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The One Truth

Posted by on May 13, 2015 in Busybird | 0 comments

I’m often asked what’s the best way of writing a book.

Sit down and write it.

I’m asked, like I must have some secret formula, because I’ve done it several times. Well, I have only one real answer.

      Sit down and write it.

Sure, you might require planning. As I’ve mentioned in previous blogs, I’ll write out the names of every character I think I’ll use. I’ll map out locations, like restaurants, bars, schools, or whatever’s required. If I need a specific blueprint – e.g. a house that’s important to the story – then I’ll draw that up, so I can know the space my characters occupy. I might bullet-point some plot points (and will definitely do so as I write). But this is my methodology. It mightn’t work for you. You might have a completely different way of working. That’s fine. You need to prepare in whatever way you see fit. Ultimately, there’s only one commonality that we’re all going to share if we want to write a book.

           Sit down and write it.

You might think you need a special place to write. You can’t write because kids are running around screaming and the house is a mess. We can long for an ideal space, for a writer’s den, with our trusty laptop set on an antique desk by a window overlooking the idyllic countryside. That’ll do, won’t it? That’s perfect. And will get us in the mood, won’t it? Well, it might, but rarely are circumstances ideal. We need to deal with what is, because, invariably, when it comes to writing a book, whether we’re working in our dream location, or penned up in the toilet because it’s the only room where we can escape and have some privacy, the same duty remains to us.

                Sit down and write it.

But what about time? We might work, might have a partner, might have kids, might have housework, might have dialysis, might have a full day. That’s hard. It’s near impossible. Unfortunately, short of inventing technology that can stretch a twenty-four hour day into twenty-eight, we can only work with what we have. So whether we have eight hours a day where we can lounge around and work on our book, or only fifteen minutes a day, we’re still left with the same overriding requirement.

                     Sit down and write it.

There will always be reasons that you can’t write. Excuses. Life will never be ideal. We’re too tired. Too busy. Not in the right headspace. It’s too noisy. My writing space isn’t set up correctly. My computer is old. My brain has turned to mush. I keep getting disturbed. My friend is having a meltdown. I’m having a meltdown. I don’t know if I can do it. I don’t know if I can write. Who’ll read it? Who’ll want it? What’s the point of it? This. That. Everything. Every single thing. Yet, despite it all, if we really want to do this, guess what we have to do?

                          Sit down and write it.

There’s no magic formula. Whatever our situation, whatever our circumstances, whatever our methodology, we’re always left with one simple truth.

                               Sit down and write it.

Writing is a muscle. Sorry for the cliché, but it is. You want to write a book, you do so by sitting down and writing it. By doing that every day, you build up that muscle so, next time you sit down to write, you welcome the prospect, your muscle tells you, ‘I can handle this’; you build it up so that it’s strong enough to endure tough patches and flat patches; so that on those days you don’t feel like it, when you’re exhausted, when you’re not in the mood, when the house is burning down around you, that muscle will pick you up and carry you – kicking and screaming if need be – the rest of the way, because there’s only one way it’s ever going to get done.

                                    Sit down and write it.

And that’s it. That’s all. Finito. No tricks. No tools. Nothing but this one reality.

                                         Sit down and write it.

If you do that, you’ll get there.

LZ.

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Page Seventeen, Issue 12

Posted by on Apr 24, 2015 in Our Books | 0 comments

line-218786_1280Yes, page seventeen is once again a thing, and shortly we will be opening our submission window again. The opening date is only a week away!

One of the defining developments of last year’s issue was how page seventeen’s motivations and identity were placed into sharper focus. Page seventeen has always been about promoting new and emerging writers by giving them a place to publish their work, but other aspects of the periodical’s reason-for-being were given greater consideration and explored in previous articles on this blog. We even have the customary soundbites to show for it. Embracing the new. A home for emerging writers. Winter is coming. (Wait – that last one might be from somewhere else.)

Page seventeen remained fairly stable and static for its first ten issues. It was establishing a recognisable brand with clear intentions. For its eleventh issue, there was a greater enthusiasm for change and versatility, even in smaller aspects such as updating the issue’s layout. That’s a trend I hope to continue into the twelfth issue, as page seventeen adapts to reach its current audience – and its expanding sphere of potential readers – in the best possible way. Not just to entertain readers, but to promote writers who deserve to have an audience for their work.

