Social Media

From The New York Times:

“We Were Liars” came out in 2014, so when the book’s author, E. Lockhart, saw that it was back on the best-seller list last summer, she was delighted. And confused.

“I had no idea what the hell was happening,” she said.

Lockhart’s children filled her in: It was because of TikTok.

An app known for serving up short videos on everything from dance moves to fashion tips, cooking tutorials and funny skits, TikTok is not an obvious destination for book buzz. But videos made mostly by women in their teens and 20s have come to dominate a growing niche under the hashtag #BookTok, where users recommend books, record time lapses of themselves reading, or sob openly into the camera after an emotionally crushing ending.

These videos are starting to sell a lot of books, and many of the creators are just as surprised as everyone else.

. . . .

“I want people to feel what I feel,” said Mireille Lee, 15, who started @alifeofliterature in February with her sister, Elodie, 13, and now has nearly 200,000 followers. “At school, people don’t really acknowledge books, which is really annoying.”

. . . .

Many Barnes & Noble locations around the United States have set up BookTok tables displaying titles like “They Both Die at the End,” “The Cruel Prince,” “A Little Life” and others that have gone viral. There is no corresponding Instagram or Twitter table, however, because no other social-media platform seems to move copies the way TikTok does.

“These creators are unafraid to be open and emotional about the books that make them cry and sob or scream or become so angry they throw it across the room, and it becomes this very emotional 45-second video that people immediately connect with,” said Shannon DeVito, director of books at Barnes & Noble. “We haven’t seen these types of crazy sales — I mean tens of thousands of copies a month — with other social media formats.”

The Lee sisters, who live in Brighton, England, started making BookTok videos while bored at home during the pandemic. Many of their posts feel like tiny movie trailers, where pictures flash across the screen to a moody soundtrack.

Link to the rest at The New York Times

From Writers in the Storm:

I’ve heard many authors—myself included—express our frustration and dismay at the expectation that we will not only produce wonderful books, but also carry out what amounts to a second full-time job as our own marketing team. Most of us don’t mind holding events, whether live or virtual, where we get to engage with readers. Nor do we mind interviews, written or recorded, where we can talk about our books and our writing process. But what so many of us do hate is the seemingly bottomless pit of social media engagement.

Facebook, with all those reader and writer groups. Instagram. Twitter. Pinterest.

“Likes” and “follows.” Comments and messages and shares.

Wouldn’t it be great if someone else could do all this for us?

Someone else can—for a price, and with a few caveats. Whether they call themselves virtual assistants, social media consultants, or author assistants, there are people who will manage your social media for you.

. . . .

Unlike publicists, who seek media coverage on your behalf, or direct marketers, whom you pay to advertise your book on their sites, a virtual assistant takes over tasks that you could, if you wanted, do yourself or learn how to do yourself. They may do it more attractively, strategically, or frequently—but they have no special credentials like the high-level media connections of a good publicist or special access to important gatekeepers. What you’re buying, in effect, is time—and the freedom to use that time in other ways.

The questions are: How much is that time worth to you, and are there other benefits, besides freeing up your time, that a virtual assistant can offer?

. . . .

I decided to investigate these questions when I thought about how I wanted to launch my second book, coming in April. My debut (April 2020) had a great launch despite the onset of the pandemic, but I wanted to expand my thinking to consider what I did not do—or didn’t do very well.

The obvious gap, for me, was in the realm of social media. Like many others in my cohort, I didn’t grow up with social media and secretly wished I didn’t have to use it. Being both naïve and overly-aggressive (a bad combination), I made some mistakes the first time around that I still regret. For example, having misunderstood the absolute meaning of “no self-promotion,” I am now banned forever from two of the biggest reader groups on Facebook.

I’ve learned a few things since Queen of the Owls made its way into the world. I now understand that social media is a long game, not a quick grab. It’s about the slow, steady development of connection and engagement. Like all relationships, it takes time and commitment. You have to show up every day, not just on birthdays and anniversaries. And that means a serious investment of energy.

Not everyone wants to do that. After all, there’s no end to what we, as authors, might do to reach out to readers! Another thing I’ve learned is that no one can, or should, do everything. I advise those who ask me: “Just do the stuff that’s fun for you, and outsource—or forget—the rest of it.”

. . . .

Sometimes the answer is clear. If you want to pitch to the book review editor at The New York Times, you need a professional publicist to do so on your behalf—and even then, there’s no guarantee. Many authors I know are unhappy at what they now consider to be a poor “return on investment” after hiring a publicist at a cost of anywhere from $5,000 to $20,000. They’re wondering if there isn’t a middle ground between spending that kind of money, which most don’t have, and doing it all yourself.

A virtual assistant—someone who can manage author promotion on social media—can seem like an attractive option.  At a cost far below that of a publicist, with a direct appeal to readers that can actually be tracked, social media assistance is a rapidly-growing alternative.

And for those of us, like me, who do have a publicist, a social media assistant can—maybe—take over an important piece of the book promotion that publicists don’t do and that many of us authors don’t do very well.

. . . .

I encountered a number of models—different ways of working, with different price tags and different strengths and drawbacks.  I ended up selecting someone who seemed to be the best fit for my needs and style. While she hadn’t worked with authors, specifically, she was creative and flexible, which were two priorities for me.  I didn’t want someone with an expensive prix fixe package who required a three-month minimum commitment, as many did. I wanted to be able to explore and ramp up slowly, which this VA allows me to do.

So far, it seems to be working well. I come up with the concepts and she executes them—a division of labor that’s letting me keep to a reasonable budget, since she charges by the hour. On the other hand, there are possibilities I’m electing to forgo, such as analytics, story reels, optimization strategies, and so on—on the premise that no one can do, or cover, everything. For now, I’m simply outsourcing the creative part, which requires skills that would take me too long to learn to do well.

Link to the rest at Writers in the Storm

PG will disclose that he consumes very, very little social media because he finds the signal-to-noise ratio to be much worse than when he wanders around parts of the web that he knows well. (He’s logged into Twitter 3-4 times since it first appeared and logs out in less than five minutes.)

That said, not everyone is like PG (thankfully) and some people enjoy checking into various social media platforms on a regular basis. Some of those social media fans buy books, so indie authors will be interested in reaching them with useful (and professional-looking) information.

Therefore, PG is definitely not a qualified social media guru, observer, expert, etc., of any sort.

He is an observer of humanity in general, however.

As he observes humanity, he can easily discern expert thumb-typists using smart phones. He doesn’t think any can beat his speed when he’s using a proper keyboard, but admits that he uses all ten digits while they use two, so a reasonable person would expect differences in speed.

(PG just tried to visualize a thumb-typist hitting 60-80 WPM which PG could easily do after he got warmed up in former days and could not imagine human thumbs moving that fast on teeny digital keyboards. For five minutes or two hours.)

Having worked with a few extremely intelligent college students over the years, if PG were to hypothetically consider using a Social Media Assistant, he might explore the college population. They’re likely to be intelligent and very familiar with the various platforms and the unwritten norms that govern interaction on those platforms.

Working as a Social Media Assistant for a celebrity like PG is much better fodder for a post-graduation résumé (AKA resume) than hustling for tips at a local restaurant, reshelving books in the university library or acting as a telephone operator for the antiquated university phone system at night when no one used it. (Note – The foregoing are a few of the jobs PG held when he was in college during the Pleistocene Epoch. (Sub-Note – PG never put any of those jobs on his résumé.))

