Dear I’m an English Major,
Me, too! That and twenty-five cents won’t get me a cup of coffee much less a polished book. Basically, even if I wrote Elements of Style, even if I was Shakespeare (okay, maybe not Shakespeare), I would still need an editor. Why? Because there are few human beings who can look at their own work objectively. If we could, we would catch ever plot hole, hear every piece of clanging dialogue that ruins our carefully drawn characters, and never miss a pacing problem. We would catch every missing conjunction, misspelled word and wayward apostrophe that found it’s (its) way into its (it’s).
If you’re still not convinced, ask yourself these three questions:
1) Have you ever asked someone if you look fat in a new dress?
2) Have you ever uttered the words ‘what do you think?’ (about anything)
3) Have you ever talked through a problem late into the night with someone you trust?
If the answer to any (or I bet all) of these questions is yes, you need an editor. We search out that critical eye and the honest voice in our lives and we should do the same with our work. Our lives and our books will be better for it.
Love,
Rebecca Forster
USA Today & Amazon Best-selling Author
Flawed English major/content editorial client
Secret Relations, Book #3 in the Finn O’Brien Thriller Series launches March 3, 2018
Read a Snek Peek and get your copy now!
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Yes!
You may know pluperfect from a transitory verb. You may be meticulously accurate with every comma, semi-colon, quotation mark, em-dash and ellipse. You may be a practiced writer fluent in multiple literary forms, but you cannot read your own work with a neutral, critical eye.
The act of writing is a solitary endeavor. A story is conceived in the mind and is played with, tweaked, adjusted, re-written until it becomes, in the writer’s mind a complete and sensible whole. That process often involves input from other writers and beta readers while the work is in progress. These are trusted voices that become part of the process as you bring the story from your mind to its final form. The input you’ve received has been beneficial in making it a better work. But each of these sources has an investment, either as support from a writers group or from someone, like a relative or friend with a degree of closeness – either way, each source has a personal investment in you. However incidental or deep that investment is, it is not neutral.
Your finished book was hard work; countless rewrites and revisions prompted by your own senses and perhaps the input from those other writers and/or beta readers. It’s time to step away and put the work before neutral eyes. An editor provides that neutral set of eyes; think of it as a reality check.
The only investment an editor has is to help your story be the best it can be. An editor will tell you how you sound to a discerning ear reading the work for the first time. An editor will hear when the pacing begins to drag or a character or plot point is inconsistent. Stilted dialog or rambling narrative will sound to an editor like fingernails on a chalkboard. An editor will hear if what you wrote is actually what you meant. An editor’s job is to tell you precisely what those clinkers are, and if she is good, she will tell you why something doesn’t work and suggest solutions. It’s a collaborative effort.
If you do not feel you need a full content edit then opt for a critical read and respond. At the very least, get a copy/line edit. You cannot always see your mistakes – not the big ones or the small ones. Shamelessly I’ll say I’d love to read your work. And yes, there is a fee – it’s a profession.
ASCENT OF ICE by H. O. Charles is available today
The final volume of The Fireblade Array.
Medea is trapped in a fortress made of shadows, Artemi has had her life rent from her yet again, and fate looms over all.
Some heroes battle to save the world from the icy grip of darkness, but others fight to make it darker still.
Will the boundaries between light and night, ice and fire, love and hate ever be restored?
Rebecca Forster’s 3 Finn O’Brien Thriller, SECRET RELATIONS is available for pre-order now with a March 3, 2018 publish date.
The last thing Finn O’Brien wants is to come between his partner and her daughter, but Amber Anderson is desperate for his help. Her new boyfriend, an undocumented immigrant, is missing. Uneasy about keeping a secret from his partner and hindered by the prejudice and politics of the LAPD, Finn is tempted to turn a deaf ear to the girl’s plea – until the first body is found.
Cover designer and author of the fantasy series, The Fireblade Array
Yes! EVERYONE needs an editor, and there’s some evidence to suggest that overconfidence can lead to more mistakes!
Marianne is always picking up my typos, so I must be very clever indeed… or too confident. If you want to save money, I would suggest getting a reasonably literate friend or two to read through your drafts. You’ll be surprised how much they pick up. Another thing to consider is what kind of writing you’ve been doing as an English major (ignoring for a moment what you’ve been reading). I did an essay subject at university, but I soon found novel writing employed a whole different raft of writing skills, for which essay writing offered very little foundation. The way I was taught (not sure if different in the US) involved very strict limitations on the usage of commas, third-person perspective, ‘masculine’ statements, rigid paragraph formation etc. etc. All of these rules had to be unlearned.
