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Archive for the ‘Marketing’ Category

I’m not sure whether to file this post under “smart, targeted marketing” or “entropy takes over.”

I’ve recently started a new blog about music and music education, and today I’m going live with a blog on hiking.  I’ve also a started new Facebook page for music, and will soon be splitting my writing page into a writing page (for writers and other publishing pros) and an “adventures in travel” page (for readers and those interested in my actual travel writing).

The reason for this activity? (Beyond procrastinating other projects, of course): It seems that people who thought they were friending me because they liked my work on music are confused when they get a post about 10 best hiking trails, and no one except writers and editors wants to hear about publishing trends.

It’s a problem a lot of “complex creatives”  seem to have, and the advice I’m hearing is “divide and conquer.” So my content is creeping spider like all over the web, and I am dealing with the vagaries of blogging software that seems to think I want the same bio on my music page as my hiking page.

Like many self-employed creatives, I often have way more ideas than I can attend to, and sometimes things spin out of control. This fragmentation has all the hallmarks of a good idea getting away from me…. I just hope I can remember all my passwords.

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I was interviewed in “The Limelight,” Suite101.com’s blog, by associate editor Lima Al-Azzeh. Mostly, we talk about managing a long-term writing career, networking, and a little bit about long-distance hiking, which has been the subject of many of my books and articles.

Update: unfortunately, Suite does not keep complete archives and the interview is gone). Spo I’m repositing my answers to the interviewers questions here:

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What events in your life have lead to you becoming fully self-employed

Long story short: I had worked in various aspects of publishing for about seven or eight years, then got married to a professor who had a sabbatical coming up.  We both had a passion for adventure, so we decided to hike the United States Continental Divide Trail, which runs about 3,000 miles through the Rocky Mountains, from the Mexican border to the Canadian border. I already had a literary agent for a novel (which will be, I’m afraid, forever unpublished). She asked if I’d be interested in writing a book on the Continental Divide experience, and was able to get a book deal for Where the Waters Divide.  At the time, only a handful — maybe a dozen or two — people had ever done the Continental Divide Trail, so after the book came out, there was a bit of publicity, and offers to write more books and magazine articles came in. I never looked back. Self-employment is great.

As a self-employed professional, how do you go about finding and securing jobs for yourself?

My partner and I are both self-employed, and we call it “sowing seeds.”  What we mean by that is that we put ourselves out there: We volunteer, we network, we try new things, we talk about what we do to people we meet, we try to be active in our communities, we respond to reader questions, we teach,  we’re active on line and in organizations and associations, we share leads with other writers and editors, and we show up for other writer’s book-signings and talks (the Karma thing). We don’t know which of these efforts will “pay off” — but we know that some of them will. But more to the point, we just do them, because this is who we are, and it’s what we do…. Sometimes you just don’t know what’s going to happen.

An example: in addition to being a writer, I’m also a musician and music teacher. So one night, at a writer’s conference, it was late, people were hanging out at the hotel, and I started playing the piano and showing other writers a few little basic piano tricks.. A year or two later, the agent of one of the writer’s who heard me play was looking for a writer who could handle technical music topics. That contact led to three book deals for me,  and three more for my partner, with others being discussed. (And in turn, I was able to introduce fellow Suite writers to that agent, and those contacts led to further book contracts for them.) So you never know what’s going to lead to something. But a lot of writers sit at home, scouring the Internet for fast, easy jobs…. In my opinion, that’s not necessarily where you’ll find the good jobs. A lot of them come through being out in the world.

What advice do you have for others with similar goals?’

1) Diversify. Get as many income streams as possible.

2) Go back to the same well as often as possible, because once you get in rhythm with a market, the work is more efficient. Try to be the writer they automatically think of hiring when the next gig comes up.

3) Don’t take rejection personally. I know it’s hard. But there really isn’t anything person about it, even though it often feels that way. It’s just business.  And I think editors are wrong as often as they are right about what they reject. How would you like to be the editor who rejected J.K Rowling?  It’s a numbers game. If your work meets the required standard, if you keep sending stuff out, you will get work. Unfortunately, these days, the numbers are tighter than ever and you have to send a lot of proposals out. But books  are being published. Magazines are being printed. Why shouldn’t YOUR work be in them? 

