Shelley Widhalm

Posts Tagged ‘Harrison Hand’

Getting a Book Vision: Brand Editing

In Editing, Editing Advice, Editing Tips, Fort Collins Startup Week, Writing Advice, Writing Tips on March 15, 2020 at 11:00 am

Blog-HHand 10-18

Loveland, Colo., author Harrison Hand signs a copy of one of his books. He spoke about self-publishing and editing during Fort Collins Startup Week in February 2020.

Do writers need editors? Yes. Do they need a brand? Probably. Do they need a why? Most definitely.

When writers start writing, they typically plan out the plot of their book or start with a character or two or a world-building premise. Or they jump right into the writing without a plan. The two types are plotters vs. pantsers.

The Why of Writing

But what about the why of writing? Why do you care about the characters? Why do they care about the story? Why should readers care?

These “why” questions are just a start. They also have to tie into the journalist Ws of who and what, or who are you as a writer and what you want to produce. The Ws are important for the business side of writing, or the branding and marketing of a book or series.

“What is your reason for writing your book? Why should the audience listen to the author?” said Harrison Hand, author or the Skyler Tortuga series, including the latest release, “Secrets of the Dragonfly Dancer,” and owner or The Harrison Hand Studio in Loveland, Colo.

The How of Publishing

Hand spoke about The Why during his one-hour presentation about self-publishing, “How to Publish Your Book for Under $100,” which he gave Feb. 24 during Fort Collins Startup Week in Fort Collins, Colo.

“You are your brand,” Hand said, explaining that building a brand about who you are as a writer and what you create is key to marketing. “Be sure to establish your voice, owning your words and owning your place in creating.”

Voice is part of that branding, alongside the books the writer creates, Hand said.

“The audience cares about both the creator and the creations,” Hand said, explaining that the audience wants to connect with the creator. “Marketing starts with the why; that’s how you connect with people. Why do you have this voice?”

The What of Finding Voice

Writers need to find their own voice, Hand said. He looks at writing differently than many other writers, where he is breaking the rules. He says it the way he wants to say it, he said. He advised once the writing (and hopefully editing) is finished to tie the book to something.

Hand’s Skyler Tortuga series is about bullying, and he wants to empower the next generation of readers to believe in themselves, where young female heroines learn that they can complete themselves without needing a romantic figure. He conducted a heroic reader crowd funding campaign, handing out paid copies of his books to children who are readers—his target is third- to sixth-graders.

Hand found a way to not need an editor by working with early readers, getting feedback and doing his own editing. He recommended jumping into the self-publishing arena before slogging about looking for an agent.

Where to Start

“Start publishing other stuff, get a following, create some buzz and credibility, and then it’s easier to find an agent for your great American novel,” Hand said. “They let the audience determine what’s interesting.”

Writers need to get the branding and marketing in place, or they might get noticed by an agent, but either way, knowing The Why is crucial to finding, keeping and growing voice, style and story.

Art for Art’s Sake, Not for Free

In Artists, Dying of Exposure, Harrison Hand, Loveland Artists Collective, Writing on October 28, 2018 at 5:00 pm

1029 Blog-HHand

Artist and author Harrison Hand of Loveland poses by one of his books in one of his Facebook photos.

Artists can love what they do, but they shouldn’t be doing it for free—or they might die of exposure.

“The shark is who’s going to take advantage of you and eat you versus those who will carry you,” said Harrison Hand of Loveland, Colo., an artist, illustrator and filmmaker who owns Harrison Hand Studios. “We have to shift how we get discovered and how we get marketed.”

Hand gave a presentation, “Dying of Exposure: the problem of working for free and how to fix it,” at the Oct. 22 Loveland Artists Collective monthly meeting on ways artists can profitability market and price their work. The Artists Collective brings together visual, performing and literary artists to discuss topics related to the arts and meets at various locations, including Artworks Loveland, an art studio and gallery in downtown Loveland, where Hand spoke.

Artists who do not have a large marketing budget may resort to low-cost gorilla marketing to get their work in view of the public, but what Hand calls sharks can come in, promising, “Give me this, and I’ll promote you.”

Sharks and Dolphins

Sharks can take on various forms, offering payment in forms of exposure when artists need to earn a living. They may want artists’ stuff for free. They may be two-headed flees/fleas who take your stuff and flee or put your stuff in a flea market setting surrounded by stuff sold from elsewhere, causing you to drown from the false exposure. Or they may be the friends and family types who expect you to work for free and come up with an excuse to take what you make.

Instead, artists need to identify the win-win marketing dolphins in their midst in the sea of sharks that can carry them to paying customers,

“Dolphins are going in the same direction as you to carry you to the customer,” Hand said. “Sharks take you where they want to go. Dolphins take you where you want to go.”

Dolphins get excited about what you do and tell everyone, or they make it easier for you to get discovered. Dolphins who are artists may cross-promote each other’s work, something artists can do by connecting and sharing what they like.

“You want to find those key people who talk you up and promote you,” Hand said.

If artists do decide to charge below their normal rates, they can mention what they normally charge and say they will do it for less and expect something in return, Hand said. Or they can state their rate and suggest other sources, such as students who may charge less, he said.

“Don’t devalue your time because you love doing it,” Hand said.

Working for Free?

Hand turned the rest of the discussion over to the 30-plus artists and writers in the audience. They suggested when requests for free work are sought to possibly set aside a couple of charitable projects a year and once that is met to roll over requests to the next year on a first-come, first-serve basis.

“I try to, in the nicest way possible, explain first of all, there are ways to ask artists for their art,” said Sheron Buchele Rowland, fiber artist and metalsmith and organizer of the Artists Collective. “It’s symbiotic. We’re carrying each other forward.”

Some of the artists questioned how much they should charge for their work—it’s based on materials, market and time spent both on the work and developing the skills to do it, Hand said.

“What we do is unique. We all have a unique vision to show the world,” Hand said. “What I do is a skill just like what you do is skill.”

The Artists Collective provides education and networking opportunities for artists and aims to activate the arts to promote their success.

“We are about community. We are about networking,” Buchele Rowland said. “That community is really critical because we spend so much time in our studios by ourselves.”