Category Archives: Chris Coling

Chris Coling: The Fan Relationship

 

Hi again. I’m looking to kick off a discussion on the matter of the important people in our line of work, or calling, or whatever label suits your approach best.

They are the readers and fans.

When I first started writing I was unsure as to whether I should even aspire to having any.

Over the first few months, response to my first book was painfully slow, but I was content enough with simply having written.

Perhaps I should remind you at this point that I self-publish through Amazon Kindle and Createspace. I am no expert, so will solely talk about my feelings and end results.

I read a number of author’s forums, where I found a general wave of opinion that was against replying to reviews or in any way interacting with the readership at large, and one’s own readers in particular. It was almost as if there was some expectation of aloofness, and a general feeling of superiority amongst the authors posting their opinions on the matter.

To me, that was not only wholly strange, but also against the way I would normally approach matters so, typically, I went against the common feeling.

I decided to respond to each and every review, regardless of content or star rating, positive or negative.

Sometimes, increasingly so, my response consisted of a simple ‘Thank you for your comment’, but occasionally I entered into discussion with a reviewer. On a few occasions I rebutted wild and fanciful claims; on others I accepted criticism that was reasonably laid.

I confess, early on, I rose to a pair of trolls who were simply there to damage my ratings as much as possible.

Nowadays, I try to avoid spats.

Perhaps I was extremely fortunate that the vast majority of my reviews were good regarding the content and style, although my editing and grammar was always getting hammered.

I also decided never to get into discussion over another author’s work. Some ‘fans’ will want to compare and will seek to draw you into discussion. My simple view is that it is unhealthy to get into such matters, and I avoid them like the proverbial plague.

As part of the development of my series, I created a website and a number of Facebook groups, and slowly they started to see more and more traffic.

In the groups, more than the website, the exchanges were more conversational and relaxed, possibly because of the nature of FB itself, which encouraged more discussion on the books, as well as on peripheral matters.

It soon became apparent to me that, by engaging people already pre-disposed to enjoying my work, they would talk about their interaction and, to all intents and purposes, were spreading the word about my work.

As I said above, engaging with people is more natural to me than not, so I did not need to try and promote a good relationship between them and myself, or indeed, between each other. It is and was a natural progression.

I ran a few competitions, for books or promotional stuff, and the last an opportunity for the winner to become a character in one of the books.

Shortly afterwards I understood that was a fantastic way to further engage the fan base, and many of my readers are characters in the books, or have family members who appear, often in an historically accurate way.

By way of an example, I wrote a delicate piece on the moral turmoil that would be felt by a USAAF bomber crew on their way to drop an atomic device on an unsuspecting Japanese city.

I sought and received the names of their relatives who had served, and the whole of the fictitious crew comprised men who were once USAAF aircrew and who had served in WW2 or just after.

Whilst I undertook that enterprise for the right reasons, it undoubtedly boosted my popularity and broadened my fan base.

The basic point of this piece is to put over that, for me, interacting with my fans/readers/followers has been a wholly positive and beneficial experience. Indeed, quite a few are now considered friends. They have also occasionally been sounding boards for proposals or resolvers of some deep problems. Specifically, I had issues with a piece of American political writing, which was overcome in a group of my US readers, where we batted out the whys and wherefores. It meant I had to change a few things along the line, but was a wholly positive experience. They also subsequently saw their names in the credits, another way to get people on board.

You will and must do what you feel comfortable with. It’s your choice, and please don’t feel that you have to shy away from such contact, simply because some group or grandee has stated it is not the done thing. Similarly, don’t do it if you feel uncomfortable with the whole thing, simply because it worked for me.

As with all things for us authors, each writer has his or her own standards and needs, and each book has its own style and merits; advice and guidance is not one size fits all.

If you do decide to engage, clearly you will have to decide upon your own limits, and the checks and balances that you will apply, but I can only say that I have found the interaction with those who have read my books and taken the time to become members of my groups and website to be a thoroughly rewarding and positive experience.

I hope this has been of use to you and that it has started a thought process that will ultimately help you.

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Chris Coling is a retired firefighter and currently works at the local hospital. A part-time writer, he is presently working on his eighth and last book in an alternate-history series, with other ideas waiting in the wings. He writes for himself in the first instance but also enjoys the fact that his books are now read widely. He resides in England.

http://www.redgambitseries.com/

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Chris Coling: Designing a Quality Book Cover

Host note: In our continuing series of information on the writing process, we offer this thoughtful and informative article on designing a quality book cover.

