity for this project. It doesn't matter to us what it is... if you want to join our team, we're thrilled to have you!

Click here to fill out our beta reader application.

We are accepting applications until May 23, 2019.

And if you become one of our beta readers, you get many wonderful perks!! You will receive:

  1. our undying gratitude!
  2. your name listed in the Acknowledgements of the book!
  3. the inside scoop on our publishing journey!
  4. special Q&As with us as we continue on this adventure!
  5. an invitation to the book launch (aka rockin' party!)!

By the way...

If YOU are an author, comics creator, or publisher and you'd like to use our beta reader application as a template for your own venture, you are in luck! I created a beta reader application template in Google Forms which is FREE FOR ALL.

Onward and upward, people! Let's go publish awesome books!

 

 

 


How your mindset can sabotage your marketing

4 Ways Your Mindset Might Be Sabotaging Your Marketing

Do you ever feel like marketing your work is exhausting, overwhelming, confusing, and a giant pain in the butt?

Do you wish you could just do your thing and leave the marketing to someone else?

Do the words “marketing” and “self-promotion” simply make you feel icky?

Well, I’m afraid I gotta give you some tough love.

Almost all the creative people you admire are also good marketers. It might not seem like “marketing” (especially if they’re outside-the-box types), but trust me, every successful creative person has spent a lot of time learning how to sell themselves and their work effectively.

The key is that they’ve learned how to think about marketing in constructive, creative ways.

You could spend hours and hours and thousands of dollars learning how to leverage social media or master SEO, but if your heart isn’t in it and you’re fundamentally not as enthusiastic about social media and SEO as you are about your own creative work, stop right now.

There is no magic social media formula or secret Google code that is going to solve your marketing problems for you.

There are, however, some simple mindset shifts that will make a HUGE difference in the effectiveness of your marketing efforts.

If you are trying to figure out social media or SEO or any other marketing tactics without tackling these mindset shifts first, you will just waste a lot of time and money.

Let’s take a look at four of the biggest mindset problems when it comes to promoting yourself, and how to solve them.

Mindset Problem #1: Marketing takes too much time and if I do it as much as I’m supposed to, I won’t be able to work on my creative stuff.

“I don’t have enough time” is one of the most common mindset blocks that I hear. We all feel like we don’t have enough time. We all suffer from information overload and digital overwhelm.

This mental block arises from fear.

You might wonder, what the heck does fear have to do with my lack of time?

Our brains are clever. The part of our brain that is responsible for emotion and knee-jerk responses to situations, that acts out of habit and not out of rational thought, is your limbic system. Your limbic system’s number one priority is keeping you safe.

Promoting yourself effectively requires a) learning a bunch of new skills; and b) putting yourself and your work into the public realm and inviting attention. Neither of which keeps you safe. On the contrary, they make you exposed and vulnerable.

So your limbic system kicks into high gear and floods your brain with thoughts that will keep you from moving in that dangerous direction. And guess which thought is often the first one to pop up?

“I don’t have enough time.”

Why? Because it’s usually true! You ARE busy! You do have a lot of things on your plate.

It seems like the most rational, inarguable statement in the world. But it’s actually an emotional, habitual type of thought.

You do have control over your time. You do have the ability to decide what is most important to you, and what isn’t.

If building an audience for your creative work and making more money as a creator is important to you, you must take control over your time. You must consciously decide how to allocate it, and you must consciously devote a significant portion of time to things that take you out of your comfort zone.

Mindset Problem #2: I have no idea how to find my audience.

Actually, you probably already have an audience. Who likes your work? To whom do you show your stuff? Who are your favorite customers, if you have any? Who are your strongest connections on social media?

Maybe you’ll retort, “Well, Janna, of everything you just said, that’s about 15 people!”

Great! Your audience is 15 people. That is perfectly OK.

Your existing audience should be your priority. Those 15 people are super important!

They have already raised their hands to say they’re interested. By paying close attention to them and figuring out what they want from you and what they like about your work, you are setting the stage that will allow you to grow your audience much faster in the future.

Be a detective. What do they ask you about? Why are they interested in your work?

Really good marketing starts with really good listening.

The next step is to combine what your audience is interested in, with what you love to talk about. Maybe your audience wants to be inspired by dreamy, evocative stories. You love talking about the technical details of creating your work.

So you create a plan to consistently post your best work online, and tell stories about how you created it.

The next step is old-fashioned hustle. You must go out and actively grow your audience from 15 people to 16, then 18, then 23, and so on… it doesn’t happen automatically.

Maybe you start a meetup. Or host an open studio at home. Or post a weekly tutorial on YouTube.

There are countless ways to reach out and introduce new people to your work. What’s important is that you take the initiative to decide what feels right to you, and then do it — consistently.

Mindset Problem #3: Promoting yourself is annoying and drives people away.

This is the extremely prevalent “used car salesman” fallacy of self-promotion. When people think about promoting themselves, they often envision a pushy, self-important dude yelling, “Hey guys, check out my stuff! It is AWESOME!”

But this is a false stereotype. The most effective marketing is usually invisible.

You know you’ve encountered creative, thoughtful marketing when you find out about a person or a company and something they do makes you exclaim to yourself, “Wow, the stuff they’re doing is really cool!”

They’ve connected with you on an emotional level. Maybe they’re telling an inspiring story about their work; or they’re creating something valuable that makes your life or the world a better place; or they’re just entertaining you in a really engaging way.

You need to adopt the exact same approach to your marketing as you do to your actual creative work. Start by asking yourself:

  • What am I passionate about? How can I share that?
  • What do I know that other people want to learn? How can I teach it?
  • How can I use my work to make a positive difference in people’s lives, even if they never buy anything from me?

If you promote yourself in this way, you will never drive people away. You will steadily attract people toward you.

Mindset Problem #4: I get overwhelmed by social media and can’t figure out the best place to promote myself.

That feeling of “overwhelm” happens because you don’t have a strategy and a plan. When you’re trying things willy-nilly, you feel scattered and unsure about whether your actions are effective.

These days, people tend to equate “marketing” with “social media” — but no, social media does not equal marketing!

Social media is just one marketing tool in a huge arsenal of possibilities.

There is no one-size-fits-all marketing plan. Every person and every business is unique, and the path to effective marketing starts with uncovering exactly what makes you unique.

Once you’ve figured that out, you can then decide which social media platform makes the most sense for you, and how to use it. Or you might decide to forego social media altogether and use other tactics instead.

That’s right — I believe it is possible to design an effective 21st century self-promotion plan without using any social media at all.

This isn’t necessarily what I would recommend for most people, but sometimes it’s the right choice. I mention it here because I want to emphasize that social media is just one piece of the puzzle, and not necessarily the most important piece. It all depends on you and your audience.

Conclusion

The single best way to succeed in promoting yourself is to apply the same passion, genuineness, creativity, drive, and care into your marketing as you do to your creative work.

Doing this requires that you think of marketing not as some sort of tactic that a certain breed of people do well, or that only people with a specific skill set can handle. You have to think of marketing as an integral component of your creative work itself.

Over the next few months, on this blog, I’m going to focus on how to do this, step by step. Stay tuned!

In the meantime, please let me know in the comments, does your mindset ever get in the way of you promoting your work effectively? How?