Marketing Fiction In A Changing World Part 4: Understanding The Headlines You Use For Springboards by Jacqueline Lichtenberg

Marketing Fiction In A Changing World
Part 4
Understanding The Headlines You Use For Springboards
by
Jacqueline Lichtenberg

Previous parts of this series:
Last week:
http://aliendjinnromances.blogspot.com/2014/02/marketing-fiction-in-changing-world.html

And long ago:
http://aliendjinnromances.blogspot.com/2012/03/marketing-fiction-in-changing-world.html

http://aliendjinnromances.blogspot.com/2009/05/marketing-fiction-in-changing-world.html

The Story Springboards series:

 http://aliendjinnromances.blogspot.com/2014/01/index-to-story-springboards-series-by.html

I've been illustrating how to use a Headline as one ingredient in your Springboard via my posts on Google+ and Facebook. 

You've heard the phrase, "Ripped From The Headlines" as part of the hype for a film or TV Miniseries.  It tries to sell you on the idea that you must see this film (or read this book) because it is relevant to the world as you already know it.

Last week we examined the role of PR (Public Relations the mathematical discipline underlying advertising) in self-publishing.

If you license your novel to a big publisher, you don't have to know anything about PR beyond filling out the questionnaire the publicity department sends you, and doing any radio or TV interviews that come your way. 

If you self-publish, you need to know much more. 

It's all about the business model of the Entertainment Industry.

In this blog, I've talked about the impact of new technology on the writer's business model as the e-book has emerged since 2007.  Yes, I've been posting on this blog since March 2007 - almost 7 years now.

In 2007, few were aware of the potential in the e-book market - and self-publishing was an idiotic idea.

Today, the big publishers are aware, and perhaps alarmed, at the emergence of the Indie writer and a plethora of Indie publishers.

The same is happening in Music and Film - YouTube is a game changer. 

The underlying concept of "Business Model" is morphing fast enough to frighten those who have spent a lifetime building a big business.

So today we'll look at the business of Journalism.

Last week, I mentioned in passing how publishing in the early 20th Century was a business run for the purpose of losing money.\

Publishing companies were owned by large, profitable corporations as a tax write-off, and therefore could spend a lot of money publishing and promoting "Important" books filled with ideas too abstract, or too difficult, for a person of average education to grasp.

In fact, the average person just wouldn't be interested in such ideas. 

Remember, Silent Films and the Talkies burst into the fiction scene during that publishing era.

Movie moguls made "stars" of comely actors -- or even those would couldn't act. 

During those decades, newspapers, weekly and monthly magazines, radio news and the News Reel (a short headlines with snatches of film shown between features at a movie theater) were the sources of information people used.

Then came TV News, a daily newsreel that quickly replaced radio news.  Radio news is back now, but call-in, talk show, and commentary dominate.  Radio is mostly web-radio.  "Spectrum" is expensive, sold at government auction.  A lot of it is going to smartphone service.  Satellite radio is struggling financially.

So, against that historical background, let's look at how Journalism has morphed in response to advancing technology.

Last week we established why fiction writers need to understand Journalism as a business. 

I've pointed out many times the Journalism background of many famous writers.

Most particularly, you should note the autobiographical works of the screenwriter (whose writing you know very well, even if you've never noticed his name) Allan Cole.



and later, Allan Cole's screenwriting career launch, and how having been a professional journalist helped:



And here's a newly available copy of Allan Cole's first written screenplay -- that got optioned many times, but never made.  It's mentioned in Hollywood Misadventures and now you can read it:




This non-fiction writing for profit first business model doesn't just apply to screenwriting. 

Journalism, and/or general non-fiction writing gives a huge boost to Mystery or Romance writers.

Here's one I found offering a freebie copy via BookBub.com
Susanne O'Leary -- non-fic turned fic writer shows another path:



-----------------
About O'Leary -- from Amazon:

I was born in Sweden and live in Ireland (married to an Irishman). I started my writing career by writing non-fiction and wrote two books about health and fitness (I am a trained fitness teacher). While writing these books, I discovered how much I loved the actual writing process. My then editor gave me the idea to write a fun novel based on my experiences as a diplomat’s wife. This became my debut novel, ‘Diplomatic Incidents’ (the e-book version is called ‘Duty Free’), published in 2001. I wrote three further novels, ‘European Affairs’ (now as an e-book with the title ‘Villa Caramel’), ‘Fresh Powder’ (2006) and ‘Finding Margo’(2007). The latter two were published by New Island Books in Dublin. In 2010, when the publishing industry started to decline, I broke away from both publisher and agent and e-published my backlist, along with two novels that were with my agent for submission. Since then I have written and e-published four further novels and, as a result, now have ten books out there in the e-book market worldwide. I write mainly in the women’s fiction genre, some chick-lit, some contemporary romance, with two historical novels and two detective stories thrown into the mix. I enjoyed writing those but my first love is romantic fiction with a lot of humour and heart. My bestselling romantic comedy, Fresh Powder was translated to German last year and, with the title ‘Frischer Schnee’, is selling well on Amazon.de. My website: http://www.susanne-oleary.com Blog: http://susannefromsweden.wordpress.com/ Amazon author page: http://www.amazon.com/Susanne-OLeary/e/B001JOXAJO
-------------

So, as far as staying marketable in a world where the very business model is morphing under your feet, never mind the background drumbeat of shifting audience taste, the beginning writer should not skip the non-fiction-career-step.

