Tag Archives: Laura Elveback

Close Up Promotion (Laura Elvebak)

One day about a month ago, I was steadily working on the third Niki Alexander book. I was not thinking primarily about promotion, although in the back of my mind, I knew promotion was part of the business. First, I had to have a book to promote. In my mind, that involved getting the third book completed and sold. Or my standalone bought and produced.

Meanwhile, I needed to reissue my first two Niki Alexander books after getting my rights reverted back to me from my publisher. I knew this would also take time. A wonderful artist was recommended by Jeffrey Marks, who moderates the Mystery Must Advertise Yahoo Group. Patty G. Henderson designed the new covers for both books. Hitch, who often offers good advice on the same Yahoo Group, has a business called Booknook.biz. I hired her to format both books to sell as e-books in all venues. Both Patty and Hitch are very reasonably priced and their work is outstanding.

I discovered ACX (Audiobook Creative Exchange) at ThrillerFest, a conference in New York put on by the International Thriller Writers. Through ACX I found a narrator and soon both books were in production and would soon be released on Audible, iTunes and Amazon as audiobooks.

Also during the time, I was trying to sell my standalone noir/thriller/suspense/women’s fiction (or whatever met the agent/publisher’s needs).

With all that going on, I didn’t think about promotion. Too early. Then, out of the blue, I listened to a voice mail on my landline. Anthony Holmes, of Close-Up Talk Radio, said I was one of three authors chosen to be interviewed for global promotion. He said their research department had read my books and were very impressed. If I passed their initial interview, I would be spotlighted in the month of March and will receive huge promotion and marketing support. The author (me) would be interviewed four weeks in a row. Two by Doug Llewelyn (formerly the host of the People’s Court), and two by Jim Masters of PBS.

This was quite a production. Anthony called me every day. He did a pre-interview. The script writer called to get my background. The only matter of concern was my website. They were right. My website was put up in 2008 and hasn’t been updated since. Anthony said they would need to put their website guru to work on it and the result would sell thousands of books. Also, they were interested in my screenplay that had been twice optioned in 2000. All this sounded fantastic. I sent them the script and finally agreed to let their webmaster redo my website.

They said I was chosen over the other two writers on the strength of my initial interview. I was thrilled and flattered. My website was getting a fresh new look. They did a press release and sent me a copy along with their clipping list of 101 news outlets they were sending with the caption: “Close-Up Talk Radio spotlights author Laura Elvebak.” These went to all the major news outlets in the United States as well as International news. They sent me a list of questions they plan to ask so I would be prepared ahead of the schedule interviews and Tips For A Professional Radio Interview.

I spent most of my time preparing by getting the e-books on Amazon, the audiobooks narrated, reviewed and online. I needed print books in hand, because of all the talks I would be giving. I gave the first two Niki Alexander books a final re-edit and went to Createspace. The process was easier than I expected and when I received the proofs from UPS, I was thrilled with the result and ordered copies. I was then prepared for the call from Houston Writers Guild. They wanted me to speak for an hour at the April Workshop. I agreed and could sell books.

The first two interviews with Doug Llewelyn had a rocky start. I had been sick with the crud all week, but I struggled through the first interview. In about the middle, there was some interference on the line. Toward the end I had a coughing spell that lasted too long. A disaster. However, the second interview went very well and both of us were pleased with the result.

By the time the first interview with Jim Masters rolled along, I was more prepared and more at ease. I was completely well by that time and the interview went by so fast that even Jim remarked how it seemed like ten minutes instead of thirty. We have since become Facebook and Twitter friends. The next and last interview is Thursday, April 4, again with Jim Masters.

The result is nebulous. It’s too early to tell by sales results. On the pro side, I had print copies of the books and the audio and e-books were available. The problem I see is timing. The books I’m promoting, after all, were first published in 2008 and 2009, and I haven’t finished the third book yet. I’m still trying to sell my standalone. So no new book to promote yet, but I have pre-promoted both books by including them in the interviews.

