Coming up: workshops with Writers Victoria

Happy new year! How did that happen? It seems like only yesterday it was 1987.  Then there were a few years after that which are a bit of a blur. And now suddenly it’s 2016. ALLEGEDLY.

It’s definitely summer here in Melbourne, anyway, and I’m just back from a week or so at the beach, reading Sherlock Holmes stories and getting sunburned. It’s an annual tradition.

Sherlock Holmes story

So. Where were we? Ah yes.

I’m teaching a couple of new workshops for the good people at Writers Victoria this coming term.

First up, we’ll be unravelling the mysteries of Scrivener in an all-day class on 10 April. If you haven’t heard of it, Scrivener is software created especially for writers. I love it, and I’ll show you how to make the most of it too.

Then there’s a webinar on Online Marketing on 10 May at 6pm.  We’ll talk about how to engage with readers online and create a public persona that supports writing practice but doesn’t (we hope!) sound like hard-sell advertising.

If you’ve never been part of a webinar before, it’s like a live web-based video workshop in which everyone can participate.

You can find details of both workshops here.

The Writer’s Toolkit

I’ve posted quite a lot about different tools that writers can use to make the most of the web and their own time.

And now there’s a course: The Writer’s Toolkit, at Writers Victoria from 5 June.

In it we’ll cover:

  • Productivity tools to help you manage time
  • Finding and managing information and resources
  • Note taking and research
  • Drafting and plotting tools
  • Networking and promotions online.

The course runs for four weeks, one night a week. More details and bookings here, but be quick! Booking deadline looms.

Social media for writers and readers

Here are some of the platforms and examples used in my workshops on social media for writers and readers.


Twitter hashtags:
  • #ewf12
  • #aww2012
  • #1book140

Facebook pages and groups:




Blogging platforms:

  • WordPress (easy to use, can add functions)
  • Blogger (simple, Google product)
  • Tumblr (simplest of all, great for images)

Readers’ resources:

Management tools:

Here are the slides from the sessions:

The writer online

Complicated, isn’t it?

In the good old days a writer wrote books, and if someone liked them, he or she might write a letter on a card or a piece of paper and post it off to the publisher, who would then post all the bits of paper on to the author to read and reply.

So a very successful author might need an assistant or a secretary to handle the correspondence and perhaps do a bit of research. They might have a few letters to sign at the end of a day’s writing – letters nicely typed for them. With a carbon paper duplicate for filing. If they weren’t Agatha Christie or someone of that level of stardom, they might even write their own thank you letters, perhaps even by hand.

I suppose some fabulously wealthy authors do have secretaries or PAs or even researchers – I remember Lynda La Plante saying at the Melbourne Writers’ Festival last year ‘My people see to that sort of thing,’ with a wave of one be-ringed hand.

But everyone else does it themselves, especially in Australia and New Zealand with our relatively small markets, and nowadays it’s almost a full time job. There’s all the usual guff involved in running what is, essentially, a small business. I fit that stuff in at nights and the weekends.

And then there’s talking to the world. No longer the bunch of envelopes. Now it’s a constant whirl – you have to have a networked presence, and you have to maintain it, even if it means being witty at 7.30am or checking your emails at 10pm.

You know me. I’m bloody everywhere. I love the web and I love finding interesting information and spreading it around. So in spite of being a complete introvert who would happily never speak to anyone ever in real life, there I am on all the online networks, writing several blogs and just enjoying the medium. And the community. And then I do it all again for my day job, and for a few community groups, and as a civilian – on facebook with my friends and family, for example. Juggling my different profiles and personae keeps me on my toes. But that’s life. Agatha Christie would have hated it.

I use Hootsuite to manage social media, which allows you to post from several different accounts in the one spot and also to schedule tweets so you can find stuff to share when you have time, but publish it later. At work, for a different set of profiles and platforms, I use Tweetdeck. I also like to use Tweetchat for specific chats (I drop by #PhDchat, for example, and #YAlitchat on Thursday mornings my time).