PG is interested in comments from the always-intelligent and aware visitors to TPV concerning the social media challenge/opportunity facing authors these days.

One question just popped into PG’s mind (which was not otherwise occupied) – Can you still buy social media followers?

Several years ago, when you for-sure could buy social media followers and PG was in one of his experimental moods wanting to know if social media was useful or not, he gave someone something like $25 and gained over 10,000 followers very quickly. He didn’t notice any improvement in his life, so he didn’t give the person/organization any money after that.

Then he saw a mention of a small, very cheap little program (he doesn’t remember the name of it) that claimed to be able to increase your social media followers by automatically following people who followed you and following people it found online based on a few keywords selected by the purchaser. He gained another 10,000 or so followers very quickly with that program until it stopped working or was banned from social media in general.

Suffice to say, some of PG’s skepticism concerning social media arises from those two experiences. (He wonders if Kim Kardashian got started doing the same thing.)

(Which lead to PG wondering if the reason he never became a social media superstar was that he never though to post a photo of himself wearing a swimming suit.)

From Hootsuite:

Let’s face it. Facebook is just one part of your marketing strategy. You have so many other things to do, not to mention a life you want to enjoy. And you have only 24 hours in the day.

That means it’s time to look at automating some of your Facebook marketing efforts. One of the first, easiest things you can do right now is start using a Facebook auto poster to automatically publish your posts. You’ll spend less time on the platform and more time doing other tasks.

. . . .

[A] Facebook auto poster is a tool that publishes your Facebook posts at a scheduled time you’ve established previously.

There are many Facebook auto posters out there. You can choose one that satisfies your needs.

But no matter which tool you opt for, make sure it covers 3 essential features:

• Options to publish now or schedule for posting in the future.
• Automatically publish scheduled posts on multiple Facebook pages, groups, and profiles you’ve created at the same time or at staggered intervals.
• Allow to publish all types of content: Text, links, images, videos.

Besides these features, you may also want to consider a clean and intuitive interface, detailed reporting and dashboards, or the ability to manage multiple Facebook accounts from one place.

. . . .

1. Simplify your workflow and save time

If you ever search for time management tips, you may know this quote: “Work smarter, not harder.”

It may be a bit cliché, but imagine this situation: You’re doing Facebook marketing, and have to post a lot on this platform. Are you pleased with continually copying and pasting the same post into different groups?

The answer is a loud No.

By scheduling your posts ahead of time, you’ll save yourself a significant amount of time to do other things. Your work process becomes simpler because a Facebook auto poster takes on the tedious tasks for you.

2. Reach multiple time zones and post at the best time

The best time to post on Facebook is between 9 a.m. and 2 p.m. EST on Tuesday, Wednesday, or Thursday.

Note that this can be different depending on geographic locations (9 a.m in the United States is 11 p.m in Australia, don’t you know?).

That means you need an auto poster to ensure your posts will be published at the time with the highest engagement rates. You don’t have to log in to your account at 3 a.m; you can set it up once and let it run, only tweaking once in a while as necessary.

3. Maintain consistent scheduling across all platforms

Consistency is the key to building and growing your followers on Facebook.

Why?

Because if you consistently show up in your audience’s feed, you are more likely engage them with your brand. By doing that, your organic reach can increase, and your posts may get shown to potential new followers.

Whether it’s a slow news week or the biggest holiday season of the year, posting consistently benefits your business.

Link to the rest at Hootsuite

From Agorapulse:

Social media marketing is never done: It is a continuous process that requires constant attention and effort.

There are also no set rules as to what should be done to achieve certain results.

There are things you can certainly do wrong though, even if you think you are an experienced social media manager.

Here are five mistakes even experienced social media managers do (I certainly did all of those!) and how to fix them.

1. Not Scheduling Social Media Updates

I know, for some social media managers reading this, scheduling is an integral part of their workflow.

How can someone achieve a consistent social media presence without creating a well-balanced schedule of social media updates?

The truth is lots of brand-owned social media profiles don’t really have a consistent schedule. Many social media managers fail to create a schedule regularly. (Yikes.)

Scheduling is not that easy to manage if you’re always in a rush or don’t have a strategy.

I’ve been there many times … You schedule creative social media updates weeks ahead and then overlook the day when your schedule has been exhausted. Time flies and a few weeks or even a month may pass before you realize you should have filled your schedule up with fresh updates.

To overcome this struggle, I’ve been using these two tricks:

Create a social content schedule for the following year

I tend to use a slower period for scheduling. This is when I sit down and schedule 1-2 updates a month for as far a year ahead. Usually, these are weekend updates or posts timed for a holiday or a seasonal trend (back-to-school, Black Friday, etc.) This way, I make sure I will not miss any.

. . . .

Set up a routine

Always schedule monthly updates on a specific day.

For example, always on the last Friday of the previous month or always on the 28th of each month. Doing so will help you to keep yourself accountable.

I also create a recurring calendar reminder to never miss the day.

. . . .

2. Cross-Posting the Same Updates Everywhere

As social media managers, we always have to manage more than one channel. At the bare minimum, your active social media profiles to manage to include Twitter, Facebook, Instagram, and LinkedIn.

It is always tempting to create the same update and cross-post it everywhere.

Doing so will, unfortunately, create a few missed opportunities by making your updates less appealing (and hence easier to miss).

There are platforms that support mostly vertical images, and there are platforms that prefer square images. There are channels that tend to respond better to animated GIFs and / or micro-videos, and there are platforms that hardly support them.

I could go on …

Creating an original, well-crafted (visual) update for each of your channels is not only more effective but also very doable. For example, there are image creation solutions that allow you to resize your images with one click of a mouse (such as Snappa) and there are tools that let you create animated GIFs in minutes (like Bannersnack):

Link to the rest at Agorapulse

PG fails to check any boxes as either a social media pretend-expert or a more than a mini-social media user.

In the earliest existence of TPV, PG had a couple of WordPress plug-ins that automatically spit out a short blurb with hash tags on a couple of TPV social media accounts that PG seldom monitored. PG seems to recall that each of the plugins wanted some money to keep doing what they had been doing at no charge and he hadn’t seen any real benefit from the social media world, so he uninstalled them.

One of the fundamental principles of any sort of advertising or promotion activity is to know your audience, which includes knowing what the audience watches, listens to, clicks on, etc., etc.

While TPV is anything but a finely-crafted piece of self-promotion for whatever he’s selling these days, PG thinks he has a pretty good feel for the people who stop buy to check out what’s going on around here. He watches comments and, on occasion, traffic stats for the site and it’s doing what he thinks he wants it to do, at least today.

If PG woke up one morning and decided he wanted to be a social media star, he would probably ask a neighbor who teaches social media marketing at a local university to identify his smartest student, then hire that student on a part-time basis to help set up PG’s social media empire, launch it, then watch what the student did with social media on PG’s behalf for a few months to learn the ropes.

During PG’s online wanderings, he has read a zillion articles about how to be successful in social media, but he senses that he’s not feeling the rhythms necessary to really do it well.

If he were purely pragmatic, PG might conclude that he’s doing fine without social media and focus on the things he knows how to do and knows will work for him, but he has a soft spot for new gadgets (he can see several by just glancing at the far reaches of his large, wrap-around desk), so he still monitors bright objects like social media.

From Jane Friedman:

I hate social media. It’s an addictive rabbit-hole.

I just don’t have time. Social media takes away from my precious writing time.

I’m no good at creating those visuals and posts.

