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Stop Leaning on These Five Copywriting Crutches

Even the best copywriters use clichés and rely on copywriting crutches. It’s inevitable, but it’s preventable. We’re trying to spit out a lot of copy on tight deadlines, and while our fingers may work faster than our brains, our brains will pop out any old stuff just to keep our fingers moving.

And that’s how clichés appear in our work. We don’t mean to do it, it just sort of happens.

But if you keep a few of the worst offenders in mind as you’re working, you may catch them just as they spill out onto your keyboard. And if you missed them the first time around, you’ll catch them on the edits.

Here are the five copywriting crutches and clichés we need to avoid.

1. Let’s face it

There’s nothing wrong with this, per se.

It fits where it’s used, no one is using it incorrectly, and it conveys a feeling of resigned acceptance of the problem at hand.

But it’s just so overused that it has been rendered completely useless. It’s like the Spin Doctors’ “Two Princes,” which got played over and over and over and over and over to the point that I hate it so much, I will drive my car off a bridge to escape it.

“Let’s face it” is the “Two Princes” of writing. It should be struck from your lexicon, burned to ashes, which you then jump up and down on, before putting them in a lead-lined box and dropping it into the Mariana Trench.

(I really hate this phrase almost as much as I hate “Two Princes.”)

Just pick something else. Anything else. In point of fact. In truth. You gotta admit. What are we even doing here?

In truth, it makes you sound like you’re not trying very hard. Pick something better.

Needs

Probably the most overused word in all copywriting.

You gotta admit — see what I did there? — it’s a versatile word. It’s both a verb and a noun. We have needs. We need things.

Except saying “needs” is like saying “stuff” or things.”

Every customer needs something or wants something. Or they desire it. Wish for it. Demand it. Prefer it. Delight in it. Obsesses over it. Yearns. Craves. Hungers.

There are so many different options available, but the best we can come up with is “needs?”

What you need is a thesaurus. (Let me recommend OneLook.com.)

Being “passionate about” something

How many LinkedIn profiles have you seen where someone is “passionate about” web analytics? Or email marketing? Or tax law? Or artificial intelligence? I saw a job posting that required applicants to “be passionate about short-form copy.”

Seriously? You’re passionate about that? Your passionate about gazing deeply into the limpid pools of Google Analytics reports? I should yearn for the delicate touch of a 280-character tweet?

This thing smolders within your heart like burning coals? You can’t stop thinking about email marketing and it consumes your every waking moment? Whenever the wind blows, you hear its name in the trees — Tax law! Tax law! — and feel its caress on your face, like the touch of a lover?

Either you’re the most boring person on Earth, or you’re overinflating your dedication to this particular job function.

You should be passionate about your family or your partner. You should be passionate about a sports team or an art form. You should be passionate about something so much that you dress up in funny clothes and scream like a maniac whenever you get to do it. That’s passion. Do you do that when you get to send out an email newsletter?

(If you do, please share a video of that.)

If you feel that way about email marketing, or whatever, more power to you. It takes all types to make the world go ’round. But I tend to just roll my eyes and assume you’re exaggerating.

Making history/is historic

Things do not make history. Events are not historic, especially if that event hasn’t happened yet.

Whose history? Who decided it was historic? There were two Black quarterbacks in the Super Bowl this year. So many sportswriters relied on the clichéd crutch of calling it historic, but it wasn’t.

Was it notable? Absolutely. Was it important? You bet. Was it long overdue and a wrong that should have been righted years ago, ever since Doug Williams became the first Black QB and the first Black Super Bowl MVP in 1988? You’d better believe it.

But was it a thing that historians are going to be writing books about and discussing at length in 100 years? No. That’s the historic stuff.

What’s the difference between HISTORIC and HISTORICAL?

A quick note on the difference between these two terms. Historic refers to things that are important that everyone should be aware of: the signing of the Declaration of Independence, the Civil War, the first Black president.

Historical is anything that’s from a prior period in time. A book published in 1776, a letter from a Union soldier, the first football game between Harvard and Yale.