An editor can also point out the bits where your story might be drifting, find plot holes, and tell you where something needs more explanation. (Note my Oxford comma, which I would NEVER have used in academia!)
Ever wonder what industry professionals think about the issues that can really impact our careers? Each month The Extra Squeeze features a fresh topic related to books and publishing.
Amazon mover and shaker Rebecca Forster and her handpicked team of book professionals offer frank responses from the POV of each of their specialties — Writing, Editing, PR/Biz Development, and Cover Design.
Remember use our handy dandy contact form to ask a question.
[tweetshare tweet=”Dear Extra Squeeze Team: Can I Publish with Amazon and Submit That Same Book to a Traditional Publisher?” username=”A_SliceofOrange”]
Love the question. Here’s the answer. An indie author can do anything she darn well pleases.
Now ask the really important question: should she do it?
When I first started writing, I was rather impatient. Against the ‘rules’ I submitted to editors and agents simultaneously. My thinking was this: if an editor replied an agent would love to take me on because the hard work was done and if an agent replied first they would be happy to follow up with an editor who already had the manuscript. It all worked out fine. I sold my first book without an agent, got picked up by an agent because I had a deal, and life went on without a backlash or wrist slap. The strategy was mutually agreeable because the same book was being pitched and would benefit everyone on the food chain. Fast forward. Traditional publishers are now trolling the Internet for books that are doing well, they are signing hybrid deals and they are more open to creative publishing than ever before. However, if you break it down it looks like this.
1) A hybrid deal is not made for the same book but for unique material for each platform (i.e. one series for the traditional publisher and another for indie publication).
2) When a publisher picks up a successful digital book, the rights then are sold to the publisher and the author is no longer both an indie and traditional author. The indie books catch a traditional publisher’s eye earn their way into those deals by having great reviews and sales.
Therefore, if you have published your book on Amazon and submitted it to a traditional house you have put yourself in a risky position. The first thing an editor will do is look to see how many reviews you have and what the sales rank of the book is. If you have few reviews – and worse, bad reviews – and a sales rank in the high six figures your query will go into the round file.
My advice would be to determine your goals. Do you want to gain author cred by being published traditionally, or do you want creative freedom and a good chance of making decent money off your writing? Decide that before you actually do anything.
So, can you simultaneously publish and pitch? Sure you can. Would I do it? Nope. Traditional publishers have too much information at their fingertips. If you publish that book and the results are lackluster there is no incentive to pick you up.
I say set goals, create content appropriate for each opportunity and follow a focused plan to get the notice you want.
The published author has correctly answered your question, but only from a literal standpoint.
The issue is more complicated than it appears. The published author answered a simple question simply… without fully explaining the deeper details that need to be understood. You probably wondered if it could possibly be true because it seems too easy. Your intuition is correct that there is more to it, and it is good that you are questioning the information to find out more.
From my perspective, the real rabbit hole in this scenario is about the transparent status of the book BEFORE you offer to sell it to the publisher, not the issue of what to do with the work AFTER a publisher has agreed to purchase it. The publisher, the buyer of your created content, needs to be fully aware of your product’s real status in the marketplace when considering your work. It’s kind of like the notion that you have the right to know if the shiny car you are buying is new, used, or something in-between, like never driven, but hail-damaged. If your work is or has been for sale on Amazon, that is information that the traditional publisher has the right to know when the work is being considered by that publishing house.
There is no harm, no foul in asking what is required here or what is possible. Publishing is a mysterious business sometimes and it is hard to know what the rules are. In any business world the best practice is to shine a bright light on whatever seems unclear. I think that the question you really may be asking—or should be asking—is this: “If I decide to submit my book to a traditional publisher, do I have to tell the publisher that the book is already available online under my own name, or under a pen name, or under a different title?” The answer is “Yes.”
There is one fixed rule about today’s publishing industry: the rules are always changing. You can count on that. Not that many years ago an author who submitted their work to two different publishers at the same time had committed an unredeemable faux pas. Simultaneous submission, or double submission, was enough to get an author blackballed. This query sounds a bit like making a simultaneous submission, but the rules have changed, the playing field is radically different.