I hate all that self-promotion.

I’ve heard many authors—myself included—express frustration and dismay at the expectation that we will not only produce wonderful books, but also carry out what amounts to a second full-time job as our own marketing team. Most of us don’t mind holding events, whether live or virtual, where we get to engage with readers. Nor do we mind interviews, written or recorded, where we can talk about our books and our writing process. But what so many of us do hate is the seemingly bottomless pit of social media engagement.

Facebook, with all those reader and writer groups. Instagram. Twitter. Pinterest.

“Likes” and “follows.” Comments and messages and shares.

Wouldn’t it be great if someone else could do all this for us?

Someone else can—for a price, and with a few caveats.

What is a social media assistant?

Whether they call themselves virtual assistants, social media consultants, or author assistants, these are people who will manage your social media for you. Unlike publicists, who seek media coverage on your behalf, or direct marketers, whom you pay to advertise your book on their sites, such an assistant takes over tasks that you could, if you wanted, do yourself or learn how to do yourself. They may do it more attractively, strategically, or frequently—but they have no special credentials like the high-level media connections of a good publicist, nor any special access to important gatekeepers. What you’re buying, in effect, is time—and the freedom to use that time in other ways.

The questions are: How much is that time worth to you, and are there other benefits, besides freeing up your time, that a virtual assistant can offer?

. . . .

I now understand that social media is a long game, not a quick grab. It’s about the slow, steady development of connection and engagement. Like all relationships, it takes time and commitment. You have to show up every day, not just on birthdays and anniversaries. And that means a hefty investment of energy.

Not everyone wants to do that. After all, there’s no end to what we, as authors, might do to reach out to readers! Another thing I’ve learned is that no one can, or should, do everything. I advise those who ask me: “Just do the stuff that’s fun for you, and outsource—or forget—the rest of it.”

And there’s the heart of the matter: what should we do ourselves, what should we jettison, and what should we outsource?

Sometimes the answer is clear. If you want to pitch to the book review editor at The New York Times, you need a professional publicist to do so on your behalf—and even then, there’s no guarantee. Many authors I know are unhappy at what they now consider to be a poor “return on investment” after hiring a publicist at a cost of anywhere from $5,000 to $20,000. They’re wondering if there isn’t a middle ground between spending that kind of money, which most don’t have, and doing it all yourself.

A virtual assistant—someone who can manage author promotion on social media—can seem like an attractive option. At a cost far below that of a publicist, with a direct appeal to readers that can actually be tracked, social media assistance is a rapidly-growing alternative.

. . . .

Below are five composite summaries of the models I encountered—what they offer, how they work, their strengths and drawbacks.  In all cases, it’s important to remember what a virtual assistant cannot do. Since a VA has no access to your phone, she can’t post photos of you doing book-related things. Her posts will, of necessity, have a certain “artistic distance” to them.

VA #1 is a self-published author of several books who has a side-business helping authors with services ranging from proofreading and editing to developing marketing plans, social media coaching, and query critiquing. Her experience and familiarity with the writing world made her an attractive choice. I also liked the fact she offered three options or levels of service, although her prices were at the high end. However, she also had a full-time job and a book of her own launching soon. I wondered if she would really be able to give me the kind of ongoing support I was looking for.

VA #2 is a polished professional, whose website and proposal were evidence of the strong visual style I was looking for. She also provided references so I could see the Instagram accounts of several clients she manages, and the same quality or “flair” was evident there. She offered an expensive prix fixe package, with no flexibility—although her proposal was comprehensive and strategic, and included features like a weekly Instagram Story Reel that other proposals did not. I was hesitant, however, because she had never done social media for an author, and the demographic that her posts seemed to be targeting was not mine. Her work seemed to be geared to a younger, more style-conscious audience, and I wondered if she would know how to target the kind of readers (and book-buyers) I sought to attract.

Link to the rest at Jane Friedman

As a preliminary opinion, PG thinks social media savvy is more important than book biz savvy in a good social media helper for an author.

How and when to work the social media platforms is ideally instinctive and intuitive for a helper. Mixing in the book stuff is probably not hard to do for a good social media jockey.

Social media is about grabbing a few seconds of favorable attention and maybe a click-through. If the helper can do that for the author or the author’s book, PG suggests he/she has done the job.

Perhaps careful crafting and curation could improve click-through on a post a bit, but PG suggests that three good-enough posts -not dumb or clumsy-looking – will provide more benefits than one expensive and time-consuming-to-create post. Once a post is up, its sell-by date is probably measured in hours, a couple of days at most.

For PG, social media posts are analogous to a quip. Make one good quip, get a bit of positive attention, then make another quip.

PG suggests that if you want to dip a toe into the social media assistant water, you may want to hire someone on a temporary freelance basis.

If PG wanted to grow larger in social media (he doesn’t), he would contact a friend who teaches digital marketing at a local university and ask the friend to suggest a couple of smart first or second year students who might want to earn some money on the side and create some examples of their work for their portfolio when they are looking for a real job around graduation. Such a student might write a case study or two based on what he/she did on social media for PG.

While most of the visitors to The Passive Voice are not likely to have a professor friend who teaches digital marketing, at least some live within a reasonable distance of a community college or other higher educational institution. PG doesn’t know whether any high schools (public or private) teach this sort of thing, but that’s another place where some talented social media devotees may be found.

If an author were to pursue this path she/he would want to see some examples of the prospective helper’s work and check out the helper’s social media accounts to see their content plus how many followers, likes, comments, etc., the prospective helper had accrued.

If a potential helper was located, the author would likely want to review each potential post prior to it going online to determine whether it looked like something likely to help sell books, gain followers, etc.

Posting something someone else has created to a social media platform is a task even the majorly technophobic can likely learn with the tiniest bit of practice or guidance.

PG thinks it’s also a good idea for the author to “own” their social media accounts – their name and contact info on the account shows they’re the owner, they know the ID/PW for the social media account, etc. When one social media assistant goes on to bigger things, the author changes the password and hires a replacement.

One nice element that comes with a social media helper is that geography means almost nothing. She can leave the big city for small town life and still do everything she did for the author via the Net. A block away or halfway around the world, the working relationship can continue if both parties want it to.

PG admits that some of his attitude concerning the importance of social media knowledge vs. book domain knowledge comes as a result of working with a very large advertising agency in ancient times. (Printed advertising fliers were the latest thing and calligraphers were on their way out).

Advertising professionals often work on more than one account – insurance plus dog food was one of PG’s combos.

Agencies are also prone to move their employees to different accounts when it benefits the agency’s overall financial performance. Client A needs more agency resources, so creative, research, etc., professionals will be assigned spend time on Client A because Clients B and C shouldn’t need a lot of attention for awhile.

An advertising pro can figure out how to sell anything.

When PG received a notice of a KDP University webinar about using social media to sell books, it occurred to him that some visitors to TPV might not know about this information and education resource.

Information about KDP University is located in the KDP Help Center if the following link doesn’t work for you. https://kdp.amazon.com/en_US/help/topic/G200783400

From Social Media Just for Writers:

It’s so important to converse with readers, friends, and influencers in your sphere. If you don’t allocate time to chat, you are missing the point.

Because at its essence, social media is social. So, to engage in social media and not allocate time to socialize, well, it’s antithetical to the very premise of social media.

. . . .