While we’re on the subject, please GOD stop saying “an historic.” It’s not AN historic, it’s A historic. Sure, I know you heard the news people say it, but they’re bandwagon-jumping idiots who try to sound sophisticated and miss the mark. There’s absolutely no reason ever that you should say “an historic,” unless it’s to mock someone else who does it.

We use “an” before any word that starts with a vowel sound, and “a” before any word that starts with a consonant sound.

  • An umbrella, an MBA, an hour.
  • A unicorn, a university, a European.

Historic — unless you’re from Boston or are a 19th-century chimney sweep — is pronounced with the H sound very much intact.

Using adverbs and adjectives for EVERYTHING

There’s a very good chance you’ve sung the praises of a colleague, collaborator, or frenemy and you do so in the most glowing terms possible.

“I had an amazing, mind-blowing lunch at this delightfully cozy little bistro with my wonderful, delightful, mind-bogglingly creative friend, Churlington Beescoat.”

We gush, extol, glorify, and heap exaltations on our dear friend, Churlington, and we can’t say enough nice things about him because he is simply the Best Person Ever.

At least until next week, when we have lunch with our dear friend, Powderkeg Malone.

There’s a reason we don’t use a lot of adverbs and adjectives in writing. They’re a tool that new writers overuse, but they keep us from writing our best work. (Adverbs do, not new writers.)

If you have to describe a verb, then you’re using the wrong verb. Too many young writers try to wring out as much emotion as possible to tell you that their goldfish’s death made them cry really, really, really terribly loudly.

That’s not very sad at all. Maybe if you added another “really?”

What’s wrong with adjectives though?

They’re less problematic than adverbs, but there are times when you need to describe a noun. However, that’s not always necessary.

“A nutritious lunch” tells us what kind of lunch it is, but it’s not very interesting. “A lunch that would make my nutritionist nod in quiet approval” paints a more vivid picture. We get the sense that the lunch is sensible, solid, and even a little boring.

Instead of using adverbs and adjectives, come up with better verbs and nouns. You’re writers, for God’s sake! Expand your vocabulary. Come up with new words or use old words in new ways. (Just no business jargon, please.)

Recently, I saw Garrison Keillor talk about “purpling one’s thumb with a hammer,” and I thought that was the very best way to describe whacking your thumb with a hammer, because the word not only contains the action, but the result. You didn’t just hit your thumb, you hit it so hard that it bruised and bled underneath the nail. But those previous 12 words are contained within the single word “purpling.”

As content marketers, we need to use powerful language like that. We want to write powerful, persuasive copy that causes people to reach for their credit cards and purchase orders. And they don’t do that for really amazing, terrific, stupendous products.

As a writer, no matter what you write, you need to focus on the mechanics of your writing. Your word choice, your sentence structure, and your tone are just as important as your story, your narrative, and your characters. Maybe more so.

So avoid these copywriting crutches. Find a new way to say things and to be more interesting.

Let’s face it, your writing is going to flop otherwise.

Photo credit: Stocksnap (Pixabay, Creative Commons 0)

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How to Find Your Client’s Voice as a Writer

If you’re a ghostwriter or freelance writer, it can be difficult to find your client’s voice. It’s not as important if you’re only doing a small one-off project like an email, but it’s critical if you’re ghostwriting a book, a speech, or a series of blog articles for a corporation.

Here are a few ways you can find your client’s voice, and one secret to finding it when the client doesn’t even know what their voice should be.

1. Listen to how they talk

You should not — absolutely never — just start writing without talking to your client. You’ll want to do a discovery call at least, to find out what the client wants and to identify your scope of work.

More importantly, you want to talk with the person whose name is going to go on the work. That means if you’re writing for a CEO, make sure you talk with the CEO. Not their staff, not their go-betweens. Your client may have a certain turn of phrase or favorite word they use, and you want to know what they are; the go-betweens will not.

Several years ago, I helped the CEO of a Fortune 500 insurance company ghostwrite his book on CEOs and social media. We met in his (gorgeous!) office to talk about the project, and he said a few words and phrases that I came to learn were his way of talking. He used, not bigger words per se, but unusual words — like “per se.”

