Platform

An arm with a tattoo: "I was made for the library, not the classroom."

Platform 101 For Busy Writers: 3 Simple Steps

Back Wheel by Stephanie Megan
Back Wheel by Stephanie Megan

“The best time to start promoting your book is three years before it comes out. Three years to build a reputation, build a permission asset, build a blog, build a following, build credibility and build the connections you’ll need later.”
—Seth Godin

In an era of immediate gratification and information overload, patience is something few people have time for. They want “it” right now, whether “it” is an email response, a well-paying career, or the proverbial house with a white picket fence. For writers, the social web whispers promises of instant success and overnight fame if only they had a big enough following on Twitter, but the reality is, as Godin notes, very different.

I’ve realized over the past several months that there’s a tendency to oversimplify things, to assume everyone has a certain level of web and marketing savvy (not to mention free time), starting discussions about writers’ platforms, curating communities and “free vs. freemium” way too far ahead of the curve. For a lot of writers. something as seemingly simple as setting up a blog can become a huge, time-consuming effort for which the long-term value isn’t always quite clear or worthwhile.

It most certainly is worthwhile, though, so what follows is a simple 3-step model for building the foundation of your writer’s platform, no matter where you are on Godin’s theoretical timeline:

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An arm with a tattoo: "I was made for the library, not the classroom."

Free is wrong for writers; Freemium might not be

homeless dolphin by el patojo
homeless dolphin by el patojo

What [FREE author Chris Anderson] is proposing is down somewhere, on the scale of ethics, well beneath Wal-Mart’s policies of no longer hiring any full-time workers so as to avoid health and unemployment insurance. It is in fact some weird sort of neo-feudal, post-contract-worker society, in which he will create a dystopian and eager volunteer-slave system of “attention-paid” enthusiasts (which is to say, people with no other options, and no capital of their own) to create products from which rich people can get richer.

“Chris Anderson Is Worse Than Wal-Mart“, The Awl

The “FREE” debate rages on — with thought-provoking posts by Will Hindmarch, Mitch Ratcliffe, Fred Wilson and Mark Cuban added to the mix (along with the one quoted above, from The Awl) — and in the midst of it, the need for some clarification jumped out at me: “Free” and “Freemium” are NOT the same thing.

They’re getting intertwined in the debate, though, and for writers developing their own platform, understanding the difference between them is critical.

“Free” is the realm of venture capitalists like Wilson and cagey opportunists like Anderson. It is usually based on an advertising-supported model that demands scale and/or desirable demographics for profitability, along with as much freely contributed content as possible to keep expenses down. A niche strategy can work, too, if the audience is highly targeted; ie: Anderson’s GeekDad site, whose business model The Awl criticized for resembling “a digital-age medieval society”.

In the print world, most B2B magazines are built on the “free” model, with “qualified” subscribers getting the magazine for free (controlled circulation) because it’s subsidized by advertisers who want to reach that particular niche. Much of their content is often freely contributed by non-writing professionals, too, primarily to position themselves as thought-leaders within their respective industries. With the stark decline in ad revenues of late, “free” is an increasingly precarious business model for publishers, and many are struggling to transform to a “freemium” model, developing additional products and services that are of value to their readers and worth paying a premium for.

“Free” isn’t a viable business model for writers, but “freemium” just might work… for some.

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An arm with a tattoo: "I was made for the library, not the classroom."

In a time of crisitunity, you gotta have soul!

CM Summit New York
CM Summit New York

“Ad networks have scale and data, but they lack soul. Customers don’t join ad networks.”
—John Battelle, Founder & CEO, Federated Media

Federated Media’s Conversational Marketing Summit earlier this week was an unconditional success by any measure, particularly with regards to acheiving their goal of presenting insightful and instructive case studies of conversational marketing programs that worked. I say that as someone who attended for my own personal edification, not representing any company and paying my own way as a result.

Standout presentations from Proctor & Gamble, Lenovo, Intel, American Express, RIM, and (by proxy) Microsoft and Federated Media highlighted two days of pure marketing nirvana that gave me a new identity — marketing technopologist — and offered some clear navigational guidelines for brands and publishers to successfully engage with consumers in an increasingly noisy world.