Be a social butterfly, in the best sense possible. Social media was never designed to be a broadcast messaging system the way radio and television are. Conversations are the backbone of social media, and that is what distinguishes it, and that is what has fueled its dominance in marketing. The beauty of social media for authors is that it allows you to converse with your readership in a manner that was never possible before Facebook was created. Indie authors have a powerful medium with which they can market their books, converse with their readers, answer questions in minutes, and further their relationships with their loyal readers, even though it’s all done virtually.

Don’t attempt to be the prom queen; strive to always be authentic and care about others. Don’t talk solely about yourself. Social media is an inclusive media. You will get further and do better if you help others, including helping other authors in your genre. You can interview your colleagues for your blog and share information about their promotions.

Link to the rest at Social Media Just for Writers

From The Book Designer:

I’m one of those people who likes to watch TV to unwind, but just can’t sit there and watch TV. Know what I mean?

I don’t really like that about myself, but I’ve not only accepted it, I’ve learned to take advantage of it. I try to do something productive while sitting there – knitting, cleaning out my inbox, promoting my books, and so on.

That’s right. I promote my books while watching TV, and you can, too. If you’re a like me and find it difficult to just sit and look at the screen, try doing one of these book promotion activities the next time you’re sitting still in front of your favorite show.

1. Follow people on social media

Pull up the Twitter app on your smartphone and scroll through your notifications to find who has followed you recently — and follow them back. When you’re done with those, find a popular author in your genre on Twitter, and follow the people who follow her.

Do the same thing on other social networks, including LinkedIn, Pinterest, and Instagram if appropriate.

2. Schedule tweets

Use a desktop tool such as Hootsuite or Tweetdeck or a phone app like Everypost to schedule your tweets several days out — all during commercial breaks.

You can also retweet what others share either from your computer or smartphone — all without missing any of the TV action.

. . . .

4. Create tipographics and share them on Pinterest

Tipographics — also known as tip-o-graphics — are tip lists presented as images. I create them from my blog posts.

Each tipographic image features just the tips from a specific post. I add each image to my “Book Marketing Tipographics” board on Pinterest, and link each image back to the original blog post with all of the details. 

Link to the rest at The Book Designer

From Social Media Just for Writers:

If you don’t want to be online all day posting your tweets and images, you need to check out this list of eight social media scheduling apps.

The beauty of scheduling apps is that you can spend a few minutes each day or a week uploading your images, messages, captions, hashtags, and status updates.

Once you schedule your posts, all you have to do is check your social media accounts a few minutes a day to engage with your readers.

These apps help you stay regular with your posts and also improve your account growth. If you are starting with social media, apps on the lower end of the price range are an excellent option for you. 

. . . .

The Social Media Scheduling App I Use

#1 SocialOomph

SocialOomph is a social media scheduling app that lets users plan their posts on various social networking platforms. Use it with Twitter, LinkedIn, Facebook, Pinterest, Reddit, Discord, and others. 

However, the free services are only active on Twitter and are very limited. The subscriptions start at $15 a month, and the app also features annual subscription options.

Pros: It’s easy to use and set up with Twitter. You can use this app to schedule recurring tweets. For example, if you create an image with a quote, you can set up the tweet to repeat every 24 weeks, once a year, or every 12 weeks or even more frequently. It is a useful feature that other apps don’t offer. I also set up recurring tweets for specific blog posts.

Cons: You can only use certain features on twitter for free. It isn’t straightforward to connect the app to LinkedIn. Also, the recurring post feature is available at an additional cost. Although I use and like this scheduling app, most writers will want an use one that is easier to set up.

Link to the rest at Social Media Just for Writers

From Bad Redhead Media:

I recently had the pleasure of taking part in the Wednesday evening #BookMarketingChat hosted by BadRedhead Media. Our topic was easy updates to refresh your author website. To prepare for the chat, I visited the sites of several writers, including those who have left comments here in the past. I figured I would snoop around and find out what kind of slips the average writer is making with this vital part of their online platform.

My verdict? As a community, we need to pull our socks up if we want to show our readers we value their website visits and respect their time. I saw too many websites that were dated in design, neglected in content, or both.

According to a Stanford University study, 75% of users admit to making judgments about a company’s credibility based on their website design. Readers will lose trust in your professionalism and the quality of your work if you can’t present a reasonably spiffy website to the world.

Since it’s October and Halloween is fast approaching, here are the 30 website mistakes I consider the scariest, in terms of turning your reader off. I’ll start with the ones I saw on multiple websites that are easiest to fix.

Dated items, which show how long you’ve neglected your website. For example:

1. Blog post dates
2. A book page which announces a title is “Coming Spring 2018”
3. An events page with nothing forthcoming or recent
4. Copyright year not current

. . . .

 Links to social media accounts that you no longer use. Watch out in particular for an icon advertising Google Plus, which shut down 6 months ago!

. . . .

Cluttered sidebars. Sidebars are a magnet for outdated distractions, for example: tag clouds, tiny photos of your followers, or badges for everywhere you’ve ever been featured. A little social proof is important, but too much looks desperate.

. . . .

No “About” page, and/or no contact information. Even if you’re writing with a pen name, you should still give visitors some context to connect with. Your readers want to get to know you, not just your work.

. . . .

Unless you’re using a free service, you don’t have to declare which theme you’re using, or that you’re powered by WordPress. Professionally designed websites don’t do this, so you needn’t either.

Link to the rest at Bad Redhead Media

From C/Net:

Facebook began hiding likes on Friday, Sept. 27, making the number of reactions, views and likes visible only to a post’s author. The test kicked off in Australia, the social media giant confirmed last week, and includes ads.

“We are running a limited test where like, reaction and video view counts are made private across Facebook,” a Facebook spokesperson told CNET in an emailed statement on Sept. 26.

. . . .

As of Sept. 30, Facebook said it is still expanding the experiment to more people in Australia, but it should be out to the majority of people in the country within the next day or two.

The social network indicated earlier in September that it might experiment with hiding likes, after testing the approach on Facebook-owned Instagram this year. In August, Facebook said the Instagram test was meant to “remove the pressure of how many likes a post will receive” on Instagram, and that Facebook was “excited by the early test results.”

Link to the rest at C/Net

PG would be interested in comments from serious Facebook users about whether this is a good/bad/whatever idea for authors who use FB as an important part of their promotional efforts.

From The Wall Street Journal:

At its apex, Tumblr had more users than both Instagram, now estimated to be worth close to $200 billion to parent Facebook , and Pinterest , which has a market cap of nearly $18 billion. In 2013, Tumblr sold to Yahoo for $1.1 billion. On Monday, the parent company of WordPress.com bought it for a pittance.

The precise amount is hard to pin down but insiders have observed that there are modest homes in Silicon Valley that might be comparable in price. Marissa Mayer, Yahoo’s former chief executive, once described Tumblr as an “incredibly special” property with “105 million different blogs, 300 million monthly unique visitors and 120,000 sign-ups every day.”

“We promise not to screw it up,” she famously added. And now look where we are.

Tumblr was ostensibly a blogging site but it quickly became one of the dominant, if hard-to-navigate, social networks of the early aughts. It attracted users who made and shared memes, art, their random thoughts and, eventually, a sense of community. Its mechanisms were opaque to outsiders: For many years, it didn’t have a function for direct messages or even traditional commenting, forcing users to communicate with each other by, among other things, reblogging each other’s posts.

Since it was difficult or impossible for outsiders to insert themselves into conversations, and because it was and still is a place that allows pseudonymous accounts, the site felt safe for members of marginalized communities, says Alexander Cho, a postdoctoral fellow at the University of California, Irvine, who coedited a forthcoming book on the history of Tumblr.