I wrote those in my handy-dandy Moleskine notebook to refer to later. They actually never came up again, but it helped me understand that he chose his words carefully and had a particular speech pattern, so I needed to remember to follow it when I turned his words into text. We also spoke by phone every two weeks, so I was exposed to his speaking style more and more.

Also, he and his social media director noticed my note-taking and commented on it. They said they felt good about their choice because I was clearly conscientious. I had never thought of it that way, but who am I to turn down accidental recognition?

So, always take note of the little speech patterns your client has. Whether they know it or not, they have them and will feel good that you recognized it.

Plus, even if you never refer to it again, it makes you look like you know what you’re doing.

2. Read your client’s past work

This is what they think they sound like. It may be conversational, or it may be instructional. It may be light and airy or it may be serious and business-like. It may have a lot of second-person references — “what would you do?” — or it may be cold and impersonal — “Apply the lotion liberally to one’s epidermis and return it to the basket.”

Make sure you read a lot of your client’s work, because their regular ghostwriters may have changed over time. Or they use a lot of different writers all at once, which may allow for a little more flexibility. Still, all those writers may have a similar voice as well, so follow the crowd.

3. Ask them what they think their voice is

Make sure you can match up what they think their voice is and what you’ve read and heard. Maybe they say they want to be friendly and approachable, but their past work reads like it was written by a child-hating robot.

Or they want to have a tone and voice that conveys seriousness and stability, but they can’t stop sounding conversational.

Ultimately, what they tell you what they want is what you should strive for, but you should also feel confident enough to point out the inconsistency. Just say, “I understand you want X, but your past work sounds more like Y. Are you changing from your past voice?”

If they don’t agree with your assessment and they think their written work sounds like their desired voice, and that you don’t know what you’re talking about, do two things:

1) Try to match their past work rather than what they tell you. They think the past work sounds like their desired voice, so they’re looking for that. Let them tell you otherwise.
2) Make sure you get paid upfront.

4. The secret to finding a client’s voice when they don’t know what it is

What do you do when your client doesn’t have a voice, or when they’re not really good?

Years ago, I was an aspiring speechwriter and was asked to write a speech for a candidate for the U.S. Congress in my home district.

The candidate was running unopposed in our party’s primary because no one wanted to run against the opposition incumbent as he always won. Still, she needed the backing of all our party’s county chairmen, 12 in all, and she was in danger of not getting it.

She had given a speech at a district dinner that was a 45-minute vomit of anything she could think of; she was supposed to speak for 10 minutes on healthcare.

I got a call from my own county chair telling me that this woman needed major help, and could I help her with her speech? If she blew it again, the party wasn’t going to back her at all. They would rather run nobody that year than endorse her. So my speech was going to make or break her candidacy.

No pressure.

I called the candidate and we chatted on the phone for nearly an hour. She was really nice and fun to talk to, and she told me about her views. I took notes, but she rambled and I wasn’t sure what she actually wanted to cover or how she was supposed to say it. She didn’t have a voice in particular unless it was just one long, rambling sentence.

But I knew about this trick, and I thought I’d better use it.

I knew her speech had to be under 10 minutes, which equaled 1,000 words. That’s because the average person speaks between 100 – 150 words per minute. And she spoke a little fast, but I wanted to make sure she didn’t go over. So, 100 words x 10 minutes = 1,000 words.

I hit the three major points she wanted to hit, and stuck only to the important information without all the little tangents and tidbits she had shared during our call.

And, most importantly — and this is the big secret! — I wrote in short, punchy sentences, like a newspaper writer. Why? Because we all like to think we speak that way, at least when giving speeches. We all like to think we give speeches that are easy to hear, easy to read, and use lofty, soaring language about big ideas.

So I wrote short, punchy sentences about the big ideas.

When the dinner came, she gave the speech, and everyone loved her. Best speech of the night, very inspiring, blah blah blah, and the county chairmen all agreed unanimously to support her candidacy for the Congressional race.

(Narrator: She got 33% of the vote, just like every other candidate had ever done in that district.)

After she got home, she called me and gushed about the speech. “It was great. Everyone loved it, and you captured my voice perfectly!”

Well, no, I captured my voice perfectly. That was already my writing style, so I just wrote to my strength. It just happened to be the style that most people prefer to speak in.

