I was asked recently, by Francis de Aguilar, a writer friend, what first caused me to “Become interested in African wildlife.“
A simple question.
I told him it was after visiting South Africa, particularly the time I spent in the Hluhluwe Umfolozi Game Reserve.
However, Francis’s question stayed in my mind; although I answered him, it left a nagging doubt in my mind I was wrong.
After pondering for a few days, the truth unravelled itself. I now knew the correct answer.
My interest with Africa and its diverse multitude of wildlife was first stoked by reading the novels of Wilbur Smith.
Back in the early seventies, I picked up a rather dog-eared and worn copy of ‘When the Lion Feeds’, which I devoured within two days. I followed that book by purchasing ‘The Dark of the Sun’, again read within a few days.
I was about sixteen years old and, for the first time, ‘hooked’ on a particular author.
I read all of Wilbur Smith’s books up to the 1991 publication of ‘Elephant Song’. My favourite book, (excluding any of the ‘Courtney or Ballantyne Novels’) must be ‘Eagle in the Sky’…or ‘Cry Wolf’…or ‘A Sparrow Falls’….or…
But I digress.
The real answer to the question posed to me by Francis is, it was reading these books when I was a young man that stimulated my imagination, made me think about the heat, the vastness, the veld, the bush and, of course, the animals of Africa.
For years, I carried my imaginings of the world Wilbur Smith planted in my head with his words, until one day I had the opportunity to visit Africa myself.
I was not disappointed.
The continent is mind-bogglingly vast. The scenery, the smell, the sun, the animals, the people, everything exceeded my expectations, bettered those imaginings I held onto for so long. This I find is something rare, very few places ever exceed our own imaginative conceptions.
I have returned to Africa many times, to different areas, different countries within this vast dark continent.
You may have heard it said, Africa captures, not only your heart but soul and once you have been, you can never really leave.
These are some of the most honest words ever spoken.
I am here now, but part of me will forever remain in Africa.
Now, being a writer, I cannot leave an article like this with just one conclusion when I know there are always several stories to be told about everything.
Therefore, I would like you to also consider this from Wilbur Smiths point of view; or maybe it is just my own interpretation of what I think his view may, or could, be.
Who knows? But I’ll write my thoughts out anyway.
I wonder if dear old Wilbur thought of me when he wrote his first novel?
I don’t mean me as an individual, as a single person but as a conceptual being. I wonder If Wilbur thought he may influence some young man, somewhere in the world, to fall in love with Africa as he typed out his very first paragraph of ‘When the Lion Feeds’ way back in the early 1960’s. (The book was first published in 1964).
Then, my thoughts ask the very same question of myself.
Do I have an image, a conceptual ‘personage’ in my mind who may, one day, be influenced by my own work, by my writings, by the tiny little black shapes, these strange runes of ink I scattered across countless pages?
The answer is yes, I do have such a notion, albeit a rather intangible abstract.
Which leaves you to ask yourself the same, do you?
Think about it carefully, do you?
If you would like to take part in making my rather intangible abstract notion a reality, then please start by reading ‘Within the Invisible Pentacle’ a collection of thought-provoking stories which are not quite as you may think they may be…
Does this title sound stupid? (Don’t answer that.)
I was trying to come up with a fancy, clever, literary genius of a title, one which would give an undeniable clue to the content of this post.
I got a few good ones lined up and then re-read them. Most were so oblique even I forgot the connection. Others read more like popular newspaper headings than a serious post about writing.
In the end, I settled for what you have above. Which cannot be too bad because here you are, reading me waffling on about something inane.
Okay, on with my post.
Many of my indie author friends, especially those who tend to write in a specific genre, have one or more series of books.
I know writing a book series is no new thing, but it is one which has become resurgent in popularity over recent years. This is partly because of a shift in reading habits, which in turn is partly influenced by film and television ‘franchises’. (I shall not go into the reading trends and patterns regarding general social psychology of the masses here… albeit a subject I love.)
The ideal is to have someone buy a copy of one of your books and like it so much they rush out and by the whole series… or nowadays go to an online bookstore; not so much fun as browsing a ‘real’ shops shelves but quite practical, especially for social hermits.