If you think you should skip that step, read more biographies of writers like the type of writer you want to be.  It's possible you are one of the few who should skip the non-fiction step.

It's true, I didn't work in journalism before selling fiction.  However, the connection to that discipline is deep within me.  I was raised by a mother and father who both worked in journalism.  I lived and breathed those disciplines from before I knew how to say a complete sentence.  So don't use me as an example of skipping that step.

So, we've talked about how fiction publishing in the early 20th century was a "for-loss" business, not a "for-profit" business. 

Since loss was not only allowed, but encouraged, especially in high-tax years, "Important" books had a chance to get well published. 

But what about Journalism?

Today, headlines are full of lay-off notices at big Newspapers, of bankruptcy filings of all kinds of print-media outlets, the sale of famous print-magazines to other publishing groups (that would change the editorial slant).

Simultaneously, professional journalism is finally moving online.

As with the advent of e-books which was ignored as a trivial market-share by Big Publishers, so print news outlets ignored the blogosphere until things like The Huffington Post changed the landscape.

Twitter is regarded by TV News and Finance as way over-priced at $50/share, but at the same time is seen as THE one and only place to 'be' with a breaking story.  All the big news media put headlines there. 

How did the journalism business model get to a twitter-driven base? 

Well, the path is parallel to that of fiction publishing.

This is the little-known fact dredged from history that you should take away from this blog.

In the mid-20th century, News was not a for-profit game. 

Prior to Radio and TV News, there was print-media news.  And that ran at a slim, but real profit margin.

Newspapers didn't make a profit from NEWS.  They made their PROFIT from advertisements, especially "The Classified" (think Monster.com ) And grocery coupon advertising. 

Before Radio and TV, News stories were printed as the bait to collect eyeballs to deliver to the advertisers.

That business model element was adapted to Radio News which was also advertising driven.

When Radio was replaced (mostly) by TV News, again it was advertising driven.

News Reels in theaters were sandwiched between feature films, cartoons, and serials, but customers paid for access to that bundle.  Even in the mid-20th century, box-office did not support the expense of renting the viewing bundle -- concessions did, and still do, represent a theater's profit margin.

Today, theaters have reduced access to 1 feature film plus a whole lot of advertising reels (except of course the material is digital, not on reels of film).

Around 1985, when the Internet was beginning to connect individual households to the outside world (Prodigy, AOL, local ISPs), you begin to see an inflection point where this old, stable business model suddenly would morph into what we're seeing today.

What we're seeing today is essentially chaos.  That always happens at major transformations -- for better or for worse, transformation has a chaos phase.  We're in it.

The point to remember is that NEWS -- the pithy reporting of facts -- has only ever existed to attract and hold eyeballs to advertising. 

Advertising has gone from random, artistic expression to mathematically based PR. 

It's germane to your business model as a writer. 

Once you get your mind around the longer, historical perspective of the "changing world" of the fiction-delivery-system I keep talking about on this blog, you will be able to chart your path, as a writer, into the rapidly morphing future.

It has often been said that the internet (and e-book creation/distribution) is an Event in History as significant to society as the advent of the movable type printing press.

The printing press was the high-tech innovation that heralded the overthrow of Aristocracy as the main means of government.

OK, we have a new type of "aristocrat" today -- but really, it's not the same.

We are at an inflection point which, after all the turbulence is over, will be regarded as heralding another new era of society.

There are those who are pushing (hard) to eliminate the entire philosophical concept of "copyright" -- of Intellectual Property.  If you think something, it must be because others influenced you, so what you think belongs to everyone.

It's an interesting argument (worthy of many novels with all kinds of themes!).

The Internet and self-publishing e-books (and POD) are going to change things you wouldn't expect fiction to touch, never mind change.

To figure out where you, personally, fit into the new pattern (that hasn't emerged yet), study the business model with a long view.

Get used to thinking of fiction and non-fiction (and docudrama or News Analysis or Opinion Op-Ed) as simply the bait for eyeballs.

The business-model is really just about gluing eyes to screens long enough to flash an advertisement crafted of PR-informed-techniques, to arouse EMOTION to the point where people form herds and stampede toward the advertiser's goal.

Learn to see the TV News that way.

Learn to figure out why they do segments on this or that topic, and why they say one thing but avoid another -- why the choose the language they do. 

You will see how the emotion aroused during a segment is used by the advertising between segments.

It's easiest to see on "News" -- but now watch some fiction shows.

Now analyze the advertisements to discover what audience those TV shows are aimed at. 

You have to reverse-engineer the composition you are watching on TV.

Note that BOOKS don't usually (yet) carry advertising except the publisher's list of other books at the back.

It's coming.  Watch for it.  Embedding video ads in e-books is only a step away.