So here’s where you’ll find me:

Twitter: @kmjgardiner
Facebook: Kelly Gardiner – author page
Pinterest: My pin boards

I particularly like using Twitter and now Pinterest for gathering historical info and story ideas and sharing them. I’ve recently started using Pinterest to gather resources and images for works in progress – it’s like a virtual pinboard. Usually, I’d just bookmark such things, but now I can share them with you.

But be warned. Pinterest especially is horribly addictive. And I have the lost weekend to prove it. Or at least I would. If it wasn’t lost.

Creating characters

This weekend I’m participating in Melbourne’s wonderful Emerging Writers’ Festival, an annual event for writers, by writers. It’s a terrific program, and the section in which I’m involved is called Living Library. It’s like speed mentoring: you book a 15 minute session with one or more of a range of experienced writers and publishers and ask them any questions you like on specific themes. Great idea.

I’m one of the Books you can borrow from the Library and am answering questions on creating characters.

I figured I may as well post some general thoughts, although for those people who came along and asked questions, I did rummage around in my head and rustle up more specific discussions connected to their own work.

So, some brief and random ideas and advice:

Bad guys
No matter how evil your baddie, you – at least, if not the reader – need to know why he or she is that way. Very few people in history are evil simply because they are evil – unless you’re actually writing about a psychopath (in which case, research the state very well). You don’t have to invent gratuitous redeeming features, but at least allow a little chink in the armour or a little glimmer of insight.

How much? That depends in part on the age group for which you’re writing. Younger readers like well-rounded characters as much as anyone, and they do need to understand motivation. Adult and young adult readers expect to be able to understand why each character behaves the way they do – without being banged over the head with it.

Baddies don’t need to have hearts of gold or tragic childhood circumstances. It may be that they do evil things simply because they are greedy. Or jealous. Or furious at the world. Or lack empathy.

Good guys
Flipside: your protagonists need to have chinks in their armour too. Nobody wants to read about a brilliant student/writer/mathematician/train driver/surfer who is perfect in every way.

What’s the catch? The fatal flaw? It doesn’t have to be something that renders them unsympathetic. It might be fear. Anger. Not listening. Being random. A bit ditzy. Not returning phone calls. Immobility in the face of danger. Uncertainty. Preoccupation. Lack of understanding about certain plot elements.

What mistake do they make that changes the course of their lives, or the plot? What don’t they notice?  Do they let someone down? What is the conflict or pressure they have to live with or resolve? What drives them, gets them out of bed each day? Why on earth would anybody want to read a whole book about them?

So long as they don’t let the reader down. Some people may want to read about a protagonist who verges on insufferable – think of Lolita or, less extreme, Madame Bovary – but you have to be a genius to get away with it. For the rest of us, flaws and insecurities will be enough.

Everyone figures out their characters differently – there are no rules. I heard Geraldine Brooks speak this week, and she does months or years of historical research before writing, then waits to hear a first person voice in her head – and she really does hear it – and the voice tells her the character and the character (and, in her case, historical fact) leads her through the plot.

Some authors write out extensive back stories for each character before they even start drafting. It’s kind of Method. You learn/imagine everything you can about these people before you can understand them enough to portray them.

I’m somewhere in the middle. I tend to hear a voice and see a character in a situation, in an instant, then flesh out the main characters and some of the minor ones in some detail, as well as figuring out narrative. Some of this I do before I draft too much; some of it as I work; and I get as surprised as anyone else by where those voices go sometimes.

How to write specific voices is another topic altogether, but if there are any rules about voice and dialogue, they are:

  • Don’t let everyone sound the same
  • Don’t let everyone sound like you
  • Don’t try to do fake authenticity in historical voices.

If you’re not a writer that hears voices, at least make some notes about how the voice should sound. Just list words that embody the voice. Then make a list for another character, and you will see at a glance how different they need to sound.

Because I work mostly in historical fiction, I also have to understand a great deal of context before I can imagine how the characters might look and dress and behave. What kind of houses do they live in? How do they sound? How often do they wash their hair? What books will you find on their bookshelves? Even if you are writing contemporary fiction, this is still valuable.

