Posted On April 20, 2015 by Print This Post

OPEN WATER (competing with your colleagues is for sharks and jellyfish) Damon Suede!

DS-Spring12 200We all swim in the same sea, but no two authors, books, careers are alike. Every romance author occupies a specific space on the virtual bookshelf, and yet promotional strategy for genre fiction starts to look awfully generic. In a crowded, cutthroat market, promo is hard work and the idea of competition is hardwired into our monkey minds. Our primate urge to claim and expand our turf can get…tricky.

For a lot of authors, promotion doesn’t come naturally. Most newbies get boilerplate marketing advice that wastes time and energy they could spend developing their craft and living their lives. Old-school “push” promo models hard-sell relentlessly, harangue existing audiences, and bully readers into book purchases.

Hard sell sucks, and most promo does too. Books are bought, not sold.

Blue-SharkThankfully, in the past couple of years book promotion has started to slough off old, bad habits. Fresher “pull” marketing strategies have made great gains in popularity: cooperative, collaborative promo that builds trust and enthusiasm certain that readers know their own minds. These new strategies flout conventional wisdom about why and how promo works.

We all need to sell books and reach readers in a positive, mindful way, but we’ve all seen authors and publishers bait-and-switch their way onto to-be-read piles, praying like hell no one notices shoddy editing, false advertising, and crappy craft. But for any would-be grifters, you can only run a scam in a crowded field of fresh meat. Newsflash: genre readers spot those frauds and dispense swift Darwinian justice.

Bottom line: you can only fool someone once, but they’ll distrust you forever.

Don’t believe me? Check out the last year of publishing shenanigans. In some quarters, the recent slo-mo implosion of the e-publishing bubble has laid waste to a lot of hacks and hucksters. Back when everyone was desperate for anything they could pop on their Kindle, publishing became a Pirates Cove operating just offshore of polite enterprise. Then the pros showed up, cleaned up, and the swashbuckling era ended for anyone who didn’t want to roll up their sleeves and behave like grown-ups and professionals.

In the world of MBAs and corporate consultants, a pair of lauded business professors named W. Chan Kim and Renée Mauborgne wrote a bestselling, much-praised book called Blue Ocean Strategy that turns the conventional cutthroat logic on its ear.

According to them, most businesses operate in blood-soaked “red” oceans of ruthless competition for limited customers and resources. Big fish dominate, little fish yield, and the hierarchies and rules are clearly defined. Businesses that experience explosive growth and success do so in uncharted “blue” oceans which are uncrowded by competitors and teeming with fresh customers.

“To win in the future, companies must stop competing with each other…Cutthroat competition turns the red ocean bloody. Blue oceans, in contrast, are defined by untapped market space, demand creation, and the opportunity for highly profitable growth.” Blue Ocean Strategy – W. Chan Kim and Renée Mauborgne

The logic is brutal and simple. Red oceans appeal to risk-averse folks because the limits, terrain, and patterns are old news to everyone who operates within that area. In contrast, blue oceans expand the margins of an industry, redefining market expectations and creating new rules.

Blue ocean strategy creates additional value through innovation and creativity, changing the rules and sidestepping the cutthroat tactics of the tried-and-true red ocean. Of course, the authors don’t suggest it’s the only strategy, but it is the smartest way to create swift, significant growth in a crowded market. (Not that we’d know anything about that, right?)

Kim and Mauborgne argue that Blue Ocean-ers make their competitors irrelevant with what they call funniest-kid-ocean-quotes6-a2cf4451dd0e1d8179288c29310dbba7-840x560-85-n...value innovation, i.e. being better and more accessible than your competitors. By analyzing the market, savvy entrepreneurs strike out in fresh directions leaving the slowniks to squabble over the chum with the other predators. Offer something new and phenomenal, and the market comes to you.

