Genre marketing

I recently enrolled on a writing course, Exploring Genre’, run by prolific writer, editor and teacher, Tom Bromley, at PWA. Why?

As readers of this blog may have noticed, genre is something which has been taxing my mind for some time. Genre, for me, is a doubled-edged sword. I’m a marketing professional by trade and the logic behind any good marketing campaign is the same, and always has been.

Why genre fiction equates to smart marketing

Marketers talk a lot about market segments and quantifying them. You know, roughly, who your audience is, but in order to engage successfully with them, you need to narrow it down. Normally competitive analysis and positioning helps to sort out which market is not only the best fit for you product but also the one likely to be easier to compete within. So then (as any good marketer knows) you test the theory to end up with a proof of concept. And what any marketing person worth their salt will ascertain from looking at the publishing business is that awareness of genre equates to smart marketing in the world of book sales. Ask any best-selling indie author, and they will tell you that. This blog ‘Write to Done’ hammers this point home very well.

My test-run novel, Borderliners

BorderlinersTake my novel, Borderliners, as a case study. Borderliners was released in February. About a troubled psychotherapist who must uncover what is behind a string of deaths in her village, Borderliners was a story I thought would classify as a thriller – but it isn’t really. The process of self-publishing and getting right up close to my audience showed me that hard-core thriller audiences got fed up with the more reflective elements of the book, whereas readers of YA – surprisingly – quite liked it. Since its publication, I’ve played around with the book a lot, placing it in several categories within Amazon. It got lost very quickly in ‘thriller’ but rose in ‘occult’. I tested it in ‘fiction’ (as in general, not literary), but it got lost there too, so currently it’s in ‘juvenile fiction’.

Borderliners was supposed to be my proof of concept, but I don’t think it is fit for that purpose. I made it as good as I could at the time, but in terms of writing for a specific audience, it hasn’t ticked the boxes. That’s OK though, as the marketer in me finds the Borderliners test a fascinating one. It will soon be followed by my second novel, Split Symmetry, which, as a  mixture of adventure thriller and metaphysical love story, is similarly cross-genre. Effectively, Split Symmetry is also a proof of concept experiment.

Genre as classification

pride-and-prejudiceIn some ways, it’s true that all fiction is, to an extent, cross-genre. As the writer of this Guardian article about genre fiction and classification says, Jane Austen didn’t consider herself to be writing literary fiction. I did snigger a bit at the writer’s re-classification of literary fiction in today’s terms as ‘LitSnob’ – ain’t that the truth. There’s some fantastic story telling and writing within so-called genre fiction, and yet some people feel they are letting the side down if they aren’t constantly reading prose-poetry, not realising that literary fiction is just another marketers’ classification of general fiction.

For me, the answer lies somewhere in between. I’m a big fan of CJ Lyons’ smart approach. She writes thrillers which would be considered cross-genre as they contain romantic elements. So rather than just allow her books to sink and dwindle in the nether regions of Amazon and the like, she used crossroads positioning to find her niche – ‘Thrillers with heart’.

Now, that’s what I call smart marketing. But in order to execute this kind of positioning in your chosen market, you must first know what your market reads, and why. You must know what else your market reads and find your competitive space, and you must be sure your competitive space is wide enough for you to enter – and not too crowded! Early competitive advantage is key.

So that’s me back to the drawing board. Back to school, as it were, to study genres and their audiences and hopefully afterwards, back into the field armed with knowledge which will help me execute my own killer positioning.

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When does multiverse speculation cross into fantasy?

james-elena-kiss-quantum-universeIn this article in the New Scientist, the question is asked, Does the idea of parallel universes really describe reality?

inflationary cosmologists have opened the speculative throttle so fully that physicists now talk routinely of such things as an infinitude of parallel universes, or a “multiverse”. In the multiverse, every conceivable world exists, and individuals identical to you and I live out parallel lives in places we cannot have access to.

The article talks about a book by Max Tegmark, ‘In Our Mathematical Universe, which talks about seemingly outlandish theories of multiverses as ‘almost obvious and unavoidable’.

He sets out four types of parallel universe:

His first set, the Level I Multiverse, refers to an idea that many cosmologists already accept. Rapid early inflation would have created what Tegmark describes as “universe-sized parts of space so far away from us that light from them hasn’t had time to reach us”. These other domains – or “universes” – could well exist, although we currently have no observational evidence for them.