4) Be sure you have the skills.  If you keep getting rejections that mention your grammar — fix it. Look for honest feedback. Face it, everyone thinks they can be a writer, and self-criticism isn’t everyone’s strong point. Take a class, hire an editor or a coach, talk to an editor you’ve worked with about how she sees your work.  Criticism is helpful: we all need it, and we can all improve. It’s one of the most exciting things about this work: I am not the writer I was ten or twenty years ago, and I will be different next year. I hope.

5) Have the basics in place: A website, business cards, a blog.  (I’m at www.KarenBerger.com)

6) Be sure you understand the markets.  Magazines and websites have personalities and styles, and you have to intuitively grasp these, which can be hard because how you, as an outsider, see the magazine is very often very different from how an editor sees it. One thing I’ve found helpful is to go to conferences where editors speak about their magazine, and talk about what they are looking for.

How important is networking in your career?

It’s crucial. Networking with other writers helps in so many ways from technical assistance when your computer freaks out to editor and agent contacts.. I highly recommend joining professional writers associations. Direct contacts from the groups I’m in have resulted in enough work to pay my dues for the rest of my professional life.

People hire people they know and trust. Most of my book contracts have come through personal contacts. I’ve also broken into a lot of major magazines as a result of meeting editors at conferences. Or I’ve met writers at conferences or on press trips who have passed me on to an editor. I’ve just landed a nice little blogging gig courtesy of a fellow writer who I know from a writer’s group.

Always remember: Networking is reciprocal thing. If someone on a board I’m on posts that an editor is looking for a story on, say, Poland, I’ll immediately think of a writer I know who lives in Poland and pass along the contact. I’m just wired that way.  And people have done that for me.

But — and here’s the caveat — the other important thing to understand about networking  is that it’s all about long-term relationships.  So before I send anyone to an editor or an agent, I’m going to have to be sure that it’s a recommendation I can live with…. because I have had editors come back to me and say “You know that writer you sent me for the article on Outer Mongolia…. we weren’t all that thrilled with what she did for us.” So now, I’m careful to make sure anyone I send on seems like someone I’d want to work with, and I make sure the writing quality is what the agent or editor seems to be looking for. Because I want agents and editors to take my recommendations seriously, and i don’t want to waste their time. And vice versa: I have to assume that people are checking me out in exactly the same way when I ask for help. It can be delicate.

What is it about hiking that appeals to you and can you tell us more about the “so-called ‘Triple Crown’”?

As long as I can remember, I’ve been passionate about four things: the outdoors, travel and other cultures, music, and writing. Hiking is a wonderful way to experience the world. It slow everything down, makes it much more intense, much more “of the moment.” Traveling on foot puts you right there at ground level: you’re very vulnerable: A hole in your boot or a broken cook stove or an injury, even a minor one, can stop you dead in your tracks, and it can be hard to get help when you are out of cell-phone range. You sometimes depend on “the kindness of strangers,” and that often gives you an entree into introduces you to everyday local people you otherwise wouldn’t meet. Benton Mackaye, the founder of the Appalachian Trail, put it best: He wrote that the point of hiking the Appalachian Trail is to “walk, to see, and to see what you see.”

The “Triple Crown” is an informal name given to the three north-south long-distance hiking trails in the U.S.A.: The Appalachian Trail, which runs about 2,200 miles from Georgia to Maine; the Pacific Crest Trail, which runs just short of  2,7000 mile  from Mexico to Canada through California, Oregon, and Washington, and the Continental Divide, which runs through the Rocky Mountains from Mexico to Canada.  Each is different, but they are all extremely challenging both physically and mentally. Together, they take hikers through some of the most iconic landscapes in America, including Yosemite, Yellowstone, the Great Smoky Mountains, the Colorado Rockies, and the Cascades. About 100 people have been recognized as having hiked all three of these trails.

What further goals do you have for your career?

This year, I have four major goals: 1) To finish a novel I’ve barely started. 2) To start my own monetizing website on travel, probably in cooperation with other travel writers. 3) to experiment with publishing some e-books and 4) To do some serious practice for piano performance.  I also have a couple of book ideas bouncing around with my agent; we’ll see what happens with those.

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I’ve also set up a Facebook business page for my writing, focusing on travel, ecotourism, the outdoors, backpacking, and adventure. I’m posting links to new articles there — both by me, and by other writers and public relations sources — as well as little tips and things I’m learning along the way.  I promise:  No more than a few posts a week, max. Please visit Karen Berger Writer, and click on “like,” and you’ll get the updates.