Publishers no longer hold all the power. Anyone can offer their work on Amazon, Nook, Smashwords. If your book has a compelling premise, is well written, well edited, well formatted, well designed, and well marketed, then you have a product that could catch the eye of a traditional publisher. It’s happened before.
Amanda Hocking, Louise Voss, J. Carson Black are examples. The strength of their writing propelled their independently published books to No. 1 sellers, which caught the attention of traditional publishers who then offered these writers deals to publish future work. In the case of Louise Voss her successful indie book Catch Your Death was also reprinted and redistributed traditionally. That’s the only example I know of where a traditional publisher re-released an indie success. You can look at it as Voss’s indie serving as an audition that won her a traditional book contract.
If an author publishes their own work and then submits that same work to a Random House type imprint I don’t see where that is against the rules that are ever changing. I would suggest that they be up front about the indie offer. And it would be smart to hold off seeking a traditional publisher until the indie book has garnered a sales record and favorable reviews. A measure of success with an indie book not only showcases the writer’s talents but also their marketability.
Cover designer and author of the fantasy series, The Fireblade Array
Yes, you can submit your book to a publisher even if it is already on sale on Amazon. It is up to you how you negotiate the terms of the deal they offer (if they offer one). Some writers keep their existing back catalogue self-published, but only give the publisher the rights to sell later books. I understand that is what fantasy author Daniel Dalglish did with Orbit. There is another thing to consider, however, and that is your book may appear less attractive to a publisher if it has already been published, but either doesn’t sell well/is not well-received, or is already too widely distributed and they feel they cannot make money from it. If you’re someone like E.L. James, however, that’s not as much of a problem!
[tweetshare tweet=”A Question about Writing or Publishing? Ask the Extra Squeeze Team! https://www.asliceoforange.net/contact/the-extra-squeeze/” username=”A_Slice of Orange”]
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Ever wonder what industry professionals think about the issues that can really impact our careers? Each month The Extra Squeeze features a fresh topic related to books and publishing.
Amazon mover and shaker Rebecca Forster and her handpicked team of book professionals offer frank responses from the POV of each of their specialties — Writing, Editing, PR/Biz Development, and Cover Design.
Question for the Extra Squeeze Team: I started to enroll to SELF-e to get my Ebooks into libraries. When I started to fill out the Agreement Form, I wondered if it’s a good idea. They want the right to copy, change, etc. material from the book. In lawyer’s terms, it states about preventing distribution of the books to libraries. I thought the idea of SELF-e was to get the Ebooks into libraries. Should I bow out or continue?
The article on SELF-e is in April 2017 Romantic Writers Report on page 18. It sounds good in the report. It says you can get out of it after you’re in SELF-e and says to write to the following address in the Agreement but then gives no address.
I knew very little about Self-e until this question arose and now I’m very curious about it. I will probably submit some of my books.
I actually contacted my distributor because I was under the impression that OverDrive took care of distribution to libraries. I was advised that it is very difficult to find indie books on OverDrive (who knew) and that my best bet would be to visit all the libraries in a ten mile radius of my home and introduce myself.
I think a Self-e submission sounds a lot more efficient. So, while I can’t recommend it because I haven’t used the service, I am personally going to be looking into it because libraries remain an important fact of a writer’s life.
I think that the most important thing about Self-e to understand first is less about Self-e and more about your goals and aspirations as a business professional in the writing community.
Self-e is one way to gain access to library patrons. This is an innovative way to elevate your brand through the library. Your particular strategy is what matters here. When you know what you want to do, you will know what will work for you. I love libraries and I am a big fan of the innovative services they offer.
However, I do not have any clients who have elected to used Self-e….yet.
[tweetshare tweet=”What are your goals and aspirations as a business professional in the writing community?” username=”A_SliceofOrange”]
Cover designer and author of the fantasy series, The Fireblade Array
I’ll preface this by saying it’s a bit unfair for me to comment, since I haven’t used Self-e and therefore cannot properly measure the impact of exposure on a platform like that (which seems to be their selling point, since they take all income for themselves).
What I CAN say is that library sales have never figured that prominently in the years I’ve been selling my books online. Almost all my sales occur via B&N, Apple and Amazon.
