On Dealing with Bloggers and the Press

Today, I’m going to put on my project manager hat and share with you some of my frustrations working for FlamesRising.com. Because I work as a professional marketer for my day job, I’ve been able to translate a lot of my knowledge and test the things I’ve learned through this website. FlamesRising.com is a horror, dark fantasy and dark science fiction webzine that offers new, reviews, interviews and other content for fans of the genre. Part of my role is to reach out to other authors, game designers, artists, publishers, etc. to help provide them coverage on our site for our readers.

FlamesRising.comReviews are easy to write, because in a review, I have the product in front of me and I can assess its value based on my personal opinion. However, reviews are also time-consuming and they are not the “only” focus of the site. Often, we reach out to people (or they reach out to us) to get different kinds of coverage like an interview or design notes, etc. One of the biggest challenges that I have, is that it is very rare when someone provides me with enough information to talk about their game, comic, book or movie. Nine times out of ten, we do not get a press release that explains the important points about a product or an author. Translation? We then need to research the product or the creator to find things to talk about. In some cases, creating a news piece about a new product takes longer than writing a review for this reason.

As careful as we are, this approach can actually translate into us asking questions that don’t help the audience uncover what they want to know about the person we’re interviewing. There are a ton of different ways to write an interview, too, that can range from a single product focus to a role at a company. So you understand our time constraints, we started a preview functionality, but on average, it takes us a few hours to manually code each one because we typically don’t get it in the correct format.

Although it’s certainly not the case, sometimes it feels like there is an underlying expectation that we should do most of the heavy lifting. (Believe me when I say, that if I was employed full-time in this role, making a decent salary, I would do most of the heavy lifting. In our roles, we do not get paid a salary. Our site is free for everyone to read and enjoy.) The truth is, most sites that can provide creators and publishers with the coverage they need are built on a “free” model so a lot of other sites like ours are in the same boat. There are sites that are owned by a corporation, but even then their content will, understandably, have a slant or an agenda that fits their goals. Our goal, simply, is to share content about the genre that we love so much.

What can you do to help? You know your product the best! When it comes to news releases, interviews, contests, etc. why not come up with a few, different press releases that tell us about you or your product. Why will your audience like it? Why not determine what the highlights are (e.g. talking points) and let us know when we’re taking a look at what you’re promoting?

We have worked with professional marketers that work at publishing houses as well as individual authors that don’t have a public relations agent. Regardless of “who” is submitting the content, it helps save us time and get more content on the site faster if we have it delivered to us in a web-friendly format. While we have a promotional schedule, it also helps if you tell us when your product is going to be released and whether or not you like more than one press release posted to the site.

In order for any website to provide you with the best coverage possible, my personal opinion is that you really need to be very clear and open with your communication. I know a lot of authors and publishers worry about that first week or first month’s sales, but in our experiences, you can’t be afraid to talk about something that’s an “old” product that your existing fans enjoy, too. It’s amazing to me that there’s a preconceived notion out there that if one website in cyberspace talks about your product, then you’ve “done your job” providing PR.

There’s three things I’d like to point out here: one, if you have a website or a blog, you will help your readers learn more about you if you link back to (or mention) the content that has been provided for you. Second, no “two” website audiences are alike. FlamesRising.com has its own market of readers which may be different from another site. Yes, there could be some overlap, but that’s not necessarily a bad thing. We can help you tailor your content to our audience (which is what every website does) and we hope that you’ll work with us. Third, no matter how popular you are, not everyone knows about your work. That simple statement affects not only our content to our readers, but I hope that it sparks your imagination when talking about your products, too.

I hope that the things I’ve shared in this post today will help you on your quest to spread the word about your products and work. My goal here was to shed some insight on how you can manage your PR better by showing you the effect of poor communication.

Family Games 100: Essay List Announced

Hey folks, FAMILY GAMES: THE 100 BEST just left the printer and I’m pleased to share with you the full list of authors, games and essays. The game that I talked about was GLOOM, which is one of my favorite card games. How many of these games have you played or can recognize?