Here is an item on how much self-publishing writers make from writing:

http://www.forbes.com/sites/jeremygreenfield/2013/12/09/how-much-money-do-self-published-authors-make/

If those writers could make up the difference by embedding ads, would they?

How would that change what they put in their writing? 

Nobody is going to TELL a writer exactly how PR works, you know.  It is a secret -- well hidden in plain sight.

Stuffy, obtuse college textbooks teach you about it, but who reads those without being forced to take the course?

Advertising is all about emotion.

I saw an article in December explaining that all advertising now relies entirely on rousing emotional pitch, and never on actual information.  I've re-surveyed some ads, and yes, that seems to be true.

So maybe it's a trend.

Parallel to that shift in advertising, we have the dilution of News content, and the invasion of "slant" into "hard news." 

As I pointed out previously, I was raised in a journalism family. 

The cardinal rule of journalistic writing (e.g. news stories for news papers) other than write with an 8 year old's vocabulary and syntax, is to choose language that is absolutely devoid of any hint of your own personal opinion.

In Part 5 I referred you to a non-fiction book about the history of science fiction in which a certain work is called "melodramatic."  "Calling" is revealing your own personal opinion.  An adjective like "melodramatic" refers to a quality which is only present subjectively.

The usage has changed the meaning over time. 

In the mid-20th Century, the Merriam-Webster definition -- ( emotional in a way that is very extreme or exaggerated : extremely dramatic or emotional ) held true.

The word was used to refer to an "extreme" or "exaggerated" situation - a caricature of reality.

The more modern Urban Dictionary says:
The state of being overly emotional - therefore often in a situation that does not warrant such a strong reaction.

Can you see the subjective judgement components?

What is "extreme" -- well, that's your opinion, and might not be mine.

What is "exaggerated"  to you may seem in correct proportion to me, or even understated.

What is "overly" emotional?  What exact degree of emotion does in fact warrant 100% response?  What is "over" what?  Where that borderline is depends on who you are and what else you've experienced.

So a JOURNALIST can't use the word Melodramatic -- not ever, except when quoting someone, and then only to illustrate how judgmental that person seems.

The word itself is commentary -- and Hard News is factual and only factual.

So there are a hundred little tricks of the trade journalists used to use (assiduously) to keep all hint of opinion out of News.

Another characteristic of Old Fashioned Hard News was that, while every outlet had an editorial slant (clearly delineated in editorials and never hinted at in News items), and each outlet selected things to report on according to their slant, they did not CRAFT A NARRATIVE.

Today, TV News (and most other media outlets) blatantly admits (via TV anchors) that they omit any item that "does not fit the narrative" being crafted to justify their editorial slant -- no matter how much hypocrasy oozes through the cracks.

 Very few people channel-surf News programs and do relentless contrast/compare studies to sift out the few real Hard News Facts buried amidst the torrent of opinion.

That group of channel surfers is so small that most people have no idea there is a Narrative being "sold" (via precise mathematical PR techniques).  And in fact, if you told them, they'd consider you a bit daft, or maybe a flat-out liar.

To understand what's happened to the world of fiction publishing (and how to leverage that to the advantage of the Romance Genre HEA credibility), we'll look at the world of TV News.  The changes have happened in lockstep in both fields, and the reasons for those changes in both are the same.

The reason is PR.

Behind that, the reason is quite simply profit. 

It's a business-model shift that caused a shift in content. 

The shift in content is easiest to see in News -- but is also visible in fiction.

Next week, in Part 5, we'll look at some fiction -- and in Part 6 the following week, we'll examine the News Game. 

Put the two perspectives together and you will see what you can do to gain credibility for the HEA and Romance in all its crossed-genres.

Jacqueline Lichtenberg
http://jacquelinelichtenberg.com

Marketing Fiction In A Changing World Part 3: Making A Living At Writing by Jacqueline Lichtenberg

Marketing Fiction In A Changing World
Part 3
Making A Living At Writing
by
Jacqueline Lichtenberg

Previous Parts in this series:
http://aliendjinnromances.blogspot.com/2009/05/marketing-fiction-in-changing-world.html

http://aliendjinnromances.blogspot.com/2012/03/marketing-fiction-in-changing-world.html

So here we are in 2014 and the world of marketing fiction is morphing even faster than ever.  In fact, "marketing" in general is under a high-impact game-changer of an ad-campaign.  The targets of this campaign mostly have no idea they've been targeted -- which is the way Public Relations is supposed to work, sneaking through your critical thinking filters. 

The groundbreaking ad campaign was launched for the film Anchorman 2.  Ron Burgundy suddenly appeared all over the place, coming at you from every medium.

http://www.hypable.com/2013/12/04/ron-burgundy-quotes-anchorman-promotional-appearances/ 

I saw several items on the financial news back in December 2013 about this ad campaign for Anchorman 2, during the talk about how the only thing wrong with Obamacare is the lack of a sufficient PR thrust to cause people to sign up for Obamacare (while news items kept appearing about the lack of Security on the back end of the healthcare.gov website.)

In the Entertainment biz, (of which publishing is a part), no matter how interesting your story, if it doesn't have an appropriate ad campaign, it won't make you a profit. 

