I’m Getting Bored With This

You’ve heard it all before. It’s not new. It’s the same story, over and over. Nothing changes. There’s a gap in pay and a gap in age. Women get, as Marilyn Monroe says in Some Like It Hot, “The fuzzy end of the lollipop,” or, if you’re a woman over 40, no lollipop at all.

News items, like Anita Singh’s article in  The Independent,  Hollywood Gender Pay Gap Laid Bare as Rich list of Stars is Filled by Men, highlight the gender pay gap that exists between male and female stars in Hollywood, as well as the rampant ageism toward older actresses.

The pay gap can be attributed to the dominance of action blockbusters and to a dearth of opportunities for older women. In the list of top 10 actresses, the oldest woman is Julia Roberts (49). All but three of the male top 10 are aged 50 or over.

No big surprise there. While I applaud the reporting of the ongoing disparity, this news is now tedious and commonplace. Story after story indicates that, despite all the reporting of the gap, nothing has changed, that there’s still a “dearth of opportunities for older women,” and it is boring. So very boring. We know about the disparity.

Some of us are trying to alter the pay gap and and the age gap. We are telling stories about women of a certain age, in case Hollywood and the Romance fiction industry haven’t noticed. Writers like me are trying to be proactive and smart. We SEE the audience the industry doesn’t. We want  to ensure that both men and women are afforded the same opportunity to have a lollipop that isn’t fuzzy–or a just a damned lollipop.

 

 

Singh, A. (2017). Hollywood gender pay gap laid bare as rich list of stars is filled by men. The Independent. 24 August. http://www.independent.ie/entertainment/hollywood-gender-pay-gap-laid-bare-as-rich-list-of-stars-is-filled-by-men-36060056.html .

Calling All Readers: What Do We Call It and How Do We Do it?

For years, I’ve been writing for an overlooked audience. Now, finally, I’m writing for a slowly emerging market, one a few publishers are, after years of ignoring, only just beginning to cater to. Despite the presence of a target audience, that is readers over 40,  two stumbling blocks remain when it comes to marketing romance fiction to readers over 40: WHAT to call this subgene, and HOW to market romance with older couples.

The WHAT: The front-running suggestions for this romance subgenre (Thank you, Laura Boon Russell for reminding me to mention that this is a subgenre), from those of us who write romance fiction with lead characters over 40, have been Adult Contemporary Romance, Seasoned Romance, Mature Romance (MatRom), and Silver Romance. The new category line from Entangled is called August, which is a charming moniker, but the line is limited to stories of characters 35-45. Now, here’s where you come in. Do you have any ideas of WHAT to call romance fiction with both lead characters who are over 40?

If you do, leave a comment. Better still leave a comment about the search terms you use when you go looking for romance tales where both characters have been around the block a time or two? You as a reader have the power to pick the name that REALLY sticks.

Groovy, say we come up with a consensus on a name for this subgenre, for Romance of a Certain Age, Granny Lit or Hag Lit, (Can we agree now NOT use any of those?), but what about the HOW?

HOW to market these books is fraught with the same issues Hollywood has when it comes to marketing any film featuring a woman over 40 as the lead. Artwork and advertising, which in the publishing world means book covers, can be tricky for a tale with younger leads. A book cover, like a movie poster, is supposed to be shorthand for the story presented. Marketing departments for Romance fiction have always found a way to work around finding cover art for troublesome novel, usually steering clear of the stereotypical clinch cover in favour of something benign, such as a pair of shoes, a dog, an empty Adirondack chair sitting on a beach. In Hollywood, the usual thinking is:

  1. If the older woman appears on the advertising, be sure the image includes an object that obscures her age, such as a coffee cup in front of her face;
  2. If the older woman appears on the movie poster, ensure only a small percentage of her body is shown, no full body shots;
  3. Reduce the size of the woman’s image, place her in the background in a setting, such as on a dock, on a boat, behind Bruce Willis or Morgan Freeman. Seriously. Go look at this poster for Red, right now.