I didn’t tell her this, of course, because that would be dumb.

Instead, I wrote several more speeches for her throughout her campaign, all using the same short, punchy style. And she rocked it. People loved her speeches and she was able to make her points without confusion or droning on.

All because I wrote in “her” voice.

Final thoughts

When writing for a client, you absolutely need to do everything you can to find their voice. Record them talking, have conversations with them, take notes in a notebook, and read their past works.

But if all else fails, write short, punchy sentences in the same way a newspaper writer would do it. If you don’t know what that sounds like, read Ernest Hemingway’s Big, Two-Hearted River.

It’s a short story, about 7,00 words, written at a 3.4-grade reading level, and has 17 adverbs in it. It’s my favorite Hemingway story and one that I model my own writing style after.

Write in that manner because it’s what people think they sound like when they give speeches. And it’s the way they think they write.

If you can capture your client’s voice, they’ll be happy, and they’ll keep you coming back for more.

And if they piss you off, just make them sound like a drunk pirate instead.

Photo credit: Caleb Oquendo (Pexels, Creative Commons 0)

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Be Bold with Content Marketing Choices: Podcasts, Books, Graphic Novels!

There’s such a mountain of dreck and garbage in content marketing today that it’s burying all the good stuff. And that doesn’t include anything that’s generated by AI programs. Most of it is mediocre garbage created by barely-skilled practitioners who pray at the altar of First thought = best thought.

We miss out on all the good content because it’s buried by the same repetitive, 101-level nonsense — 5 Content Marketing Secrets (#1: Write good stuff) — that tens of thousands of other content marketers just sort of blurged out.

If content marketers want to stand out from the crowd, they need to be big and bold.

Fifteen years ago, when social media and blogging were just catching on, you could dominate your industry just by being on social media and having a blog.

Nowadays, you can’t not be online. You will be absolutely crushed by those companies that do. Imagine being dominated by another company that blogs once every three months and tweets every two weeks.

How embarrassing.

Enough With the 101-Level Content

That means creating stellar content. You can’t write the same introductory 101-level garbage that everyone else is. It’s been overdone, and you’re not going to stand out.

Do a quick Google search for your job or industry and the word “secrets.” Go ahead, I’ll wait.

. . .

How many results showed up? How many of them said the same thing over and over and over?

As you perused the results, were the top results from well-established brands with a major online presence and thousands of articles? Of course, they were. No one is going to supplant them without a lot of time, money, and effort. A lot of it.

When I did a search for “content marketing secrets,” not only were there 114 million results, but number one on the list was Hubspot, and the top info card was from ClassyCareerGirl.com.

So what sort of chance do I have of trying to rank #1 for that particular keyword? I would need to start a campaign that would take 80 hours per week, generate thousands of articles, and I would spend years doing social media promotion, and I would still be behind.

So rather than repeating that effort and writing the 114,000,001st “content marketing secrets” article, why not do something bolder?

Be Bold In Your Content Marketing

I’d love to see content marketers be big and brassy with their efforts. Don’t just limit yourself to blog articles. Do something out of the ordinary, something more challenging that not everyone else does. For example, you could:

  • Write a book on your subject. Not just a 30-page ebook either, but a serious tome about your specialist subject. Nothing says, “I know a lot about this” like a book.
  • Write a NOVEL about your subject. Remember The One-Minute Manager and Who Moved My Cheese? Those are technically non-fiction books called business parables. They’re stories that teach lessons through storytelling, not a dry recitation of facts. I’m currently working on a business parable for a client about his leadership philosophy.
  • Record a podcast. Some of the best practitioners in their field have podcasts, which is how they become leaders in their brands. There are podcasts on marketing, manufacturing, entrepreneurship, dental practice, and accounting. If you can think of it, chances are there’s a podcast. But there’s not your podcast.*
  • Write a graphic novel. I’d love to see a bank or wealth management firm teach kids about financial literacy, but with a graphic novel. Everyone’s got books and lesson plans to teach financial literacy, but no one has done it with a comic book. Now that’s bold!
    • Orson Welles directing The Mercury Theater On The Air.
  • Create an audio drama. If you’ve ever listened to old-time radio or modern audio drama (same thing, different names), then you understand the power of audio storytelling. Create characters, create a conflict (plot), and build a story around it. Hell, Matt Damon and Ben Affleck made a movie about a shoe! So don’t tell me you can’t tell a story about your field.
  • Better yet, make it an episodic soap opera. I would absolutely listen to a podcast about life at an insurance company that insures against superhero damage. You could use each episode to explain a small bit about the insurance industry — Acts of God, natural disasters, etc. — but make it fun to listen to as well.
  • Make a movie. See above about Damon and Affleck’s “Air.”
  • Do a weekly video series. Rand Fishkin, founder of Moz and Wil Wheaton lookalike, established himself as the King of SEO with his weekly Whiteboard Friday videos, which Moz continued with after Rand left the company. Create weekly whiteboard videos that show you explaining a particular topic or concept to your audience.