Do you know how it "happens" that something like the Burgundy promo suddenly appears on NEWS SHOWS?  And everywhere else, while ads are appearing -- most hits on the YouTube video which has been pushed viral?  That it didn't "go" viral but was pushed viral on purpose is the story.  But how did that story make it onto a news broadcast?

Publicity Release, that's how.

There are a number of online services that promise free or fee-paid distribution to news outlets for a press release you write -- and they even admit that there is a standardized technique for writing such press releases.  They show you how.  But that isn't enough.

Any reporter, editor, etc. is now bombarded with thousands of these things a day. 

It's not enough to "put out" a "press release" -- professional back-channel access to the decision makers is necessary, and before that can be effective, there has to be a "story." 

This is the NEWS GAME, behind the scenes.  It has its own language and buzz-words as well as an entire business model for attracting the attention of large numbers of people who, because of whatever they have in common, will very likely do something with the information.

The most successful novelists I know of (and sometimes know personally) have one of two starting-professions under their belts before they "make it big" in the book biz.

1) Journalism
2) Marketing

It doesn't matter what kind of Journalism and it doesn't matter marketing what.  These two professions ingrain an entire outlook on the world that trains the subconscious to think in certain ways when organizing an Idea for a Story.

So we're going to examine how the News Game has changed -- where it was decades ago, why it was that way, and what forces caused it to change.

ANCHORMAN 2 is a marvelous case in point since it is sort-of about NEWS, but is fiction, and got this groundbreaking Public Relations Campaign.

That's what's "wrong" with self-publishing -- most writers just don't understand Public Relations, or how to create an ad campaign (nor do they have a sufficient budget).  And they don't understand Journalism -- which is the interface between the writer and the audience.  If you get "reported on" you are important.  How do you get "interviewed" on a news show and have them introduce you as the author of a book which they put on screen?

How do you get a cover design on your book that an eye-blink of exposure on a TV screen would give a viewer a need to buy that book?

It's magic, right?  Sheer dumb luck?  It could happen to anyone?  All you have to do is get your book in print?

What do you need a "publisher" for? 

PR, that's what. 

PR is the most expensive part of producing a book.  Just as in film production, the writer gets the least amount of the budgeted money, the book writer gets the least amount in advance from the publishing budget, and the least of the profits. 

Self-publishers who establish a publishing budget covering all the items a big publisher puts into a budget have a very good chance of succeeding. 

One reason writers go to self-publishing is that they learn how the author's contract pays them 6% to 10% of the NET proceeds from sale of the book.  The publisher keeps the rest.

No, actually not.  The publisher SPENDS the rest on staff and tasks required to produce and market that book.  Publishing (like the News Game we're going to discuss) used to be a zero-profit business.  It used to be that big companies owned a publishing company for the prestige of it (I'm not kidding; I know first-hand), and the company policies of the publishing arm of the company were designed to lose money.

The publishing company's job was to lose money AS A TAX WRITE-OFF.

They were in the business of exciting original thought with stimulating IDEAS, of instructing, informing, investigating, and incidentally entertaining.  The business aim was to break even -- make office rent, salaries, printing fees, etc etc -- not to make a profit.  So for every big, best seller, they would deliberately publish really "important" books that just could not possibly earn what it cost to print and distribute. 

The mission statement didn't include this, but the real mission was to lose money and gain prestige for the company that owned the publishing company.

That all changed when the US tax laws that governed warehousing of product changed.

Two decades later, technology swooped in and blindsided paper publishers -- e-books are now the battleground, and self-publishing may be our Renaissance.  (we're seeing this trend in Indie film and Indie everything else.) 

Note also that most all the US operating publishers are actually owned by foreign companies.  The shift in the tax laws gutted US Publishing to the point where we had an era writers called "Pac Man Publishing" where companies ate each other (this is happening with our Airlines now, and Healthcare delivery and innovators are entering that phase.) 

Just remember this:  IT IS ALL ABOUT THE TAX LAWS. 

So let's add a third starting-profession to the list of pre-published-author professions:

1) Journalism
2) Marketing (PR is part of Marketing)
3) Business Administration

One of the items in the BA curriculum is Public Relations and the place and function of the PR Department in the corporate structure.  Accounting is supposed to cover Tax Laws, but if you self-publish, you have to learn all that, too.  Tax laws are the elephant in the room.  You stand or fall as a business on Tax Law.

A self-publisher is a corporation -- has to be!  At least an LL.C.  There's an annual fee imposed on corps by each state -- a tax.  It's all about taxes. 

If you self-publish an e-book, and get sued, they can take your house, car, any other property.  Put the book into a corporation, and all the laws are different, but they are different in each state. 

And a self-publishing writer has to be a Master of administering or managing a PR department -- even if she wears all the hats in this corp, she has to do the PR and be the PR Department manager herself.  Each of these jobs is a full time job, and each requires a 4-year University Degree or at least the knowledge acquired in that degree work, plus the real-world, hands-on, skills gained by working with people. 