Tegmark’s Level II Multiverse refers to a bolder idea, championed by physicist Alexander Vilenkin and others. There may be other domains of space also created by inflation that are too far away to see. These will forever remain out of our reach because continuing inflation drives them from us faster than the speed of light. This idea refers to real, distinct, physical universes that cannot ever be observed.

At this point in the taxonomy, however, Tegmark leaves cosmology behind. In reading, I began to feel that his aim is to see parallel universes in as many places as he can. Enter the Level III Multiverse. This turns out to be a language for talking about the mathematics of quantum theory using the many worlds interpretation of that theory, first proposed by physicist Hugh Everett in the 1950s.

This interpretation describes all physical processes as part of an ongoing, perpetual branching of the universe into many other universes. It is indeed possible to interpret quantum theory this way, but readers should know that many other interpretations, equally in tune with observations, don’t invoke the idea of parallel universes at all.

Then there is the Level IV Multiverse. Again, this has nothing to do with cosmology, but is an ambitious thought about mathematics. Tegmark argues that reality isn’t simply described by mathematics, as most physicists readily accept, but that it is, in fact, mathematical.

Of course, the parallel universe glimpsed in Split Symmetry is pure fantasy…

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Cults, religion and mystery

prophecy by J F PennI’ve always been interested in what I felt were underground themes around religions and cults. So  I had something of an epiphany moment today when I logged onto Twitter and read through my usual feeds, one of which is made up of writers and publishing professionals. One of the most useful Twitter profiles I follow is @thecreativepenn aka Joanna Penn, a successful self-published author who has now become very much the authority on all things self-publishing.

At the same time, I’ve been agonising lots about my first novel, Borderliners, and the novels which will follow it.

In Borderliners I explore themes around religious beliefs and how people in religious organisations sometimes abuse power. I also look at mental ill health, the fine line between reality and illusion and how our perception may be the only constant. Where is the truth? Who are we, really? What if time isn’t linear? I feel there’s an overlap between what we believe to be ‘supernatural’ and the more acceptable notion of ‘metaphysical’, and this is something I like to mine. It’s very difficult to pull off, and I live in a constant state of anxiety that I may offend my readers’ beliefs (something I don’t want to do), or anger them. I’m also surprised how some readers get to the heart of what I’m exploring and others just don’t get it at all. I notice polarized reactions to my work, not just the novel which is published, but my following novel which is doing its third and final round of beta-readings. Probably, the same thing will happen with my third novel.

It came as a fantastic surprise to me, then, when I realised the person I had been following for self-publishing advice, is also author of novels with (on the face of it) some similar themes to mine. This probably should have been evident, but I was so busy lapping up all the publishing posts that I didn’t notice the actual content of her novels! Doh! Soon to be rectified, I downloaded two of them straight away. In the meantime, I looked back through her interview with Jen Blood (@JenBlood),author of the Erin Solomon mysteries, another series which examines themes of cults, religions and supernatural. I also then downloaded a couple of Jen’s novels too.

Here’s an excerpt, where Joanna and Jen talk about the tricky balance an author of such books must strike between respecting beliefs and exploring the themes which surround them:

So, how do your personal beliefs weave into your books, and how do you walk the line between respect of other people’s faiths and writing?

Jen: I think that for me, it really is, I have a fairly good idea of what I believe at this point, and it’s certainly not a traditional Christian model by any means. So, for me, it really has been something where my characters, I try to think of my characters as organically as possible, so just as I’m a person who’s shaped by my experiences, they’re people – even if they’re fictional people- who are shaped by their experiences. So, for example, Diggs is a hardcore atheist, he’s just that. And Erin is an agnostic, and she’s trying to figure out exactly how her early experiences gel with where she is now.

So, I kind of feel like at this point, it really is separate. Because I do believe that religion is such a personal thing for people: I feel very strongly that people need to sort out their own spirituality, and figure out where they come from and how that informs their life, basically. So I want readers to be able to do the same thing, where they don’t feel like my beliefs are being forced on them, and Erin and Diggs at the same time have their beliefs, and there’s no judgment or forcing of their views on other people. If that makes sense!