Anyway… I seem to be digressing.
The problem, it seems, lays with having ‘that someone’ buy the first book of your series.
Herein lies a quandary.
Until such a person has a copy of your book in their sticky mittens, they shall never know how captivating the story is. They shall never know your carefully crafted characters, fall in love with your protagonist or hold disdain for your antagonist.
Neither will they learn how well you write, narrate or how charming a tale spinner you are. Which would all be a ‘bit of a shame’.
Oh, I hear so many of you thinking, “it’s all about promotion and marketing, that’s how you get readers.”
Well, yes and no.
Yes, it is about promoting your works, and NO… Allow me to enlighten you on my reasoning.
It is not all about promoting your books. (‘Promoting’ is a word I shall use as an ‘umbrella’ term to include marketing, advertising and such hoo-ha for the duration of this post.)
It is all about promoting you, your books, both individually and collectively, and your author brand, in a certain way.
If I were to cover all these topics, in one post, I would end up writing an entire thesis three thousand pages long, neither something I have time to write in one sitting, or, I am sure, you have time to read. So, I shall concentrate purely on one aspect and follow up, in future posts, on other relevant subjects.
As the amazingly conceived title of this post states, I shall continue discussing your book series.
It has become something of an urban legend, a myth which survives to the present day and one which far too many authors still fall prey to, that is the one which says: “if you give your first book of a series away as a freebie you will gain lots of new readers who will buy all your other books.”
That is a lie, promoted by those who generate financial gain from (often desperate) indie authors. Free may have been a viable option in the early days of the internet when Amazon was just a simple bookstore when indie authors were referred to as desktop publishers and vanity press meant having a book for sale outside of a mainstream publishing house. (See: https://wp.me/p5nj7r-1fn )
There are ways forward, none are push and go or plug and play. Each takes time and consistent effort to achieve and not all will work equally for all authors, their books or series. Book promotion is not an exact science.
Thunderclaps, Daycause, Blog hops, Tweet chains can all form part of your overall promotional strategy… You know, the carefully planned and timed schedule you have designed. The one which ensures you maximise each promotional effort… Yeh, that’s the one, your synergetic multi-arena integrated sales stratagem for the 2018/19 marketing period.
However, few authors consider writing a further book, or two or three or more to help gain and build readership and, on the face of it, with good reason. After all, writing another book is only adding to the series and that takes us back to square one… doesn’t it?
You see, this is about taking a new approach to authors promotions, in this case, Prequels… now, I know prequels are not new; way back when, we had Charlotte Brontë’s ‘Jane Eyre’ (1874); but did you know that Jean Rhys wrote the ‘Wide Sargasso Sea’ in 1966 as a prequel and response, describing the background to the marriage Jane learns about after going to work for Mr Rochester?
How about a prequel with a difference?
Let me ask you some questions…
What if… you could write a shorter book, a book especially targeted at attracting readers to your current series?
What if… a group of authors would help you promote that book?
What if… a book brand would include your book in its promotions, making it constantly visible to a global audience, online, in magazines and via social media?
What if… you became an Electric Eclectic author?
Currently, Electric Eclectic are well known for their ebook Novelettes, their short stories books which help connect readers and authors.
But now, Electric Eclectic is launching a form of book they call a ‘Proquel’
These are Prequels, Character Backstories and Parallels designed specifically to introduce readers to your book series, in fact, the name Proquel is simply an amalgamation of the words promotion and prequel. (Pretty cool, yeah?)
Now… unlike many books, an Electric Eclectic proquel is unashamedly a promotional tool. While there is no compromise regarding the quality of content or storytelling, these books do not have to be full-length novels, but novella’s, with a suggested word count of between 17K and 40K words.
Once assessed and accepted by Electric Eclectic, your book(s) benefit from all the marketing and promotional activities of Electric Eclectic and your fellow EE authors.
You will have your books on the Electric Eclectic website along with a personal author page and much more. You can check out the Electric Eclectic website HERE.
And…this is the BEST BIT… you make money on your proquels too… yep, you still earn full royalties on your book sales.
Electric Eclectic is NOT a publisher and does NOT take royalties.
You will get all the above for a minimal fee… and I mean a minimal fee.