So google the following query:
anchorman Burgundy promotion

Study the results from the point of view of 1) Journalism ( a news organization deciding this film's promotion is NEWS - not the film itself!), 2) Marketing (that provides the news organization with the material to make that decision a slam-dunk) and 3) The Business of monetizing an investment in a piece of fiction (watch the film).

From the outside, the results of PR look like magic.  It's not.  It's science so advanced that it looks like magic. 

So beginning writers assume they can write a great novel, self-publish it, and LUCK may strike and boost them into this pinnacle of profit that the Burgundy films enjoy simply because their writing and their story are so much better than that movie (which they probably are). 

It's true: Luck Can Do That.  And the odds tilt in your favor if you write well. 

But self-publishing for profit requires a whole lot more savvy than that. 

It requires understanding business. 

Being a successful self-publisher means understanding the business structure well enough to know exactly where "Talent" resides in the Business Model, and precisely what the value of the content produced by Talent is worth in terms of ROI. 

Remember the old Hollywood saw, "I'll make you a star."  Mostly, the producer saying that was a grifter who just wanted to "make" the girl, but sometimes they could and did "make a star."  How talented an actress was Marilyn Monroe?  How good a singer is Madonna?  Are there better actresses or singers?  Why aren't they as well known? 

Is fame proportionate to ability?

See this entry on FAME:
http://aliendjinnromances.blogspot.com/2013/12/theme-character-integration-part-5-fame.html

Making a living at writing (even if you use a publisher) also requires the writer's concept of their product's place in the business model to morph as fast as the business model itself is morphing.  (which in 2014 is fast!  Tax law changes will ensure even faster morphing, never mind Healthcare changes.)

Take the ANCHORMAN 2 promotional campaign as an example of how your PR approach must now shift.

The Business channels carried items noting how the unique aspect of this promotional campaign was because it utilized multiple media forms simultaneously - a timed barrage. 

It's on TV, Radio, YouTube, Internet ads, and I don't know about print, blogging.  The campaign itself is the news item, as much as the sequel to a popular movie.

OK, the subject of the movie has wide appeal -- but the effectiveness of the YouTube ad plus all the multi-channel hype was highlighted on the Business channel coverage when one of the anchors said his whole family wants to see that movie -- the teen from YouTube or Netflix exposure, his wife from another medium and himself from other sources. 

Each channel of communication with potential audience demographics now requires a different medium of communication of the "message."  But "messaging" is still King. 

Apparently, the producers of this film spent more on promotion than on the movie, and one of the stars is getting his cut off the back end (not up front which is usual).  In other words, he gets a percent of the box office, so he's out there beating the drum just before the film hits -- TIMING is the other biggie in advertising.  Messaging (saying it in a way that gets across) and Timing are the keystones of an ad campaign.

And it is a campaign.  It's a WAR between those who can profit from selling you the product, and your resistance to spending that money.  Also the consumer has limited time to spend on entertainment.  You are, as Heinlein said, vying for the buyer's beer money and leisure time.

There is a whole science behind getting "people" to DO SOMETHING. 

That science, PR, works well enough that the cost/benefit equation works better in favor of those who know and utilize that science.

Advertising used to be an Art.  During the 20th century, it became a science (Public Relations is now math based on statistical studies of how large populations respond to messaging).  You've seen TV news using "focus groups" to predict elections or graph public opinion of viewers watching a segment.

PR is founded on the assumption that "people" are a herd -- that people see a person (a leader or influencer -- such as Klout attempts to spot by analyzing your social media interactions) move in a direction and they just follow like a herd.  Therefore, the only way to "make a profit" is to control that herd's movements, and PR is the math behind that control.  We've discussed all that at considerable length on this blog.

Here are 3 previous items on this blog that discuss PR:

http://aliendjinnromances.blogspot.com/2012/12/theme-plot-integration-part-1-never-let.html

http://aliendjinnromances.blogspot.com/2012/12/theme-plot-integration-part-2-fallacy.html

http://aliendjinnromances.blogspot.com/2013/01/theme-plot-integration-part-4-fallacies.html

Control the Influencers - the Leaders - and you control the herd.  Any cowboy/gal can tell you how that works.

For a century, this science has been growing, becoming refined and more accurate -- so successful that the general opinion that an individual has of "people" is that they (people plural) aren't very smart. 

"Yell FIRE in a dark theater!"  It brings to mind that image of a stampede for exits.

One PR principle is to keep that herd in a panic -- or some peak emotional state, pathos, sympathy, revulsion, all do the job.  The key to controlling the herd is whipping up emotion because emotional states (fear-fight-flight) wipe out critical thinking, paralyze the ability to discern the con-game, the grifter's skills at work.

We discussed the TV Show Leverage here:
http://aliendjinnromances.blogspot.com/2013/01/business-model-of-writers-in-changing.html

If you missed prior discussions involving PR, review them here:

http://aliendjinnromances.blogspot.com/2012/04/story-springboards-part-2-tv-shows.html

http://aliendjinnromances.blogspot.com/2011/10/believing-in-happily-ever-after-part-4.html

http://aliendjinnromances.blogspot.com/2011/10/believing-in-happily-ever-after-part-3.html

http://aliendjinnromances.blogspot.com/2011/10/believing-in-happily-ever-after-part-2.html

If you've studied Leverage, (and the many other TV Shows that focus on con-men tricking "marks" into self-destruction) you are equipped to make yourself PR proof. 