* Tip: Podcasts make great sales tools. Invite your sales prospects to be interviewed on your podcast. They may not take your sales call, but they’ll be happy to be on your podcast. And they’ll remember you and what you do later.

That’s how you can be bold. That’s how you can make content that’s better than the average, run-of-the-mill content that’s burying all the good stuff. You can make things that stand out and catch people’s attention in a way that regular blog articles — like this one, I know — just can’t do.

And if you have any questions about book writing, blogging, writing audio dramas, podcasting, or content marketing in general, let me know. I’ve done all of that, and am happy to give advice and recommendations.

Photo credit: McFadden Publications, Feb. 1939 (Wikimedia Commons, Public Domain)

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Writers Don’t Get to Collaborate Like Musicians

I envy musicians. Not just because they play music and entertain millions of people. Not just because they can spend hours and hours doing something they love, breaking silence with something that’s beautiful or joyful. Not because they can create magic with their instruments. (OK, yes, that. I learned bass guitar for a year during the pandemic, but haven’t touched it for several months.)

I envy them for their collaboration and support. I am jealous of the way that just a few talented musicians can get together, play for a couple hours, and make something that no one has ever heard. I’m jealous of the way they can swap out people and make something even differenter than the thing they did before. (Yes, I know that’s not a word. That’s something I can do that musicians can’t.)

This week, I listened to Justin Richmond interview Johnny Mathis on the Broken Record podcast. My mom loved Johnny Mathis, and we listened to his Christmas albums every year when I was a kid, so I didn’t want to miss this one.

In the interview, Johnny — Mr. Mathis — talked about how when he first went to New York, he visited jazz clubs to watch musician friends perform and that they would often ask him to go up on stage and sing with them. Or how he worked with other musician friends on different projects, singing on their records, or inviting them to sing on his.

Mathis was able to perform with whomever and wherever he had the opportunity. And he was able to choose who he wanted to work with, and the result was something unique and beautiful and was enjoyed by people all around the world, like my mom. It was this collaboration and cooperation that made him one of the most popular singers and artists of the 20th century.

Raspberry Pie (That’s my son on the right).
A little closer to home, I watch my son play bass guitar in a few different bands around Central Florida. He gets asked to play fairly frequently because there’s a shortage of good bass players, and because they know he’ll do a good job for them.

At some of his performances, the band leader will sometimes ask a musician friend to join them on stage for a song or two. Or he’ll participate in an improv jazz session with some friends, and the performance will be so seamless, it’s as if they had practiced together for hours and hours.

I envy musicians for their collaboration and ability to just slip into someone else’s ensemble. As long as they know what they’re doing, it’s seamless, and you wouldn’t know they hadn’t always been there.

Music is all about relationships. Not just the notes between rhythm and melody, but in finding people you can mesh with and trust. As long as they’ve got the skills and you can depend on them, you can make some excellent music together. You can even record that and share it with the entire world, or play it in front of a live audience of one person or 50,000 people all at once.

Writers don’t get to collaborate

Writers don’t get to collaborate, not in that way. Writing is a solitary event. You do it alone, and no one is there to help. It’s hours and hours of writing and editing, but no one is looking over your shoulder to give advice. No one is typing on one half of the keyboard while you type on the other. No one is laying down a funky verb line while you dance around a noun melody with a staccato punctuation drum beat keeping the rhythm.