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Funnily enough, or perhaps it’s inevitable, of all the articles (156 at this writing) I’ve published on Suite 101, the one that is getting the most number of hits on the day of its launch isn’t about hiking or music, where I have lots of readers, but, funnily enough, marketing. Viral marketing, to be precise.

Well, yes, as a 20-plus year veteran of self-employment, I know a thing or two about marketing. But for this article, I relied not on my experience, but on the example of an unlikely mentor:  one Ludwig van Beethoven who may be responsible for the longest-running viral marketing campaign in history (unless, I guess, you count the Bible.  But let’s not go there…).

Beethoven is the composer of Fur Elise, a piece of music that every piano teacher views with equal parts dread and, well, dread.  For some reason, this student swan song, appeals to children who aren’t quite old enough to play it.  It occurred to me that this was the epitome of viral marketing. What is it about this piece of music? What did Beethoven know that would  keep this song chugging for 200 years? ‘Cause believe me, it isn’t piano teachers. Most of us would heave a sigh of relief if we never heard it again. And don’t even start me on those bastardized  ‘easy’ versions.

Anyway, it was fun to work on an article that drew two totally different subjects together.  My sister would point out that using Beethoven to write about viral marketing makes me a nerd, but I think it’s kind of cool. She’d say that makes me a nerd, too.

So what DOES Beethoven know about viral marketing? Whatever it is, it’s also helping to make my little article chug to the top of my stats page… even the BBC has linked to it (my sister would not find that cool, either.)

Read it here: Viral Marketing Lessons from Beethoven. And feel free to add your own theories.

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Let’s say you’ve got your event listed in all the newspaper calendars (which you learned how to do at http://createworklive.com/2008/10/15/getting-in-print-local-listings/). But now you think it deserves a bit more print than a teeny mention in 6-point type. You want an article about it. Maybe even a picture. After all, newspapers and magazines are full of articles about just such events as yours: You want a share of the page.

What you need is a press release. A press release is a short article (usually no more than 500 words) that you send out to editors and writers telling them the basics of what’s going on and giving them a reason why they should cover your event. Sometimes, they will publish the press release exactly as you wrote it. Sometimes they will revise it; they may expand it with additional research, or (more commonly) they might shorten it.  And sometimes they’ll send a reporter to follow up and do a whole story on you. 

The job of a press release is to get media coverage for your event.

As with community listings, you need to start with a list of media, contacts, and lead times, with specific addresses. Press releases MUST go to the appropriate person; otherwise they are usually deleted. (You’d think a reporter would just hit the forward button and send it off to the right editor, but usually they don’t. Everyone is too busy, and they get too many releases.) So check the paper to find out if they publish the right e-mail address for press releases, or call and ask. You can also network into this information; for example, a community college administrator once gave me her press contact list. However, double check your list with a phone call, since @ddresses change and go out of date. A press release that goes to the wrong e-mail address might as well have never been sent.

Timing is important, too. Some papers have a little burb buried somewhere that tells you to send material two weeks (or whatever) before the event. With magazines, you can pretty much assume at least a three to four month lead time, more if you want them to do a feature on you.  (Magazine lead times for features can be up to a year in advance, and sometimes much more.)  

Press releases follow a traditional format; you want to stick with that. Anything that deviates too far off the expected track will usually get tossed.   