Once you see the strings of greed and fear con-men pull to make their "marks" dance, you will never be a "mark" again.  If you can achieve that mindset, you have a serious chance of being successful at self-publishing. 

Seeing is believing. 

Until you see what PR at publishing houses does, and how they do it, and how you have been a victim of it, you have no chance at success in self-publishing. 

You don't need a college degree to do this, but you do need to know what is in those textbooks.  You don't need a teacher.  Teach yourself.  Go to the library or buy some used textbooks (much cheaper now in e-book format!) and just learn it. 

So returning to the grifter's secondary tool of "fear."  That's "Yelling Fire In A Crowded Theater."  Just get the herd moving, and human stupidity will do the rest for you.  Remember, the principle behind PR is that Aroused Emotion obliterates critical thinking.  Once you've short-circuited human critical thinking, you own that herd.

As long as you, the writer with aspirations of self-publishing, are a member of the herd that Publisher's PR Departments own, you will not succeed at self-publishing.  Your indignation and defiance are emotions aroused by the "stupidity" of publishers who refuse to publish the "better" kind of book you write, and thus your critical thinking is shunted offline, and they own you.

As long as you are in rebellion against traditional publishing, you will fail because they own you.

You will not fail because your book is not marketable (though that does cause failure).  You will fail because of your emotional state.

You can master your emotional state easily by coming to understand how the Confidence Operator is jerking you around.  Find where your handles are sticking out, and don't let them get hold of you by your handle.

For writers, that handle is generally, "I write better than that."  And very often, that's true.  What the writer must learn to go professional, especially as a self-publisher, is that there is a low, but clearly defined threshold that a story must meet, and any quality above that just doesn't matter in marketing.

How well you write just doesn't matter.  How important your story is used to matter -- in today's publishing world that publishes FOR PROFIT ONLY -- "importance" of what you have to say doesn't matter.

Once you get that fixed in your mind, you can research why lesser works than your own sell so much better.

But you won't understand the data you're gathering until you understand PR.

Many times great disasters with horrendous death tolls have occurred in public places (such as bars or theaters) with insufficient exits.

"Messaging" is the science of figuring out what to yell in that darkened theater to raise the emotional state to the point where critical thinking evaporates and the mindless herd is created (in politics, it's call a Bandwagon).

"Timing" is the science of picking when to Yell.

Targeting a Market is the science of "getting all those people packed into that theater" -- "finding your audience."

"What Is The Lowest Common Denominator that all those people share?"

That's what "audience" means to PR folks -- not the definition of the word audience, which is about "those who hear" but how to gather those people all together to yell your emotion-raising message causing the herd to lunge all together in one direction.

If you think about what that means, you may see why Science Fiction is not so popular.

Science Fiction has been defined as "The Literature of Ideas."  That is, it is about THINKING.

Only in ROMANCE is it possible to have truly peak emotional experiences while at the same time still thinking critically.  (I said Romance, not sex.) 

Science Fiction is always about the story (fiction) of some revelation about the structure of the universe (science) that organizes (science) the knowledge gained into a pattern than can be used to invent new things.

In the typical, old fashioned, science fiction a young boy (always a boy) who has a brilliant mind discovers some new fact that his elders could never have found.  Using this new fact, the boy invents, fixes, adds-on, or otherwise morphs what tools his elders were using and thus solves a problem older people could not.

The driving force in old style Science Fiction is the boy's emotional need to "prove himself" -- or one of the other emotional issues of teen boys, but never the sexuality inherent in the teen years.  SF was usually set in the time of life of the Rite of Passage into adulthood, and thus defined what it means to be an adult, as opposed to being a child.

That type of Science Fiction has almost disappeared from the shelves (or Amazon). 

Stories about the process of becoming The Adult In The Room via the application of critical thinking and bold exploration of new ideas have not been given the PR push (that Anchorman 2 has gotten) for at least 10 years.

It is as if those selecting books to put PR muscle behind do not want young people to admire and emulate those whose behavior is controlled more by critical thinking than by emotional-herd-behavior. 

People who default to critical thinking when someone yells FIRE, are generally the sort who simply will not respond to advertising for shaving cream, perfume, tooth paste, or a muscle car.  They simply can not be fooled by advertisements, not even for political candidates. 

People who default to critical thinking are immune to advertising, and every other grifter's trick. 

Science Fiction, from the publishers whose mission-statement included losing money, or break-even at best, taught readers not only to admire critical thinking, but also how to do it when the whole mob around you is screaming, "FIRE!"  The science fiction fan was always the one who grabbed the fire extinguisher before the blaze got out of hand -- or set himself to become that person as an adult.

The measure of adulthood was the ability to default to critical thinking, no matter what others were doing.