Obviously, in fiction and film there’s a similar workaround showing the ageing body, which is primarily horrifying because ageing and the bodies of older people are continually presented as ugly and something to fear. These images lead to an unconscious bias against older people, particularly older women, and that bias keeps women from appearing roles other than mother, granny, harpy, crone, or keeps them from appearing at all. ON book covers and movie posters.

The chief antidote to treating ageing as a disease is to present it as normal, as everyday, but creating a new standard and breaking down pervasive image stereotypes of age—or any stereotype—takes time. People need to ‘get used to’ something new. I understand starting small, put the aged female face behind that coffee cup a few times, or reduce the size of Mary-Lousie Parker and Helen Mirren on the poster for Red. Use those benign beach-front images that suggest peace, use the dog, the shoes. Then, slowly, because, people need time to adjust to change, get rid of the coffee cup, enlarge the size of the woman, move her to the foreground, right beside the acceptable male silver fox in that Adult Contemporary-Seasoned-Mature-Silver-August Romance.

That’s My Job

book-2The other day, over coffee in a café with a writer friend who lives around the corner from me, the topic turned from our writing to the great mystery of promotion and the elusive magical unicorn that leads readers to your books. We discussed when your new book comes out strong, gets well-reviewed, and then…slips into something like a zombie-like state where sales shuffle along, taking an occasional bite here and there. My friend and I wondered how much promo can you do for yourself, how can you market your work and get it noticed, get it ‘discovered’ without being annoying or spending a fuckton of money by hiring a marketing & PR firm.

Fun fact: Did you know fuckton is a now a standard unit of measurement?

The two of us talked and talked — and didn’t come up with any answers, had no suggestions to make, and we went back to sitting side by side drinking coffee, wearing headphones and writing. Because that’s what we do. We meet,we write, and drink coffee.

book1Like my friend, I’ve followed the advice I’ve been given, done blog tours, sent my books out for reviews, peddled my publications on Facebook, Twitter, Wattpad, Pinterest, in newspapers and local magazines, and radio, on my website, on other’s websites. I’ve gone to conferences, presented workshops and papers, and my books continue shuffling along. What I can say is that, while we spent quite some time discussing what to do, I don’t worry about my books doing a zombie shuffle. I set my focus on writing books. I write because THAT’S MY JOB.

I will be totally honest. I don’t write to make money. You may call bullshit on this, but  I have a great life and I do not define myself as a human being by the amount of dough my books do or do not bring in. As a pragmatist, I know this business is a crapshoot, that there are a shit-ton (slightly smaller than a fuckton) of writers and books out there, and very, very, very few make any real sort of money from the work. Making lotsa money would be nice and I’ll admit that royalties are kinda awesome, mostly because they keep me able to sit in a café, drink coffee and write, but as pleased as hell as I am when someone reads my work and buys me another cup of coffee, I do not write my books FOR anyone other than myself. I’m my own audience. And I know what I like

I started writing because I couldn’t find what I wanted to read, which, by now, all of you probably know that’s stories with women over 40 as the lead. Some of you out there happen to like what I like, and like what I write, and that’s totally bitchin’! Thank you for buying me coffee!

While my next two books continue my placing a 40+ woman as the heroine, they are a sligantonellicoverssmallht departure from my usual romance snark, and I still wrote them for myself first. I also wrote them for my friend Elle because she shares my love of coffee and the Bond movie Quantum of Solace. Cult status, coffee money, and Elle aside, what I’m pondering again today is this:

  1. How soon is too soon to market and promote a new book? If I begin this Friday, as I had planned to last week, will it be overkill of the fuckton of promotion?
  2. Is it too early for promo, considering that one of the books has garnered a little interest, but no publishing deal—yet.
  3. Is it too early for promo if I indie publish it and become a hybrid author, and if so see question 1?
  4. Is it possible to overfeed the elusive unicorn and kill it before it has a chance to become a zombie book?

The point of all this is that I am a writer. I am not schooled in marketing or promotion—I don’t even know if there’s a difference between marketing and promo. I am a writer and a coffee drinker.

Maybe one of you could mull this over and get back to me while I’ll carry on writing to please myself, drinking coffee, because contemplating the path to ultimate promomojo sure does get in the way of my job.