Battelle’s opening remarks set the right tone, and his identifying the need for “soul” struck an especially warm chord with me as it’s something many “old media” brands already possess but haven’t always successfully leveraged online. That slow response left a huge opening for personal brands to evolve exponentially, gain precious mindshare and become competitive with the established brands that once nurtured them (or their progenitors, at least); it also allowed savvy brand marketers to connect directly with consumers instead of having to go through traditional intermediaries.

The first day was arguably a bit stronger than the second, at least based on my notes and #cmsummit tweets, but excepting an oddly defensive Pepsi/YouTube presentation by Google’s Eileen Naughton, and an awkward interview with former Bush press secretary Dana Perino, it was all good and well worth the two vacation days I used to attend.

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An arm with a tattoo: "I was made for the library, not the classroom."

6Qs: Maria Schneider, Editor Unleashed

Maria Schneider, Editor Unleashed
Maria Schneider, Editor Unleashed

“I don’t know if there’s any light at the end of the tunnel for publishers, but I think the future for writers is bright.”

–Maria Schneider, Editor Unleashed

I had the pleasure of working with the Editor Unleashed herself, Maria Schneider, for about 18 months, back when we were both with Writer’s Digest — as Editor (her) and Ad Director (me) — and am happy to still call her a friend despite no longer being corporate colleagues and with more than 600 miles separating us.

Maria is a smart, savvy writer AND editor, who understands the difference between the two, and who fully grasps the integrated world publishing has become, able to speak fluently in print and digital. Her ability to brainstorm new ideas that work from multiple angles without ever compromising her editorial integrity made my job much easier, and her outspoken, engaging personality has always been refreshing.

Her openness to new ideas and engaging personality allowed her to hit the ground running when she left Writer’s Digest last year, immediately launching her own website on October 8, 2008 with a post entitled, “So here’s how I got here…“, adding a forum two weeks later, and never looking back. Since then, she’s been offering near-daily content, featuring inspiring writing prompts and invaluable resources; interviews with successful agents, editors, and authors; and sharing her own hard-won insights with an appreciative and steadily growing community of aspiring and professional writers.

I’m delighted to have her as the first in a new series of interviews with insightful publishing and marketing professionals — 6Qs: Maria Schneider, Editor Unleashed.

It’s been just over six months since you were “unleashed” and went freelance. What’s surprised you, in a positive way, and what hasn’t quite gone according to plan?
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Photo by Eugenio Mazzone on Unsplash

Tone Deaf Publishers Need Savvy Writers

In response to a question about lessons they'd learned from the failure of a book to sell as well as expected — something that was acknowledged several times as being the norm not the exception — one offered an example of an unnamed book that the stars had seemingly all aligned for: it was a great book the editor loved, that their publisher believed was going to be a hit, that got great reviews from all of the major mainstream outlets... and it flopped. In the final bit of unacknowledged irony, one of them briefly noted that examples of successful self-publishing were rare and magical.

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An arm with a tattoo: "I was made for the library, not the classroom."

Advertising is Failure

Day 214 - White Noise by FadderUri
Day 214 - White Noise by FadderUri

Digital guru Steve Rubel interviews Jeff Jarvis, author of “What Would Google Do?“, who makes an interesting point that I suspect many marketers are going to have in the back of their minds when the economy ultimately turns around and they reassess their marketing strategies and measure the results of their responses to the meltdown.

Mr. Rubel: Are customer service and peer-to-peer advocacy the new advertising? And if so, how does that change the ad industry?

Mr. Jarvis: Advertising is failure.

If you have a great product or service customers sell for you and a great relationship with those customers, you don’t need to advertise.

OK, that’s going too far. There is still a need to advertise — because customers don’t know about your product or a change in it or because, in the case of Apple, you want to add a gloss to the product and its customers. But in the book, I suggest that marketers should imagine stopping all advertising and then ask where they would spend their first dollar.

In an age when competition and pricing are opened up online and when your product is your ad, you need to spend your first dollar on the quality of your product or service. If you’re Zappos, you spend the next dollar on customer service and call that marketing. If the next dollar goes to advertising, there has to be a reason — and if the product is good enough, that reason may fade away.

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An arm with a tattoo: "I was made for the library, not the classroom."

Hitting the Reset Button on emedia

Ultimately, publishers' primary focus should be to curate great content that people are willing to pay for, and to organize and nuture a community around that content and the authors who create it. That community will exist in multiple places and spaces, physical and virtual, and it will flow into whatever container suits it best.

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