That's not the same as being "emotionless" (as Spock was portrayed).  It's not lack of emotion.  It's that one trains one's emotions to be subordinate to critical thinking in the decision-making process.  Once that training is complete, one is an adult. 

From another view, Science Fiction is the fiction about people who defy the rules (because that's how science advances -- by people finding the mistakes in previously accepted Laws of Science). 

These individuals have the characteristic that Klout.com is looking for -- the clearly delineated difference from everyone else.

The lowest common denominator of the Science Fiction reader is high intelligence and unique critical thinking in the midst of peak emotion.

That's what makes the Science Fiction hero/heroine a prime candidate for Romance Genre.

For the astrology buffs reading this -- Romance is usually signaled by a Neptune transit.  Critical thinking is generally associated with an easy Mercury/Saturn connection, and/or Saturn transit to the 3rd/9th axis.  When the two are combined, you get prophetic brilliance, or Love At First Sight.  The true Happily Ever After generally results from that combination, whereas the hard Neptune transit "Romance" generally results in a really rough "The Honeymoon Is Over," moment. 

So now I'll give you a week to review Marketing, PR, the history of publishing, and other points I've skimmed through here.

Next week we'll discuss more about why it is that Journalism is a great way to start a fiction writing career aimed at making a living from writing.

Jacqueline Lichtenberg
http://jacquelinelichtenberg.com

Theme-Plot Integration Part 4: Fallacies and Endorphins

If you're reading this on New Year's Day, stop and come join us for our annual Sime~Gen New Year's chat -- info and instructions on the Sime~Gen Group on Facebook and/or http://out-territory.blogspot.com

Then come back and read about how to use the basic Theme and Plot techniques I've been harping on in these Tuesday posts to avoid expository lumps.  Yes, that's what this is all about -- avoiding boring the reader by telling rather than showing.  Put all the information into the substrata of the composition, into the structural elements.  This is an advanced lesson, combining two techniques, Theme and Plot. 

Previous parts in this Theme-Plot Integration Series:
Part 1 http://aliendjinnromances.blogspot.com/2012/12/theme-plot-integration-part-1-never-let.html
Part 2  http://www.aliendjinnromances.blogspot.com/2012/12/theme-plot-integration-part-2-fallacy.html
Part 3  http://aliendjinnromances.blogspot.com/2012/12/theme-plot-integration-part-3-fallacy.html

Before we continue with all this criticizing and negativity, let me just point out that the reason we harbor so many fallacies is that our brains are structured to arrange information in such a way that we are most likely to find what we need to know to survive -- and to do that, we just ignore stuff that doesn't seem to pertain to our lives.

This brain structure quirk has kept our species alive but it isn't necessarily pro-individual survival.

The key is of course choosing your fallacies wisely, and ditching the ones that impair your survival, and your ability to accomplish your particular purpose.

The process of ditching a cherished fallacy even has a name which has become a touchstone of writer-craft structure.  This is a very specifically formulated moment in film or novel, a singular moment in the entire life of your Main Character. 

This exquisite moment is called The Epiphany and it is the main climax of the Story, but not usually the Plot.  It is the moment the Main Character realizes where he/she has been oh-so wrong about something, that there has been a fallacy in reasoning, and/or a failure to ask and answer a question, to discover a key fact. 

The Epiphany in a Romance is usually the moment that one character finally understands why he/she has been doing these ridiculous things, taking irrational risks to save someone else's butt, or attacking some other person out of virulent dislike that nobody else can understand.  The Epiphany is "I Love You." 

Religious Enlightenment stories pivot around the Epiphany "God is Real." 

Betrayal stories pivot on "My Best Friend Is My Worst Enemy." 

Constructing a good epiphany requires first laying down a really plausible fallacy. 

One good source of dynamite fallacies is the lies everyone believes.

Here's a blog post on the business of Film Making - and Screenwriting pinpointing 4 lies that have been sold as truths to the unsuspecting.  If your main character is trying to break into an industry that markets art (any such industry from oil-paintings sold at street fairs to High Fashion in Paris) these 4 lies are wondrous sources of Fallacy to harbor and Epiphany when the fallacy is shattered.

http://www.raindance.org/hollywoods-4-biggest-lies/ 

The thesis in that article is that Hollywood is a film MARKETING industry (not film making industry).

For the purpose of studying Fallacies and how they are used in our real world so we can use them in fictional worldbuilding, we need to consider that Marketing is based on PR (public relations) which is, thanks Bernays - (as mentioned previously in this series, see Links above) a science. 

I've been talking about writing as a performing art and the business of writing as a marketing problem here for years. 
http://aliendjinnromances.blogspot.com/2009/09/marketing-via-social-networking.html

http://aliendjinnromances.blogspot.com/2012/03/marketing-fiction-in-changing-world.html

And there is the 7 part series I've done on Editing that has helped a lot of beginners get their start.

This has links to the prior parts all listed at the top:
http://aliendjinnromances.blogspot.com/2010/09/what-exactly-is-editing-part-vii-how-do.html

Marketing now runs on commercials and sound-bytes, YouTube videos and Endorsements.  It used to be jingles and slogans when all they had was radio and B&W magazines.  But since Bernays came up with his herd-instinct idea driven by fear of the behavior of other humans (a wondrously fruitful fallacy for writers to explore), Marketing has been a Science. 

