The Value of Promotion vs. the Value of Story


First, the announcement. After our first CSFF Top Blogger Award run-off, Rachel Starr Thomson garnered 55% of the vote to secure the April Tour honors. Congratulations to both her and Brandon Barr for superb posts during the Blaggard’s Moon tour.

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In case you missed it, on Friday Novel Journey posted an interview with contributor Jessica Dotta and uber-agent, Donald Maass. Half way through, the discussion turned to promotion.

Jessica noted that Mr. Maass is credited with saying that promotion and marketing play a small role in the success of a book. In fact, in Writing the Breakout Novel he calls these ideas about promotion and marketing myths authors continue to believe. When Jessic asked (in question five) if authors shouldn’t strive for the best marketing possible, Mr. Maass replied with a succinct analogy:

Great stories are the engine. Promotion may be the gasoline but gasoline won’t propel a two-cylinder putt-putt very fast–or push a broken engine very far down the road.

Jessica expanded the discussion, pointing to a handful of successful debut novels that snagged reviews in elite media sources and then went to the top of the best selling charts. But Mr. Maass insisted that great storytelling explained the success:

Why does media get excited about a novel? What starts the bandwagon rolling? Publisher hype? That’s a prod, obviously, but media far more often than not take a pass. What gets them excited is the same thing that gets word of mouth going: a great story. It all comes back to that. Up and down the ladder it all starts there.

As you might expect, Mr. Maass also believes that a writer should take the time to get the story right. Apparently this is a point he strongly makes in his new book The Fire in Fiction (which I am anxiously waiting to arrive from Writer’s Digest), prompting this exchange:

[Jessica] One of the elements I loved about The Fire in Fiction was your encouragement to work until the book is right. As writers, we often hear that in order to survive we must be capable of producing one or more books a year—lest we lose our audience and future contracts. But what if it takes an author two to five years to craft a good book?

[Donald Maass] Writing a great novel at a book-a-year pace is extremely difficult. I watch clients struggle with that challenge. One empowering thing to know is that the bigger the impact a novel has, the longer readers will wait for the next one.
– emphasis mine

I have to admit, that last line might be my favorite. Well, what do you expect from a writer of a four-book epic fantasy? 😉 I mean, isn’t it important for readers to have time to spread the word if book one gripped them? Even in this technological age, that doesn’t really happen over night. Or necessarily in three months. I didn’t read my first Harry Potter book until the third one was out, and they were not flying off the presses every six months.

For the most part, the word builds and the promotion builds because the story demands it. Yes, there may be some mysterious exceptions. I think of G. P. Taylor’s Shadowmancer which burst on the scene in 2004 as another book coming out of the UK with a huge following. Americans dutifully lined up and bought the book, and it did indeed hit the best selling list.

But today the lifetime sales on Amazon of the Creation House edition is over 450,000. What’s worse, the book that followed, Wormwood, is 250,000 places higher. Since I haven’t read Shadowmancer, I am going by the reports I’ve heard from writer friends (but the lion’s share of the Amazon reviews bear out their opinion)—this was not a good story.

Maybe this is the exception that proves the rule. On occasion the media will jump on a book bandwagon built by hype not substance. The result may be great sales, but the public, when fooled once, won’t likely be fooled twice by the same author.

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