Right now, I’m sitting in a local coffee shop writing this, and no one is helping me. They’re off in their own little solo performances, tapping away at a laptop, looking at their phone, or reading a book. One guy next to me is writing in a small notebook. (God bless the pen-and-notebook people.)

Oh, sure, you can have editors or fellow writers pore over your work and make it better. But they pore over it alone, give it back to you, and then you go off by yourself and fix it. Then you can share it with the world, where it’s read by one person or 50,000 people all at once.

But you don’t receive real-time feedback as people read your book. You’ll never experience a room full of people all reading your book at the same time, cheering at the good parts or applauding at the end of each chapter.

Working together isn’t really collaboration. Not like musicians do.

There are three ways writers can work together on a project, but I wouldn’t call it true collaboration.

  • Split the project in half and work on it. Like, dividing up chapters of a book and writing them individually — like Kyle Lacy and I or Jason Falls and I did on our books. You may be working together, but it’s not an ensemble, it’s a group of individuals all working at different times.
  • Share a Google Doc and write in the same document at the same time. Jason and I did that in the first chapter of No Bullshit Social Media. We decided we hated it and never did it again. I would hate to try to do this with several writers at once.
  • Sit in a room full of other writers and shout out ideas while one person writes them all down. This is how writers rooms work, especially for comedies, and I would dearly love to be in one of those for a day. This is the closest to real collaboration, but even then, each line comes from a single person and is improved on by other individuals. Sure, they piggyback off each other, but they’re not making music.

But those opportunities are rare. Or, in the case of the Google Docs thing, terrible.

So writers are left to their own devices and can’t collaborate to make beautiful work in the same way musicians do. And for that, I envy them.

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Book Authors, Your Publisher Will Not Handle Your Book Publicity for You. Only You Will.

A few days ago, I spoke with two different people who were ready to publish their very first book. They wanted to know how to find a publisher that would handle their book publicity for them.

“Oh, your publisher won’t promote your book for you,” I said.

“Really? I thought the publisher handled all of that!”

“No, not at all. Unless your last name is Grisham or Patterson, your publisher won’t do shit for you.*”

* (Technically, that’s not true. Your publisher handles all editing, page layout, and cover design. You pay for that if you self-publish.)

It’s inescapable: When you write a book, you need to do your own promotion, or you need to hire someone to do it for you. Your publisher won’t do it, your agent won’t do it, your friends won’t do it. (Hell, they’ll barely buy your book!)

And people will not flock to your book just because you wrote it.

Your book may be great, but no one will care.

That’s because there are close to 1 million books published in the US each year. And if you count self-published books, that number is closer to 4 million.

Also, if you do manage to find a publisher, there’s only a 1% chance that your book will reach a bookstore.

Out of the 1 million books published this year, only 10,000 will make it to a bookstore. (My last edition of Branding Yourself was not placed in Barnes & Noble, even though they carried the last two editions plus my other book, No Bullshit Social Media. My publisher said Barnes & Noble just wasn’t a viable partner for them anymore. One of the biggest biz-tech publishers in the country, and they no longer worked with Barnes & Noble.)

So, your book is not going to magically sell just because you wrote it. If it did, we’d all be rich.

Which means you need promotion and publicity.

But your publisher is publishing dozens, if not a few hundred, books per year. Do you think they have the time to devote to your book and ignore all the others?

Absolutely not. If your publisher can put any weight behind the promotional efforts, it will be a few hours of sending a generic press release to all the same media outlets, blogs, and podcasters they send all other book announcements to. And then it’s on to the next book. And the next one. And the next one. And soon, your book is forgotten along with all the others they just promoted.

In fact, when you submit your book proposal or manuscript to a publisher, they’ll want to know the size of your social media footprint and newsletter subscription list. And if it’s not “a lot,” then they won’t publish you. It doesn’t matter if your book is the second coming of Confederacy of Dunces, they will give you a hard pass.

Which means you’re on your own.

Which means — and I cannot stress this enough — you need to do your own book publicity.

Let me say that again but in a bigger font.

You need to do your own book publicity!