I distribute through Smashwords to the first two, and SW give me a 45% cut after sales to Overdrive, but the proportion of sales (in terms of units distributed) I get from libraries overall is teeny tiny compared to the major book retailers.
I’m happy to continue distributing to library services, as subscription model libraries may one day be the norm for readers, but until they occupy a larger block in my annual sales reports, I see no reason to feature the rest of my work for free (my first book is already free!) with something like Self-e .
My radically unqualified legal opinion: I don’t see anything in the agreement document of self-eLibraryJournal.com that signs over the right to change any material submitted. What I do see is that by agreeing to their terms the author grants self-eLibraryServices the royalty-free right to distribute your content to libraries, so you won’t be paid even if 500 libraries accept your book for their e-book list. I do see that by agreeing you grant them the right to copy bits to include an abstract, or description of the content. And they do provide an address you can write to, and your work will be taken off the system within 180 days of receipt.
Library Journal ATTN: LEGAL DEPT
7858 Industrial Parkway
Plain City, OH 43064
Library Journal is the leading publication in the library market and their e-book service – pretty new, it was beta tested in 2015 – provides a fantastic opportunity for indie writers. This is a curated program, so your work has to pass the smell test. But it provides a grand platform for an indie writer to grow their audience and fan base. How many authors have you first met at the library and then sought their work in the bookstore?
If your work meets the quality standards of Library Journal, then it receives distribution among participating libraries nationwide. If not, you have options:
Option 1 – hire a good developmental editor to bring the work to its most fragrant state and resubmit the improved version. (There is a reason the work didn’t pass muster, and you’ll do yourself a favor to find and correct that.)
Option 2 – use self -e.libraryjournal’s ability to put your book in your state’s participating library system which probably reaches a wide local audience. (Be mindful here of why Library Journal did not accept it for wider distribution.) It feels like a win-win to me.
[tweetshare tweet=”But Self-e provides a grand platform for an indie writer to grow their audience and fan base.” username=”A_SliceofOrange”]
Libraries pay for every book that isn’t a donation. LibraryJournal.com does not appear to compensate authors who have agreed to allow them to act as distributor. There may be no monetary profit, but the reward is exposure, and every indie writer knows that discoverability is huge – how else can you build a readership? I, for one, am so glad to see librarians pick up the gauntlet of the digital book world and begin to offer this invaluable, public service to the indie writing world. Library Journal is not the only forum. There are several sites that work with indie authors to distribute their work to libraries: ebooksareforever and Overdrive.
[tweetshare tweet=”Wonder what writing professionals think about issues that really impact your career? ” username=”A_SliceofOrange”]
Each month The Extra Squeeze features a fresh topic related to books and publishing.
Amazon mover and shaker Rebecca Forster and her handpicked team of book professionals offer frank responses from the POV of each of their specialties — Writing, Editing, PR/Biz Development, and Cover Design.
[tweetshare tweet=”Can an author really be published both traditionally and independently?” username=”A_SliceofOrange”]
Like so many other authors, I walked a fine line for years as I tried to create a viable writing career while not upsetting the publishing apple cart. I knew there were fifty worthy authors out there waiting to take my place on the list if I made waves with my agent or publisher. The majority of writers in the last many years were playing real-life Chutes and Ladders and more than likely we were all going to end up at the bottom of a chute.
I made a decision not to continue pursing a traditional career when I submitted a book that I believed would take my work to a new level. It was rejected by any number of publishers. They didn’t want to take a chance, and I couldn’t blame them. If they published a book that was not what my reader’s had come to expect, they might not make back the investment they had made in me. Coming from a business background, I understood that editing, cover design, distribution, sales, and returns could all be translated to a line item on the publisher’s balance sheet.
Realizing that distribution channels were tightening up, wanting to explore how far I could take my craft, I published that book on my own. Happily, I found the editors were wrong. Readers bought it, liked it and understood it. I went on to republish and expand a series that the publisher believed had run its course. The first book has had over 4 million downloads, and the series has over seven thousand reviews.
Today, the chutes remain the same but there is more than one ladder to climb, and an author’s fate is in her (or his) hands.
So here are my answers to your questions, and a little advice. First my answers.
Yes, it is possible to publish both traditionally and independently. I’ve met many authors who have had great success as hybrids.