“Tumblr can be as anonymous as you want it to be, and that allows people to share in a way they might not on Facebook,” says Catherine Holderness, Tumblr’s senior community trends analyst.

. . . .

Alas, Tumblr was inherently ill-suited to advertising, says Katrin Tiidenberg, a social-media researcher at Tallinn University in Estonia who has studied Tumblr for years. Its impenetrability was a challenge to advertisers. On top of that, many of its users interspersed their posts on various fandoms, obsessions and memes with sexual content. “A lot of advertising clients, particularly in the U.S., get disproportionately nervous about being seen next to someone’s boobs,” says Dr. Tiidenberg.

Advertisers instead turned increasingly to the ostensibly safer realms of Google and Facebook. Together, the two giants now suck up 57% of all digital ad spend, according to eMarketer. In addition to owning the biggest ad networks, their crown jewels are incredibly sophisticated advertising engines that drive measurable results for advertisers.

. . . .

It also doesn’t help that Tumblr, never a very polished or particularly reliable service to begin with, had a hard time going mobile. That’s where Google and Facebook ended up moving—quickly, through acquisitions and manic development—to maintain their revenue growth.

“The site was just fundamentally broken; it broke all the time” says Klaudia Amenábar, a senior media producer and comics vlogger who is also a self-described Tumblr power user. Now 24, she found the service at 16 and has been on it ever since, building a career in fandoms and social media from what she learned there. “The mobile app is a lot better now, but before, jokes about the mobile app were rampant on Tumblr,” she adds.

In the past year, Tumblr’s traffic has dropped by more than 40%, from approximately 640 million visits in July 2018 to around 380 million now. Much of that drop happened after the service implemented a ban on adult content.

Link to the rest at The Wall Street Journal (Sorry if you encounter a paywall)

The following is a longer post/excerpt than PG usually includes on TPV, but the topic fascinated him.

PG is happy that the foolish things he did in high school and college have disappeared into thickening mists of the fading memories scrabbling for survival within the minds of himself and fellow members of the Order of Lavishly Idiotic Youth.

From Wired:

Several decades into the age of digital media, the ability to leave one’s childhood and adolescent years behind is now imperiled. Although exact numbers are hard to come by, it is evident that a majority of young people with access to mobile phones take and circulate selfies on a daily basis. There is also growing evidence that selfies are not simply a tween and teen obses­sion. Toddlers enjoy taking selfies, too, and whether intentionally or unintentionally, have even managed to put their images into circula­tion. What is the cost of this excessive documentation? More spe­cifically, what does it mean to come of age in an era when images of childhood and adolescence, and even the social networks formed during this fleeting period of life, are so easily preserved and may stubbornly persist with or without one’s intention or desire? Can one ever transcend one’s youth if it remains perpetually present?

The crisis we face concerning the persistence of childhood images was the least of concerns when digital technologies began to restruc­ture our everyday lives in the early 1990s. Media scholars, sociolo­gists, educational researchers, and alarmists of all political stripes were more likely to bemoan the loss of childhood than to worry about the prospect of childhood’s perpetual presence. A few educa­tors and educational researchers were earnestly exploring the poten­tial benefits of the internet and other emerging digital technologies, but the period was marked by widespread moral panic about new media technologies. As a result, much of the earliest research on young people and the internet sought either to support or to refute fears about what was about to unfold online.

. . . .

Many adults feared that if left to surf the web alone, children would suffer a quick and irreparable loss of innocence. These concerns were fueled by reports about what allegedly lurked online. At a time when many adults were just beginning to venture online, the internet was still commonly depicted in the popular media as a place where anyone could easily wander into a sexually charged multiuser domain (MUD), hang out with computer hackers and learn the tricks of their criminal trade, or hone their skills as a terrorist or bomb builder. In fact, doing any of these things usually required more than a single foray onto the web. But that did little to curtail perceptions of the internet as a dark and dangerous place where threats of all kinds were waiting at the welcome gate.

. . . .

A common theme underpinning both popular and scholarly arti­cles about the internet in the 1990s was that this new technology had created a shift in power and access to knowledge. A widely reprinted 1993 article ominously titled “Caution: Children at Play on the Infor­mation Highway” warned, “Dropping children in front of the com­puter is a little like letting them cruise the mall for the afternoon. But when parents drop their sons or daughters off at a real mall, they gen­erally set ground rules: Don’t talk to strangers, don’t go into Victoria’s Secret, and here’s the amount of money you’ll be able to spend. At the electronic mall, few parents are setting the rules or even have a clue about how to set them.”

. . . .

In such a context, it is easy to understand why the imperiled innocence of children was invoked as a rationale for increased regulation and monitoring of the internet. In the United States, the Communications Decency Act, signed into law by President Clinton in 1996, gained considerable support due to widespread fears that without increased regulation of communications, the nation’s children were doomed to become perverts and digital vigi­lantes.

. . . .

Jenkins was not the only one to insist that the real challenge was to empower children and adolescents to use the internet in productive and innovative ways so as to build a new and vibrant public sphere. We now know that a critical mass of educators and parents did choose to allow children ample access to the internet in the 1990s and early 2000s. Those young people ended up building many of the social media and sharing economy platforms that would transform the lives of people of all ages by the end of the first decade of the new millen­nium.

. . . .

Among the more well­-known skeptics was another media theorist, Neil Postman. Postman argued in his 1982 book The Disappearance of Childhood that new media were eroding the distinction between childhood and adulthood. “With the electric media’s rapid and egalitarian dis­closure of the total content of the adult world, several profound consequences result,” he claimed. These consequences included a diminishment of the authority of adults and the curiosity of children. Although not necessarily invested in the idea of childhood innocence, Postman was invested in the idea and ideal of childhood, which he believed was already in decline. This, he contended, had much to do with the fact that childhood—a relatively recent historical invention—is a construct that has always been deeply entangled with the history of media technologies.

While there have, of course, always been young people, a number of scholars have posited that the concept of childhood is an early modern invention. Postman not only adopted this position but also argued that this concept was one of the far­-reaching consequences of movable type, which first appeared in Mainz, Germany, in the late 15th century. With the spread of print culture, orality was de­moted, creating a hierarchy between those who could read and those who could not. The very young were increasingly placed outside the adult world of literacy.

During this period, something else occurred: different types of printed works began to be produced for different types of readers. In the 16th century, there were no age­-based grades or corresponding books. New readers, whether they were 5 or 35, were expected to read the same basic books. By the late 18th century, however, the world had changed. Children had access to children’s books, and adults had access to adult books. Children were now regarded as a separate category that required protection from the evils of the adult world. But the reign of childhood (according to Postman, a period running roughly from the mid-19th to the mid-20th centuries) would prove short­-lived. Although earlier communications technologies and broadcasting mediums, from the telegraph to cinema, were already chipping away at childhood, the arrival of television in the mid­-20th century marked the beginning of the end. Postman con­cludes, “Television erodes the dividing line between childhood and adulthood in three ways, all having to do with its undifferentiated ac­cessibility: first, because it requires no instruction to grasp its form; second, because it does not make complex demands on either mind or behavior; and third, because it does not segregate its audience.”

. . . .

