publicity – Ed Cyzewski: Author // Contemplative

The Hidden Danger of Business for Creative Workers

Posted on May 10, 2016May 10, 2016 by Ed Cyzewski

“I just want to create things. I’ll let someone else handle the business and marketing side of things.” I hear this all of the time. I thought the same thing for a very, very long time.

That mindset may have been the most damaging mistake for my creative work. It laid a foundation for a myriad of other mistakes, resulting in hours and hours of work for books that suffered from my ignorance. Had I actually understood the business of publishing, how the industry has evolved, and where I fit into it (the hardest piece to sort out), I could have invested significantly more time in projects that would have been both creatively fulfilling and financially sustainable.

I’m not alone with my mistakes when it comes to the business side of creative work. I’ve seen friends literally lose control of their books because an inexperienced agent made a bad publishing deal with a new publisher who went out of business right after the book released. I’ve seen colleagues get more of less dropped by their publishers before or during their book releases, with publicists offer very vague, limited support.

Other professional writers and bloggers have suffered from SEO changes that hurt their websites or social media shifts, such as changes to Facebook’s author pages, that sent their click-throughs and ad revenue diving.

There are so many things that I wish I had done differently 5-6 years ago that could have helped myself immensely today. That isn’t to say that I wish I had given myself over completely to the business side of the publishing and writing industries. Rather, I wish I at least knew what I was missing and had been more intentional about the direction of my creative career.

Creative workers can mistakenly think that ignorance of business is a virtue that makes their work pure.

Ignorance of the business end of creative work is by no means a virtue. It may actually hold your work back, deprive you of opportunities, and even prevent you from being generous with your work. For instance, some publishers make it very difficult to share a high quality eBook with potential readers and reviewers. You would think publishers understand the value of putting books in the hands of reviewers who can help improve your ranking on Amazon by putting your book over the 50-review threshold. However, there are many, many cases of employees at publishers shipping PDF’s of the book’s print file to reviewers, which appear as a mangled garble of words and punctuation in most eReaders.

The more you know about business and marketing going into creative work, the better off you’ll be in choosing the direction that is most sustainable and consistent with your values. I have taken one self-directed crash course after another in the publishing business and marketing. I’ve made enough mistakes over the years that I’ve been very motivated to sign up for industry publications and blogs such as Digital Book World, Jane Friedman’s blog, Writers Digest, Joanna Penn’s podcast, and many more. I’ve read books about the craft of writing, the business of writing, and how independent authors make it work. I’ve read about the marketing strategies and tactics that are available.

None of this has taken away from my creative vision. I’m not changing my plans dramatically. Rather, I’m learning where my creative work can overlap with the strategies that work best today.

Here’s the ironic part of this shift: the more I understand the publishing business and where I fit into it, the more I’ve been able to invest in the kind of work that I love. Back when I was completely ignorant of the publishing industry, I wasted so much time on social media, chasing influential people, and more or less wringing my hands about the things that didn’t work out.

With a better picture in my mind of what works and what doesn’t work, I’ve invested in tools that make my work time more efficient so I can focus on my creative projects and the freelancing that will help pay the bills.

Understanding the business side of my creative work means I can choose what to ignore and compensate for the gaps that creates. For my independent books I spend very little time courting endorsements or reviews on top blogs. Rather, I focus on sharing guest posts and give out the books liberally to all who will read and review them. It runs against some of the industry advice, but it feels like a good path for my work. It’s a choice that I’ve made with full awareness of my options.

These are the decisions that no one else could make for me. I couldn’t just “trust” the experts to tell me what to do. The experts can tell you what has worked for them and for other people, but they can’t tell you how to chart your creative career.

Most importantly, if you don’t set your own course with the backing of research and self-knowledge, you could end up running from half-baked ideas to half-hearted projects over and over again. It’s far better to spend time focusing on what you need to do and then jumping in with both feet and playing the long game. It’s a risk and you’ll certainly need to make adjustments along the way. However, it’s far better to give yourself to a particular plan in order to know with a fair amount of certainty that it doesn’t work than to dabble in three different directions without a clue about what would actually work if you give yourself fully to one of them.

There’s a danger for creative workers when it comes to the business side of their work, but the danger in most cases is ignorance of business, rather than selling out. I only have my own network to go on, but I think the number of sell outs to business are far fewer than those who flounder because of ignorance of the business side of their work.

Authenticity and integrity do not demand ignorance of business.

If you value integrity and your creative vision, there’s no harm in learning about the business side of your creative work. Dig in and sort out which advice rings true and which doesn’t. Take a look at how you fit into your industry and how your creative work can either reach more people with this knowledge.

If any particular practice in your creative industry strikes you as troubling or unsustainable, no one will blame you for avoiding it. It’s better to see the opportunities and obstacles with clarity than to avoid them both in ignorance.

