Readers are smart and they recognize that review for what it is. I once got a low star review by a woman who wrote, “I haven’t read the book yet.” She was honest, I was not happy, Amazon said it met their standards so that was that. I didn’t spend anymore time thinking about it because there was nothing I could do. Luckily, the next review was a five star. Have a glass of wine. This too shall pass.
Cover designer and author of the fantasy series, The Fireblade Array
There’s not a great deal you can do with these reviews. Some can be flagged and you can ask the retailer to get rid of them, but there must be CLEAR evidence that the reviewer has not read the book and is not reviewing the item for sale. Sometimes retailers will leave the review in place if the company printing or dispatching the book is at fault, even if the book itself is perfectly good. If it’s a single one-star review amongst a sea of kinder reviews, then I would shrug my shoulders and move on. Most readers will have the brains to look through the reviews and decide which ones are reliable. We have to trust them to do that!
If it’s your first and only review, and you know it’s not to do with the content, presentation or delivery of the book, and the review isn’t going anywhere, then I might consider republishing the book. ONLY in those circumstances, however.
Negative book reviews cut deep. All writers experience it at some time. Writers have to live with it like dancers have to live with blisters. Amazon has help sites where an author can manage reviews. I don’t know of any proactive response an author can make if a poor review shows up on book review sites or newsletters or blogs or anywhere else a rotten review can appear. I get how painful that can be, but one bad review does not sink your career.
The best approach is to learn something from bad reviews. It stings, but consider how the negative reviews measures up to the positive reviews. Compare them for any mention of shared issues. It could be that some readers were captivated with the story even while the manuscript had issue – issues important enough to mention. It could be grammar, characters, plot or just a lack of a good edit. Listen to that and take steps to improve. Hear your readers. It’s their ear you want to woo.
I’m not sure how one can determine that a review was written by someone who hadn’t read the book. People don’t process the same information in the same way. Interpretation is everything. Maybe they just didn’t get it. Maybe they just don’t get anything. I’ve read reviews that left me wondering if the reviewer and I had even read the same book. You know what story you told and if one person didn’t see that then it’s worth a shrug at best, but not a meltdown. Carry on.
And there are those types that cannot pass up a chance to point out errors of any kind. I hope it’s a hobby but it feels like an obsession. You can find letters to the editor on every newspaper site where a reader takes issue with some slip like non-agreement of verb and noun, or a misplaced comma or apostrophe. That misstep is so important to that reader they feel justified in doubting any part of the article.
Those naysayers abound and humor is the best response. There are a number of books where authors have addressed the readers who’ve picked at their work and the best one are really funny. This one is black humor like much of Ruth Rendell: Piranha to Scurfy. Read it for a little happy therapy. Bad reviews are a fact of a writer’s life.
You have two choices. You can get over it or you can obsess over it. Both are pretty hard to do. If you go the get-over-it route, you need to sell yourself on the idea that the reader was stupid and mean-spirited, blamed you for something out of your control like a late delivery, or simply didn’t even read the work at all. Any of those could be true, but probably it is even a simpler issue. Your book wasn’t exactly what the reader wanted in the moment. Sometimes, I want to watch Columbo but I end up tuning in to Silence of the Lambs. I would like to blame Amazon Prime for the mistake, but when I do, most people can figure out where the fault really lies. Expect a similar response from others who see your horrible one-star review. If you decide to follow the obsess-over-it route, you can dive deep into the nefarious waters of tracking down the reader and starting a fight about it. Not a great way to go. Energy doesn’t deserve to be wasted on someone who clearly didn’t read your work and gave you a horrible one-star review. Be aware. Watch for legitimate constructive criticism. Let the rest go.
In my 30+ year career, I have never worried about plagiarism. Most working authors don’t need to plagiarize your work, they have plenty of their own to worry about. New authors have their own ideas and probably will think they are on a better track with their own ideas. Keep your nose to the grindstone, listen to solid critiques and move forward.
Jenny is still on vacation time. She be back next month with The Extra Squeeze Team.
It is never wrong to take precautions with your work. My best suggestion for preventing plagiarism at the critique stage of the writing process is simple. Don’t share your work with people who have not been vetted in some way to earn your trust. If you doubt the integrity of the people that you are sharing your material with, their opinions about your writing should also be in question. If you have any qualms that your ideas could be stolen by the circle of people you willingly handed your work over to, then tighten your circle. Your work is your business. In any business, great ideas can be at risk of idea theft. Copyrights, trademarks, and non-disclosure agreements all exist to help enforce your rights. Look into those options. But realize that in the critique stage, prevention is a more powerful tool than policing the issue after it happens.
And, on the flip side, protect yourself. Accusations of idea theft or plagiarism is a two-way street. In a critique group, it is important to understand the parameters of collaboration. You may be asking other people to give you their opinions and contribute their ideas to your unfinished piece, but that also has limits that need to be established and clearly understood. It is possible that in a critique setting, your work may be the catalyst for a bigger and better idea than you imagined. If that bigger and better idea comes to light and is identified by someone, it is important to know how to properly handle that situation. It all starts with trusting who is at the table and taking the time to establish and understand the game rules before any of your work is read by anyone.
This genuinely is worth considering as ideas get stolen all the time (paranoid, me??). Sometimes plagiarism is not even committed consciously by the perpetrator. We absorb sentences and word structures and ideas all the time as we move through life, so it’s inevitable that we will reproduce bits and pieces of these when we get creative. If you’re sharing your work with a fellow creative, it should be accepted that you are going to influence them at least a little bit. If they churn out whole chunks of an original work or copy an entire plot without acknowledgement, it is quite different.
