The Book Festival Perfected

There are tons of book festivals. For a number of reasons, some just don't work . My experience at the perfect book festival was attending the Chesapeake Children's Book Festival. 

The event took place on June 17th, at the Talbot County Free Library in Easton, Maryland, from 10 a.m. until 3 p.m. This is what they did right:

1.  Authors were nicely spaced in a large room. One 6' table for 2 authors. Since authors didn't have to handle the sales, only displays and swag were on the table, freeing up room to actually sign books. Author readings were held in an adjacent room, doors closed, so the noise level was always low.

2. Since the library handled sales, it left authors free to engage attendees. When authors ate lunch or used the restrooms, they didn't have to worry about losing a sale or asking someone to tell people they'd be back in a few minutes.

3. The library bought 10 copies of recent books outright. (For me it was books 1 and 2 in the Evolution Series). That is a guaranteed sale. Any books that weren't sold were donated to area schools or clubs. Authors were allowed to bring additional copies and the library handled the sales for them too. After the event, authors invoiced the library organizers for the surplus books sold. And they paid promptly! No waiting months! 

4.  When an author applied to be included, the library responded in a timely manner so the author knew if they were accepted and could make other plans if not. A number of festivals don't bother- not even with a follow up from the author with a simple request to let them know.

5.  Plenty of volunteers brought water, asked if authors needed anything, etc. And then they shopped!

6. Enough parking for all! This is a problem at many events, but the library staff had it all figured out.

7.  A relatively new festival ( second or third year?), but there was almost a steady flow of shoppers because the library, staff, and others promoted the event through schools, communities, etc. A lot of people came from outlying towns- and told me they wait all year for it. That's effective PR.

8.  They welcomed Indie authors. A lot of festivals are a bit snobbish about having Indie/hybrid authors. We need love too! (Why not read the book before you say no? There are many successful Indie authors, so traditional publishers aren't always right about what makes a good book.)

9.  They lined up corporate sponsors which defrayed the cost of the festival, allowing the library to buy books, advertise, and give a book coupon to many kids. Plus, there was an author dinner the preceding night free for authors and 1 guest.

10. The staff, volunteers, and attendees were gracious, helpful, and excited to have us there. I wanted to hug them all.

Thanks to Tim Young, co-organizer, who invited me. I hope to go back every year! Enjoy some pics of my Kidlit Authors Club colleagues- (next time I have to remember to do a selfie!)

Tara! And of course, Norman!

Mt tablemate, Laurie, with Grace Hopper and Ada Byron Lovelace!

"Bee-utiful" Alison and our newest Kidlit member, Robin Newman.

Colleen Kosinski, looking as fresh as a sunflower!

That hand would be me... with Book 2 of Jack's story.

Char

Let Me Show You How You're In My Book...

I've been doing events with Evolution Revolution: Simple Machines. I've learned through my previous books it's not enough to say, "Here's my book, won't you buy it?" That's a hard sell and a lot of authors like myself are uncomfortable pushing for sales, even though it's absolutely necessary for midlist authors.

I can do that when I have to, but I have a different, nicer approach. I put people in my book.

At the Collingswood Book Festival, to appeal to kids, when I opened a copy, I turned to page 84. This is the illustration:

It's Collin, the main human character. Kids love seeing themselves in stories. Or, imagining themselves as the characters. Nothing says that like an illustration; it's visual and instant.

Some kids (and parents) are harder to convince. Maybe it's a girl who doesn't see herself as the character because mine is a boy. I tell her a little bit about the story. Maybe she squeals, "I love animals!" So I flip to this page:

That's Jack, the main character. I explain how Jack is really smart, he's learning things from Collin. If  a different child seems to be interested in machines and science, I pop to this picture:

(A lot of kids love construction machines!) If I sense a child has a sense of humor, I can show them this one:

I use the illustrations any way I can to pull them into the story. To make them want the story. And when they're interested but maybe wavering (or the parent is undecided) I'll hint at a surprise ending, and show them this one:

The point is to use your illustrations to convince them, but don't show them every one (if they see the whole book, what's left to discover?). Leave something for them to discover. By showcasing a specific aspect, that draws the child in. Talk to the kids, versus trying to sell to the parents. (Hint: while the kids are thumbing through a copy, which I highly encourage because most times once they have the book in their hands, they don't want to let go, I talk with the parents, pointing out that it has science (based on school curriculum) and adventure that draws in reluctant readers. Point out something to the adult that makes the book worthy of its price, that it's not a frivolous purchase.

For the really difficult customer, if you have a funny story relating to the pictures, or the book, share it. Don't be a sales machine, be a story teller- with pictures!

I'm off to peruse the pictures for Evolution Revolution: Simple Plans. Maybe I'll share a little peek soon...

Char

The Fight for Independents!

We Americans love our independence.

We love independent realtors.

Independent business owners.

Independent political parties.

Independent thoughts.

Independent bookstores.

Independent farmers.

Independent filmmakers.

But not independent authors.

We are treated like the weird relative at Thanksgiving. Publishing people smile nervously when approached by them- and sit with the 'regular people' at the other end of the table.

As a hybrid author (books published by both traditional publishers and Indie), I'm understanding the struggle of Indie authors so much more clearly.

The disdain.
The rolling of the eyes.
The dismissing of the validity of my work.
The "we don't want your kind here" at stores, events, and festivals.

Never mind that my book (Evolution Revolution: Simple Machines) was honed over ten years and edited by peer and professional. Ignore that I spent money hiring a professional illustrator (Cathy Thole-Daniels). Skip over the four previous books published by traditional publishers (St. Martins/Thomas Dunne, Flux, Leap).

Some Indie published books are awful- I've read them. One book was so bad, I put a Post-It on every mistake (grammar, spelling, POV, etc.) and it looked like a George R.R. Martin Game of Thrones book where people flag when a character gets killed (yes, that many). I used it in a writing what-not-to-do presentation.

But I've read some great ones (I'm going by content, not sales, so Fifty Shades of Grey doesn't meet my qualifications). Sometimes, the author then goes on to a traditional contract, but the publishers didn't see the potential at first- until the public did and the bucks started coming in.

I understand that there are sooo many books out there and the traditional publishers can't print them all. (Hence, Indie pubbing helps with that...) But traditional publishers have also chosen so many I-can't-believe-you-published-this-crap books; like If I Did It by OJ Simpson. What the hell were they thinking- oh yes, celebrities bring in money, even when the book is awful.

So it all comes down to money (except for those coffee table books people publish/buy just to look chic and sophisticated). If an Indie author is trying to sell their book, they want to make money, same as Indie bookstores. (Gotta pay for the illustrator, travel to book events, PR.) It seems to me both sides could work out an arrangement which gives them each profits and happiness.

It's a hard road, but I'm not giving up. I believe in this project too much.

And yes, there are successes, but many more that aren't. It's okay, I'm not discouraged.

And I'm not going away...

Char