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Twitter Basics and Best Practices for Writers

Why Talk About Twitter Basics and Best Practices?

Cover for Creating an Online Presence
Cat's first nonfiction book talks about how to set up and maintain an online presence -- without cutting into your writing time.

This year I switched the focus of my social media efforts to Twitter, because it seemed to me Facebook was an increasingly ineffectual way to reach fans. Because of that, I’ve been spending a lot more time looking at the people following me on there as well as thinking about Twitter, its philosophy, and its uses overall.

Why does a writer want to be on Twitter? The reason is more than just “sell books”. It’s often a way to network with existing fans (who will buy more books in the future), cultivate new fans, connect with peers and other industry professionals, to find out industry and writing news and yes, of course, to procrastinate in a thousand different ways.

I used to automatically follow people who followed me but nowadays I spend a few minutes to click through and look at their page and the tweets it contains. I’ve noticed that a lot of people are doing it “wrong,” or at least in a way that ends up detracting from their purpose. Most of these are easy fixes. Here’s some tips for setting up an account on there and as well as for maintaining a presence.

The Basics of Setting up a Twitter Account

If you have never experienced Twitter, it’s basically a way to post short messages. I suggest reading some of these basic tutorials on it. Once you’re ready, create your account, keeping the following things in mind.

  1. A picture’s worth a thousand words. Include both a profile and a background picture. Please don’t just make it the default Twitter “egg”.
  2. Give people a reason to follow you. Tell them who you are, but do it in an interesting way.
  3. Give people a way to find out more. Include your website in your profile.
  4. Remember that profiles include SEO keywords. Think about what sort of searches you want readers to be finding you by and include them (gracefully!) in your bio.
  5. Don’t sell stuff via an overt link in your profile picture, background picture, or bio. It comes off as over-eager and clueless.
  6. Make it look nice. Proofread!

Best Practices on Twitter for Writers

Part of successful social media is consistency. You have to do something on at least a monthly basis, and really probably a bit more often than that unless you’re determined to be as barebones as possible, in which case you might as well just renounce the world electronic and move to the woods to live off the grid. (IMO).

  1. Don’t sell, sell, sell. If your stream is nothing but links to your book on Amazon, I’m not following you back. My rule of thumb is at least four non-selling Tweets to every selling one. Examples of nonselling? Promoting other people’s stuff, cat or child pictures, observations about life, interesting or enlightening quotes, links to articles that interested you, and snippets from your own #wip are all valid.
  2. Don’t be negative. Don’t be jaded or whiney or bitter or angry or mean. Just don’t. Studies show people prefer a positive or cheerful Twitter stream.
  3. Answer and acknowledge. When people RT, my habit is to thank them and also to add them to a special Twitter list. When I’m skimming through Twitter for things to amuse/entertain/idly chatter about/RT, I often look at that list because it’s people who’ve proven they want to build a Twitter relationship.
  4. Be a little selective about your followers. On a daily basis I look to see who’s following me. No profile info? Nothing but book selling? No tweets at all? I don’t follow back. Periodically I run the justunfollow tool and clear my follower list of people I don’t know but am following while they’re not following me back.
  5. It’s okay to repeat yourself (a little). Think that latest blog post was particularly noteworthy? Repeat the announcement the next day, and then again the following week. Build a list of such posts for a “best of” category on your site.
  6. Automate SOME things. Don’t auto-message followers, for example. But do use a tool like Buffer to schedule tweets so you catch a variety of times, such as those repeated posts.

Want to know more about how to use social media and your Internet presence to sell books and find new opportunities without wasting all your time staring at kitten pictures? Check out my book, Establishing an Online Presence for Writers.

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"(On the writing F&SF workshop) Wanted to crow and say thanks: the first story I wrote after taking your class was my very first sale. Coincidence? nah….thanks so much."