Red oceans are familiar and fan-packed. Squabbling over the same square acre of blood-soaked water will put you on the map with existing fans of a genre, but it will also fritter away the majority of your resources on getting your signal heard above the noise. You spend most of your time avoiding the sociopathic sharks and passive-aggressive jellyfish who see you as canned tuna. By contrast, the vasty deep of blue ocean markets are underserved and eager for innovation.

As professional authors, do we need to know how to navigate the gory waters of red oceans and duke it out with the sharks when we must? Obviously… but the real rewards are off the edge of the market map. As my grandfather used to say, “Never ask someone to buy anything, because they can say no.” Instead, you create something that people want to buy and then make sure the right people come looking for it.

Rather than bashing other people competing for the same market share, Kim and Mauborgne urge savvy businesses to create value innovation….literally rewriting the market by mixing things up and making yourself the best fish in the sea.

For authors, this search for blue oceans speaks to the concrete issues of finding readers and claiming shelfspace within your genre and niche.

“Value innovation is the cornerstone of blue ocean strategy….instead of focusing on beating the competition, you focus on making the competition irrelevant by creating a leap in value for buyers and your company, thereby opening up new and uncontested market space.” Blue Ocean Strategy – W. Chan Kim and Renée Mauborgne

Seeking bluer waters doesn’t have to mean striking out blindly in a random direction with eyes shut and fingers crossed. Kim and Mauborgne urge creative entrepreneurs to examine their value within the market. As an exercise, they point to foudeepbluese_3zhqkh8ur areas of potential in a four actions framework closely resembling SWOT analysis. I reconfigured Kim and Mauborgne’s framework to make it directly applicable for authors as follows:

  • How can you drastically exceed the expectations of your genre/niche? (Strength)
  • What cliches and habits within your genre/niche could you discard? (Weakness)
  • What exceptional innovation or appeal can you offer to your genre/niche for the first time? (Opportunities)
  • What areas of your genre/niche would benefit from streamlining and simplification? (Threats)

Answer those four questions, and you’ll have a pretty clear chart pointing you in the directions of the right uncharted waters.

In Whitecollar Management-land™, some naysayers have criticized Blue Ocean Strategy for using mushy, subjective definitions and oversimplifying the grim realities of business. A few corporate wonks have taken Professors Kim and Mauborgne to task because:

  • Their strategy simplifies and repackages hoary truths about marketing.
  • Metaphors don’t have practical value and shouldn’t dictate operations and expenses.
  • Blue ocean strategy doesn’t work for standardized products and narrow-focus industries which cannot diversify.
  • Uncertainty about a new market can starve a business before they see results.
  • Businesses often succeed by destroying competitors.

For corporate Amto-the-deep-2-no-rocks-4974erica that may be true, but for romance authors, these criticisms actually prove why blue ocean is exactly the direction we should be swimming. We need time-tested truths about marketing! We trade in metaphors! We must diversify. We live in a state of uncertainty about the publishing market!

Except genre authors never need to destroy our competitors because publishing is not a zero-sum game. We share readers and they share us.

No author is McDonalds or Coca-Cola. We cannot crank out product mechanically for every taste. The entire entertainment industry and by extension publishing is in the business of creating new audiences out of complete skeptics. In publishing (and entertainment as a whole) this explains the boom and bust cycles of trend-chasing, and also the breakout bestsellers that define our industry. Every game-changing bestseller in history (c.f. Gone with the Wind, Valley of the Dolls, The Vampire Lestat, Harry Potter & the Philosopher’s Stone, The Da Vinci Code, Twilight) exploded into being when a weird outlier hooked a group of nonreaders.

Ironically, the more we see our colleagues as competition, the more we treat publishing as a zero-sum game with a limited market, the more we doom our careers to squabbling over scraps that fall from someone else’s table rather than claiming our own place and accessing our readers. Rather than duking it out over a small strata of folks who want to watch what the entire world wants to watch, we strengthen our careers by diversifying. Instead of trying to appeal to every reader, we need to be engaging our readers.