    Foreword by Mike Gray
    Introduction by James Lowder
    Afterword by Wil Wheaton
    Appendix A: Games and Education by David Millians
    Appendix B: Family Games in Hobby Games: The 100 Best by James Lowder

List of Family Games and Essayists

    Carrie Bebris on 10 Days in the USA
    Steven E. Schend on 1960: The Making of the President
    Dominic Crapuchettes on Apples to Apples
    Mike Breault on The Awful Green Things from Outer Space
    Jeff Tidball on Balderdash
    Keith Baker on Bang!
    Bruce Harlick on Battleship
    James Wallis on Bausack
    Paul Jaquays on Black Box
    Lewis Pulsipher on Blokus
    Teeuwynn Woodruff on Boggle
    Fred Hicks on Buffy the Vampire Slayer
    James Ernest on Candy Land
    Ian Livingstone on Can’t Stop
    Bruce Whitehill on Careers
    Jared Sorensen on Cat
    Wolfgang Baur on Cathedral
    John Scott Tynes on Clue
    Alessio Cavatore on Condottiere
    Elaine Cunningham on Connect Four
    Will Hindmarch on Cranium
    Erik Mona on Crossbows and Catapults
    William W. Connors on Dark Tower
    John D. Rateliff on Dogfight
    Robert J. Schwalb on Dungeon!
    jim pinto on Dvonn
    Gav Thorpe on Easter Island
    Jeff Grubb on Eurorails
    Kenneth Hite on Faery’s Tale Deluxe
    Richard Dansky on Family Business
    Warren Spector on Focus
    Corey Konieczka on For Sale
    James M. Ward on Fortress America
    Stan! on Frank’s Zoo
    Bruce C. Shelley on The Game of Life
    Phil Orbanes on A Gamut of Games
    Monica Valentinelli on Gloom
    Matt Leacock on Go Away Monster!
    Steve Jackson on The Great Dalmuti
    David “Zeb” Cook on Guillotine
    Jason Matthews on Gulo Gulo
    Joshua Howard on Halli Galli
    Bruce Nesmith on Hare & Tortoise
    Mike Pondsmith on HeroClix
    Anthony J. Gallela on HeroQuest
    Chris Pramas on HeroScape
    Ed Greenwood on Hey! That’s My Fish!
    Colin McComb on Hive
    Alan R. Moon on Hoity Toity
    Jon Leitheusser on Ingenious
    Uli Blennemann on Java
    Luke Crane on Jungle Speed
    Monte Cook on Kill Doctor Lucky
    Emiliano Sciarra on Knightmare Chess
    Todd A. Breitenstein on Liar’s Dice
    Marc Gascoigne on Loopin’ Louie
    Andrew Parks on Lord of the Rings: The Confrontation
    Seth Johnson on Lost Cities
    John Yianni on Magi-Nation
    Bill Bodden on Master Labyrinth
    Andrew Greenberg on Mastermind
    Ken Levine on Memoir ’44
    Scott Haring on Mille Bornes
    Steve Jackson on Monopoly
    Sheri Graner Ray on Mouse Trap
    Kevin G. Nunn on Mystery Rummy: Murders in the Rue Morgue
    Dale Donovan on The Omega Virus
    Darren Watts on Othello
    Charles Ryan on Pandemic
    Michelle Lyons on Pente
    Thomas M. Reid on Pictionary
    Nicole Lindroos on Pieces of Eight
    John Wick on Pit
    Matt Forbeck on Pokémon
    Robin D. Laws on Prince Valiant
    Stephen Glenn on Qwirkle
    Sébastien Pauchon on Ricochet Robots
    Peter Olotka on Risk
    Richard Breese on Rummikub
    Jesse Scoble on Scotland Yard
    Richard Garfield on Scrabble
    Mike Selinker on Set
    Rob Heinsoo on Small World
    Hal Mangold on Sorry!
    Jess Lebow on Stratego
    Eric Goldberg on Strat-O-Matic Baseball
    Andrea Angiolino on Survive!
    Karl Deckard on Thebes
    Dan Tibbles on Time’s Up!
    Tom Wham on Trade Winds
    Susan McKinley Ross on TransAmerica
    Ray Winninger on Trivial Pursuit
    Leo Colovini on Twixt
    Matthew Kirby on Uno
    David Parlett on Upwords
    Lester Smith on Werewolf
    John Kovalic on Wits & Wagers
    Philip Reed on Yahtzee
    Kevin Wilson on Zendo
    Jess Hartley on Zooloretto