Your editor will be upset only if you don’t pursue hybrid publishing in a professional manner. If the editor has turned down your ideas, then you are free to pursue other avenues. If you are contractually bound to first right of refusal with your publisher, then show them your new ideas and make your decision after you hear what the editor has to say.
[tweetshare tweet=”Traditional or Indie: Advice from @Rebecca_Forster” username=”A_SliceofOrange”]
And now for the advice:
Treat both your traditional and independent publishing with the same professionalism. Your readers won’t change; they will still expect good writing, an excellent story, and a well-produced book.
When marketing, use your traditional success to bolster your independent publishing, use your independent success to bolster your traditional work. This is a win/win for the hybrid author.
So go for it. Execute those ideas that may not be in the mainstream. Be bold; be brave. Publishing is exciting, scary, full of choices and marvelous no matter which road you take.
Not being an expert on the publishing industry I’m certain I don’t have an expert response, but I do know there are a lot of hybrid authors. A quick Google search reveals a ton of articles on the pros and cons of hybrid publishing — mostly pros. Traditionally published writers who go indie, and vice versa, often find having a stake in both worlds to be a lucrative model. If there isn’t an existing contract with a publisher, what’s there to be mad about? Indie is a fabulous opportunity.
[tweetshare tweet=”Editor Jenny Jensen Traditional vs Indie: The Indie option makes the issue of quality even more critical.” username=”A_SliceofOrange”]
What I am certain of is the Indie option makes the issue of quality even more critical than in pre-digital days. All work that leaves your hands, all work with your name on it must be the best it can be. For a traditional publisher you have to offer the best work you possibly can if you want to even be considered for publication. But traditional publishers have the back up of a slew of editors who expect to work with a compelling manuscript to make it the best they feel it can be. Your work simply has to be so good it merits a publisher’s investment. That bar is set pretty high. A good freelance editor will improve your odds of clearing it.
An Indie writer has only the back up she invests in her work. If you release a poorly edited book, regardless of how exciting the premise is, or how charming your characters or how riveting your action, you lose readers and the credibility of your name — you lose your opportunity. An Indie author must themself invest all the necessary effort and services offered by a publishing house. The return on that investment is success, creative control and much juicier royalties.
I edit each of my clients as if their work were going to the Nobel committee. The goal is to make a perfectly crafted story that can measure up to both a Random House editor and all those discerning readers downloading to their devices. That should be every writer’s goal — traditional or Indie. The services of an editor are a part of achieving that.
Ever wonder what industry professionals think about the issues that can really impact our careers? Each month The Extra Squeeze features a fresh topic related to books and publishing.
Amazon mover and shaker Rebecca Forster and her handpicked team of book professionals offer frank responses from the POV of each of their specialties — Writing, Editing, PR/Biz Development, and Cover Design.
Frankly, who cares if your publisher is upset?
Of course, as a PR professional, I love to make sure there is harmony amongst the people, that protocol is maintained, and that diplomacy is the hallmark of all relationships.
But here is the reality: it is tough being a professional writer. You have a right to make a living as a writer in a world that often does not value your talent appropriately.
[tweetshare tweet=”@RobinBlakely says: Please think of your writing career as a business.” username=”A_SliceofOrange”]
If your publisher wants to throttle your ability to earn an income, I would be very concerned about working with that publisher. Anytime there is oppression, fear, or a sense that you must go out of your way to manage your publisher’s emotional state, walk away. Being told how and when and what to do—and not do–with your career is suffocating. You can do better. It is possible to publish traditionally and independently simultaneously and create a promotional strategy that allows both profit streams to flourish.
Please think of your career as a business. You are the brand. The publisher is a business partner. If you are kept in the dark or restricted from succeeding, what kind of partnership does that make? Not one that is good enough for you.
If only I were published traditionally, I would have a better answer to this!
I do know of another fantasy author who has done both. He started off as self-published and then signed over some of his books to a big-name house. In that situation, both parties were winners. He gained more publicity, and they knew they were supporting a writer who was already popular (and could therefore make money from him).
If it’s the other way around, I’m not so sure. They may be spending ££££ on your PR, so might not appreciate it if (as a ludicrous example) they had built and sold an image of you as a sweet, softy romance author, and then you went and published a treatise on the pros of Nazism. I guess that’s the question to ask: “Will my publishing independently cause a loss on their investment in me?”