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Hi, my name is Chris Coling and I’m one of the moderators for the writing group Writers Unite! I would like to promote a discussion about one of the most important parts of presenting your work to the public, namely the cover.

My writing name is Colin Gee, and I publish through Amazon on Kindle, and in paper through Createspace.

My credentials for this discussion are limited to being a relatively successful self-publisher who has been complimented on his covers; nothing more.

Admittedly, I spent quite some time on getting the concept correct [in my mind at least], involving research online and in bookshops, as well as driving my graphics man mad with tinkering.

The cover of your work is the first point of contact with a potential reader, and I believe an author should think long and hard about making sure that the initial contact draws the readers in, rather than pushes them away.

In my opinion, the cover is there to provide a strong visual clue as to the contents. I’ve seen books where the cover is a meaningless something that defies description. To me, no matter how nice it looks, or how much time it took to make, if it doesn’t offer up something about the contents of your work, it’s a waste of time.

I suspect most of us will start with the picture/graphic, against which we intend to set the other information.

This can be a dangerous area, as many images are legal minefields waiting to catch the unwary author.

My experience was helped by the genre in which I write, as there are many public domain photographs that are suitable. I also took my own photos and adapted them for purpose. Clearly, if you do that, then you know you are safe and sound and will not risk some legal interference later on down the line. Whatever you choose as your base graphic, exercise care and caution. That also applies to any other graphics you lay over the top.

Make sure you make the appropriate acknowledgments if you are using a work that is gratis, as some simply require that the owner/author be cited.

Having selected the right graphic, you can tinker with the presentation. Again, some pictures require that you record your alterations to the original.

You may decide to select a portion of a picture, rather than use the whole. It is important to remember that picture quality is very important and I would advise sticking to the original ratios to get the best display. If you cherry-pick a portion of a picture and then enlarge it, unless it is a super-duper HD image, you will lose definition.

In my case, the initial tinkering simply involved adding some colour to a B&W image. This also fitted in with my plan of using B&W images with coloured flags throughout, from different nations, using each cover to indicate which particular nation was the main protagonist within that book or was most central to the current story.

Perversely, that also backfired on me later in the series and my whole plan nearly fell apart. More of that down the page.

Adding extra images as overlays is no problem, provided you do it right. For my second book, my bro and I worked with some tank images, and trying to get the image quality the same as the picture on which they were mounted was a nightmare. I’m actually never really sure if we truly nailed it. If you’re just putting an object on the original, it’s less of a problem, but if you’re trying to incorporate an overlay into the original image, it certainly is. Be careful here.

My titles to date are all chess terms, and I use chess as a back theme on all the covers, by fading a chessboard down from the top. Chess is an important game to the Russians, which also helps create a certain feeling. I also incorporate a red chess piece. Red has a clear and unavoidable association within my chosen genre. More of the piece later.
Clearly, text style is a major decision for you.

My research in bookshops quickly led me down the road of solid gold text. There was simply too much of it on display to ignore. Plus, I actually liked it. At the time you read this, there may be a different style favoured.

I did decide to have more than one text type on the cover, but again, the research showed that was a reasonable decision, so long as everything was legible and there was no confusion between font styles.

The layout suggested itself and followed reasonably conventional lines.

Title in large text at the top, followed by smaller text with the series info and author name, or vice versa for some of the titles. This may not work for your book, and you can see a number of different presentations on Amazon or in bookstores.

With the text, if you elect for a solid gold as I did, it clearly risks obstructing something in the image you may wish to fall under the reader’s eye, so setting out your letters is important. Remember, with publishers like Createspace, there is a gutter zone into which you may not place any cover text. It’s simple enough to launch their cover creator and experiment with that.

The decision to state that each book was part of a series was one I never foresaw as having any issues. It seemed quite reasonable to me. However, some of my feedback on ‘Opening Moves’ suggested that had a reader known it was a series of books, they would not have bought the first one. Weird of course, as it stated clearly in the synopsis and on the cover that they were a series, but interesting from the point of view that some people don’t want to read a series of books. None the less, to my mind, it’s fair to let a potential reader know.

During all of this layout work, I tended to have a mind towards the rest of the series.
To me, certain uniformity draws the series together. I would keep the same/similar font, text positioning, style, and the chess hints throughout, so whatever I decided for the first cover had to be a style that transferred easily to those that followed.