Writer’s Block? Maybe it’s “Writer’s Avoidance” Behavior

I was fortunate to attend a presentation given by author Kathy Steffen, who talked about ways to overcome writer’s block. One of the things she talked about was how writer’s block isn’t always a “block” of creativity, but you’re actually engaging in something she called “writer’s avoidance behavior.”

I feel that this is especially true for writers in today’s challenging market, because there are a lot of discussions that distract an author (or a potential author) from staying on the keyboard and writing. From conventions to a metric ton of posts about how often you should blog to developing a writer’s platform, there are often more discussions about how to market yourself than how to actually write. For a new author, that can be very confusing. After all, they don’t see what all the other published authors go through before they get online and start marketing themselves. They don’t see how many hours it takes to write a novel, then revise it and go through the editing, submission, approval, proofreading, etc. process. Of course, even though the experiences are different, the distractions are still the same and for authors that need to stick to a deadline, it can be very easy to lose yourself in a sea of babble.

Often, I receive a lot of questions about how I balance full-time job, part-time writing, and my marketing efforts. First and foremost, I spent a number of years focusing on “how to write” not “how to market.” When I was younger, I focused a lot on the mechanics of writing so the business portion of it wasn’t as prevalent and — as a result — the opportunities just weren’t there. As I got older, I entered the gaming industry and was able to transfer a lot of my experiences to a number of opportunities, but I was so heavily focused on learning how to fit my writing into another world (or game system) that I didn’t really care about the marketing aspect of this. Was I writing all the time? No, but I feel that I was writing more often. When I didn’t write, it was because there were other challenges that came up like dealing with contracts, rejection or issues with scheduling and payment. In a way, those challenges became roadblocks to writing and affected my creativity, but not for lack of trying.

This year, I’ve taken a hard look at why it’s been so difficult for me to get my third round of revisions done for my novel. I realized that I was avoiding the revisions because I felt I needed to keep active, to have a vibrant persona that allows me to attract and retain people interested in my work. Well, sure…that may (or may not be) important…but when it comes down to it — all the followers, friends, devotees, etc. in the world don’t matter unless you have something to show for it. Even with a platform, you can’t “sell” a blank page.

After jury-rigging my schedule and figuring out what was important, I realized that it is possible to be active, to use your existing platforms, etc. provided I schedule my time better. Sure, I might not be as “active” as I was, but if I get online at night…I’m probably engaging in some form of “writer’s avoidance” behavior.

I understand that other authors have the same challenges that I do. Sometimes, an interruption that takes the form of two loads of laundry can lead to an evening of a poor word count. However, I also feel that scheduling challenges isn’t the only reason why an author engages in “writer’s avoidance” behavior. Often, an author’s insecurities can manifest in any number of different ways and there are a lot of “writer’s avoidance” behaviors that can result from that. One trend that I’m seeing, are a number of “new” authors that really, really want to write…but spend most of their time following other authors online or talking “about” writing. In my mind, someone can talk about the state-of-publishing and how to be a writer all they want — but if they never actually sit down and do it…then they’ll never “be” a writer. In many ways, it’s easier to talk about something you want to do from a theoretical or a hopeful perspective, because you’re trying to boost yourself up. Sometimes, though, you just have to disappear for a while and ignore all the naysayers and/or the cheerleaders. Sometimes, you just gotta focus on YOUR work and forget about everything else.