You have nothing to lose.
So, why not find out more about becoming an Electric Eclectic author and, how writing just one other book, could help you sell your whole series?
With major ground shifts and changes occurring throughout the publishing and online worlds, becoming an Electric Eclectic author could be the best decision you make this year.
Once we have learnt about something, once we consider we understand it, think we have mastered it, we like to run with it, to keep it.
We are often loath to stop, to give it up… to alter anything.
Many of us are resistant to change, of losing the little comfort zone we made for ourselves. One can liken such to the reluctance of a child giving up a blanket, or a soother.
If we do make the move, we find it easier to be weaned, to slightly adjust, little by little, so we don’t notice the change, or at least that is how we convince ourselves.
The problem is, by the time our situation has evolved in a way which assuages our reluctance, we find we are far behind the madding crowd, so far behind we have little chance of catching up.
In these days of high tech communications and internet connectivity, it is now more obvious than ever before.
Only the fearful and desperate cling to what once was,.
Only the backward and slow reminisce and wish for those ‘good old days‘ when a Facebook post actually reached ALL your ‘friends’ and not just the 3 to 10% they do with today’s algorithms.
The same is true of your book promotions. This is why your sales do not exceed the minimal expectations you tell yourself are reasonable goals, let alone your wishes and dreams to become a consistent bestselling author.
To give away a book for free is an archaic, outdated and outmoded marketing model. One which no longer holds any credence, but one which so many still cling to with dying hope, like a gambler sliding deeper into depressive debt.
Paying another organisation to give your books away is a sign of utter desperation. A despondent cry for help, for someone, anyone to read your story.
In reality, it is authorship suicide; one you may never recover from financially and one which could leave your reputation in raggedy tatters, before you even start.
Book launches and parties no longer pull the crowds. They are a nice way to spend a few extra hours chatting with those you regularly talk to every day; to hear them say nice things about you, your book and “what a marvellous cover” you have.
But such events no longer attract readers. They have been overdone and done over, like an ancient, wrinkled whore, they no longer hold any attraction whatsoever.
Thunderclaps, Headtalkers, Daycause are little more than a (mostly) unseen flash-in-the-pan. A quick blast of tweets and public post which disappear down the scrolling stream faster than Usain Bolt running a hundred meters.
Authors, you NEED to find new ways to promote your works, ways which offer longevity rather than the promise of making a ‘quick buck’ or selling a few more copies of your latest tome overnight… for one night only.
You need to find a simple, ongoing promotional aid which is always working for you, even when you’re not working.
A low-cost way that won’t break the bank, or better still, a way which will pay you a return, a royalty, on your promotional material.
Now wouldn’t that be wonderful…
If only such a thing existed…
Well, such a thing does exist, but only for those who are prepared to move forward, to see the changing lights (mostly red ones) as social media platforms are brought to task and the hyper highway of freedom and unlimited possibility become more crowded, slower and, well… limited.
A small, but growing group of indie authors, are moving forward into the new dawn of altered perception, of interweb reconstruction and publishing future.
It is a group which, (at present), still has its doors open to welcome a few more indie authors inside. Authors with great tales to share, who are well crafted in penning a wonderful story. Authors who are serious about writing, about selling their books, about being authors.
So, what is this group and who are these indie authors?
Simple, we are Electric Eclectic. The book brand which is sweeping the internet.
Before you ask, yes, this is about sci-fi and Robots… but it also about crime fiction, fantasy, steampunk and many other genres. It’s about understanding, imagination and the muse… so read on…
Like all fiction genres, Sci-fi and its many sub-genres must evolve with the times, writers must look to the future. (pun intended)
Czech writer Karel Čapek introduced the word “robot”. It is said his brother suggested using a derivative of the word robata, which means literally “serf labour” and figuratively “drudgery” or “hard work.”
No wonder the robots usually want to revolt, to take over our world. To turn the tables on us!
But, long before the word “robot” was invented, the ideas of mechanical or artificial men was in our ancestors’ consciousness. Early ideas of robots or automata drew inspirations from early writings and figures in mythology, who were described as anthropomorphic and crafted from stone or metal.
