Wanna sell your book? Just go on Oprah!

If you feel for this guy, spare a thought for all the other authors out there.

If you can't see the video click here
(It's long by YouTube standards but this is your chance
to show you have an attention span longer than 4 minutes!)

Twitter vs Facebook - what's a children's writer to do?

Social Networking is dangerous territory for writers. Perhaps more so for novelists. All the writers I know seem to suffer addictive tendencies - coffee, tea, alcohol, pasta, Facebook ... the compulsion that drives us to write pushes us in other directions as well.

The writing is going slowly. So what do you do? Instead of forcing yourself to work a chapter out, you check your Facebook profile for comments. An hour later, you've watched eight YouTube videos and exchanged pleasantries with an ex-classmate who used to bully you in high school.

We have to do it, we tell ourselves. Times have changed. The author can no longer rest on his or her craft - to sell our work in this big bad techno world, we have to be actors, podcasters, bloggers, marketers, facebookers and now ... twitterers.

Techno-savvy agent Peter Cox, interviewed on the Tall Tales and Short Stories blog, talks about publishers expecting authors to have a "platform" -

Publishers talk about a platform. They say what has the author got as a platform? In other words can you attract publicity can you bring buyers with you? In the non-fiction area it might be diabetics or left-handed people or pilots ... is there a public out there who already recognises you who will buy your book?

That's why every Tom, Dick and JK in the book world has started up a blog (well, not JK - she doesn't have to blog). I know authors who don't blog who have been advised by their publishers to start one.

What fascinates me is that some of the very people who are urging authors to blog do not read blogs, much less blog themselves. They don't understand the care that goes into blogging, the time it takes to write a post, the time and emotional investment in building an audience.

At the recent London Book Fair, there was so much talk of Twitter amongst publishing people that I signed up to find out what it was all about. Here are my findings:

• It's like blogging. Except it's in 43 characters. I like that I can update my blog by embedding my Twitter feed at the top of the page. As a result, I blog less. But I've lost readers because not all my readers are on Twitter.
• It's like blogging. Except your followers are somewhat more anonymous because your micro-blog is in such a big alphabet soup, any comments are quickly drowned in other Tweets.
• People carry on conversations - but it feels a lot like eavesdropping ... and there's already enough noise in my home without eavesdropping on the conversations of strangers.
• It's like blogging because it's addicting.
• It's not like blogging because it's quick and you don't have to say much.
• As in blogging and facebook, the early adopters and more sophisticated Tweeters are based in the US. If you live in the UK, you lose out because of the time differential.

In the Tall Tales interview, Peter Cox also said:

There is a 97% BS factor involved and if all you do is listen to the latest things ... you've got to twitter, you've got to have a blog ... it can drive you mad ... You have to look at these things strategically and work out how is your time best spent.

My decision: I'm going to stay on Twitter and Tweet occasionally - to see where it's going to go. BUT I think it's more important to make the social networking that already works for you work better. That means giving my blog some TLC and creating websites that are forward- thinking and audience building - as in, audiences that I actually am engaged in ... not an anonymous mass.

And of course most important of all: I'm going to concentrate on writing my book and writing it well.

After all, what's the point of having a platform if you've got nothing to show for it?

The Houdini Box by Brian Selznick - picture books make me feel like drawing

I had a fabulous surprise in the post yesterday. Wrapped in plain brown paper, this book arrived. It was from Sarwat - author of the unputdownable goth lit adventure Devil's Kiss - who has just come back from his triumphant first BEA (marred only by the small matter of being mistaken for a terrorist at the airport in New York).

Sarwat harvested a massive haul of books at BEA which he duly shipped back to London and offered up on his blog on a first come, first served basis. I of course leapt at the offer.

And here it is - The Houdini Box by Brian Selznick, the guy who wrote and illustrated The Invention of Hugo Cabret, winner of the Caldecott Medal. I just stared at it for many long minutes. Check out the illustrations on the inside pages:

The text was sparse and the cross-hatched pen and ink drawings were lush.

I was so bowled over that I grabbed my sketchpad, brushed off the cobwebs and spent the evening drawing.



See what one picture book can do?

Our new Children's Laureate Anthony Browne, writing in today's Education Guardian, said:

Most adults will tell me: "I can't draw!" Children, too, as they get older, say the same thing. Something happens to our creativity as we go through the education process; most of us lose touch with it. A stifling form of self-consciousness invades us, whether it be in drawing, writing, singing or (in my case) dancing...

Just before this unhelpful self-consciousness creeps into children, many of them are encouraged to move away from picture books and move into "chapter books" - books without illustrations. Perhaps there's a connection? Read it all

We need more books like The Houdini Box.