Be sure to check out Kathy’s article about battling writer’s block. If you have any insight or additional thoughts to share, I invite you to comment below.

“Brand” Mistakes You Don’t Want to Make

One of the things that I find really interesting, is how many authors and publishers treat their public relations and marketing channels. (This can include reviews, interviews, appearances, etc.)

The “old think” was that PR was something you needed to pay for. You’d incorporate your PR with your marketing, and you’d work with other “paid” professionals like reviewers or reports to see what fit into their schedule. The “new think” is that you, as an author or publisher, can leverage a lot of free methods to generate buzz and PR for your career.

Regardless of what side of the fence you fall on, there are a number of mistakes I see people making when it comes to dealing with their “brand.” Whether you work for a company or not, brand management is a lofty phrase that deals with how others perceive you or your works. Here are some of my biggest frustrations:

    1. Being “Brand” Arrogant – Do you believe that everyone knows your name or product? Guess again. Just like not everyone on the planet has seen Star Wars, not everyone has read your books or even knows you exist. Sure, everyone wants to feel proud of where they are in their career, but I’ve seen how brand arrogance hurts not only an author and/or publisher but the reader. The minute you publicly tell someone that “they’re wrong” and forget to keep your customer service voice on, the greater you’re at risk for that customer talking shit about you. No, not every customer is “right,” but you have to remember that the conversations you have with a single reader online are read by countless readers that are not commenting on the review or your conversation. You shouldn’t have to “defend” your products or your brand in a hostile manner — I don’t care how crappy the comment was. A mistake is one thing (and there are ways to handle that) but trying to “sell” yourself or your brand to someone who doesn’t want to have anything to do with you is entirely another.
    2. Not Understanding “Who” is Talking about You – There are two types of reviewers: those who work for places like the Chicago Times or the New Yorker and those who don’t. The cold, hard truth is that the bulk majority of reviewers on the web are not getting paid to write your review. They are, simply, readers who love to read books or play games and watch movies. (The jury is still out on which reviews “sell” more books. After all, are you influenced more by your friends’ opinions or a professional reviewer?)
    In many reviewers’ minds, the unpaid reviewers are doing their fellow reader a favor by providing their honest review of what they’ve experienced. This is part of what’s called “grass roots” marketing. In many ways, these reviews are more like testimonials, because these opinions are coming from “a customer.” Yes, reviewers appreciate it when they get a review copy, but often publishers see this as an expectation to get a positive review done ASAP. With “grass roots” marketing, many reviewers don’t feel an obligation to write a review in a timely manner, especially if they didn’t like the book. With “grass roots” marketing, often reviewers will get to it when they can, not because they don’t want to.
    Unfortunately, I’ve seen one too many authors and publishers alike bashing reviewers. Here’s what that gets you — negative press. Publicly bashing a reviewer is a big “no-no” for many reasons, but partially because a reviewer is not expecting flak for providing an honest opinion about what they’ve experienced. Just like you, as a customer, don’t like every brand of coffee — reviewers are not going to enjoy every book, game, movie, etc. they come into contact with.
    3. Trying to Control the Message – Once people start talking about you or your brand, don’t even think about trying to “control” what people are saying. Most people do not engage with places like Facebook, Goodreads, MySpace and Twitter to be deluged by people shilling something. Why? Because social media is all about people interacting with other people. It is not there to “serve” you personally in the way that you expect, nor does it happen on your schedule. In fact, some of the most popular content are the things that don’t cost “money” (e.g. not including time as a resource here) to make. Yes, comment moderation is necessary and you can post your policies for that. That, however, is different from “controlling” what people say about you. Only posting positive, corporate-sque comments about your brand is a dead give-a-way and a big turn-off for people who follow you religiously. In my experiences, people respond better to humans, not robots. Ignoring or divulging everything that people are saying are two, other tactics, both of which can blow up rather poorly in your face.