I keep a source book – it might just be a folder in your computer – with clippings, images, quotes, contemporary diary extracts and letters. My folder for the protagonist Isabella in Act of Faith, for example, includes a great many paintings by the Dutch artists of the 17th century, including this:

It’s a detail from Girl Interrupted at Her Music, by Vermeer, it’s Isabella’s face as far as I’m concerned, albeit a bit young, and I kept it in my mind and on my desk throughout the initial drafting process. Vulnerability, intellect and wisdom.

I’m happier once I have a face to think about. It can be imagined or it can be someone that looks just a bit like your character – so borrow a face, any face. Nobody else ever need know. Look at a photo stock site such as stock xchng, flick through art books, browse Flickr, until you find someone who has the right feel to them.

But everyone’s different. Last week at the Reading Matters conference, Ursula Dubosarsky said she never sees the faces of her characters – they are like shadows to her. But she was inspired, when writing The Golden Day, by Blackman’s paintings of schoolgirls and the Alice series. It’s easy to see how the very facelessness is intrinsic to the grace of her work.

Drawings, doodles, lists, pictures, postcards, recipes, dry cleaning receipts, anything can help you flesh out your characters. I remember hearing Victoria Glendinning recount how she spent months working her way through Leonard Woolf’s papers and he kept every receipt, so that became one way for us to know him through her biography: he was the kind of man who carefully filed his receipts for lawn mower maintenance.

Using it
On a practical level, I have used index cards to keep track of the back stories and now I use Evernote, but if you use Scrivener for your drafting, it has the character profile modules built in. It doesn’t matter how you organise it – use notebooks, mind maps, index cards, spreadsheets, corkboards, sheets of cardboard with everything stuck on to them – whatever works for you.

Your next decision, then, is how much back story to include. The general answer is: not much.

My back story for Master de Aquila in Act of Faith includes his childhood in Cordoba as a converso; his father’s arrest by the Inquisition; his own escape to Amsterdam; his happy marriage to a Dutch Protestant which lasted for many years until she died of cancer at sixty; his grief; his disconnection from any formal religion; his hair, clothes, shoes, reading habits and preferred meals. All that was imagined, but some was derived from historical fact. His life story was based in part on a generation of Jewish printers who fled to Amsterdam from Spain, and so I researched the books they printed, their family histories, their business arrangements. Only hints of this ended up in the text. I hope.

The readers need to learn about the characters slowly, just as we learn about people in real life. You will never (please) use all the back story, but those elements that are used are best revealed slowly – a hint here and there, maybe an outburst under pressure.

Surprise us, and let your characters surprise even themselves.

Then we’ll all be happy.


I’ve been posting recently about tools for writers, but the best news is new today: there’s now a version of Scrivener for those of us in the overwhelming majority with Windows PCs (not Macs).
Yes, we sad little Windows people may be retro chic rather than authentically latte-geek, but we can now get our hands on one of the most popular and most powerful tools for writers, formerly purely the province of Mac users.

So what’s Scrivener?
It’s a combination word processor and organising tool. It allows you to bring together and reshape the many fragments that make up most of our working manuscripts, so that you can easily keep track of what’s where and who is in which scene. Depends how you work, of course. Some people start at the beginning and work straight through. Scrivener or other similar packages may help you out a little, but they are a godsend for people who write snatches here and there, and have to keep the structure altogether in their heads while scrolling back and forth through a long Word document. It includes an outlining function as well as index cards for characters or places, and integrates with EndNote, for we fools who are doing academic writing.

There’s been a free beta version out for a while, which I tested and which converted me pretty quickly to the Scrivener way. It has basic templates for short and long fiction, academic papers and scripts and, importantly, can synch with mobile apps like Index card, import documents you’ve already begun in Word (or whatever), and export to other programs such as Final Draft or Word.

The latest beta version is due out 25 March 2011 (that’s the date here already, so I guess tomorrow in the US).  [NB This was amended – I misunderstood the timeline when I first posted]

When the production version goes on sale, it will cost about $40.