Joanna: It is a difficult line to walk, and I struggle all the time with it, and also wanting to respect everyone’s beliefs. But of course, it’s very difficult, because everyone has different things. But you have it doubly worse, I think, because you’re in America, and my one-star reviews are generally from religious Americans! Do you get any kind of nasty emails or reviews? How does that work?

Jen: You know, I’ve been really surprised, and I think that, I have actually consistently been surprised, because I consider myself a fairly liberal kind of person: I’m liberal, I’m definitely very liberal. So I’m often surprised that people who have – not a ton, but I definitely have conservative Christians who really enjoy the books, and I’m very grateful, and I love that they find something in there, and I’m really very pleased that I’ve been able to do this to the point where my views, apparently, haven’t colored things to the point where they’re like, “Well, I’m not reading that!” But, yes, I do occasionally get feedback from people, and it’s usually language.

Joanna: It’s amazing, I think I ritually slaughtered a child and then had a sex scene in a tomb surrounded by dead bodies, and then I get an email that says, “She said the f-word”!

Jen: I know: I’m always amazed by that, and we live in a different world, apparently, because I’m always stunned that people even notice that that’s used, and from the time that I wrote the first book, I’ve really kind of, that’s one of the final things that I do when I’m editing, is I go through and I search for the number of times that I’ve used the f-word, and I limit myself to like four!

Joanna: I limit myself to one!

Jen: Oh, OK! Well, I feel like Diggs would not be happy with just one, he wouldn’t be able to handle it.

Joanna: I even found myself censoring “Damn” – damn really isn’t a swearword, but I get comments about Damn. There’s an interesting thing there: self-censorship. My last book, Desecration, was very dark, and I wrote a lot of really kind of dark things, from my dark self. I did have to come up against: Should I really write this?

The full interview can be found on Joanna Penn’s website.

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The outsider

One of the sources of inspiration for my novel, Borderliners, was the 1942 novel by Albert Camus, The Outsider (or The Stranger in some translations).

The alien feeling the novel evokes is very powerful. Camus himself said his protagonist

is condemned because he does not play the game.

Elena

My protagonist, Elena Lewis, is also an outsider. Having arrived in her isolated village eighteen months earlier to set herself up as a psychotherapist to the local community, she finds she is unable to integrate.

Having experienced this three times in my own life – once in a small town in the Home Counties when I was a child, once in Northern Germany during a sandwich year as a student and once more recently as an adult – I feel that some people are destined to be city dwellers, preferring the anonymous transience and comforting unity brought about by the idea of being an outsider in a wider community of outsiders. This, of course, makes you an insider of sorts.

But being a real outsider in a small community is no joke.

Elena’s character traits make it more difficult for her to integrate: she’s independent, self contained but also highly introspective and suffers bouts of depressive illness. The combination of these traits make it difficult for those on the inside to either understand or reach out to her. They think, she doesn’t need anyone.

All the lonely people

In a society where more than one in four of us lives in a singleton household and where those of who do live with family often remain isolated in other, more subtle ways, the idea of the outsider was an important one for me. Appearances are deceptive. More people are out the outside than we imagine. As philosopher Henry David Thoreau said,

‘The mass of men lead lives of quiet desperation.’

Elena doesn’t play the game either and quickly finds herself up against those who have the rest of the village dancing to their tune. Going against the grain carries punishment, sometimes subtle, sometimes harsh.

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Goodreads

After trawling through the mire of paid promotions which are on offer to self-published authors, it struck me that some of the best of them are free. Goodreads springs to mind, although not everything is truly free (like the Goodreads Giveaway offer), most of the forums and connections available to you with readers  are free of charge.

Goodreads Borderliners page screenshot

 

Why is this?

Well, maybe because Goodreads is all about connections. Rather than having books shoved at them, readers make their own connections with other readers and use their readers’ community to decide what might be a good read for them. Goodreads also has a great categorisation system. I discovered this recently when attempting to place my book in different genres on the site. This is not possible for an author to dictate, which is great.

No, rather like Netflix, the site uses meta data gathered from readers’ reviews, impressions and reviews of a book in order to decide which categories and genres it appears in. In other words, readers rule!

Vive Goodreads!

P.S. If you are interested in my Goodreads Giveaway for Borderliners, it is open until 5 April 2014.

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