Instead of trying to control the message, I try to be a natural part of the message regardless of what I’m doing. This comes pretty easy for me, because I believe in being genuine and passionate about whatever I’m writing.

I recommend not only defining what your brand is, but also what message you want to portray and how you want to engage with other people. Once you do, you’ll be able to remind yourself what you want to accomplish in your marketing efforts. (e.g. Maybe you’ll think twice before posting a nasty comment on a bad review.) For more about how to request a review for your book or product, read Matt Staggs’ latest post entitled: “Critics on Rookie Mistakes and How to Avoid Them when Submitting Your Book for Review.”

Agree? Disagree? Feel free to comment below.

Why Your D&D Game Doesn’t Make a Great Novel

DragonHave you heard the line, “Your D&D game won’t make a great novel?” If you’ve heard me speak on panels before, or if you’ve read several submission guidelines from agents or publishers, you might have. I’d like to tackle why.

First, let’s get all the bad mojo out there on the table by saying something completely untrue. “Oh, that evil publisher doesn’t like gamers…” Several well-known authors I’ve met are either gamers themselves or their kids are. And by gamers, I mean everything from tabletop to video and card games. Also? Publishers aren’t evil. You may get frustrated by their decisions, but publishing a book — even if it’s potentially your book — is integral to their overall business. To imply that they’re evil means that a business is a biological entity with a soul. Yes, some businesses have been accused of being soul-less, but that’s actually a correct statement. A better description of a business would be to think of it as a large, gigantic clock. You only see the face that tells the time, but there are lots of moving parts. Each of those “parts” may have a soul, but together they act as a publisher who wants to produce books that other people will want to purchase and read – they certainly aren’t there to make a writer’s life miserable.

So now that we’ve got that out of the way, let’s get back to the topic at hand. Why won’t your D&D game make a great novel?

Here’s a rhetorical question: have you heard this story before? It’s about an elf, a ranger, a dwarf and a mage…they wake up at this inn…they don’t have any memories…they face this really evil overlord guy who–

Yes. Yes, I’m sure you have. So has everyone else on the planet.

The first lesson here, is that those characters and that plot have been beaten to death so badly, they’ve become their own cliche.

The second lesson I’d like to offer, is that writing a story not the same as “writing up a game” as a story. When you “write up a game,” you are telling the story as it happened during play, because you believe your game is so exciting other people will want to read about it. However, these stories often turn into a dictation of events, which causes the story to sound forced and the characters to become inflexible. When you write a story, you have more freedom because you don’t have to stick to a specific series of events, partly because the writer hasn’t already experienced what had happened.

Third, I’d also like to point out that many new writers don’t realize that when you write a story about your D&D game, you are engaging in a form of writing called “fan fiction.” In other words, you don’t “own” the story that you’ve created and legally, you aren’t able to sell what you’ve written. (Be sure to read my post about the difference between shared world, tie-in and fan fiction if you’re confused).

Yes, there are people who write for DRAGONLANCE and other tie-in novels for established settings. They do have some challenges writing novels, because they are writing in a world that has already been created. This type of writing can be more difficult than writing original fiction, because there are often strict guidelines that the writers and editors have to follow. (If you’ve ever worked on tie-in or media fiction, it’s a lot like putting a puzzle together.) However, this form of writing isn’t the same as “writing up a game,” because the story isn’t about a “real life” game that’s being played, it’s about a story set in the world of D&D.

If you want to share the story about your favorite game, I recommend reviewing Wizards of the Coast’s Fan Site Policy. If you want to write media, shared world or tie-in fiction, that’s an entirely different path and I encourage you to read Wizard of the Coast’s book submission guidelines.

Regardless, if you’re serious about your love of gaming and honing your craft, I’d encourage you to take a more professional approach. Please, do yourself a favor and conduct a little bit of research before you start typing away. Writing a novel is not as easy as it looks, and you don’t want to get off on the wrong foot.

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