“In red oceans, the industry boundaries are defined and accepted, and the competitive rules of the game are known. In blue oceans, competition is irrelevant because the rules of the game are waiting to be set.” Blue Ocean Strategy – W. Chan Kim and Renée Mauborgne

Don’t be a shark or a jellyfish! If you want significant success, leave behind the blood-soaked red oceans already contested by your colleagues and strike out for unexplored blue oceans. Provide exceptional, unexpected value and your readers will notice. Explosive bestsellers and legions of fans exist out in the untested blue waters beyond everyone’s comfort zone. Scary? Absolutely…but essential for anyone wanting to move beyond hardscrabble hand-sell into market-defining triumphs.

Remember, the goal is to get past the market clichés and accepteshark-sharks-sea-ocean-beautiful-animal-animals-photo-photography-nature...d wisdom that clog your corner of the bookstore. Taking a long hard look at the waters your colleagues have been treading will point you in useful and inspiring directions creatively and professionally. Where will your readers be waiting for you if you’re brave enough to go find them? Where do you want the genre to go and how can you get it there?

Exploring and innovating our genres should be job one for all of us. Collaborating and celebrating our colleagues can unleash unbelievable opportunities. Expanding the reach of the romance genre is a win-win-win-win for every single person who ever picked up a book with a Happily Ever After because it makes the audience better, the books better, the publishers better, and the authors better.

Grab a suit and come on in! The water is amazing.

***

RU Crew…what are some different and effective promotion/marketing techniques you’ve seen?

Join us on Wednesday for Cracking the Category Code – How to Write Short and Write Often with Kat Kantrell

***

BIO: Damon Suede grew up out-n-proud deep in the anus of right-wing America, and escaped as soon as it was legal. Though new to romance fiction, Damon has been writing for print, stage, and screen for two decades. He’s won some awards, but counts his blessings more often: his amazing friends, his demented family, his beautiful husband, his loyal fans, and his silly, stern, seductive Muse who keeps whispering in his ear, year after year. Get in touch with him on Twitter, Facebook, or at DamonSuede.com.

Similar Posts:

Share Button

Author Promotion

Discussion

11 Responses to “OPEN WATER (competing with your colleagues is for sharks and jellyfish) Damon Suede!”

  1. Intrigued by the idea of offering new innovative opportunities, but a bit clueless on where to start. Would love an idea on this:

    What exceptional innovation or appeal can you offer to your genre/niche for the first time? (Opportunities)

    Posted by Stephanie Scott | April 20, 2015, 12:38 pm
  2. This! Take chances, head toward blue oceans, and be innovative. You’re right, it is scary. Swimming against conventional wisdom always is. Whenever I hear other writers talk about what they’re doing–and they all seem to be doing the same thing–I panic and second-guess myself. This post was a much needed affirmation. Thank you!

    Posted by Terri L. Austin | April 20, 2015, 1:11 pm
    • 😀 Thank you so much, Terri!

      I think it’s so easy for us to forget that we all actually work best when we work together. ARrt is a hard dollar, and the illusion of blood-n-guts competition can produce some grim behavior. LOL

      Posted by Damon Suede | April 20, 2015, 1:20 pm
  3. Actually I think you have to take those four (SWOT) questions together to formulate a coherent answer, but they can produce MANY options if you dig deep into what you do that no one else does.

    How you exceed the expectations and ditch cliches will present a set of creative (and professional opportunities. So, I guess I’d ask: what remarkable thing do you offer your genre and how can you hit the sweet spot with a project that showcases that unique asset.

    Larissa Ione & Stephanie Tyler loved each other and wanted to collaborate…. They started working together at a strange moment in both their lives, and rather than tackle vampires (as so many folks did in 2011/12), the Sydney Croft books offered a perfect intersection of paranormal, erotic romance, and comic books that resonated with their individual brands and united voice. They pushed all kinds of boundaries and found a point of access to a whole new type of reader. Were there folks reading X-MEN who also read romance. Certainly, but the Croft books offered something fresh and dynamic with instant marquis appeal. Total blue ocean strategy that delivered (and much more) on its promise.

