thebookchick, Author at

Breaking the Code: from published to best-selling author

Last weekend, Les Zig and I were part of this two-day festival held at the Belgian Beer Café at Southbank in Melbourne. The venue was very apt for writerly activity and the program was jam-packed with great topics for anyone wanting to learn about writing and publishing.

Best-selling author is the thing we are all chasing. Or is it? Simply being published could be what many authors would be happy with and that was the topic of many of the discussions at Breaking the Code last weekend.

The brain-child of Mat Clarke and Suraya Dewing, Breaking the Code was a mammoth task. It’s hard to pull off a program like this for the first time. Of course, there were some teething problems and the venue wasn’t perfect (aside from the beer) but overall, I think it was a success.

Of course, our session From Writer to Reader was well received because we were giving an overview of the writing to publishing process. We always aim to educate people on the pitfalls, not because we want to depress people but because we want them to be well armed with knowledge to prevent wasted time and money. There were great questions from the audience and a real attitude for sharing ideas and knowledge in the room.

There were two standout sessions that I think really gave a great perspective on promoting your book. The first was a session with Clare Dea, author of The One Breast Goddess. Clare is a specialist in speaking, so this enhanced her presentation but her overarching message was to be authentic. Own your story. When you think about this in terms of your book you might be totally confused. ‘Of course, I’ll “own” my story because I wrote it!’ But this isn’t what she’s talking about. Clare means that when it comes to promoting your book, you are the brand. This means that you don’t offer your book out to the reader and think that it’s so great that the writing will do the work of getting the book to that elusive best-seller status.

A book isn’t a book until someone reads it. So while you MUST make sure it’s well written, and that the publishing produces a great product, that is only the start of the journey. You need to then become a person who is willing to get in front of people and “own” who you are and tell everyone about your book.

The other stand out for me was Ander Louis from Up and Up Media. Andrew liked to compare the music industry to publishing. There were two things that Andrew said that really resonated with me. One was that it’s cool to call yourself an indie publisher rather than self-publisher (just like in the music industry, it’s cool to call yourself an indie musician). And just like in the music industry, as an indie artist, it takes time to gather a following. You have to do the local pubs before you make it to bigger venues. Translating this to books is helpful in looking at ways to get in front of readers.

There was a wealth of knowledge in the room at Breaking the Code and I came away with some new things to try. I hope they run it again next year. Like anything, it takes a few years to get a following and this format is no exception.

Blaise the book chick.

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Recording your audiobook will give you another platform from which to offer your book.

If you’re a reader, do you listen to audio books? Or if you’ve published a book, have you converted it to an audio book? It’s worth exploring this as an option for your story so that you can access another platform that allow readers to be exposed to your work.

When I was a child I loved tuning into the radio to listen to serialised stories, especially if the reader had a compelling voice. There’s something special about being read to. I know that people love live readings because of the regular numbers who attend our open mic nights and from library events that I used to organise where a performer would tell stories to a live audience. It feels luxurious to be read to and for some it may remind them of being a child when a parent or grandparent read to them.

While I do like audio books, my preference is to read the printed version but there are many instances where having the audio is useful, like travelling. This is the same for podcasting, which is growing in popularity.

Audio books have been around since the 1930s, they were called ‘Talking Books’ back then and were primarily thought of as a good resource for people who were visually impaired. Mostly these ‘books’ were short nursery rhymes or poems. Whole books didn’t really make it to the mass market until the 80s when it became easier to produce them and they were more commercially viable, but they were still quite expensive for the consumer.

Thanks to digital technology, the cost to produce an audio book has reduced, therefore the cost to consumer has reduced dramatically, to the point where there are apps like audio.com where you can subscribe and get books at varying prices, sometimes free, much like eBooks.

If you’re publishing books, most likely you have created a print book and/or an eBook. While eBooks are not as popular as people think (remember the cries of ‘the book is dead!’ about eight years ago?) it still gives readers a choice. Adding an audio book to the mix spreads the readership further, as well as exposing your name and product to a wider audience.

Many people ask us about creating audio books and to date it has been an expensive option. Now it seems that technology is catching up, so we are looking at ways to produce them.

Enter Studio Four4ty. On a recommendation, I organised to record my own memoir into an audio book through this local studio. Last week was our first session of four hours. It was fun going into the little recording booth and donning the headphones, but I have to say it was also a little daunting. Speaking isn’t my forte and any new experience can be anxiety ridden but I did it anyway. I wanted to experience it for myself and I was curious to see how my stories would come out with my own voice.

The person reading the story should fit the written content. Many people hire professional actors who are used to voice work, but I often think that the actual writer is good if their voice suits the story. If the story has a protagonist (but written by a female) who was a 25-year-old man, it would suit to have a male voice.

I’m yet to hear the full book as a completed audio book but so far, the experience has been positive. I have another recording session to complete and then the sound engineer, Jarred, will edit it (there were plenty of fluffed sentences) and put it together into one file.

If you’re looking at ways to get your work into readers hands, it’s worth thinking of as many ways to do this. Don’t be narrow minded and just think ‘print’. I’ll report back in a few months to see how my audiobook is received and I’d love to hear opinions about the different ways you like to consume stories.

Blaise the book chick

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