By Chuck Sambuchino
Ah, platform. It’s that dirty word writers hate. It appeared several years ago like a bad dream — a word publishing bigwigs used to describe a writer’s ability to sell their own work through a writer’s social media, networking and visibility. The bigwigs made it clear: Writers would not only have to write books now, but be the main marketing force behind them, as well.
Let’s be clear: If you’re a fiction writer, you want a platform. If you’re a nonfiction writer, you need a platform.
In fact, if you’re writing nonfiction and you don’t have at least a modest platform, literary agents and editors probably won’t even consider your book idea, no matter how good it may be. If you can’t sell your own book, they ain’t interested in your pitch.
In fact, I’ve been speaking so much about platform lately that I wanted to write something here about it here — my thoughts on “current platform” vs. “future platform.” See, building a platform is difficult and takes time. But some good news, in my opinion, is that if you get off to a solid start, you can use realistic, down-to-earth predictions when pitching your book regarding where you will be in the future. After all, your book won’t get published for a year and a half or two years. Surely by that time your platform will have continued to grow — so feel free to mention where you think you’ll be.
ELEMENTS OF A PLATFORM
Off the top of my head, here are some elements that contribute to a writer’s platform:
1. A successful blog
2. A successful newsletter
3. Article/column writing with bylines
4. Contributing to large publications/blogs/etc.
5. Networking and who you know
6. Public speaking, such as presenting at writers conferences and retreats
7. Social media (Twitter/Facebook/etc.)
8. Organization membership
9. Media appearances and interviews
These are all things that a publisher will want to hear about if you’re pitching a nonfiction book. These are your weapons in pitching to a publisher as well as selling your book to readers.
(Hi, everyone. Chuck here chiming in for a second. I wanted to say I am now taking clients as a freelance editor. So if your query or manuscript needs some love, please check out my editing services. Thanks!)
YOUR “FUTURE PLATFORM”
When you’re writing a nonfiction book proposal, you will be examining all of the above elements and listing out the weapons at your disposal. Now, after that section is done, feel free to include some quick notes on where you think your platform will be in 1.5–2 years. This is your “future platform.”
For example: How many page views does your blog get a month? Perhaps 7,500? But what was that number three months ago? Six months ago? A year? Discover those numbers and chart its monthly growth rate. After you do that, your nonfiction proposal can include the line:
“My blog, (URL), currently receives 7,500 page views a month, and is growing at a rate of 12% a month. By spring 2013, even using a more conservative growth rate, the blog should receive more than 20,000 page views a month if not more. The author is committed to blogging at least (X) times per week and will be continuing that frequency in the future…”
Another example: “In 2011, the author presented on (topic/specialty) to two trade conference: (conference name and other conference name). He/she is already contracted to present at least three events in 2012 with more invitations expected. In 2013, the goal is 6-10 major speaking appearances at industry events, with audience numbers ranging from (number) to (number)…”
The catch regarding all this is: Do not bullshit a literary agent or editor. If you bullshit us, we see through it immediately, and discussing your future platform unrealistically will actually work against you. When uncertain, err on the conservative side with numbers. Even a conservative growth in blog figures or public speaking appearances will aid your pitch.
Last important note: Your current book promotion ability (your current platform) is all that you are able to do right now. Your future platform is a realistic prediction as to your platform growth in the next few years.
Note that in neither definition do I want you to discuss what you would be willing to do. By that I mean: “I would be willing to do radio interviews in support of my book. I would be willing to discuss a book tour. I would be willing to be interviewed by Oprah.” All those possibilities are hypothetical, pie-in-the-sky scenarios that you are not able to make happen.
When discussing your platform, only discuss what you are able to do. If you cannot make it happen for certain, do not discuss it.
(This column excerpted from my book, CREATE YOUR WRITER PLATFORM, from Writer’s Digest Books.)
This post is Part 4 of Chuck’s debut series here at WITS: Take Your Writing By Storm.
Part 3 was Should You Pitch (and Sign With) a New Literary Agent? The Pros and Cons. Please return at 11 am ET for Part 5: How to Support an Author’s New Book: 11 Ideas For You.
Chuck Sambuchino of Writer’s Digest Books edits the GUIDE TO LITERARY AGENTS and the CHILDREN’S WRITER’S & ILLUSTRATOR’S MARKET. His Guide to Literary Agents Blog is one of the largest blogs in publishing.
His 2010 humor book, HOW TO SURVIVE A GARDEN GNOME ATTACK, was optioned by Sony Pictures. Chuck has also written the writing guides FORMATTING & SUBMITTING YOUR MANUSCRIPT and CREATE YOUR WRITER PLATFORM.
Besides that, he is a freelance book & query editor, husband, sleep-deprived new father, and owner of a flabby-yet-lovable dog named Graham.
Find Chuck on Twitter and on Facebook.
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I really enjoyed reading all your blogs on writers in the storm today. Lots of good information in areas I need to address. The original writing seemed like the hard part, then the editing with the publisher seemed hard, but the hardest part is actually the platform, for me anyway. With the book out, I thought I’d be able to rest, but nooooo…
Good post, as much as I dislike HAVING to have any kind of a platform. I still am open to “data collection” on the topic….
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Good to know that I’m on the right track. However, this particular blog post seems more concerned with nonfiction. Which platforms elements are better for fiction?
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