    Does that make sense?

    Posted by Damon Suede | April 20, 2015, 1:15 pm
    • I do see the connection in highlighting what you/me the writer has to offer (what is unique and different about MY book), and the example on Larissa Ione a nd Stephanie Taylor does help a bit; so they offered a new spin on something readers already liked; but what did they then do to help readers find it? They already have fans, I don’t!

      Posted by Stephanie Scott | April 20, 2015, 2:06 pm
      • Nope! LOL

        Sydney Croft didn’t…and actually neither of those ladies did at that point. They started that series before either of them had any of the successes that made their names. (Great interview here highlights the timing: http://dearauthor.com/features/interviews/my-first-sale-stephanie-tyler-larissa-ione-when-one-action-heroine-just-isnt-enough/).

        Thing is, they saw an opening that overlapped with their combined voices and passions and went for it. They flipped the genre and opened up fresh waters… 🙂

        That’s the whole deal: what do you do that NO ONE else can and how can you showcase it in an unclaimed area of your market. After Anne Rice, vampires were over. Except they weren’t. Sookie Stackhouse and Twilight were “doomed,” except they weren’t…because each series found fresh terrain that didn’t stay safe in well-charted waters.

        Which begs the exceptional innovation/appeal question: where do your unique talents intersect with an underserved stretch of the genre bookshelf.

        Posted by Damon Suede | April 20, 2015, 2:30 pm
  4. Fascinating subject. I have many author friends who found blue waters pushing the boundaries of inspirational romance. CBA has strict guidelines, but readers are demonstrating they will read beyond CBA parameters. Still, one must be careful not to push boundaries too far beyond a reader’s expectations.

    Posted by Heatherly Bell | April 20, 2015, 1:38 pm
    • Exactly!

      Deanne Gist and I talk about this a lot actually about the ways you honor your readers but also extend the possibilities of a subgenre. Often people think pushing romance boundaries = making it more like erotica, but intimacy is only one point in the constellation. 🙂

      Carol Burnett always says, “The audience is never wrong about what they like.”A hard lesson and a critical one! 🙂

      Posted by Damon Suede | April 20, 2015, 1:56 pm
  5. Evening Damon!

    Great post! I haven’t had to promote a book as yet, =) but it’s certainly something I’ve thought about! I have seen the “bully” approach to marketing so many times on Twitter, along with the non-stop postings of “buy my book, buy my book” to infinity and beyond.

    But every now and then someone comes up with a post or tweet that catches my eye and zoom, I’m off to get that book. Those are the blue water finders. =)

    I also believe that finding your own “tribe” or in this case “school of fish” lol….is essential. Don’t market your erotic paranormal to sweet romance readers…find those who like erotic paranormal and convince them they’d love to read your book. Becke did a great article on that a few months ago.

    Thanks Damon…great post as always!

    carrie

    Posted by Carrie Spencer | April 20, 2015, 8:41 pm
  6. Harlequin is McDonald’s. You have an array of choices for different tastes, and carefully-designed production rules result in reliably predictable products. Whether you want a Big Mac or a Presents, you know what you will get. You savor it, but it does not surprise you, and that predictability is part of the value.

    Posted by Torden Dar | April 10, 2017, 10:40 pm

Post a comment

Upcoming Posts

  • Oct 25, 2017 Free to Fudge the Facts by Ken Isaacson
  • Oct 27, 2017 When Being a Pantster Isn't Enough - by Liz Fielding
  • Nov 17, 2017 After the First Draft - by Rachael Thomas

Subscribe

2013-2016

100-BEST-WEBSITES-2015

2014-2015

Follow Us