Which is why we will be making the latest issue of page seventeen an exclusively electronic edition. The issue will be essentially the same in all other respects, with the only major difference thus far being that page seventeen is taking the plunge and moving into the digital age. We’ll also be kicking off our transition with the release of our long-promised e-edition of page seventeen #11 – it’s coming soon, so stay tuned for the announcement.

Below you’ll find the general summary of all the entry categories and competitions on offer for Issue 12. Soon we’ll also announce finer details such as the judges for this year’s competitions, so watch this space and follow along on our Facebook or Twitter profiles if you aren’t already.

All stories, poetry and articles should be submitted to page seventeen through Submittable. All submissions should be doc, docx, pdf or rtf file formats; images for the cover comp should be jpg or gif. Please contact us as pageseventeen@busybird.com.au if you have any questions.

Are you interested in submitting for the new issue? You won’t have to wait long for the opportunity. Our submission window for 2015 is Friday 1 May – Friday 3 July. That’s two months of time to mould your work into the best it can be, and maybe give us the opportunity to show it to the world.

*             *             *

General Submission:

  • No entry fee
  • Unthemed
  • Short stories up to 5000 words, poetry up to 100 lines
  • Submit via our General Submittable portal. Link will be active here from May 1st.

Non-Fiction Submissions:

  • We favour ‘craft of writing’ as a general theme, but we’ll consider all articles.
  • Articles up to 5000 words
  • Submit via our General Submittable portal. Link will be active here from May 1st.

Short Story and Poetry Competitions:

  • Entry fee structure is $8 for one entry, $15 for two entries and $20 for three entries.
  • Unthemed
  • Short stories up to 3000 words, poetry up to 60 lines
  • Winners of each category (Short Story, and Poetry) will win $200, runners-up will be awarded $100. All shortlisted entries will be published in P17 #12.
  • Submit via our Competition Submittable portal. Link will be active here from May 1st.

Cover Competition:

  • Entry fee is $10, which allows up to five images to be submitted for consideration.
  • There is no theme or criteria for the style of submitted images. Entrants are encouraged to see covers of page seventeen’s recent issues but we encourage that submissions do not need to be limited by precedent.
  • The winning image will be used as the front cover for page seventeen #12, and will be regularly implemented, unaltered, in promotional material for page seventeen and Busybird Publishing.
  • Submit via our Competition Submittable portal. Link will be active here from May 1st.

*             *             *

In a week we open the gates and welcome all authors, poets, photographers, writers, artists, scribblers, doodlers and general dreamers to share their work with us. Good luck to everyone who submits to us. I hope you’re looking forward to seeing what the latest issue of page seventeen has to offer – I know I’m looking forward to putting it together.

Beau Hillier | Editor, page seventeen

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Writing a Blurb

Posted by on Apr 9, 2015 in Busybird | 0 comments

What makes a good blurb?

When you pick up a book at a bookstore or library, or read a blurb somewhere online, what engages you? What convinces you to open the book and scan the first page, or to take the book home with you?

The blurb is the equivalent of a movie trailer. Seen a fantastic trailer, only to find that the movie itself sucked? This is an important lesson: a good blurb or trailer can sell anything, and the whole product – whether it’s good, bad, or downright horrible – will always have enough ingredients from which to craft a compelling snapshot to hook your consumer.

The foundation of any good blurb – whether it’s for a novel or a nonfiction book – is that it’ll have a narrative thread that underpins it all and ties it all together. This is what we ride through it. However, a good blurb doesn’t let you realise you’re taking this ride. You simply become immersed in it, then want more.

Writing a good blurb is an artform. Obviously, there’s lots of different ways to write a blurb. If you’re somebody who struggles with blurbs, though, here’s a bit of a formula you can follow to get you underway …

For Fiction

For Nonfiction
The vehicle which is going to take our reader on their blurb-ride is usually the protagonist of our story. Let’s use the example of The Hobbit.

Bilbo Baggins is a Hobbit, a halfling who lives in the Shire, content with smoking his pipe, eating meals (and lots of them), and peace and quiet. But when the Wizard Gandalf arrives and starts talking about adventures, Bilbo’s idyllic little world is shattered.

Here, we’ve introduced the protagonist, Bilbo, and his circumstances. This is important. We need to develop a visual of the character, and try to bond them with our reader.