In the final chapter, Postman poses and responds to six questions, including the following: “Are there any communication technologies that have the potential to sustain the need for child­hood?” In response to his own question, he replies, “The only technology that has this capacity is the computer.” To program a computer, he explains, one must in essence learn a language, a skill that would have to be acquired in childhood: “Should it be deemed necessary that everyone must know how computers work, how they impose their special world­view, how they alter our definition of judgment—that is, should it be deemed necessary that there be uni­versal computer literacy—it is conceivable that the schooling of the young will increase in importance and a youth culture different from adult culture might be sustained.” But things could turn out dif­ferently. If economic and political interests decide that they would be better served by “allowing the bulk of a semiliterate population to entertain itself with the magic of visual computer games, to use and be used by computers without understanding … childhood could, without obstruction, continue on its journey to oblivion.”

. . . .

Thanks to Xerox’s graphical user interface, eventually popularized by Apple, by the 2000s one could do many things with computers without knowledge of or interest in their inner workings. The other thing that Postman did not anticipate is that young people would be more adept at building and programming computers than most older adults. Fluency in this new language, unlike most other languages, did not deepen or expand with age. By the late 1990s, there was little doubt that adults were not in control of the digital revolution. The most ubiquitous digital tools and platforms of our era, from Google to Facebook to Airbnb, would all be invented by people just out of their teens. What was the result? In the end, childhood as it once existed (i.e., in the pre-­television era) was not restored, but Postman’s fear that childhood would disappear also proved wrong. Instead, some­thing quite unexpected happened.

. . . .

Today, the distinction be­tween childhood and adulthood has reemerged, but not in the way that Postman imagined.

In our current digital age, child and adolescent culture is alive and well. Most young people spend hours online every day exploring worlds in which most adults take little interest and to which they have only limited access. But this is where the real difference lies. In the world of print, adults determined what children could and could not access—after all, adults operated the printing presses, purchased the books, and controlled the libraries. Now, children are free to build their own worlds and, more importantly, to populate these worlds with their own content. The content, perhaps not surprisingly, is pre­dominantly centered on the self (the selfie being emblematic of this tendency). So, in a sense, childhood has survived, but its nature—what it is and how it is experienced and represented—is increas­ingly in the hands of young people themselves. If childhood was once constructed and recorded by adults and mirrored back to children (e.g., in a carefully curated family photo album or a series of home video clips), this is no longer the case. Today, young people create im­ages and put them into circulation without the interference of adults.

In sharp contrast to Postman’s prediction, childhood never did disappear. Instead, it has become ubiquitous in a new and un­expected way. Today, childhood and adolescence are more visible and pervasive than ever before. For the first time in history, children and adolescents have widespread access to the technologies needed to represent their lives, circulate these representations, and forge networks with each other, often with little or no adult supervision. The potential danger is no longer childhood’s disappearance, but rather the possibility of a perpetual childhood.

Link to the rest at Wired

Here’s the blurb for The End of Forgetting:

Thanks to Facebook and Instagram, our younger selves have been captured and preserved online. But what happens, Kate Eichhorn asks, when we can’t leave our most embarrassing moments behind? Rather than a childhood cut short by a loss of innocence, the real crisis of the digital age may be the specter of a childhood that can never be forgotten.

And here’s a review from Inside Higher Ed:

Someone brought a video recorder to Thanksgiving 1980, during my final year of high school. Not a close relative, certainly. Back then, it was too insanely extravagant a piece of consumer electronics for any of us to imagine buying one. (Not for several years, anyway.)

The camera sat on a tripod and recorded the holiday goings-on, which were shown — continuously, as they were happening — on a nearby television set. It would have been able to record two to four hours, depending on the format and system. A blank video cassette cost the equivalent of $50 to $75 in today’s currency. There was much apprehension over very young family members getting too close and knocking something over.

The novelty of seeing one’s actions and expressions from the outside, in real time, was intriguing but unsettling. Nothing meaningful or interesting happened, and I cannot imagine anybody getting bored enough to watch the recording. But it means that my 17-year-old doppelgänger may be preserved on a tape in an attic someplace in Oklahoma, and that possibility, however slim, has kept the memory vivid. No adolescent photograph would ever be as awkward. The tape was probably Betamax: technological obsolescence can have its upside.

. . . .

Most 17-year-olds today probably do not remember a time when they had not yet seen themselves onscreen. Chances are that many of the videos will have been their own recordings. Creating them requires no technical skill, and duplicating or transporting them is equally effortless.

None of the technology is unwieldy or uncommon, or all that expensive. And while the storage capacity of a phone or laptop is not boundless, neither is it much of an obstacle. Everything ends up in the cloud eventually. (That may not be literally true, but all trends lead in that direction.) “With analogue media,” Eichhorn says, “there is invariably a time lag between the moment of production and the moment of broadcasting; in the case of digital media, production and broadcasting often happen simultaneously or near simultaneously. Adolescents are in effect … experiencing the social world via documentary platform.” And it is a kind of social death when they can’t.

In this cultural ecosystem, the normal excruciations of adolescent self-consciousness are ramped up and acted out — often before an audience of unlimited potential size — then preserved for posterity, in endlessly duplicable form.

. . . .

The potential for embarrassment increased by several orders of magnitude after America’s Funniest Home Videos debuted at the end of 1989, but even that looks minimal in the wake of YouTube. Two or three cases of extreme humiliation and bullying via digital video are now familiar to millions of people.

Eichhorn discusses them while acknowledging the ethical dilemma that doing so runs the risk of perpetuating mindless cruelty. But her point is that the famous examples represent the tip of the iceberg. Digital images are produced and circulated now in ways that encourage the self-expression and experimentation that Erikson regarded as one of the privileges of youth — while at the same time creating a permanent record that is potentially inescapable.

Inescapable, that is, because unforgettable.

Link to the rest at Inside Higher Ed

Over 400 years ago, William Shakespeare famously wrote, “The evil that men do lives after them; the good is oft interred with their bones.”

Perhaps the Bard peered into the future and somehow discerned Twitter and Facebook.

It occurs to PG that Twitter and Facebook would have made lovely names for a couple of the fools which populate some of his plays.

This is to make an ass of me, to fright me if they could.

– Bottom, Act 3, Scene 1, A Midsummer Night’s Dream

From Medium:

Last fall, in the midst of touring for my latest book, I stepped away from the public stage that arguably made my publishing career possible.

After investing six years into growing my following on Twitter from zero to over 42,000, with millions of monthly engagements, I left the platform, at least for now. This might not sound like such a momentous decision, but it was for me. My 127,000 tweets — an average of 57 tweets per day — had dramatically raised my profile as a writer, sociologist, and scholar on race. The platform prompted countless interactions and conversations, frequent media attention, and valuable professional opportunities — such as connecting me with my literary agent and helping secure a publishing deal for the book I’m still touring with, How to Be Less Stupid About Race.

Yet at the precise moment when most writers would have redoubled their efforts to promote their work, I felt compelled to step down from my bully pulpit and shutter my most successful social media account.

. . . .

Most disconcertingly, even when I wasn’t tweeting, I found myself thinking in tweets — crafting pithy, retweetable observations about my life, social dynamics, and world events to share with my followers as soon as I could get my hot hands on my phone or laptop.

And then I reached a critical breaking point. Crisscrossing the nation for the book tour and connecting with readers in real life was a new, thrilling experience for me, but it was also unspeakably exhausting.

. . . .

While the vast majority of my interactions with folks at book events were uplifting and supportive, I never quite knew what to expect from Q&As. I felt the constant need to mentally prepare for everything from microaggressions to outright hostility.