First, I’d advise using only people you trust to do your first run of read-throughs and critiques. If they’re your friends, they might not be as tough on your work, slightly biased etc., but it’s better than nothing at all. After that, there are copyright registration places if you live in the UK, but they are pointless in my opinion (we do not have a copyright office here – the US does). They won’t act for you legally if someone steals your work, and will take a small fee to register a copy of your work on the date you submit it. But if you have the raw, dated file stored on your computer, then you can just as easily prove you are the owner of the original work anyway. The law is different between the UK and USA, and elsewhere, so it is worth looking into copyright before you share your work with anyone.
Taking Questions!
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. Here are some of the questions they have answered in 2017 and 2018. Sensitivity Editors, How Much Reality and Is the F-word a Bomb.
But now they need YOUR questions. Is there a publishing or writing question that you want the answer to, but don’t know who to ask?
Let Amazon mover and shaker Rebecca Forster and her handpicked team of book professionals offer frank responses to your questions from the POV of each of their specialties — Writing, Editing, PR/Biz Development, and Cover Design.
Ask the Extra Squeeze Team a Question
Dear Extra Squeeze Team, I’m working on my first book. I go to a local RWA and everyone is taking about platforms. What the heck is a platform? Why do I need one? How do I get one?
You’re in luck. The queen of platforms is Robin Blakely so I would read her answer first. If you’re reading this one, then my simple explanation is that a platform is who you are as an author. Are you queen of erotica? Are you the definitive word on thrillers? Were you a cop and write police procedurals? When you build your platform you are looking for a way to consistently communicate who you are as an author and what a reader can expect from your books. Keep writing and refining your voice. Write in the same genre. Determine what sets you apart from other writers and there you have it – a platform.
I’m not sure I know either. Sounds a bit like business jargon!
A platform is that giant, flashing interactive sign hanging in Times Square that says, “Here I am! I’m a writer and this is what my books are about. You want to read them all!”
A platform gives you visibility as an author. It gives the means to speak to your audience, to gain and nurture a following. You get a platform by building it yourself. It’s a process; there is no ready recipe. And it takes time to build up your presence so there’s no reason not to begin long before you publish. You’re going to need it because that’s how and where an Indie writer markets her books.
Social media is the tool, from your website to blogging to Facebook, to engaging with on-line writer groups to Pinterest, Instagram and Twitter— the whole gamut is possible. Your message should include your unique story and voice. The content should target your audience so that you can reach them directly with an option of back and forth communications.
If you haven’t published yet, consider writing a few short stories and offer them for free. Post links on Face Book, or Twitter etc. to get the word out. Join and engage with writer’s groups. Use those short stories for award entries—the more accolades and experience you garner, the more powerful your platform. Blog about your writing process. Join groups with other new writers. It will all work to build your name and credibility.
It takes time. But so does writing a good book. Like all things in life, time management is critical. Decide how much effort toward building your platform is doable without taking too big a bite out of your writing time. But know that every little bit will grow your presence and when you’re ready to publish you’ll have a platform from which to dive into the market.
You need a platform so that you can elevate and protect your brand. To help you wrap your brain around a concept that can be very confusing, try this . . .
Let’s imagine that your platform is a three-legged table and your brand is a glass ball on top of that table. It seems like the glass ball is the thing to focus on, but really it is the table and its three legs that provide the support and elevation your brand needs. If the platform isn’t solid, the table top will teeter and the glass ball will roll and possibly break.
So, let’s keep the brand safe and secure. Let’s look closer at the platform’s three legs.
One leg is all about promotional outreach—you must effectively tell readers about your work. One leg is all about resources—you must manage your time, money, and helpful people wisely. One leg is all about constantly developing the core talent and skill to produce the best products and services you can create—you can’t sell what you never finish.
You need each leg to do its part and at about the same level. In the platform world, the most common problem is that people figuratively build their platforms using table legs of three very different lengths. One leg is typically very long and well-developed, one leg is quite short and under-achieving, and one entire leg may be practically missing. Take a closer look at those three areas of your creative business. When the three table legs of your platform are forced to operate at uneven lengths, it will feel like your success is teetering and wobbling—that your professional life is unbalanced and uncertain—that your brand is fragile and in jeopardy.
Put an end to topsy-turvy, out-of-control feelings by building a platform to elevate and protect your beautiful talent-driven brand. As you learn to level out the structural legs of your platform, feelings of uncertainty will be replaced by feelings of stability. Promotional opportunities will become better in both quality and abundance. As a result, your platform will command attention in your industry. Your brand will be clearly showcased, elevated, and protected.
Sound impossible? It isn’t.
Have you got a question for The Extra Squeeze team?
Send them to us at: Contact The Extra Squeeze Team.
Taking Questions!
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. Here are some of the questions they have answered in 2017 and 2018. Sensitivity Editors, How Much Reality and Is the F-word a Bomb.
But now they need YOUR questions. Is there a publishing or writing question that you want the answer to, but don’t know who to ask?
Let Amazon mover and shaker Rebecca Forster and her handpicked team of book professionals offer frank responses to your questions from the POV of each of their specialties — Writing, Editing, PR/Biz Development, and Cover Design.
Ask the Extra Squeeze Team a Question
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