If you don’t do it yourself, your book will not get promoted.

Oh sure, you could pay someone to do it, but you won’t get good publicity for less than a few thousand dollars per month.

It’s a question of time versus money: If you don’t have the time, then you need to pay someone to do it. If you don’t have the money, then you need to do it yourself.

Without explaining how to do it all (because there are several good books on the subject (affiliate link)), your publicity efforts should include:

  • An email newsletter campaign.
  • A social media campaign (Twitter and/or Facebook, plus maybe TikTok).
  • A book reviewer/blogger campaign.
  • A podcast interview campaign.
  • A paid online advertising campaign.
  • An email-your-friends campaign. (Email each of them, one at a time, ask them to buy.)
  • A convention/conference campaign.

You don’t have to do all of these things, but you need at least two of them — the first two — because they’re the easiest, they can be automated and scheduled, and they’re free. (Sign up for Mailchimp or Moosend; they have free starter options.)

I don’t care if you hate social media. I don’t care if you don’t know how to do an email newsletter. I don’t care if you hate having to email 200 book bloggers one at a time.

You have to do it. You have to do it. You have to do it.

Because your book won’t sell otherwise. Period, end of sentence.

Otherwise, your book will be the greatest thing you’ve ever done that no one will ever know it. You’ll sell it to a few friends and family members, and your partner will secretly buy three copies and give them to friends. But it will be just a tiny drop in 4-Million-Books-Published-Each-Year Ocean.

So let me say it again, but in red: You need to do your own book publicity!

“But I don’t like social—”

I don’t care. Get over yourself.

“But I don’t know how—”

I don’t care. Figure it out.

“But I don’t have the ti—”

I don’t care. Make the time.

“But I—”

Knock, knock.

“Who’s there?”

I don’t care. Do you know who else doesn’t care?

Everyone!

You need to do book publicity to make them care. You need to promote your book until you’re sick of it. And then you need to promote it some more. And when you think everyone else is sick of it, promote it some more.

Bottom line: You’re going to spend 90% of your time writing your book. And you’re going to spend the other 90% promoting it.

Because if you don’t do it, no one else will. No one will care as much as you. No one is invested as much as you.

You can either pay someone to do it, and they won’t spend as much time on it as you want.

Or you can suck it up and do it yourself.

Because your publisher will not promote your book for you.

Final note

All of this is not to discourage you into giving up or not seeking publication. You absolutely should. Submit to agents and publishers and get your book out into the world. You deserve to be published! People should read your work. Just be aware that your work is not done once you write The End. It’s only beginning.

Photo credit: Dimhou (Pixabay, Creative Commons 0)

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Questions About Personal Branding for the Writing Workshop of Chicago

A few weeks ago, I spoke at the Writing Workshop of Chicago about personal branding secrets for authors. We had a great question-and-answer period at the end, but we ran out of time before we ran out of questions.

So the organizer and fellow humor writer, Brian Klems, forwarded the questions to me and I decided to answer them in a blog post. This way, he can refer all the attendees to this page and there’s a permanent location for the questions. But more importantly, I’ll get a bump in web traffic.

First, Yvonne asked, “Are Facebook author pages useful?”

Yes, they are, for a couple of reasons. One, a lot of your readers are on Facebook and it’s easy to point them to that page. Second, it gives you more privacy because you don’t have to be Facebook friends with your readers. You don’t necessarily want them to see your personal stuff, so an author’s page is a great way to do that.

However, keep in mind that Facebook limits the reach of its pages in the hopes that you’ll pay to boost your different posts. Depending on what you write, you might be better off creating a group about your books or topic. Groups updates are not throttled the way a page’s updates are, plus you can encourage more discussion among your readers.

But don’t let the Facebook page/group be your main hub of activity. Try to have a writer’s blog/website as your central hub and treat Facebook and other networks as the spokes.

Maria asked, “I’d always heard you should not post the same things on your various social media channels, so you give people an incentive to follow you in different areas. Your thoughts?”

That’s mostly true. One thing to keep in mind is that people will not see all your social messages. That is, my readers don’t see what I post on Twitter, Facebook, and Instagram at the same time. People have their preferred social networks and probably won’t go to the others just to find you.

