I’m beginning a study of linguistics. Well, an author’s study, which is different from getting a degree or anything like unto it. I’m looking for what’s useful for a specific project. And when I want to know about a subject, I’ve found it’s best to start with the juveniles and encylopedias so I can get the big picture and the actual pictures (who said picture books were for kids?) and then move to more detailed and specific stuff. Well, I came across a marvelous quote within the first 30 seconds of Wikipedia’s entry on Linguistics:
Linguistic inquiry is pursued by a wide variety of specialists, who may not all be in harmonious agreement; as journalist Russ Rymer put it:
“Linguistics is arguably the most hotly contested property in the academic realm. It is soaked with the blood of poets, theologians, philosophers, philologists, psychologists, biologists, anthropologists, and neurologists, along with whatever blood can be got out of grammarians.”
Whatever blood can be got…
(grin)
That’s going in a story, somewhere, I gotta use that somewhere.
BSCreviews just published my guest blog “How to Get Ideas: Talk to Cows.” For those of you unfamiliar with the genesis of Servant of a Dark God, you’ll want to check it out.
Crocodiles scare the crap out of me. In fact, I think they’re the scariest things on the planet. Gators make a close second. But they aren’t just monsters to humans. It appears gators have got blood that’s an infection’s worst nightmare.
So I predict right here that in the not too distant future we’re going to have a product called “Gator Cream” and it will rival the wonderful Neosporin.
Here, watch this book trailer for Scott Westerfield’s Leviathan.
Yeah, I know you want to–go ahead, watch it again.
Miller looks at book trailers, sees that the vast majority of them are lame, lame, lame (actually, this is the FIRST I’ve seen that’s any good). Sees that they reach no markets and then concludes that all trailers are silly. It’s true: lame trailers ARE a waste of time and money. But ANY advertisement (print, video, audio, whatever) that’s lame is a waste of time and money. Making killer trailers that nobody sees is an even bigger waste of time and money. But that’s true of ANY killer advertisement that nobody sees.
Look. I’ve never read Westerfield. Don’t know much about him or his books. But I saw that clip and now want to read that book. Hum, trailer worked for me. I AM a reptoid mutant, but I suspect there are others out there like me. I mean, come on. Good gravy, woman–“Do you oil your war machines? Or do you feed them?” Killer!
Movie trailers, book trailers–any advertisement–isn’t about delivering what the person is going to experience on the spot. If that were the case, then you’d never show a print ad of a meal at Olive Garden because it doesn’t deliver the goods right there on page 10 of Woman’s Day. Nope, all you’d do is go around giving out samples in places with Italian mood.
Miller’s error is not understanding the difference between making an offer and delivering on one. What an ad is supposed to do is make the offer. Let you know this thing is available. Because you’re not delivering the actual experience, you can make the offer via all sorts of media. Now, if you can give them a taste, that’s great. But you don’t need to deliver the full deal right there.
So what do you need in an offer? You need the offer to say, “Hey, I’ll deliver this type of experience.” It needs to call to some action, either directly or by implication–“buy this” or “be here.” You also need it to say, “You can trust this will be worth it” and make the consumer believe that’s likely to be true. It communicates this last bit by being a quality piece of work.
Making an offer is exactly what book covers do–they make the offer and give the consumer a little taste. And book covers matter. This has been proven over and over. Just like most people, when I see a cool cover, I pick up the book and check it out. When I see a lame one, or one that offers something I’m not interested in, you’re going to have to threaten me to pick that book up. Or it better dang well have some righteous word of mouth. It’s that simple. We all judge books by their covers because the cover is making an offer. And lame offers don’t get very many takers.
Book trailers are nothing more than deluxe book covers. The cool thing about them is the cool thing about movie trailers–you can make the offer by providing a little taste. You do that by giving the audience the story situation, the pitch. You do it by communicating the feel of the experience and raising curiosity. You do it by making it a pro job. The good ones make you laugh, say cool!, or raise curiosity and expectation.
And that Westerfield trailer does that.
Dang, “Do you oil your machines? Or do you feed them?”
Run that on TV. Run it on the radio. Put it up on sites where people are likely to see and click. Confirm it in print. Make the offer to real people. Get it infront of young readers. I’ll stake my eyebrows that ad can sell as many books as a good movie trailer can sell movie tickets.
Very effective advertising for the book. I think the content of the book is crap, but that trailer made me pick it up just to see what it was all about.
Do you notice that this one and the Westerfield one combine extreme professionalism AND they make the pitch in a clear and grabbing way? The pitch for both was what the book was about. For fiction it’s the concept. For non-fiction how to it’s the promise.
So many of the book trailers lack one or more of those things. For example, look at the book award finalist for THE FALLEN: http://www.youtube.com/watch?v=vsLE6bNaIrk. I don’t know what the heck the book is even about after a long 2 minutes. They’re trying to make a movie.
Something else. On both of these you have a voice over PITCHING the book to you just as someone might do it in person or to an editor. It’s a powerful method, I think.
Notice also how short the Westerfield one is. Just over a minute. Westerfield’s really is like a query pitch or cover copy–in just a few lines tell me what your story is about. We get genre, setting, character, and the story problem or concept.
One of the most amazing pictures I’ve ever sceen. It’s of a 12 year-old girl who fled Afghanistan to Pakistan in 1983 during their war with the Soviets. Here’s the article that goes with it. Of course, this is yesterday’s news. But some things are worth revisiting.
What superpower would you rather have–flight or invisibility? What do others choose? Why? What does it say about you?
Want to hear about a gal named Zora who, as a teen, made a list of everything that a superhero would have to know how to do, things like flying helicopters and diffusing bombs, and then set out to do it. Zora finished her list, btw. She’s a bounty hunter now.
There’s going to be a novel and movie about a presidential candidate’s Body Man. I can feel it. The topic is too rich.
I’m not talking about his body guard. Or some wardrobe guy. Or, please, some sexual thing (good grief, people). I’m talking about the dude whose task it is to free up the candidate so he can focus on meeting, talking, etc. instead of rousting about for a pen or cell phone.
Check out this NY Times video on Romney’s body man.
One of my favorite stories of all time featured two characters in just such a relationship. That would be Frodo Baggins and Samwise Gamgee in The Lord of the Rings. Tolkien writes in his letters that he based their relationship on his observations during his military service in World War 1 of the relationship between a batman and his officer. “Batman” being, not a Bruce Wayne wannabe with a utility belt, but a Soldier-Servant assigned to an officer in the British army of the time.
I want a story about a body man. Or a body woman. It feels so delicious.