One thing that bugged me during my research was the extensive use of flowery fonts by some authors, many of whose books were traditionally published. Yes, some look very nice indeed, but I would suggest that, if a potential reader cannot read the cover without deep study at close quarters, then you will already have lost the cover browser type reader who, put simply, will move on as they are unable to understand the basic words of your title.

Back to the chess piece. It’s a red queen. It’s also damaged. It was a major clue to the overall story, hidden in plain sight. I think that it wasn’t until book six came out that someone asked the question.

I incorporated the chess piece in the text [in the main,] occasionally in some other way. A bit-part character in book one is a Soviet intelligence officer who was wounded in the left foot. She, in the guise of the Red Queen, was sat on the front cover for the entire series. Whilst it was a risk, it certainly built up the ‘you’re a sneaky swine, Gee’ kudos with my fan base. Such things may not be for you, indeed you may not have a story that supports similar efforts, but I enjoyed doing it, and the one I got over on thousands of readers. Perhaps that was nothing more than hubris on my part?

One way I was very fortunate was in having a graphics man in the family, namely my brother, Jason. It might have been easy to just accept something, in order not to annoy someone who had already invested hours in doing something for you free of charge, but I always felt it was worth getting right. The forbearance he showed in doing a whole piece of work again, simply to move something a fraction of a millimetre, was astounding.

I hope you are similarly fortunate, but my point is, do not let the cover go forward until it is, in your opinion, the best it can be. I reiterate, your cover is the first point of contact and therefore your best chance of hooking a potential reader in.
Back to the flags. I used a national flag on each cover, placing them on roads or rivers, each conforming to the lines of the original photo. It worked well and without problems, until I place the US flag on a road, over which US soldiers were running and a US tank was advancing.

Fortunately, I tend to post the covers in advance on my sites. There were rumbles about using the US flag in such a way, and having men trample on it. There had been no contrary views when using the Tricoleur, the German flag and others previously. Suddenly I was faced with a possible destruction of my overall flag plan. Fortunately, the books had just moved to the forming of NATO, so I thought on my feet and used the NATO flag instead, which was considered acceptable. I guess the lesson there is that, despite your best laid plans, there is always something that lies in wait to bite you in the backside. I was very lucky to get away with it. I’ve attached the US version of the cover so you can see what the fuss was about.

The spine is important if your book is to be sold through an outlet, less so if sold through Createspace or similar, and completely unnecessary if sold as an e-book. I simply used different colours and text displays on my Createspace offerings, alternating between a dark and light colour spine, and contrasting text. I wanted the name and author to be clear and easily read.

The rear cover has no worth in an e-book, but is clearly important for Createspace and bookshop sales. Remember to leave space in your design for the barcode, and remember the gutter policy of the company you are using!

I have tended to use the synopsis placed online in Amazon as the text for the back cover. Seems reasonable to me. A word of caution on the picture you choose to go underneath that text. The writing is likely to be smaller so the picture cannot be too busy, or words will risk getting lost. The pictures I have employed have supported the general theme of the book in question, but have never been intended to do anything other than form a relevant backdrop to the text that describes the book’s contents. I have only ever used B&W photos on the rear covers, again to conform to the overall theme, and to make sure the text is clear and readable. I’ve included a single example to show you exactly what I mean.

You will now have a cover that you think is wonderful and extremely fantastic. Congratulations….. but….. Hold your horses, kemo sabay!

Show it to people you don’t know, without them knowing it’s yours. Friends and family can be notoriously unreliable when it comes to honestly and sincerity of feedback. I know from personal experience. Get opinions and listen to the criticisms. If you don’t get any of that, I will be very surprised. Someone may see something very basic that you, in your glee, have missed.

Please don’t let pride get in the way here. If someone else spotted it, take it on the chin and be happy that you have a better cover because of it.

Hopefully, by the end of your journey, you will then have a cover that is everything you hoped for, and that will entrap potential readers with its message.

If I have managed to give you some ideas, then that is great. If I’ve bored you to death, I apologise. This would have been 2077 words towards my latest tome… err 2085
Just remember to make good choices, and the best of luck with your covers.

Do feel free to critique my covers and destroy them openly! I’ll cope.

These are the covers of the books that are presently out. I include an example of a rear cover for your information, and the US flag version of ‘Initiative’ that was never used.

 

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Chris Coling is a retired firefighter and currently works at the local hospital. A part-time writer, he is presently working on his eighth and last book in an alternate-history series, with other ideas waiting in the wings. He writes for himself in the first instance but also enjoys the fact that his books are now read widely. He resides in England.