Okay, now you’re wondering about the real downside. First, a question to all of you. How much are you willing to spend on promotion? How big of a risk are you willing to take? Was this no more than a scam? I had to fork over $5000.00 for everything but the website. Their webmaster, whom they pushed on me, cost $3500.00. In my head, I could just about justify spending $5,000 on promotion, but I know I could have a comparable or better website for a fraction of what I paid this guy. The website looks good, but I don’t think he was worth the money. Now I’m out $8500. Was it worth it? I recently saw an article on Writer Beware Blogs written as a Solicitation Alert for Close-Up Talk Radio. They described all the steps I went through. They called it a scam.

I know I’m an impulse buyer. I’m probably naïve about some things. If I didn’t happen to have the money at the time, I wouldn’t have a story to write. But I would still have money. Now I’m just hoping I get enough future book sales to eventually recover what I spent. So again, I put the question to you. How much would you pay for promotion?

Laura Elvebak is the author of Less Dead (2008) and Lost Witness (2009), (L&L Dreamspell), both awarded five star reviews on Amazon, which features Niki Alexander, an ex-cop turned teen counselor. Her short stories are “Searching for Rachel” featured in A Death in Texas, and “Dying For Chocolate” in the award winning A Box of Texas Chocolates.

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How to Use Body Language to Show Communication (Laura Elvebak)

Have you ever wondered what the difference was between mediocre writing and books that stood out and begged to be read? I have, and through several workshops, I’ve learned that one of the most notable differences is the way the writing shows how characters communicate.

If you have a character in a scene, you need to show them communicating, even if they don’t have one line of dialogue. Everyone communicates nonverbally all the time. Sit in your doctor’s or dentist’s waiting room, and watch the other people. Their faces convey unspoken messages. Their posture conveys unspoken messages. Their lips, mouth, eyes, glances, sighs, spatial relationships, movements and finger twitches convey unspoken messages.

Sometimes writers use body language as a beat. They need a short sentence, a pause, a few hits of cadence to precede or follow a line of dialogue, internalization, or action. Unfortunately, writers often repeat the same body language beats in multiple chapters. On the page, they’re predictable, they’re boring, and they slow pacing.

We’ve all read books in which characters display too many behavioral tags such as these: running hands through hair, arching an eyebrow, chewing lip, rolling lips in, licking lips, rubbing jaw, crossing arms across chest, narrowing gaze, clearing throat, shrugging, both shoulders, one shoulder, and half-shrugs, drumming fingers, steepling fingers, fisting hands, etc.

I’m just as guilty, but now that I’m aware of what I’m doing, I give the pages a second look. Even if you change the wording, such as running a hand through hair, raking his hands through his hair, running fingers through his hair, it’s all the same pattern. It’s not interesting. If those three examples were each used once in 100 pages, it could work. Used three times in 50 pages? Three times in 30 pages? Too much.

Writers do not have to interpret most of the non-verbals for the reader. They don’t have to say why the character is blinking more rapidly – or write that character X probably shifted in his chair because the topic made him uncomfortable. The reader will pick it up consciously, or subconsciously.

Go back to that waiting room full of people. Watch their nonverbal responses. Write your own list. How many of them are different from those listed above? Are they: massaging their mustaches for ten minutes? Scrunching their noses making ugly-kid-faces? Scratching the inside of their ears with the eraser end of a pencil? Chewing their hair? Picking dog or cat fur from their clothing?

REMEMBER: Readers get bored with the same nonverbal tags. Your characters are not boring. Don’t have them use repetitive body language.

Laura Elvebak Laura Elvebak is the author of Less Dead (2008) and Lost Witness (2009), (L&L Dreamspell), both awarded five star reviews on Amazon, which features Niki Alexander, an ex-cop turned teen counselor. Her short stories are “Searching for Rachel” featured in A Death in Texas, and “Dying For Chocolate” in the award winning A Box of Texas Chocolates. .

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