Rohr for Writers: Sacrifice and the Trap of Unmet Expectations

Posted on March 4, 2015September 16, 2015 by Ed Cyzewski

I didn’t know there was a wrong to way to make a sacrifice. Shouldn’t the act be enough by itself?

Back in college I went out of my way to help a friend. I mean, I took the better part of my day to help him out. Huge, huge sacrifice! Epic! Look at how much I care for you!

He didn’t respond with much gratitude if any, and I just about lost it. The nerve! How dare he! I spent my day helping you, and you can’t even say thank you?

Richard Rohr has something to say about all of this, and it’s especially timely for my writing work:

“’Sacrifice’ usually leads to a well-hidden sense of entitlement and perpetuates the vicious cycle of merit, a mind-set that leads most of us to assume that we are more deserving than others because of what we have given or done. As the old saying goes, all expectations and self-sacrifice are just resentments waiting to happen.”

Immortal Diamond pg. 47

While most writers struggle with comparing ourselves to others, there’s another subtle trap that we can all fall into: the trap of resentment.

Writing requires sacrifices and commitments that can prove costly, and we can begin to expect a return that is in keeping with what we have given up. As we place a premium on our time, effort, and expertise, we can begin to resent the signs that our “investments” in writing aren’t bringing the proper “returns.”

If only “those people” would notice our sacrifices!

I write in Pray, Write, Grow that I had to learn that my writing is a gift to others. A gift isn’t a transaction. While some of us in a more affluent culture have certainly turned gift-giving into quid pro quo transaction where a gift given must equal the gift received, the nature of a true gift removes any hint of expecting anything in return.

That’s what makes writing so taxing sometimes. We could spend hours, days, and months honing a piece of writing only to see it sink into obscurity. Our audience owes of nothing. Sometimes the gift is well-received and sometimes it remains largely “unopened.”

I’ve been there. Heck, I’ve LIVED there for months at a time. There’s been no greater challenge than watching a book I’ve labored over fizzle as readers see it, shrug, and walk away.

Anything we do for others can become a resentment trap if it has called for sacrifices. We can begin thinking, “I had to give up so much for you! The least you could do is appreciate it on my terms!”

The moment we fall into the resentment trap, we turn a “gift” into a transaction, even if we’re not expecting something tangible in return. We’ve made a particular response or affirmation part of the exchange.

At the root of all this, we return to the core issue of identity. Where do you find your identity? Do you let God define who you are and what you’re worth? Do you let your work or other people determine your value?

Most writers I know hate editing, but what really breaks us is the publicity and marketing process—the moment when we put our finished work in front of readers and pray that some read it, enjoy it, and, hopefully, share it with others.

Letting go of my hopes and expectations for my writing has been excruciating. It feels like I’m giving up or at least setting my sites ridiculously low.

Letting go of my hopes and expectations for my writing has also been liberating. I just have to be faithful. I have to write where I feel led. And if I’m only going to base my success on faithfulness, then I’m only more motivated to make sure my work lines up with God’s direction for my life.

Can you see how that works?

If I’m only writing out of a sense of faithfulness to God, then I better sort out God’s direction first.

Without that direction, my work is a complete waste of time. If I’m not looking for anyone else’s approval or applause, I need to at least make sure the starting point is solid. If praise and applause follow, that’s nice, but it’s not the foundation or the driving force behind what I write.

May we learn how to make sacrifices without falling into the trap of resentment.

May we find the freedom and joy of giving our creative work to others as a true gift.

About This Series

Rohr for Writers is a new blog series at www.edcyzewski.com that is based on the ways Richard Rohr’s writing speaks to writers. We’re going to spend the first few weeks looking at key quotes from Immortal Diamond.

Learn More about Prayer and Writing

You can grow in both your prayer and writing by developing the same practices. Check out my new book Pray, Write, Grow: Cultivating Prayer and Writing Together to learn simple exercises you can incorporate into your day right now.

Kindle | Nook | Kobo | iBooks

What You Need to Know About Self-Publishing: Get Known First

Posted on June 10, 2010 by Ed Cyzewski

In conjunction with the release of my self-published book A Path to Publishing: What I Learned by Publishing a Nonfiction Book, I’m offering this series of posts on what you need to know about self-publishing.

When you’re self-publishing all of the work falls on you, the author. No matter how much published authors complain about the lack of marketing support provided by their publishers, which can be spotty at times, the worst publicist will do more than upload a file to a web site, which is all you’re doing when self-publishing.

The Basic Ways Publishers Market

Publishers have established lists of contacts who receive their catalogues, e-mail newsletters, and browse their web sites. They represent authors at book stores and can send releases out to major press services—something that can be quite costly to do on your own.

The staff at publishers generally have social media accounts and blogs, and they may even generate some buzz for your book through these tools. At the very least these publishing professionals will tell potential readers about your book. You’ll at least have a few warm bodies with a measure of interest in selling your book.