What I faced most often, however, were the racialized and gendered expectations that I provide on-the-spot emotional processing, counseling, and strategizing for a never-ending stream of racial dilemmas and existential trauma. “How do I deal with my racist cousin?” a white woman would ask, expecting a sensible answer in 60 seconds or less, while a dozen people waited in line behind her. “What should I do about racism on my job?” a man urgently inquired as I signed a copy of the book.

. . . .

But as I struggled to give the fullness of my attention and intention to each and every person who I met on the road, I began to realize that I had little energy left for myself, and no energy at all for Twitter.

I began experiencing debilitating insomnia for the first time in my life. Anxiety became a daily concern.

. . . .

Media technology companies such as Facebook, Twitter, and Instagram are quite literally invested in making us internet addicts. They’re effectively manipulating social psychological responses to ensure that our clicks and engagements don’t fizzle — or else their bottom line will. Sean Parker, one of Facebook’s founders, described the platform’s “like” button as “a social validation feedback loop… exactly the kind of thing that a hacker like myself would come up with, because you’re exploiting a vulnerability in human psychology.”

. . . .

If it feels difficult to quit social media, it’s because corporate strategists and programmers work very hard to embed their apps with digital carrots that ensure that scrolling through our feed feels deeply rewarding. Facebook “likes,” Twitter “hearts,” and Instagram notifications all drive addictive behavior by doling out intermittent and unpredictable rewards. These rewards, in turn, fuel the release of neurotransmitters, including dopamine, which are associated with the experience of pleasure in the brain.

. . . .

Of course, the sense of community created on social media has many potential benefits when used appropriately and in moderation. But these fleeting digital rewards come at a great price. Social media apps are able to stealthily manipulate our brains into believing that we are experiencing pleasure, despite the fact that heavy usage leads to increased depression, anxiety, sleep disorders, and reduced quality of life.

. . . .

“Computer internet businesses are about exploiting psychology… we want to psychologically figure out how to manipulate you as fast as possible and then give you back that dopamine hit. We did that brilliantly at Facebook.” And it’s not just the individual that this affects, he observed: “We have created tools that are ripping apart the social fabric of how society works.”

. . . .

As Alex Hern has pointed out in the Guardian, many social media executives and developers have either stopped using their own products or never used them excessively in the first place. Facebook made Palihapitiya a billionaire, but he has said he doesn’t use Facebook himself, and his own children are not allowed to use social media. Jack Dorsey, Twitter’s CEO, “rarely replies to strangers and avoids discussions or arguments on the site,” Hern wrote. “He doesn’t live-tweet TV shows or sporting fixtures. In fact, he doesn’t really ‘use’ Twitter; he just posts on it occasionally.” Mark Zuckerberg, meanwhile, has an entire team to manage and curate his social media account for him.

. . . .

Emotionally, my mood has greatly improved. I feel less glum, pessimistic, and angry with the world than when I was constantly “connected.” I keep a gratitude journal and count my blessings. While I sometimes miss the creative, intellectual, and political community of my tweethearts, I’m immensely relieved to no longer feel the mental pressure of organizing a social media press conference several times a day in response to trending hashtags, controversies, and tragedies.

Link to the rest at Medium

From Anne R. Allen’s Blog:

Ooops. I seem to have missed my 10-year blogiversary! I posted my first attempt at blogging on Friday, March 13, 2009.

Yes, Friday the 13th. Apparently I have a need to tempt fate.

But I immediately lost the blog for about three months, and didn’t write my second post until June 20, 2009. It was a post on Writers Conferences.

After that, I posted pretty regularly, so I figure today is my real 10-year blogiversary.

I knew pretty much nothing about blogging at that point. I simply wanted a place to put the unpublished columns I had written for Inkwell Newswatch, a Canadian writers’ zine that stopped publication in January 2009.

So after somehow finding the blog again, I fumbled around with Blogger and started posting my unpublished columns on my new blog.

It’s amazing what you can do when you don’t know how.

I settled on putting up weekly posts on Sunday at 10 AM. I can’t remember why. Maybe I pictured my fellow writers relaxing with a cup of coffee on Sunday mornings and surfing the writing blogs the way I did.

Later I read that “the rules” of blogging say that Sunday is the worst day to post to a blog.

But this blog has never followed the rules. And that’s probably the most important of the 10 things I’ve learned:

1) Question Authority

“The rules” will come and go. So will gimmicks and tricks for SEO, ROI, SERP, and LMNOP 🙂 . The only thing that stays the same is the value of good content.

When I started out, “the rules” said a blogpost should be 300 words long and you should blog at least twice a day. Yeah. How many successful authors do you know who do that?

We were also told that an author blog should follow the same rules as a blog about make-up tips for teens or how to make decorative pillows out of dryer lint.

And we were supposed to run advertising all over the site. I remember reading that the #1 failure of new bloggers was “failure to monetize.” (I had to look up the word “monetize.”)

How many successful author blogs are peppered with irrelevant advertising these days?

Also, you needed a niche. You could only blog about jelly doughnuts or training your cat to use the toilet. Otherwise, readers would get confused.

Rule-makers are always underestimating readers. I slowly found out an author can blog about anything. We’re blogging to attract readers who will like our books. So we can write about anything those people would like to read about.

We simply have to make sure that what we say is honest, well-written, and helpful.

. . . .

4) Your Commenters are Your Most Important Asset.

A blog is nothing without readers. And readers who comment are giving you a lovely gift. Even if they disagree with you.

Answering comments quickly and honestly is one of the best ways for a blogger to get commenters coming back. (Although I have to admit I’m going to be away from the computer for a while today. But I will answer all your comments by the end of the day. )

Responding to comments acknowledges your readers as your equals. You’re not supposed to be sitting on a blogthrone waiting to be adored. You’re exchanging ideas with your peers.

I met Ruth Harris as well as two of my publishers when they commented on this blog. Plus I get some of my best ideas for new blogpost topics from the comments here.

. . . .

7) An Author Blog is Not a Business Blog.

Business blogs are for selling stuff. Author blogs are for communication. They’re simply a place for you to get in touch with other writers, readers and potential readers and exchange ideas.

So the most important thing is to be real and entertaining, not hype-y. A blog is a place on the Web where people can come and hang out with you.

Pushy, “buy my book” posts don’t get traffic. And following all those complicated business blog rules will exhaust you and drive away readers. You don’t sell books like cat-carriers or Ginsu knives. Hammering readers by endlessly screaming your title at them does not make people want to relax and hang out with your work. It makes them want to block you.

I’ve watched a lot of author-bloggers give up because they tried to blog so often it became drudgery. An author doesn’t need to blog more than once a week. You want people to read your books, not daily reports of what you had for lunch. Besides, when you’re bored and miserable, your readers will be too.

Have fun with your blog. and when it isn’t fun anymore, take a break.

Link to the rest at Anne R. Allen’s Blog

From Petapixel:

A construction guy named Omar in Austin, Texas, became an “Instagram influencer” recently after attracting hundreds of thousands of followers to his @justaconstructionguy account with just a handful of photos. But it turns out the guy was a carefully crafted persona designed to help a small coffee shop sell coffee.

After being created in May, the account shot to Insta-stardom when it was Tweeted out by Twitter user @barbzlovescarbs, who purported to be Omar’s daughter.

In his photos and captions, Omar was apparently an ordinary construction worker who had a knack for poking fun at Instagram’s exploding “influencer” culture:

. . . .