~K. Richardson

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WIP: A Cavern Ripe With Dreams

Cover for A Seed on the Wind, painting by Mats Minnhagen
Tiny things floated through the air all around him. He stretched out his palm and kept it motionless long enough that one drifted to be trapped in his palm. A seed, a brown seed. Attached to one end a tuft of hairs, fine and feathery, to carry it along. Carefully he raised his hand, examined it more closely. So small. As it neared his eye, it became no longer brown, ridges and swirls marked its surface in grays and greens and reds that somehow blended together to create the impression of brown from just a few inches farther away.
I’m finishing up A Cavern Ripe with Dreams, the sequel to A Seed On the Wind. A version will undoubtedly go out to Patreon patrons before I start shopping the combined novellas around as a single entity.

This story owes a great deal to both William S. Burroughs’ Junky (indeed, the protagonist is named Bill in his honor) and Joe R. Lansdale’s Drive-In, a book I found immensely freeing and exhilarating in its sheer WTFery and bravura. If you’ve read A Querulous Flute of Bone, it’s the same world, that of the co-writing project The Fathomless Abyss.

From part of today’s writing:

Bill felt a rush of fear, but a kind that he had never experienced before, something like the fear you feel when someone tells you a frightening story that they believe is true. A terror that was convincing yet somehow dilute. A terror that was not his, somehow.

A fear that was enjoyable.

He realized that it was the creature. That he was feeling its emotions. That if he closed his eyes, he could still see the room like a ghostly overlay across the darkness behind his lids.

He wondered if it experienced the same phenomenon, this double life. He put his hand up and touched it with a fingertip, stroking along the coarse fur that was still damp with eggy fluid. It smelled like newly-split wood, rare and sharp. As he touched it, it shuddered but stayed still, like a woman whose innermost core had been touched, who feared and craved more. At the thought, he grew hard, and he felt it shudder again before it curled tighter around his neck.

He lay there with it around his neck, savoring the mental taste of it, dipping in and out of its perceptions. After a while, his bladder drove him into standing and using the chamber pot beneath his bed. As he pissed, he could feel the creature tasting his sensations in turn.

It made him curious. Settling back onto the bed, he took a syrette from the bedside table, already loaded with honeypain. He injected it in his wrist and lay back to feel the twofold sensation.

First it felt as though the back of his eyes had dissolved, only to be filled with a subtle warmth that flowed out from them, flowing through him until he was only a zone of temperature and sensation, as though he was warm water in a bath, only an outline. But always with that lurking presence perceiving him, keeping him whole. He had loved honeypain for its ability to take him outside himself, but now he realized that it was nothing compared to the creature.

He tried to think at it, to see if it would answer him, but all his thoughts were blurred by the honeypain. He could hear only his blood drumming in his veins, a hard and insistent beat that told him he was alive, as it had before, for sometimes when he was dipped deep in these reveries, he thought himself dead. Now he had that beat but more ““ the creature curled on his chest. Part of him but not part.

After a while he slept.

Enjoy this sample of Cat’s writing and want more of it on a weekly basis, along with insights into process, recipes, photos of Taco Cat, chances to ask Cat (or Taco) questions, discounts on and news of new classes, and more? Support her on Patreon..

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Upping the Number of Plunkett Slots

Something I’m trying to do this year is pay things forward as much as possible. Recent technological upgrades means I can now fit more than 8-9 people in a class (can now handle up to twice that many, which is more suited to some classes than others), so I figured one way to do that is to make more class slots available to people who couldn’t otherwise afford the class.

So, each class now has three Plunkett scholarship slots, the third of which is specifically reserved for QUILTBAG and POC applicants. Everyone is encouraged to apply, but I want to make sure it’s getting to a diverse range. The only qualification for a Plunkett is this: you would not be able to afford the class otherwise. Just mail me with the name/date of the class and 1-3 sentences about why you want to take it.

I have had several classes lately with no Plunkett apps, so I want to stress this: please take advantage of them if you’re a writer working on your craft. You will be helping me by ensuring that I have interested people to teach to.

That said, here’s upcoming classes if you want to look them over:

Classes Offered April-June 2017

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