Any way you slice it, the least that a publisher provides still puts their authors way ahead of the self-published ones.

What Self-Published Authors Need to Do

While it’s important to seek out some reputable endorsers and reviewers who have a large group of readers, I don’t think self-published authors realize the number of readers they need to pull off a self-published book that sells more than 25-50 copies. Simply put, self-published authors need a massive number of connections with potential readers.

The “potential reader” part of this is crucial. Authors may have lots of “connections” through social media, their blogs, or more traditional means, but many of these connections may not view their books as something they’ll want to purchase.

I’ve done quite a bit of networking, but I have been reading Crush It! by social media expert and entrepreneur Gary Vaynerchuk, and he’s been blowing my mind. I usually drop by some blogs to leave comments and contribute to writing forums, but he advocates a scale of networking that few would ever consider.

I sure didn’t!

I could try to describe it to you, but to be honest, I’d be doing you a disservice because I can’t do his methods justice. Crush It! is available at a pretty low price as a Video Book, which I highly recommend, though it’s also available in print. You may not do everything Vaynerchuk suggests, but I think he’ll give self-published authors the reality check they need about how involved the marketing process will be for their books.

An author who is new to the publishing process will underestimate the amount of work necessary for marketing. Count on it. As a published author I still underestimate the amount of work I need to do. Before you invest heavily into a book, begin marketing yourself and making connections today. It’s a worthwhile investment you won’t regret.

Next Steps

Check out the free online marketing guide at www.pathtopublishing.com.
Pick up Get Known Before the Deal, a must-read for authors new to marketing their work.
View a sample of Crush It! by Gary Vaynerchuk at vook.com.

How to Handle Rejection as a Writer: It’s Not You, It’s Me…

Posted on April 27, 2010 by Ed Cyzewski

Rejection is not always a reflection on you or your work. In fact, there are many good books and articles rejected each day for a variety of reason.

Good books are rejected because of similar books.

You may have a great idea and you may be an incredible writer, but if someone has written a similar book, especially for your publisher, you may be out of luck. In addition, there may be projects in a publisher’s pipeline that you could never know about unless you submitted your proposal.

That isn’t to say that different publishers will back away from your book if there are similar books. You just need to show that it has a unique message or perspective that distinguishes it from its competition.

Good books are rejected because of different focuses at a publisher.

You may have addressed an important topic, and that topic may be within the interests of a publisher, but perhaps you wrote a book that didn’t strike the right angle or genre for that publisher. One publisher may aim for literary books, while others may opt for the academic route.

Good books are rejected because of cuts or changes with editors.

Sometimes publishers may change their focus or even eliminate a line of books. With new editors come new criteria for accepting books. Editorial changes will mean a book that may have been accepted a few months ago will no longer work for a publisher. Timing and luck are huge factors when pitching book and article query letters.

Good books are rejected because editors don’t always know what they want.

While publishers have guidelines and specifications, they don’t always know what book would work best. This is something that some editors themselves have admitted. See editorial veteran Leonard Goss’ endorsement for my new book A Path to Publishing.

That doesn’t mean that all editors are fickle and indecisive, and you should never tell them what they want. Rather, they always aren’t able to know what exactly will work and what will not. There are plenty of stories of best-selling books passing through a series of rejections before finding success. The moral is that editors are human like you and me, and that publishing is not an exact science—as it should be.

Good books are rejected because of publicity concerns.

Even if you’ve written a great book, some publishers may reject your proposals because they fear they’ll be unable to market it to a particular group of people or that you aren’t popular enough to promote it. Those are big problems for writers to deal with, but at least they aren’t necessarily marks of a poorly written book.

In addition, if you are able to write a good book, you can certainly work on raising your profile and reworking your material so that it speaks more directly to an audience of readers. These are big problems, but they don’t spell doom for you as a writer.

Two Things that Sell a Lot of Books: #2 A Trusted Name with an Extensive Platform

Posted on March 8, 2010 by Ed Cyzewski

Whether you have a popular web site, a radio show, an informative newsletter, or professional credentials, selling a book requires a personal connection. Selling a lot of books requires this level of personal trust on a large scale.

While reviews, social media, and web sites are all part of extending a marketing platform, these pieces should not be confused with making very personal connections with readers. Twitter and blogs are great, but they have their limits.

The Kind of Connections Authors Need

From what I can tell, my greatest success in selling books has come from personally talking with readers whether through personal conversations, events, e-mail, or interaction on web sites.

When I have a chance to share my passion for my book, I have a much greater chance of convincing readers to spend their hard-earned money on it. However, reaching potential readers with your personal message and creating enough trust for them to spend money on your book requires a fairly significant number of connections with readers.