The coffee roaster Cuvée Coffee in Austin finally revealed that the whole thing is actually a clever marketing stunt that resulted from a “creative brainstorming session.”

“The whole idea was what we always thought as an influencer, and what we used as an influencer in the past, they don’t always fit our brand,” owner Mike McKim tells BuzzFeed News. “We need a different type of influencer: a hard-worker, blue-collar guy.”

McKim enlisted the help of the advertising agency Bandolier Media, which helped him to create “Omar”, a fake influencer persona who’s played by an actual Austin-area construction worker. @cuveecoffee is tagged in several of Omar’s posts. After the @barbzlovescarbs Tweet, things just took off, spreading through social media and sites like Reddit.

Link to the rest at Petapixel

PG will note that TPV is not and has not been a political blog. PG would like to keep it that way.

PG understands that everything is supposed to be political, etc., but he believes such sentiments are, of themselves, political, and he manages to do a lot of things and have many satisfactory online and offline interactions with others that are simply not political.

While the growth of the internet and the many different ways of accessing it have produced many benefits for humanity, those benefits have been accompanied by some detriments. In PG’s unpresuming opinion, one of the largest is the internet’s ability to enhance and magnify the concerted actions of crazy people.

While at one time it might have been difficult for a single crazy person to connect with others who are crazy in the same way because of the rarity of that person’s particular variety of craziness, now, the internet allows almost anyone to join an online community of people who are exactly like her/him/etc. Cross-dressing differently-abled Lithuanian-American pediatricians can gather online and magnify their voices to fight the injustice that is part of their lives.

Online, everyone can be part of a hyphenated interest group.

PG’s bloviated opining was intended as a brief introduction to a column in today’s Wall Street Journal written by columnist Peggy Noonan, but it grew. [Trigger Warning: Ms. Noonan is a Republican, but not as Republican as a lot of people on the internet believe she should be.]

I’ll start with a personal experience and then try to expand into Republicans and big tech.

In the spring of 2016, Facebook came under pressure, stemming from leaks by its workers, over charges of systemic political bias. I was not especially interested: a Silicon Valley company that employs thousands of young people to make decisions that are often ideological will tilt left, and conservatives must factor that in, as they’re used to doing.

My concerns about Facebook had to do with its apparently monopolistic nature, slippery ethics and algorithmic threats to serious journalism.

Soon after, I received an email from Mark Zuckerberg’s office inviting me and other “conservative activists” to attend a meeting with him to discuss the bias charges in an off-the-record conversation. I responded that I was not an activist but a columnist, for the Journal, and would be happy to attend in that capacity and on the record. That didn’t go over too well with Mr. Zuckerberg’s office! I was swiftly told that wouldn’t do.

What I most remember is that they didn’t mention where his office is. There was an air of being summoned by the prince. You know where the prince lives. In the castle. Who doesn’t know exactly where Facebook is?

In February 2018 Nicholas Thompson and Fred Vogelstein of Wired wrote a deeply reported piece that mentioned the 2016 meeting. It was called so that the company could “make a show of apologizing for its sins.” A Facebook employee who helped plan it said part of its goal—they are clever at Facebook and knew their mark!—was to get the conservatives fighting with each other. “They made sure to have libertarians who wouldn’t want to regulate the platform and partisans who would.” Another goal was to leave attendees “bored to death” by a technical presentation after Mr. Zuckerberg spoke.

. . . .

I forgot about it until last summer, when Mr. Zuckerberg’s office wrote again. His problems were mounting. I was invited now, with an unspecified group of others, to “an off the record discussion over dinner at his home in Palo Alto.” They used that greasy greaseball language Silicon Valley uses: Mr. Zuckerberg is “focused on protecting” users and thinking about “the future and how best to serve the Facebook community.”

I ignored the invitation. They pressed. Their last note reached me at an irritated moment, so I wrote back a rocket, reminding him of the previous meeting and how it had been revealed to be a mischievous and highly political enacting of faux remorse. I suggested that though it was an honor to be asked to cross a continent for the privilege of giving him my time, thought and advice, I would not. I added that I was sorry to say he strikes me in his public, and now semiprivate, presentations as an imperious twerp.

For a second I actually hesitated: The imperious twerp runs the algorithms, controls the traffic, has all the dark powers! But I am an American, and one with her Irish up, so I hit send.

And I’m still here, at least at the moment, so I guess that’s OK.

. . . .

I once wrote the signal fact of Mr. Zuckerberg’s career is that he is supremely gifted in one area—monetizing technical ingenuity by marrying it to a canny sense of human weakness.

None of this is news. We just can’t manage to do anything about it.

. . . .

The New York Times this week had a breakthrough report . . . on how the tech giants are fighting back. They are “amassing an army of lobbyists.” Facebook, Google, Amazon and Apple spent a combined $55 million in lobbying last year, about double what they spent in 2016. They “have intensified their efforts to lure lobbyists with strong connections to the White House, the regulatory agencies, and Republicans and Democrats in Congress.” Facebook hired Mrs. Pelosi’s former chief of staff. The speaker herself has received major campaign money from employees and political-action committees of all the tech giants.

. . . .

But the mood in America is anti-big-tech. Everyone knows they’re too powerful, too arrogant, loom too large in public life.

And something else: This whole new world of new technology was born in the 1970s and ’80s. We still think it’s new and we’re figuring it out, but we’re almost half a century into it and we can see what works and what doesn’t, what’s had good effects and hasn’t. It is time to move.

. . . .

Here’s what [Washington politicians] should be thinking: Break them up. Break them in two, in three; regulate them. Declare them to be what they’ve so successfully become: once a pleasure, now a utility.

It all depends on Congress, which has been too stupid to move in the past and is too stupid to move competently now. That’s what’s slowed those of us who want reform, knowing how badly they’d do it.

Yet now I find myself thinking: I don’t care. Do it incompetently, but do something.

. . . .

The Times quoted Republican Sen. Josh Hawley as saying “the dominance of big tech” is a “big problem.” They “may be more socially powerful than the trusts of the Roosevelt era, and yet they still operate like a black box.”

Link to the rest at The Wall Street Journal (Sorry if you encounter a paywall)

PG knows some indie authors have had good results from their social media book promotions and he applauds their skill, creativity and generosity for sharing their best online practices with other authors. In such cases, PG’s impression is that the authors are using the social media platforms rather than the other way around. Readers benefit by receiving information they would like to receive about books written by some of their favorite authors.

PG is probably some sort of social media snob, but he rarely uses social media to receive any information. (Because Crazy People) However, he’s a compulsive early adopter, so in days past, when he heard about a new social media platform, he signed up and checked it out. After 3-4 visits, he usually was bored by the content and quit checking in. (As a result, he has some four and five character social media user IDs that might be valuable if he could sell them.)

These days, PG uses social media strictly as an outbound communication device to provide information he thinks might be beneficial to people who like to receive information via this channel. To this end, he has a plug-in for TPV that automatically produces a row of colorful little icons below each post that should make it easy for any visitor to repost/forward any of the TPV posts to their own social media accounts and is happy to have anyone use them to do so. To avoid charges of false altruism, PG is also happy if some of these reposts result in more visitors to TPV.

Of all the major social media platforms, PG formerly signed on to Facebook the most frequently (1-2 times per month) to keep up with a handful of old friends/relatives who would occasionally post news and photos there. However, for the reasons Ms. Noonan describes – Facebook’s breaching of privacy and ethical boundaries – PG closed his account several months ago.