Research tools for writers

This week I’ve posted about tools for organising your work and a few free online tools to use for writing and promotions.

Today, I’ve been thinking about the research tools I use most, and thought I’d pass it on.

Yes, I know. Bloody obvious.
Or is it?
I know only too well that many a time I’m too lazy to get up from my desk to check something in a book that is only a few metres away. Instead I spend half an hour faffing around online and shouting at unknown people on the other side of the world because they are hiding the truth from me.

So, I’m reminding myself as much as anyone else – turn away from the screen and look around you.
I have thousands of books and somehow I can pretty much remember where to find things I need in them. That helps. (Of course, I can’t remember what I did yesterday, or to turn the PVR on to record my favourite show, but I can remember that the quote I needed from Women in Shakespeare is on a left hand page, second paragraph, in the third chapter or so). When I need to look something up, I have a picture of it in my head. I’m sure I’m not alone in that. But it’s much easier to use that spatial/visual skill with objects on shelves than with bookmarks in a browser. I just have to remember to remember.

Everyone’s needs are different, but I will say that I had always been obsessed with owning an old edition of Encyclopaedia Britannica and when I finally bought one (they can be cheap as chips on eBay) it made me very happy – and has done so many times since.


Again, bloody obvious, but libraries do amazing things nowadays and some people don’t realise it. They are also free, with a few exceptions.
I’m a member of several, and that’s very handy because between them they are bound to have something useful even on the most obscure topics. Almost every library now has its catalogue online so you can find out whether they have something you’re after, and you can usually order it, reserve it or even ask for it to be digitised.
If you’re in Australia, you can also use Trove to search for items in a range of libraries at once – elsewhere, try WorldCat.

I’m a member of:
The State Library of Victoria (where I work, and which has magnificent research and heritage collections and thousands of online databases and journal – see below)
Melbourne City Library (terrific lending library, very strong on multimedia and provides e-books and multimedia to download online)
Yarra Plenty Regional Library (my local – not so great for research but good YA section and contemporary fiction)
La Trobe University Library (my university – again, great collection of licensed databases and really quite a good non-fiction collection, including older titles). Students can also get a CAVAL membership which allows you to go browse the shelves and borrow from other institutions’ libraries.

Libraries will get books for you from elsewhere, provide online resources for you to download, chase up obscure titles and show you how to find things you never dreamed of.
Which brings me to …

Databases, online media and ejournals
I had no idea about these until I started working at a library but now I couldn’t live without them.

The story is that magazine and journals all over the world are now digitising back-catalogues and putting new editions online. These are all brought together in different bundles, or databases, by big publishers – some academic, some commercial.
Most libraries will pay subscriptions to the publishers so that members can look up citations, journal articles old and new, research papers, encyclopaedia entries, items in indexes and lists formerly kept on index cards in cabinets on the other side of town or the other side of the world.

They might include, for example, the whole Naxos classical music library, audio books from Jane Austen to JK Rowling, the Oxford dictionary, back copies of every journal from Lancet to Studies in the Novel through a source like JSTOR or databases of facts such as AustLit – a huge treasure chest of information about Australia literature and writers. You log in with your usual library ID.
Immeasurable riches await. I promise.

Google books and scholar
Yes, I Google as much as the next person, but much more valuable to me, in many ways, are Google Books and Google Scholar.
Google Books now comes with the option of buying ebooks for all e-readers except Kindle (hee, hee) but that’s beside the point here. What it does, after much negotiation and angst amongst the writing and publishing communities, is pay for digitisation of (largely) out of copyright titles, mostly from UK and US libraries including some of the biggest in the world.

The wonderful Internet Archive, Gutenberg Project and Open Library have been doing it for years, of course, and I use them a great deal too.

For me the value of these services is direct access to books from centuries past which are difficult to access, especially if there are no copies in local collections. It also means I can keep them and look them up whenever I need them – which I’m unlikely to be able to do with printed copies in rare book collections. So, for example, I can read anything from Histoire anecdotique de l’ancien théâtre en France to Sex and Suits.