  • Headline: As any writer/reporter knows, our e-in-boxes are filled to the rim every day with press releases, most of which have nothing to do with what we write about. In fact, the first thing I do every day when I check e-mail is delete irrelevant press releases. I decide what’s relevant based on the headline: Unless the headline makes it clear that what I’m getting means something to me, I delete it. So headlines should include ANY information that shows how your press release targets that publication.  For local and regional publications, two key ideas are “local” and “timely.”  Tie ins with charity events, festivals, and seasonal tourist attractions are also eye-catching.
  • Title: Inside the press release, there should be an informative title for the release. If you opt for cute and quirky, balance it with a sub-head that makes it clear what’s going on.
  • Release date: The release date tells the reporter when the information may be published.
  • Contact info: Make sure that whatever contact info you give is easy to find (right at the top of the page) and that it is “live.” If a deadline-stressed reporter calls (and what other kind of reporter is there?), he or she wants an answer, not a machine. Give both a reliable phone number (not your cell if you never answer it), and an e-mail address. 
  • First paragraph: You can get a away with ONE clever sentence or teaser in your first paragraph, but that’s it. The rest should be crystal clear: Who, what, when, where.  
  • Voice. Do NOT write in the first person. This is not a personal essay! It should sound like you hired a PR firm to write about you.  
  • Hook. The hook is where you get creative and show what’s unique and newsworthy about your event. Anything to do with timing is good (perhaps you’re playing a Mozart sonata on the anniversary of its permiere); perhaps this is the 10th annual jam concert your band holds. Awards, local connections (your novel is set in the region), seasonal tie-ins (Your poetry is Halloween-themed and you’re asking everyone to come in costume; your autumn pottery exhibit includes cups containing impressions of leaves that fell): Anything that makes a connection between you, your work, the reporter, the place, and the people who will be reading is a plus.   
  • Just the facts, ma’am. Skip the adjectives and adverbs. Don’t call your work ”beautiful,” “interesting,” “revolutionary,” or “ground-breaking.” That’s for others to say. Instead, describe in as few words as possible what MAKES it groundbreaking: Perhaps you were the first person to combine Japanese print-making techniques with collage, or you have figured out a way to write a blues songs using a 12-tone scale.
  • Keep the jargon out of it. Using the example above, you can’t talk about a 12-tone scale unless you have reason to believe your reporter and his or her readers will know what it is. (Yes for a music magazine, no for the Podunk Gazette.) If you can explain it quickly, that’s fine. But no reporter wants a music theory lesson with his morning coffee.
  • Endorsements. If your work really IS “astonishing,” “gorgeous,” “revolutionary,” and “cutting-edge,” chances are someone has said it. Feel free to quote them in your press release, but pick the quotes that contain the most informative content — not just the high-flying adjectives. Unless someone really famous said it; then go with it. (Celebrity trumps content.)   
  • Details: Include addresses, cost, parking info, and any other practicalities at the end.

One final suggestion: The Internet makes it easy to personalize your releases. Come up with a boilerplate — but then feel free to add a little something if you think it would be particularly relevant for a certain publication.

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Let’s say you have a show coming up — concert, exhibit, poetry reading, whatever….

And you want an audience.

Let’s also say, you want more of an audience than your four most loyal students, your two best friends, and your mom…

You’ve go to get the word out — beyond your usual suspects.

Now, to be honest, here’s what most of us do: We get the show set up. We obsess about it. We practice, or we prepare, or we rehearse, or hang our paintings — and then two weeks before it starts, we start thinking  about how we’re going to get people in the door.

That’s fine if the only thing you’re going to do is an e-blast. But it’s not fine for press. Newspapers and magazines have ”lead times” — the time it takes between when they get your announcement and when it can appear. 

So job number one: Whether you’ve got something planned, or whether your next show is sitting somewhere on the backburner, you need to make a publications contact list. You don’t need to wait till show time to start thinking about this: Do it now, or whenever you have a moment. Go out and about in your neighborhood and collect (if they are free) or buy (if they are not) every publication that lists or runs stories on upcoming events like yours.

These are the places where you’ll want to send your message. The trick is to get the right info to the right person’s desk at the right time. On your computer spreadsheet, make a chart with the following info:

  • Name of the publication
  • Part of the paper where the info will run. There may be more than one place, for example, the Sunday listings and the weekday listings may go to separate departments. 
  •  Contact info (e-mail is usually fine),  and its deadline (if you know it; for instance, if there is a “”Community Events Calendar,”  there will usually be a note at the bottom about who to send listing to, and when they are due). If there is no contact info, call the publication and get the information.
  •  Finally, note any specific requirements. For example, some publications may require a “for more info” contact or a phone number. 

Then organize your data by deadline: For example, Publication A needs your listing two weeks before the date of the event; Publication B needs that info two months in advance. (Many of the listing calendars will have instructions on how to submit an event buried somewhere at the bottom.) 

Add to your list every time you see a new publication.

In my neck of the woods there are easily 10 or 20 publications that carry listings of local artistic events. They include a Woman’s Paper, a community newsletter published by the town, an Arts tabloid, two local advertising papers, the local weekly, the County paper, the Regional glossy magazine, and several other tabloids — and that’s just off the top of my head. Lead times range from two weeks for one of the ad papers, to three months for the glossy.  Don’t forget to include the newsletters of any clubs or networking groups you might be in.

When you’ve got an event coming up, simply count back on yor calendar to figure out what to send to whom. And then go out and do it!

Next up: How to get broader print coverage by sending a press release: http://createworklive.com/2008/10/16/getting-in-print-public-relations/

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