With that done, let’s get stuck into the plot.

Gandalf introduces Bilbo to Thorin Oakenshield, the King of Dwarves, and his party of twelve Dwarves, who tell a tale of their kingdom, the Lonely Mountain, and their treasure, being stolen by the mighty dragon Smaug. Now the Dwarves are mounting a quest to reclaim what’s rightfully theirs, and they want Bilbo to join them.

The plot itself doesn’t need to be oversold. Some plots won’t be packed with action and excitement. They might be slow boilers. Or simple family dramas. What’s important to capture here is the context: Bilbo, a contented homebody, is pitched into a quest where he seems impossibly out of his depth. That’s interesting, and this is what’s important: showing the drama that your protagonist will face.

Next, let’s sum up Bilbo’s adventures, without – hopefully – giving up any specific, story-defining spoilers.

Before Bilbo can pack a single thing, he’s swept out the door and faces many dangers with the Dwarves – hungry Trolls, bloodthirsty Goblins, angry, giant spiders, and other perils of the undertaking. There are enemies everywhere, and allies in unexpected places, but still waiting, at the end, is the seemingly unconquerable dragon, Smaug the Magnificent. Bilbo must find courage deep within himself that he never knew existed, but can he truly help the Dwarves reclaim their home and their treasure?

Here, we’ve given up the gist of the quest, as well as the names of some of the creatures they face. But there’s no specifics – we don’t know how they escape the Trolls, Goblins, or spiders, whether anybody perishes, who does what, etc. But we see the conflict. We see some of the character growth. We see what our protagonist will face.

The final paragraph usually sums up the book as a product:

The Hobbit is a tale of adventure, courage and camaraderie which is sure to delight readers of all ages.

Usually, nonfiction (e.g. autobiographies, biographies, books on particular topics) can be treated like fiction. The same principle applies – just treat the subject as your protagonist who takes the reader for a ride through through the blurb.

Where the blurb might differ is for something like a self-help book. You now not only have to immerse your reader, but empathise with them.

Let’s say we’ve got a book about dieting. We need to establish a rapport with the reader immediately.

Overweight?

Open by questioning the reader. That might take the form of a single word (as it has here), a single sentence, or a paragraph full of questions. The point is to engage the reader and open a dialogue with them. They now have to answer the question(s) put forth to them. If it’s relevant to them, they will most likely read on. Then it’s time for the empathising.

Do you struggle to resist sugary snacks or fatty foods? Or perhaps you stack on the kilos, despite what you eat. You’ve tried diets before, but without success.

Here, hopefully, we’re getting on side with the reader. Yes, they might struggle to resist sugary snacks and fatty foods. Yes, they might stack on weight regardless of what they eat, and diets have been unsuccessful. If we’ve articulated legitimate concerns of somebody who might pick up a book like this, hopefully they’ll now be nodding their heads and thinking this book knows about their situation, is specifically talking to them, and might offer them hints that they haven’t encountered before.

This is now where we sell ourselves and what the book’s about. Careful, though! We don’t want to give away the book’s secrets.

Joe Blow has been a dietician for over twenty-five years, worked with thousands of patients, and has a PhD in Clinical Nutrition. Now, he’s come up with an easy 12-Step Program that’s guaranteed to see that you lose weight in three months.

We’re not only selling ourselves here, but we’re also selling why we’re qualified to write about this subject. The reader has to feel they can have a reason – or reasons – to put their trust in us and, more importantly, in the book they’re now holding.

The only actual allusion to the book’s content is the ’12-Step Program’. If your book has a particular formula (in this case the ’12-Step Program’), then sell it. Make no specific grandiose promises, though, e.g. You’re guaranteed to lose 25 kilograms! There’s no way you can guarantee that. The wording we’ve used here – ‘guaranteed to … lose weight in three months’ – is non-specific.

Finally, as with the fiction blurb, we sum up the book:

Lose Weight Quick is just what you need if you’ve tried all those other diets and failed, an easy step-by-step guide that will talk you through the process of how to lose weight and ensure you keep it off.

 

Now neither of these blurbs are complete. They’re still early drafts. But they offer a framework that you can now flesh out. We can fine-tune details, as well as smooth out linkages.

Just remember, blurbs are meant to be short and concise. They’re not a report of your book. Nor should they give the content away so that it becomes redundant to read the book. Don’t waste words. A blurb sells your book. The goal is to get readers intrigued.