We have had blockbuster TV shows set in Advertising Companies or revolving around a character who writes advertising for a living.  Those characters are always rich -- there's a reason for that.  In real life, those who've mastered Advertising Copy Writing and TV Ad production are a lot richer than any mere novelist. 

Does Advertising work for Marketing because humans really do have a herd instinct?  Or does it work for another reason? 

Are humans who are conditioned to behave as individuals, who don't need or want a "Leader" because they aren't followers and therefore don't prize Leadership, who aren't subject to any herd instinct or tendency, actually dangerous? 

To whom are they dangerous?  What exactly is the danger?  Who would take damage if humans got loose?  The answer to each of those questions could be used to form that Epiphany Moment in a film or novel.

Some of the best romance stories pivot on the subconscious fear of love, leading to the Epiphany that Love Is Not A Threat, that fear of love has a fallacy at its root. 

That type of fallacy novel is about the lies we tell ourselves. 

See the post on Weaponizing Lies
http://aliendjinnromances.blogspot.com/2012/08/dialogue-part-4-legal-weasel.html

Here is a website devoted to videogames made by Bioware and Lucasarts (now part of Disney) based on Star Wars. 

http://www.swtor.com/info/setting

Note, the whole Star Wars saga is based on the current-world's most cherished fallacy -- and nobody, but absolutely nobody, ever identifies this fallacy: that "peace" can be achieved by the process of "fighting," fighting to the death. 

This is such a whopping huge Fallacy that once you have that Epiphany that it's utter nonsense, and you no longer wonder why all these millennia of fighting for peace have not resulted in Peace On Earth, then suddenly the whole world becomes incomprehensible.  Why would you hire a politician who wants to "fight for you" -- before you have this epiphany, it's so reasonable to want to vote for the Champion who can win your rights for you, and afterwards it becomes clear how Advertising has perpetuated this particular Fallacy. 

There's at least a series of novels in finding out who benefits from perpetuating that fallacy. 

Star Wars must be the single biggest marketable product to come along selling the "Fight For Peace" fallacy as necessary in the "War Against Evil." 

Star Wars  may be bigger than Star Trek by now. 
Star Trek is based on "when we become wise" (as Gene Roddenberry always said in his speeches at conventions) we will have peace.  Peace achieved through acquiring wisdom is the theme.  But Star Wars out-sells Star Trek. 

Fighting is more fun than becoming wise.

Fighting is fun because of that endorphin addiction noted in
http://aliendjinnromances.blogspot.com/2012/11/dialogue-part-5-how-to-write-liar.html

Endorphins are create by the body, relaxing and triggering a pleasure response. 

http://en.wikipedia.org/wiki/Endorphins

----------QUOTE WIKIPEDIA --------------
Endorphins ("endogenous morphine") are endogenous opioid peptides that function as neurotransmitters.[1] They are produced by the pituitary gland and the hypothalamus in vertebrates during exercise,[2] excitement, pain, consumption of spicy food, love and orgasm,[3][4] and they resemble the opiates in their abilities to produce analgesia and a feeling of well-being.

The term implies a pharmacological activity (analogous to the activity of the corticosteroid category of biochemicals) as opposed to a specific chemical formulation. It consists of two parts: endo- and -orphin; these are short forms of the words endogenous and morphine, intended to mean "a morphine-like substance originating from within the body."[5]

The term "endorphin rush" has been adopted in popular speech to refer to feelings of exhilaration brought on by pain, danger, or other forms of stress,[2] supposedly due to the influence of endorphins. When a nerve impulse reaches the spinal cord, endorphins that prevent nerve cells from releasing more pain signals are released. Immediately after injury, endorphins allow animals to feel a sense of power and control over themselves that allows them to persist with activity for an extended time.[citation needed]
---------------END QUOTE-----------

Humans can achieve this kind of response just from imagination.  So indeed, the "fallacy" of "fighting for peace" seems on the surface, from personal internal experience to be a "no brainer."

You FIGHT: You feel pleasure. 

Just as in the post on Liar Dialogue, Part 5 in the Dialogue Series:

You lie: You feel pleasure

You exercise power over others: You feel pleasure.

The book, You Can't Lie To Me by Janine Driver, illustrates how basic it is to the human animal to feel a rush of endorphins when exercising power over other humans.  Lying from a position of power, tricking others into doing what you want by reshaping their idea of reality, produces an addictive rush of endorphins -- it's addictive because you become immune to the effect and thus require a bigger rush or endorphins to get the pleasure hit.  You need more and more power over more and more people just to feel normal. 

Think about that concept -- read up on the science -- then think about "who" Bernays was, what his biography was, where inside him did the idea of humans as a herd to be controlled by lies come from?  Why are humans running loose without anyone controlling them dangerous?  To whom are they dangerous -- really, to whom? 

How many plots with dynamite epiphanies can you create by trying out different answers to those questions? 

Jacqueline Lichtenberg
http://jacquelinelichtenberg.com