Described in the Argonautica as a giant man of bronze forged by the smith Hephaestus, Talos is tasked with patrolling the island of Crete and fending off pirates.
However, he is still partially organic, as is shown in the description of a single blood vessel that runs from his neck down to his ankle. Much like with Achilles and his heel, the vein of Talos is his weakness, and he dies in the story from exsanguination.
This developed into ‘other’ forms of automata,
In ETA Hoffman’s short story, The Sandman, the main character Nathaniel falls in love with the daughter of one of his university professors.
While she is beautiful and elegant, Olympia speaks very little, only responding to conversations with “Ah”.
She is also often motionless for long periods of time.
The people around her find this disconcerting, and it is eventually revealed that she is a lifelike doll.
Enter the early days of Sci-fi as we recognise it now,
Edward Ellis’s Steam Man is an early example of the Edisonade genre of science fiction.
Derived from Thomas Edison’s name, the genre describes stories that feature an ingenious young American inventor, who uses his inventions to go on adventures, solve problems, and defend himself against his enemies. The invention often has many purposes, such as weaponry and transportation.
In this case, the teenage hero is Johnny Brainerd, who creates the steam man and uses it to pull wagons that can carry passengers. Despite its large size, the steam man can run quite fast, and Johnny uses this to his advantage (such as, for hunting buffalo).
An imitation of this story was written by Harry Enton in 1876, called Frank Reade and His Steam Man of the Plains, which also features a young inventor and his robots. Frank Reade’s steam man improves upon the first, with a much more efficient engine due to improvements in hydraulics and use of lighter-weight alloys. Thus, it is faster and stronger. Frank Reade’s son, Frank Jr., would eventually go on to create Steam Man Mark III, and replaced the use of steam with the use of electricity.
This and Steam Man of the Prairies were dime novels, popular fiction that is much like the comic books of today.
Dorothy finds the mechanical man, Tik-Tok, with a printed card suspended from the back of its neck.
The card provides directions for ‘using’ Tik-Tok, such as how to make him speak, think, and move by winding the clockwork in his body. Tik-Tok needs to be periodically wound like a toy to function, as he cannot wind himself up.
Tik-Tok has been referenced in other fiction, and his benign nature subverted into something more sinister, such as in Gregory Maguire’s Wicked and John Sladek’s Tik-Tok.
As I spoke of in the opening paragraphs of this post, the term Robot arose thus…
This famous play, which was successful in its time, describes a factory that makes artificial people or roboti, from synthetic organic matter.
Less like robots and more like androids or cyborgs because of their biological nature, these synthetic people work for humans but eventually organize an uprising, causing the extinction of humans.
Karel Capek’s play is influential for being the first to use the word “robot”, replacing “automaton” or “android”. It is also worth noting that “robota“in Czech means forced labour, of which the robots in the play were made to do.
“Robot:We wanted to be like people. We wanted to become people.
Radius:We wanted to live. We are more capable. We have learned everything. We can do everything.
Robot:You gave us weapons. We had to become the masters.
Robot:We have seen the mistakes made by the people, sir.”
Which basically, and with a giant leap of literary faith, brings us to the time when robots were simply robots, like Robby from ‘Lost in Space’. A time when Isaac Asimov penned ‘I Robot’ and hope for humankind lingered.
We all knew where we stood.
Then along came James Camron who introduced us to Skynet, and all hell broke loose.
So, where does that leave us, how can we tell new, inventive and genuinely futuristic tales of machines, androids and automaton now?
Maybe, a little closer inspection of where we stand now will help us, if we stand on tiptoes and look far over the rising horizon…
Robots are all around us, toiling away in factories and warehouses, busting a gut in landfills and working in hospitals. The NAO model introduces school kids and students to programming and robotics and it also teaches children with autism. Another model, Pepper, was created to work in the service sector; its tasks include attracting potential customers and consulting with buyers.
As the IOActive team discovered, to seize control of NAO you only need to be on the same network as the robot. Experts found vulnerabilities allowing commands to be remotely executed, effectively giving over full control of its actions.
To demonstrate how these vulnerabilities can be exploited, the team forced NAO to demand bitcoins from its human interlocutor.