[tweetshare tweet=”H.O. Charles: Will your publishing independently cause a loss on your publishers investment?” ” username=”A_SliceofOrange”]
Ever wonder what industry professionals think about the issues that can really impact our careers? Each month The Extra Squeeze features a fresh topic related to books and publishing.
Amazon mover and shaker Rebecca Forster and her handpicked team of book professionals offer frank responses from the POV of each of their specialties — Writing, Editing, PR/Biz Development, and Cover Design.
Some days I long for the old days: books were created with a typewriter, manuscripts were Xeroxed and sent off to agents and editors, fans wrote real letters and books had covers.
Then I shake off the longing and realize this is a brave new world and I am knee deep in the muck of indie publishing. One of the first things I did was secure my domain name in my own name – not the name of a specific book or series. It wasn’t until years after my first indie book was published that I realized that I had scored big without even knowing what game I was playing.
That was how I constructed my first website too – through trial and error. Some thing worked but mostly the whole site turned into a hot mess without focus. The reason was that I didn’t know what the purpose of my website was, nor my Facebook page, nor my Twitter.
My original website had tips for new authors, my books without links, a picture gallery of my travels, even a few recipes. I constructed that site so that people would really, really like me, as Sally Fields once famously said.
But then I met Robin Blakely. She pointed out that the purpose of a website is to introduce people to my books, to sell my books, to assist readers in getting the most out of my books. A website creates a brand and sells books. Duh! It sounded so simple.
To that end we streamlined by website. Information includes: clear delineation of series, stand alone books, work in progress, sample chapters of each book, and book group guidelines. It also includes a newsletter sign-up with a two-book gift. Of course there is a bio but my personal life is definitely secondary to my work.
Facebook is where I post the fun stuff. What I’m doing on a daily basis. I post updates on the trials and tribulations (always fun, never complaining) of the writer’s life. I love involving my Facebook friends in posts. For instance, I often find the strangest things as I walk in my neighborhood so I post a picture and ask what they see. We all write a little story.
Bottom line, for me the website is my professional introduction to readers and Facebook is a more personal outlet. I love the fact that readers don’t have to wait for a book signing to get to know me. I guess the brave new world of publishing has also given us fantastic new opportunities to connect with readers on all levels.
As I understand it a published author should have both. A website can have one page or hundreds of pages — a web page is any page you see when you surf the net. A FB page is used to brand, strengthen or update a brand and is usually viewed by followers and fans in their newsfeed.
Every author is a brand and a lot of authors have both. I can see the need. A well thought out FB author page would support an author’s website, and vice versa. Visitors have to go to a specific address to view the published content of a website. When they do, nothing else is competing for attention so if your content is compelling and well designed anyone who was interested enough to go to the site will at least look it over, at best read it and have to buy a book!
If your FB page is readable, interesting, compelling it will drive traffic to your website which, if you’ve hooked ‘em with your brilliance, will result in a sale and a new or returning fan – or drive traffic directly to the online store of their choice. Using FB engages your existing follower base. The whole point is to cultivate a readership, right? A FB page is the perfect place to announce a new release or to intrigue with an update on work in progress, to engage with your readers.
I love author websites; I love to learn about the author, their writing process, the books they read, the research they do, who influenced them and why. I’m fascinated by what may have crossed their path to spark the concept of a plot — anything about their writing life (the antics of the grandchildren or photos of the new patio furniture are, I hope, exclusive to their personal FB page).
Both platforms have been known to draw me in to become a new reader. Both are often the first taste of a writer’s style, their skill with storytelling and so just as with your books, choose your words with care and flair and be sure the content is error free. Both a FB author page and an author web page are reflections of your work. And as always, edit, edit, edit.
Cover designer and author of the fantasy series, The Fireblade Array
For me, a Facebook page is all about interaction with your readers. They can ask any question and have it answered publicly, It also serves as a noticeboard for announcements. Oh yeah, and it’s a good popularity measure, based on the number of followers you gain (or not)! A website is much more one-sided – it’s me controlling what information is laid out and how the readers get to interact with it (if at all). Both of types of sites are adverts for my work, but only my Facebook posts can pop up in a reader’s daily feed.
For a long time, I didn’t have a webpage – only a Facebook page. The website just wasn’t necessary. Even now, my website doesn’t get a huge amount of traffic. It’s just there to uphold my professional image (!) and stand as an information resource for those who don’t want to use social media.
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