I personally would not endorse every method used by authors out there to sell books and some will be more difficult for new authors to use effectively, especially radio and television, but there are lots of ideas out there about building a platform that will help you speak directly with readers and develop a level of trust for you and your book from a monthly newsletter with valuable information to a niche-focused public event.

How to Connect with Readers

Building a platform begins with the question, “How can I effectively connect with readers interested in my topic?” Keep in mind, this isn’t the same as advertising, and posting to a web site is probably the least personal way to do this, making it generally less effective.

I’m building my e-mail newsletter, working on some videos, leading workshops with local community and arts organizations, and connecting with various podcasts, but the possibilities are endless. I’ve been encouraged to hear from a respected author and friend that he finds my newsletter very valuable, and many of those who attend my workshops give me positive feedback. It’s good to know I’m doing a few things right, even if there’s always a lot more to do.

The hardest part about building these connections with readers is starting small. You may begin with twenty newsletter subscribers and workshops with only five attendees. However, if you continue to make connections, to help people with your material, and to build on those relationships, you should be able to connect with enough readers who will not only trust you enough to buy your book, they may also recommend it to others.

Previously in this Series:

Two Things That Sell a Lot of Books: #1

Also in this series: Five Great Things That Don’t Sell a Lot of Books

Selecting Influencers for a Book Release: The Solution

Posted on November 2, 2009 by Ed Cyzewski

Wrapping up my 3-part series on selecting influencers for a book release…

The goal of an influencer mailing for a newly published book is to put your book into the hands of folks with trusted names, contact with a large audience, and a willingness or ability to endorse your book. Missing any of these three things will mean your book either ends up on someone’s shelf or at least doesn’t reach a wide group of potential readers.

The solution is to carefully balance the kinds of influencers you contact. It is rare to find an influencer who meets all three criteria perfectly. Nevertheless, it’s worth sending copies to well-known influencers in the media or in your field, especially if you’ve had contact with them in the past.

Let’s say you send out 5-15 of your 50 influencer copies to folks in this camp. Maybe they won’t have the time to take a look at your book, but should they endorse it, you’ll have a chance to reach a broader audience. It may be worth taking a chance on some radio personalities, especially if their shows connect with your potential readers.

The next 20-30 copies should go to those who have a solid following or niche that trusts them and will be willing to interact with your work. There are a lot of very good blogs and podcasts out there with readers and listeners who may very well give your book a shot. In fact, because these are highly interactive networks with a higher trust factor than perhaps those with a bigger name, the potential readers in these networks may be more willing to buy your book.

I think this segment is easy to overlook because their reach may be in the hundreds or low thousands. However, keep in mind that these influencers will be easier to contact, more likely to interact with you, and have a lot more to gain if you can provide content for their blogs/podcasts as opposed to a major media player with lots of options for their shows. In addition, providing these bloggers and podcasters with a free book or two to give away always helps.

Lastly, never underestimate those the power of those with small audiences who are still very trusted and willing to endorse your book. Be sure to set aside about 10-15 copies for this group. With Twitter and Facebook even the smallest blogs can easily plug a book among hundreds of people. If you can provide an influencer who is passionate about your book with some great interviews, excerpts, and a free copy to review, your book may receive a lot more attention than a brief endorsement from a well-known influencer.

At the end of the day, it’s most important that authors connect with influencers who are passionate about their work and willing to talk about it. If you can put a free copy of your book into the hands of someone willing to talk about it, you’ve done the most important part of an influencer mailing.

Nevertheless, your work is not done. Authors need to make themselves available to help each influencer talk about their work, supporting them, and driving traffic to their web sites. Book publicity is always a two-way street. There is no room for the entitled author.

Previously…

Selecting Influencers for a Book Release: The Problem

Posted on October 27, 2009 by Ed Cyzewski

Continuing my 3-part series on selecting influencers for a book release…

When you begin selecting influential people to help spread the word about your book, keep in mind the three qualities that you’re looking for: trusted names, contact with a large audience, and a willingness or ability to endorse your book.

In compiling my own list of influencers I worked very hard to contact those with large audiences and a trusted name, but I didn’t necessarily gauge the likelihood that they would plug my book. Keep in mind that the bigger a name, the more books he/she will receive. They can’t read every book that comes onto their desks, and so the question is, “Will this person both read and talk about my book?”

If an influencer doesn’t read your book, it’s nothing personal. There are only so many hours in a day. In addition, some may hope to read and talk about your book with their audience only for your book to fall through the cracks. Within days of receiving my book one well-meaning influencer realized he wouldn’t have time to read it and so he gave it away on his web site.

No exactly the ideal publicity you’re aiming for.

And so the challenge you face is balancing the audience size and trust of an influencer with that person’s ability to plug book whether in conversations or in an online or on-air review. However, the right kind of influencer for your book may not have that large of an audience and may even look quite different from what you expcet.

The next installments in this series…