But real criminals would be limited only by their imagination and programming skills. What’s more, it’s not just NAO that can be infected with ransomware; the more business-oriented Pepper is just as vulnerable, and other models probably are as well.
Just imagine if one fine day a robot teacher or store clerk, in full view of John Q. Public, started swearing and insulting people before going on strike or picking a fight.
You never know.
But why would anyone hack a robot?
What do criminals have to gain here? Won’t it just spoil someone’s day or their life? That might be enough incentive for some hackers, who often do such things just for fun.
But there’s another reason: money.
The profit motive is simple. Buying a robot costs about $10,000; and if it breaks, it must be repaired or replaced.
Both of those require a fair bit of cash, but factor in the downtime cost and reputational loss of having a robot threaten customers and the sum rises considerably.
If an industrial robot is hacked, it can pose an immediate threat to employee safety or production quality.
An attacker compromising a robot in one of those ways might offer a quick solution to the problem, (which they caused), pay a ransom and everything will be just fine.
But, as you might guess, cybercriminals don’t always keep their word. Of course, the vulnerable robot might be hacked again, requiring another payout.
And then, another,and another…
What can be done?
Robots are here to stay (and multiply), so avoiding contact with them is not the way to go. For that, you’d need to invent a time-machine and go back a long, long way as mentioned above.
Instead, users and manufacturers need to be sensitive to robots’ weaknesses to ensure these devices do not go from cutting-edge to catastrophic in the blink of an eye.
Robot creators need to think through security issues in advance before production starts. Today. Better still, yesterday.
Then, after product release, all ears must be kept firmly to the ground to respond promptly to reported vulnerabilities and get them fixed.
…Or some sort of mayhem, a type of life-shattering, civilisation ending apocalypse may just leap from the pages of a book and into reality…
Or maybe that is just my way of stimulating your muse… think on, but carefully and you could join the ranks of Robert A. Heinlein, Arthur C. Clarke, H. G. Wells, Jules Verne, Edgar Rice Burroughs and Isaac Asimov.
You see not all sci-fi which includes rouge robots must be apocalyptic, that idea has been done, and done, and done to death. Now it is time for a differing approach.
Take your favourite crime-based books or film, or a combination of both media. Choose a story without any robots and select a character or two.
Now, think of your chosen characters as automaton, combine those two or three films/books plots. (If they are Hollywood or from mainstream publishing, it will not be a difficult task because they use a five, or seven-point, plotline… its what makes mainstream boring and predictable.) and start writing. Don’t copy… No plagiarism allowed; simply let your muse write the story guided by the basic (combination) of the plot(s) outlines.
You will have a brand-new crime story, but one which includes robots. It does not even have to be set in the future or on another planet, it can be urban fiction, steampunk, fantasy… you decide.
What you will have is a cross-genre fictional work which can be promoted to a wider, but targeted audience. That means greater sales opportunities and a much larger readership potential.
Why not make your robot a stooge, a fall guy? Have the reader fall in love with it, empathize with it.
Alternatively, have your robot(s) as the victim, the missing link to solving a situation… not all robots are bad, not all are good, some simply have frailties, others damaged personalities, why, some are even human… aren’t they?
Whatever you do, have fun and visit my website HEREI have a load of crime fiction and other ‘stuff’ you will just love. But don’t just take my word, go and have a look now.
This is what The Frugal Author says you can achieve, in this book of the same name.
He has written this book as an aid for independent authors in pursuit of economical, prudent self-publication.
The Frugal Author produces his own eBooks, paperbacks and high-quality hardcover publications with very little if any, financial outlay.
This book is full of the distilled results, the acquired knowledge and personal practice of being a successful indie author who dislikes paying out more than is absolutely necessary.
In this book, he explains how he achieves that, along with insights into indie publishing and sharing his ideas of how you too can implement the same type of methods for your own books.
The Frugal Author is NOT a ‘how to’ book. It is NOT a step by step guide or tuitional publication. The Frugal Author simply shares methodology, ideas and principles which you can adopt fully or partially, implement in part or whole over time and adjust to suit your own working practices.
You may well ask what credibility The Frugal Author has? and you are right to do so.