In Google Books, there are also titles in which copyright is still in force, so you get a snippet or preview – but this is enough to tell you how many references there are to your subject and whether it’s worth buying or chasing the book elsewhere.

Google Scholar is a different matter altogether: it searches many of those online databases for you and returns not just links to journal articles, but also lets you see how many other authors have cited that article – often a good indication of the original’s impact on the field. You can export the citation details directly into EndNote. And if you are a member of a university library (or something like the State Library) it will recognise you and take you through to the licensed database. Free.

The other Google service I find invaluable is Streetview, and Google Maps with Photos turned on, because I’m often writing about places far away from my desk, and in Streetview I can even peep over the back fence of the convent in Avignon that my main character tried to burn down in 1688 or so.

In Google and all sorts of search engines and databases, you can set up alerts, which email you to tell you when anything new has been published online on your topic. For example, for my PhD work, I have Google alerts set up for names of key historic figures, and topics such as “seventeenth century France”. They can be quite specific and you can adjust them if they are sending you nonsense. In the journal databases, you can be alerted when new editions of particular titles are posted online.
The information comes to you. That has to be a good thing.

Archives and digital collections

If you’re doing historical research, you’re probably already using online archives. How many records are available online, and how user-friendly they are, differs from place to place, and archives all over the world have their work cut out for them getting stuff available fast enough to meet demand.

Again, your library subscription might provide you with access to archival material like births, deaths and marriages from countries around the world (eg through, but repositories such as the UK Archives and Archives de France are free, unbeatable sources of historical data.

I use British History Online an awful lot – here you can read the debates in Parliament during the Civil War or read the Venetian Ambassador’s private papers. Warning: once you go in there, you may never come out.

And don’t forget the many small local historical societies and archives where you can find friendly volunteers desperate to help you out.

I use images to research what people wore, ate, sat on, and dreamed about in centuries past. So if I know a certain artist (eg Vermeer) has captured it perfectly, I’ll seek out the galleries and museums with strong collections of either relevant artworks or items such as clothing or weapons and check if they have digital versions.

I find search engines don’t pick up collection images so easily. Much better to go to one of the central organising services like Trove. Europeana is also a wonderful way into the thousands of collections in Europe – it includes documents from the archives and is always in English.

And don’t forget Flickr, especially for images of places and buildings.

Next episode: where and how to search online…

A writer’s tools

When I speak at schools, kids always want to know all the practical details: do you write on paper or computer, where do you sit, do you use a pen? Other writers, too, like to swap stories and tips. So here are mine.

I can write pretty much anywhere, so I often scribble in notebooks on the train or in cafes at lunchtime. I learned long ago not to mix up all my ideas in one book, so I have separate notebooks: one for each project, and sometimes different books for research notes and fiction drafts.

Part of the ritual of starting a new project is buying new stationery. I like lightweight notebooks – a while ago I fell in love with these fat black journals I’ve only ever seen at Auckland airport, and stocked up, but they are really too heavy for schlepping about every day. I have a small notebook for random notes and ideas. I have even smaller Moleskine notebooks for tucking into a pocket with a stubby pencil if I’m going out walking in the middle of a brainstorm. (If I’m really caught short, I write on old receipts in my wallet, or serviettes, or sticky notes on my phone or Evernote on my iPod.)

I always use a pencil – preferably a mechanical pencil – I have several and for some reason need one for each notebook or task.

I do most of my research and writing on my laptop. I have a wireless router/modem so I can move around at home, work outside or at the dining-room table if I feel like it.

Like most people, I use Microsoft Word (Windows 7). The newer versions have some terrific new functionality and most of us only use a tiny percentage of its capability. One day I’ll make time to expand my knowledge of it, but in the meantime I just tap away, track changes, do rough translations, and use the stylesheets/formatting in a very basic manner.

