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Murder Must Advertise
Sponsored by Jeffrey Marks
Branding
There's a great deal of talk in the book biz today about having a 'platform' and, along with that, a recognizable 'brand.' Writers, who prefer to see themselves as artists and not as commodities, may bristle at such advertising jargon. But it's all about getting your art noticed and read.
A 'platform' is pretty much what the word suggests, a kind of stage with an audience already present. Celebrities, radio and TV talk show hosts, athletes, politicians, some executives and a few prominent clergy 'got platform,' having a pre-existing audience that will recognize the person's name, attach credibility to it, and probably buy the person's book.
"Branding" is related, in that the audience already knows what to expect from a given person. The very name prompts a pleasurable expectation in the consumer and a level of trust. Think of how products are branded. When you go into a McDonald's restaurant or a Burger King or a Subway sandwich shop, the very name is associated with a set of expectations. You know exactly what you are going to get when you walk in and you look forward to it.
It's the same with writers. When a buyer picks up a mystery by James Patterson or Sue Grafton or Janet Evanovich, she knows what to expect and anticipates a particular pleasure from the choice (media theorists call this the Uses and Gratification Theory). Such a built-in expectation is built over time and across a body of work. Writers can diversify, of course, but some use a pen name if they cross into another genre to avoid confusing their brand name. "Ed McBain" used this pseudonym famously for his 87th Precinct police procedurals but used his real name, Evan Hunter, for his plays and literary fiction.
Some writers trademark their name or a slogan that appears on their books and promotional materials. Brandilyn Collins, for example, uses the registered trademarks "seatbelt suspense" and "Don't hold your breath." Wish I'd thought of those. But the real 'brand' is her name. When a reader picks up a Collins novel, they anticipate certain rewards.
The idea behind branding, then, is to have your name clearly identified with a literary expectation. When someone picks up a mystery by John Desjarlais, I want the reader to expect a stylish page-turner that also explores the 'higher mysteries' of the human condition with a spiritual coloring that is never preachy .
I considered writing my mysteries using a pseudonym, since I'd already published two historical novels and I wondered if my 'brand' - my name - was synonymous with 'Christian historical novelist.' As (bad) luck would have it, I had a publishing drought of nearly fifteen years between my last historical novel and my first mystery, BLEEDER. That meant that my name wasn't in the market anymore, and no one would 'recognize' me as an historical novelist. I could re-position myself in the market as a 'mystery writer with a spiritual angle.' Then, when my last publisher decided to re-issue my medieval novel "Relics," I promoted it as a medieval crime thriller (which it is) in order to build my 'brand' - my name - as a crime/mystery author.
The 'brand' shows up in the author's bio, that short blurb about yourself that ends up on book jackets, web sites, and media releases. When your bio lists your professional associations, such as Mystery Writers of America or Sisters in Crime, it's part of your branding. You may belong to other fine groups, like the National Council of Teachers of English, but that doesn't highlight your brand.
In short, YOU are the brand. When you manage your public image as being a pro, an expert in your field and a standout in your genre, you build identity recognition, even notoriety. If you focus on who you are and what you stand for across all your media outlets - web site, blog, social spaces and so forth - and do so in a consistent manner, then you are 'branding yourself.' Eventually, people will seek you out intentionally because they will identify with the brand, which is YOU.
Who knows? Maybe someday your name will be as big (or bigger) than your book's title on the cover. Then you'll be a 'brand name' for sure.
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John Desjarlais is the author of RELICS (Thomas Nelson, re-issued 2009), BLEEDER (Sophia Institute Press 2009) and VIPER (Sophia Institute Press 2010. His web site is www.johndesjarlais.com
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Site sponsored by Jeffrey Marks.
All text copyright © 2000-2009 Kate Derie and Jeffrey Marks.
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