To date, he has published 19 books, ranging from children’s stories and poetry to psychological suspense. From Tales of Crime & Violence through to true accounts of Life in the Warzone. Pulp-fiction comic book yarns are written alongside romantic stories and non-fictional military social history.
The Frugal Author is a true multi-genre author. He is also a multi-format author having eBooks, Paperbacks and Hardcover publications.
Two of his books are recognised and authenticated Amazon bestsellers.
He is a well-known and respected member of the global Indie Author and Writers community and a founding member of APC, Authors professional Co-operative, Founder of Electric Eclectic books and chief editor of CQI Magazine.
He is acknowledged for the help and advice he shares and the initiatives he employs to help all writers succeed, irrelevant of their experience.
Now, he is sharing some of his ideology and methodology with you in this book, The Frugal Author.
Download yourself a copy today, start saving money and start heading into profit… NOW.
Unlike many/most of my Ramblings I regard this post as something of extream importance, a possible game-changing innovation, one which has wide implications but also one which will be of particular interset for indie authors
As part of a broader effort to eliminate the ability to prointerest counterfeit inventory in the open digital advertising ecosystem, Ads.txt provides a mechanism to enable content owners to declare who is authorized to sell their inventory.
The mission of the ads.txt project is simple: Increase transparency in the programmatic advertising ecosystem. Ads.txt stands for Authorized Digital Sellers and is a simple, flexible and secure method that publishers and distributors can use to publicly declare the companies they authorize to sell their digital inventory.
By creating a public record of Authorized Digital Sellers, ads.txt will create greater transparency in the inventory supply chain, and give publishers control over their inventory in the market, making it harder for bad actors to profit from selling counterfeit inventory across the ecosystem. As publishers adopt ads.txt, buyers will be able to more easily identify the Authorized Digital Sellers for a participating publisher, allowing brands to have confidence they are buying authentic publisher inventory.
ADS.TXT HELPS PUBLISHERS
Counterfeit inventory comes in many forms, but it typically results in real media spend not reaching legitimate and deserving publishers. Ads.txt helps publishers reclaim control of their media, brand, and rate card. This means more of an advertisers spend can get to the domain owner through their approved sales channels, and not be wasted on counterfeit inventory.
This post focuses on writing blogs, website content, social media and emails rather than stories and books.
As independent authors, our ability to write such is of paramount importance to our promotional and marketing strategy. Yet the way you write could be alienating those who are not quite as apt as you or me at reading.
A couple of years ago, I had a wonderful comment from a person who suffered from dyslexia about a post.
Although his comments were primarily about the content and not the presentation of the post, he mentioned he found my post far easier to read than many, if not most.
Curiosity got the better of me.
Why I wondered, could he read and understand my posts, when he struggled to read so many others?
Over the next few days, he and I conversed, by email, about his reading on a personal level and Dyslexia in general.
Before I carry on and explain the outcome of our conversations, I think as writers we should all know and understand what dyslexia and some of the most common reading difficulties are. So, I am including the following few paragraphs & bullet points, (which I cribbed from the internet), for clarity.
A formal definition of dyslexia used by the National Institute of Child Health and Human Development states, “It is characterized by difficulties with accurate and / or fluent word recognition and by poor spelling and decoding abilities. These difficulties typically result from a deficit in the phonological component of language that is often unexpected in relation to other cognitive abilities and the provision of effective classroom instruction. Secondary consequences may include problems in reading comprehension and reduced reading experience that can impede growth of vocabulary and background knowledge. “
Unsurprisingly, the International Dyslexia Association defines it in simple terms. “Dyslexia is a language-based learning disability. Dyslexia refers to a cluster of symptoms, which result in people having difficulties with specific language skills, particularly reading. Students with dyslexia usually experience difficulties with other language skills such as spelling, writing, and pronouncing words.”
In contrast, Irlen Syndrome is a perceptual processing disorder, meaning that it relates specifically to how the brain processes the visual information it receives. It is not a language-based disorder and phonics-based instruction will not help someone with Irlen Syndrome improve in the same way it will help someone with dyslexia improve their reading skills.