I use Excel for making spreadsheets tracking action across a novel to help me keep track of structure and pace – sometimes I turn these into graphs so I can literally see the highpoints and slower moments – important if you’re writing action. For Tragedie, I use it to align the known biographical facts with my novel structure (and also the source of the original fact), like this:

Recently I’ve been fooling about with screenwriting, and this is made a great deal easier with one of the screenwriting packages which mean you don’t have to think about the mechanics of formatting (eg caps here, indents there), which are very specific industry standards. Because I’m just playing, I use a free program called Celtx, which although free is pretty good. Serious TV and screenwriters invest in something like Final Draft or Screenwriter.

I keep my references in order with EndNote. (You can also use Zotero, which I prefer for organising references across web and the real world, but for a formal bibliography like my PhD, I use EndNote, because it’s supplied free and supported by my university.) It gathers all resources, downloads bib data from libraries, and spits it all out in the form required for whichever academic journal you’re writing for. You can attach files and links and add your own notes. You can download extensions which adjust the format of bib data you’re importing from certain libraries, or massage your own data into different citation styles (eg Harvard, MLA, etc). I also use a Firefox EndNote extension which is better at saving web references than EndNote Web itself.

Back-up is critical. TE Lawrence left the first draft of The Seven Pillars of Wisdom on the train and had to start again. He believed it made his book better – I’d rather not run the risk. So please do back-up your drafts. I have an external hard-drive to which Windows runs an auto back-up every week. I also copy my Writing folder onto a USB drive every so often and keep it in my drawer at work in case the house burns down, and use Dropbox to back up into the cloud. Which brings me to online tools

Online tools for writers

There is a whole range of free online tools that are useful for organising your work as a writer. Here are a few basics:

Most of us take our web browser for granted. If you own a PC with Windows like most of the world, you probably use Internet Explorer.
A minority of us use other browsers like Firefox, Chrome or Safari.
Yay us.

Whichever browser you use, you need to know that they have changed a lot over the years and you need to keep updating (they’re free, so why not?). They also come with a great many more bells and whistles than they used to, such as better management of your bookmarks or favourites.

I use Firefox because it’s open source, which means that it has a whole community of people out there who build extra bells and really good whistles that you can bolt on. One, for example, is Gtranslate, which (because I read a lot of documents in French and my French is appalling) allows me to translate any word on any web page into English with a right click.
Another is Add This, which lets me share something I like from any website on a blog or social media such as facebook, or save it to a bookmark list like delicious.
I also have Firefox extensions for programs I use all the time, like Evernote and EndNote.

Make that little search box in the top right hand corner work for you – choose which search engines you use for which tasks (you can get quite different results, you know, searching outside Google), and if it lets you (eg in Firefox) add the option to search sources like Google Scholar or Chambers dictionary. Then you don’t have to go to a site to look something up – just type it into the box in your toolbar.

(Firefox – Dropbox, with Zotero open at the bottom of the screen)


I use Dropbox for backing up my drafts and documents: it is an online service which keeps your documents (or pictures or anything) in a secure space online. You simply save items to a folder on your computer and Dropbox will synch it up on a regular basis. This means you can also access your documents from any computer, and you can also set it up as a place to share or collaborate with others. Much easier to use than Google docs, if you ask me.

I adore Evernote. I started using it simply as a searchable database of research notes (like Microsoft OneNote). For example, I can write a quick note about a building in Paris that was around in 1670, maybe include a link to a relevant website, even a picture of it. In a year’s time when I can’t remember where on earth I put that note, I’ll be able to search for it and there it will be. A great deal easier than flicking through card indexes or notebooks. That alone is valuable, especially for people whose writing includes lots of research – you could use it for character biographies or almost anything. But wait – there’s more. Your notes live online, securely, so again you can access them from anywhere – that means that when I’m in Paris walking down the street where that building once stood, I can whip out my iPod or mobile and take a snap or make more notes, and the Evernote iPod app will synch it up with my other notes. Too easy. In fact, it’s a little addictive.

Websites and blogs

A website, at least, is now a given. You have to get one. People will look for you online and if you aren’t there, they’ll wonder what’s wrong with you. It’s as simple as that.

But it doesn’t have to be a drama. You can set up a blog or site very easily – how much time you put into it is up to you.