Having said that, you can take advantage of each network’s format to post your best message. You get 280 characters on Twitter, but you get 2,200 on Instagram. You may want to cram several #hashtags into a tweet, but stick them in the first comment on Instagram.

If you want to do simple things like sharing Instagram photos to Twitter and Facebook, you can automate that with Zapier or If This Then That. You can set it up so when you post a photo to Instagram, it will automatically be shared to Twitter and Facebook. That’s a real time saver. But if you want to have separate and distinct messages, you can either do it one at a time, or you can use a service like Loomly to post from a single dashboard. You can also use HootSuite, but it costs nearly $50 per month, compared to Loomly’s $26 per month. Which makes me think doing it one network at a time is ideal for most writers.

David wanted to know, “How important in LinkedIn for authors?”

That depends. It’s critical for business/non-fiction authors, not so much for fiction writers. You can find readers on LinkedIn, even if you’re a scifi/romance/mystery writer, but it’s going to be difficult to find them since most people go there looking for work-related content.

If you only have a limited amount of time and energy to focus on one or two social networks, stick with the ones that are going to do you the most good. LinkedIn won’t be that unless you’re writing business-related books.

Howard wondered, “What do you think about #BookTok on TikTok?”

Honestly, I haven’t watched it enough to have a strong opinion about it, but I will say that anyone who’s talking about books is doing important work, and they’re finding thousands of fans.

There are several channels/creators who have gotten very popular on TikTok talking about writing and books. So if you want to join their ranks, go for it. TikTok has become an important platform for a lot of people, mostly Gen Z, so you should take advantage of that.

Clare asked, “How does your intended audience shape how you brand yourself? For example, I write middle grade fantasy.”

That’s a great question, Clare, and almost worth its own blog article, if not an entire book!

Remember, a brand is an emotional response people have to our face and our name. (Or if you’re a company, the emotional response to your name and logo.) When you think about brands like McDonald’s, Nike, BP, or the Chicago Cubs, people have an emotional response to them. They love them or hate them.

So the emotional responses our readers have become our brand. We can shape and hone that brand ourselves, but ultimately, we’re not responsible for how people perceive us. We can do all sorts of great work and people’s emotional response can be “Yay!” “Ugh!” or “Meh.”

Having said all that, you should treat your personal brand almost like a persona or a character you play. That’s not to say you should lie about who you are. Rather, your personal branding efforts should match what your readers and fans expect of you.

If you’re a middle-grade fantasy writer, the kinds of things you share on social media should be about middle-grade fantasy subjects: swords, dragons, wizards, etc. It’s not really the place to write at length about the supply chain crisis or your thoughts on the January 6 hearings. You can do that elsewhere, but not on your author profiles because it doesn’t match what your readers want.

On the other hand, if you’re a political/current events writer, you don’t necessarily want to share your cosplay photos from Dragon Con.

So, in that sense, your audience shapes your personal branding efforts because you should give them what they want.

Cindi wanted to know, “Do you use some of the new social media platforms, Locals, Rumble, Spotify, and Truth Social?”

Not really. For one thing, there are thousands of social networks these days, compared to the few dozen there were when I first started doing all this in 2007. So I can’t even keep up if I wanted to.

Having said that, I’m not against using a new social network, and I’ve joined a few but I never stick with them. However, I’m always on the lookout for new alternatives to the ones I use now. Is there a new Twitter alternative? Where should I go if Facebook collapses? Is there something better than LinkedIn?

Ultimately, if I can find a network that looks like it won’t fail, doesn’t depend on rocket-like growth just to survive, and lets me quickly and easily post updates (this is one reason I haven’t gotten into TikTok yet), I’ll use it.

And finally, Mandy put a smile on my face when she said, “@erik awesome stuff (no question) :-)”

Thank you, Mandy! I appreciate it. I always have a great time speaking to the Writing Workshop classes.

If you have any other personal branding questions, just drop them in the comments and I’ll be happy to answer them. Thank you to everyone who came to the event, and I look forward to seeing you soon.

Taken from “10 Personal Branding Secrets for Authors” by Erik Deckers”