At its core, Irlen Syndrome is a light sensitivity, where individuals are sensitive to a specific wavelength of light and this sensitivity is what causes the physical and visual symptoms that people with Irlen Syndrome experience. People with Irlen Syndrome have difficulty reading not because their brains have difficulty connecting the letters they see with the sounds those letters make, but because they see distortions on the printed page, or because the white background or glare hurts their eyes, gives them a headache, or makes them fall asleep when trying to read.
Unlike dyslexia, difficulties experienced because of Irlen Syndrome can reach well beyond just reading. People with Irlen Syndrome have difficulty processing all visual information, not just words on a printed page, so they often have trouble with depth perception, driving, sports performance, and other areas not generally connected with dyslexia.
Alexia is a form of dyslexia, but dyslexia is developmental, meaning that it does not happen from an occurrence such as a stroke or traumatic brain injury.
Alexia is an acquired reading disability because of an acquired event such as a stroke. It is most common for alexia to be accompanied by expressive aphasia (the ability to speak in sentences), and agraphia (the ability to write).
All alexia is not the same, however. You may have difficulty with the following:
Recognizing words ● Difficulty identifying and reading synonyms ● Difficulty with reading despite your ability to sound out pronunciation of words.
Although you can read words, it is too difficult to read for very long ● Blind spots blocking the end of a line or a long word ● Focusing on the left side of the paragraph or page ● Double vision when trying to read ● Reading some words but not others. Of course, this makes reading impossible.
A stroke survivor with alexia that can read larger words, but cannot read tiny words such as “it,” “to,” “and,” etc. ● Any combination of some of these traits.
My conversations with, (I shall call him ‘Jay’ during this post), led me to take a close look at how I was presenting my blogs, what made them so different and, could I improve them further?
It turns out the style I chose… I was going to say developed, but that sounds arrogant. So, the style I was using at the time was to write in small(ish) chunks, using relatively short sentences and paragraphs, as I have so far in this post.
Unlike the following.
This differed to most blogs and posts on the interweb which were, (and still are), long blocks of continuous sentences and sub-sentences, forming large paragraphs with very little line spacing or breaks. This may be a ‘style’ welcomed by universities and those writing technical/medical/professional and some literary journals. I have seen many papers which follow this style. I have even read a few and I must agree it makes for extremely uncomfortable reading. To read such a document, one must concentrate fully and focus on each word of each line. Whenever the eye moves from its forced liner motion, even for a moment, is when the reader finds some difficulty in returning to the exact location they were at previously, often meaning one must, annoyingly, re-read sections already read. Like you have possibly just done when reading with this last long drivelling, over worded paragraph I have written in just such a manner to illustrate my point that it makes for uncomfortable reading, even for those of us blessed with good eyesight and adequate skill. A point which I hope I have now made adequately clear with this paragraph which is representative of many blogs.
Writing in this form creates such a large block of words it becomes challenging to separate them into clear concise ‘bite-sized‘ and manageable ‘lots’ of information.
This is one of the areas of written presentation which was highlighted to me by Jay.
I already used a style of writing which broke long paragraphs into much smaller ones, whenever practicable, but I was not aware of the impact doing so made on the reader. From then on, I broke paragraphs down even further than I did ‘pre-‘Jay’
I was also made aware of unnecessarily long sentences, sentences with too many superfluous words.
This simply meant cutting out all those unnecessary words to make sentences read far more precisely and clearly.
Eliminating irrelevant words.
You see, this is not fictional or creative literature as when writing a novel, or even a short story. This is describing and sharing thoughts, ideas, information and data. Another skill set entirely.
Authors often discover this when having to write a precise about their latest book, like the back-cover blurb, an agent’s query synopsis, or for a promotional activity.
We all know, or at least should, that mixing sentence lengths makes for better reading. But so does spacing and breaking them up, like I have done in most of this post.
Please do not get me wrong.
I am not solely writing or directing my words specifically to those with reading difficulties, but I am looking to be as inclusive as possible and not simply because I am attempting to be politically, or socially correct.
I do it because I want as many people as possible to read my words. That is why I write.
Looking at how one presents their posts on the screen does not take much effort. Neither does adjusting one’s style to make it clearer and easier to read… for everybody, including you and me.