There are many free blogging platforms. I use Blogger for my blogs, because that seemed the easiest to use all those years ago when I started blogging. It’s still pretty good. You just sign up (it’s owned by Google), choose your blog name and select a design from a wide range of prepared templates. Then add content: blog posts, links to sites or blogs that you like, images.

After several incarnations and countless hours slaving over Dreamweaver, I now just use WordPress for my websites. It’s fundamentally a blogging platform, a little more complex than Blogger but still easy to use. You can post, just like a blog, but you can also create pages which don’t change, menus and sub-pages, and again you choose a template from a range and then add images or change colours or page structures according to your taste. Simple is better.

Both these platforms are free and allow writers to get online with an investment of time and effort, rather than having to fork out. If you know about the technical side of the web, you can make them do extra stuff, but I don’t bother (and I am a professional geek in my day job). I’m a writer, not a designer or a developer. They aren’t the prettiest websites in the world but that’s OK. Up to you.

Both platforms (and others) host your site or blog for free, so you don’t have to pay anyone for website hosting, and both are big stable platforms that aren’t going anywhere (I remember once, years ago, I published my Masters thesis online with a similar service – one day it went bust and millions of people’s websites vanished).

What you might want to do is register a domain name: this does cost money. Say you want your site or blog to be at the web address: You have to buy the right to that name. But with WordPress you can simply buy the domain name and then use it for your WordPress site by adding a redirect. Easy. And well worth it, even if the domain name itself costs a couple of hundred bucks, because then you get to own a nice, clear and short web address. I think the redirect costs another $12. Bargain.

Social media
I admit I have only just started using social media as an author – literally just in the last few weeks. But I use it as a civilian all the time and have done for years, and work with it as part of my day job. In fact I train people to use it.

So my advice is, don’t go near Twitter or facebook if you aren’t prepared to post regularly, and that doesn’t include telling the world what you had for dinner.
But if you like the medium, you can use it to be involved with readers and other writers, and that can have a promotional effect in the long-run. It’s about engagement with people, not just flogging your latest book.
First thing is to separate out your personal self from your online author self – set up an “official” Twitter feed or facebook page and only post author-type things. Your friends and family may follow you as an author as well as a real person, but you don’t want readers confusing your personal life with your public persona.

Second thing is to use a few nifty tools to bring together your social media, so that you don’t have to keep bouncing from one to another and spend your whole life posting on different platforms. I use Hoot Suite which allows me to write a brief post and then choose which of my social media profiles or pages it appears on.
I also set up a feed from my blog into my facebook page and my website, so that they appear to be updated without me having to actually change pages on the website or post links to my blog all the time.

Third thing is to keep yourself nice. Behave on social media as you would at a school visit or bookshop reading: answer politely, be interested in your readers, ask them what they think – what they read. Don’t grump at people if they leave nasty comments or bad book reviews. Rise above.

Reader communities
I jumped onto LibraryThing early on in its life, and obsessively catalogued a few hundred of my books before I ran out of steam. I have a widget on my blog which feeds up books from my LibraryThing collection, so people can see what I’m reading (or at least, what I read years ago). I still love the idea of it, but haven’t been much involved in it as a community because I just don’t have enough hours in the day. I also recently joined GoodReads.

Both (and others, like Shelfari) are online book geek communities where people share what they’re reading, post reviews, list their own collections, recommend books to one another, and discuss books, reading and writing – endlessly.

Take a look. Often. See what people are reading, what they say about books and what they are looking forward to. If nothing else, register as an author so you can post updates on your own upcoming titles.
For people outside the US and the UK, you may notice that local titles are less likely to be on these sites (and other places like Amazon reviews) but that’s OK. Just know that’s the case and that there will be plenty of people from all over the world reading a huge range of books from everywhere.

It is, apart from anything else, fun. You’ll find a whole lot of books you suddenly must read.
And that’s a good thing. Right?

Those are a few of the tools I use. You will have your own favourites or latest apps and add-ons that get your blood racing. So go on, blog about them.