March 30th, 2015 | Current Affairs, Marketing and Platforms | 0 Comments
We’ve tried to tackle a bunch of questions quickly this month…
“I want to start a monthly fiction book club to bond members of my writing group. Do you have any suggestions? I thought about reading a book together, then critiquing it so members can learn how to write better. For example, how does a fiction writer work in a description of his characters, or how does the arc of the story change from beginning to end? Any suggestions?”
Yes. Give people plenty of time to read the book. Start with a book you know well and have studied, so that you can intelligently talk it through. Consider bringing in an outside editor or a high school or college writing teacher, who knows the book you’re talking about and uses it in his or her classroom. Choose novels that have clear strengths to them at the start, so that you don’t go too deep, too fast. If you’re reading a contemporary book, think about trying to bring the editor or even the author into your group via phone or Skype, to talk about the artistic choices they made. Let someone else lead the discussion sometime, since we all learn best when we have to teach the material.
“Do you know of any successful book clubs led by writers and what is the key to their clubs’ success?”
Sure – there are a lot of successful book clubs led by writers. I think some of the keys to success is to have a diverse group, rather than having it just be your close friends. Diversity will bring more life to the discussions. Figure out ahead of time what sort of group you want this to be. In other words, what is the atmosphere we want to have? Scholarly? Bonding? Social?
Pick a time and place, let the group select the books you’ll all be reading well in advance, and don’t pick super-long books. (Some groups do their meetings 100 or 200 pages at a time.) Have a leader, to keep things on track. If you want to focus on one aspect (characterization, for example, or “the hero’s journey”), let participants know in advance. Have food and drinks, since we all tend to relax and have something to do with our hands when there is a cracker and a glass of wine handy. Let everybody speak, even if they haven’t read the entire book. And have a couple takeaway activities for the writers to try and emulate, so that they’re putting to use the choices they found in the book. By the way, some book groups enjoy going to movies as an alternative, or having everyone bring a book and simply tell the others about it. Doing alternative activities to mix it up can keep things fresh.
“I am new to writing, but my book was just published by a small press, and I’m curious about the role of publicist. From what I have experienced so far, the publisher is doing very little to promote the book. I was thinking about hiring someone to help me, but I don’t have a clue where to start or if it is a good investment to do so. Do you have any advice on this subject?”
The role of the publicist is to discover avenues for getting your book in front of readers at no cost (interviews, articles, etc). In your case, I suggest you start by talking to your marketing connection and ask him or her what the company is doing to help promote the book. Find out what they’re already doing, then look for ways you can fill in the gaps. You might search for a freelance publicist who has worked on a couple of successful books in your genre. But that costs money, so think of educating yourself first, to see if there are things YOU can do. Publicity is a funny business – there are no guarantees. You can spend a fortune on a great marketing plan, and still not see a ton of success. There’s not necessarily a correlation between “activity” and “sales.” So if you’re hiring your own freelance marketer, don’t just interview one person. Talk to a minimum of three publicists, find out what they charge, and ask if they’ll state exactly what they’ll do for the money paid them. A good publicity person will give you the details, in writing. And by the way, I never really talk with a writer who feels the publisher did enough marketing for them. As a writer, you’re committed to your book; the publisher is committed to a list of books. So be thankful for whatever they do, and decide you’re going to step in and help wherever you can.
“On several occasions you’ve talked about the best classic books of all time. What do you think are the seminal works of fiction since 1995, and what makes them so? Why did these books make an impact? It would be interesting to see if they were mostly established authors or new authors.”
Wow. Love the question. In no particular order, books that have certainly made an impact over the past twenty years would probably include:
Jostein Gaarder’s Sophie’s World
Khalid Hosseini’s A Thousand Splendid Suns
Cormac McCarthy’s The Road
Michael Chabon’s The Amazing Adventures of Kavaleir and Clay
Arundhati Roy’s The God of Small Things
Marilynne Robinson’s Gilead
Jonathan Franzen’s The Corrections
Jeffrey Eugenides’ Middlesex
Barbara Kingsolver’s The Poisonwood Bible
Tim O’Brien’s The Things they Carried
Ian McEwan’s Atonement
Vikram Seth’s A Suitable Boy
Pat Barker’s The Ghost Road
There are doubtless others. I think one could make a case for Michael Crichton’s Jurassic Park or Helen Fielding’s Bridget Jones’ Diary, or even J.K. Rowlin’s Harry Potter series, but “popularity” and “greatness” don’t often come in the same package. Nevertheless, all three of those authors, while perhaps not having the same impact on the way we see our lives, at least inspired thousands of other writers to pick up a pen and start creating. Still, nobody is going to confuse those novels with great literature, so consider my list above. There are doubtless some titles missing (many readers would probably include Cutting for Stone as one of the best books of the past twenty years.
I’m curious what you think. What would you say are the great books of the last twenty years?