To finish, look at this Git-Hub virtual reality page. It shows how we can best comprehend the way those suffering from dyslexia and associated reading difficulties may see the written word.
My lesson following my conversations with ‘Jay’ is, “We can all learn from others, even those we may have previously considered had nothing to give us. After all, I never thought a dyslexic could teach an established author how to write clearer, even better. How wrong I was.”
Thank you for reading another of my Ramblings. Please subscribe to this blog if you will.
I am open to all comments and try to reply to them all personally.
You have guessed it, this post is all about marketing…
BUT… not marketing as you may comprehend it from a basic level, which is an amalgamation of advertising and promotion, but marketing from a perspective you may not have realised exists.
Have I got your attention?
I do hope so, because I believe having a clear understanding of this view of marketing can make or break your success as an author.
I once worked in hard-copy magazine publishing and spent many hours discussing marketing with prime agencies like Saatchi & Saatchi, John Walter Thompson (JWT), BDM & BBDO (now combined with Abbott Mead & Vickers I think,) along with media buying services Zenith, Media.com and OMD and PR companies including Ogilvy, Brunswick and Edelman.
ALL the agents I met were looking for that ‘something’ which would take the target audience by storm. They all wanted to make their mark within the industry by having a campaign which would enter media/publishing/broadcasting folklore. I.E, propel them into ‘the big time’.
Now, I am not one to poo-poo or trying to dissuade anyone from wishing to advance their career, far from it, BUT (I always have but’s in my blog posts), these agency agents failed to notice an overriding fact. The most successful agents, many whom now owned or partnered the companies these agents were working for, became successful by constants and continuity, not by a flash in the pan, however big a bang that may make at the time.
It is this same attitude I find when speaking to many business people, including authors, particularly new and/or first time/wannabe writers.
It is irrelevant, regarding the content of this post, if you write the most amazing, perfectly formed tome ever, or you have hastily scribbled a ‘quick’ novella or e-book novelette.
NO one will buy your book… unless they know about it, so you must tell people you have written a book. Doing so is called advertising, which a division of marketing.
Running a Thunderclap or posting about your book on social media is another area of marketing, like sending emails to friends to let them know you have published your book, BUT (another one), these are only the most obvious and basic parts of what marketing covers.
However, what marketing REALLY is, is EVERYTHING that you do.
Allow me to explain.
Whatever tasks you are working on now, right now, ask yourself this question… “How does this affect my marketing?”
Ask yourself this question at the beginning, during and at the end of each and every task you undertake in your role as a writer and author. Soon you will begin to understand everything has some form of influence in marketing you and your work to the world.
The way you look and dress in a video or podcast… “How does this affect my marketing?”
The images you post on social media. “How does this affect my marketing?”
Your profile image, “How does this affect my marketing?”
Your comments and replies. “How does this affect my marketing?”
How you look and speak at book fairs and events. “How does this affect my marketing?”
The layout and design of your tables and space. “How does this affect my marketing?”
Where, when and how you advertise and promote. “How does this affect my marketing?”
…… and so on.
You may notice I have not touched on your books covers, content, banners, advertising material design or so on, yet.
When do you make a paperback or eBook version of that book? “How does this affect my marketing?”
Did you notice I said when? Timing is also critical as an aspect of marketing.
There is an old, but true adage, is say’s, “If you want to sell your [books] you have to sell yourself first.”
Nothing is truer.
Another is, “People buy People”.
I will not argue with that.
These are things we all need to keep in mind. Dale Carnegie should have said, “we have to win friends to influence people.” That saying would sit well in our modern digital world.
In conclusion, we must create a persona as an author or business person. Much like a fictional character from one of our tales.
This character however should not be fake, but a facet of ourselves, our ‘public image’ one we must nurture and cultivate in absolutely everything we do.
The one of which we ask, “How does this affect my marketing?” in everything you do.
Only by doing so, by becoming aware that marketing means marketing YOURSELF, constantly, consistently and at every opportunity can you play the long game, the strategy which will make you an ongoing constant and not another nonentity looking for that great flash in the pan, the non-existent big bang which will propel you into the big time.
I could go on and write more. But… (another but) I would like you to consider this content seriously before I delve any deeper into the subject of marketing.