With practice, you should be able to blurbarize any book. The key is to find your way in. Once you do, the rest should come easily.

Happy blurbing!

LZ

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Characters

Posted by on Mar 26, 2015 in Our Books | 0 comments

man-69283_1920The relationship between writers and the characters they create is often a tangled one. While not all of us are going to become as entangled with our characters as the lead from Ruby Sparks, it’s often hard to separate ourselves from the voices and personalities we create. Every character, after all, is a reflection of our own perspectives, our own selves – whether it be ourselves, the antithesis of ourselves, or a model of someone else based on our point of view of them.

When characters are the product of a single mind, it can be difficult to make them into convincing individuals – to take them further than just being mouthpieces of ourselves, with different hats on. So how can that be done?

It can take a long development to reach that stage. But here’s some general tips to making your characters more than caricatures.

Read as widely as possible

One to get under your belt before you even start. If you just read fantasy, then you’re going to know all about the different types of heroes and anti-heroes that inhabit these words, but what about the fascinating characters that inhabit the murky waters of crime noir? What about the everyday Joes and Janes of general fiction?

Real life is the most powerful source of character traits, borrowing from yourself and the people around you, but also make sure to sample from all across the smorgasbord of fiction and non-fiction. See these characters in action. Take note of how they inhabit the page, and how you might learn from their example. And if you’re writing in a particular genre, like fantasy or crime, read amply from outside that genre. Sometimes your best influences come from less familiar territory.

Character profiles

Not for everyone, but if you haven’t done it before then consider composing a questionnaire for each major character. What they wear. What they’re afraid of. What they carry in their pockets. Even if it seems inconsequential at first, they’re details that might find their way into the story – and more importantly, they tell you about what kind of person they are. The more you know about a character, the more individual presence you can apply to them.

A word of warning here: over-planning and getting lost in adding more and more detail to profiles rather than actually writing the story is a potential hurdle. Just like with planning a plot, know that there’s a time to step away from the planning and actually do the writing.

Dialogue

Always re-read dialogue out loud. Get a sense of the voices of your respective characters and what language they might use. Not every character is going to use the same language, or even have the same vocabulary. Accents and clipped tones (e.g. saying ‘ere instead of here) can be useful, but also easily overdone. Break down any long passages that wind into exposition and backstory, and keep conversations quick and flowing, punctuated with physical cues – your characters are more than talking heads, after all. Everyday speech is always complimented with hand gestures, facial expressions and so on.

Lengthy conversations or group scenes with extensive character interactions can be tricky – it’s a lot to juggle at once to keep characters active, authentic and grounded in the world around them. But it will get easier with experience.

Affect them

After a character is developed enough to be able to step into any scene intact and three-dimensional, the real fun begins. Because for all the grounding a character might have, and however much personality they might have, they can’t be an entity among themselves. They’ve been built up as works of art, but it’s time for them to learn that they’re not untouchable.

Affect your characters. Allow them to react to the world around them. Hurt them, badly if necessary. Force them into a corner where they might reconsider themselves, and their own fundamental traits that you worked so hard on refining – unless they’re the sort of person who ignores all opportunities for self-awareness, in which case see it through to the bitter end. No one is permanently static, so your characters should share the same state of flux as real people.

What do you do?

Everyone’s got their own tricks to refining their own characters. What are yours? Where do your characters come from and how to you develop them from their beginning caricatures into the bundle of traits and quirks that inhabit your work?

Beau Hillier | Editor, page seventeen

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On a Winter’s Night

Posted by on Mar 19, 2015 in Busybird | 0 comments

walkA little while ago, I was asked about the ways I gather material to write, and I thought of the sound walk I joined during the midwinter jazz festival last year. It was, I think, a good way for a writer to enter into a scene, to become immersed in it, a way to see beyond the preconceptions and assumptions that often blind us to the nuance of everyday life.

We set out in the early evening, a small band of strangers weaving our way in complete silence through the Saturday night crowds in Melbourne. Leaving Federation Square, we trailed past the drifts of conversation and gusts of laughter floating above the crackling waters of the Yarra River, through the diners chattering over coffee and wine in Degraves Street, to the jostling shoppers and revellers in the Bourke Street Mall. From there we wound our way through hallucinatory laneways lined with silent wolves, monsters with louring green eyes and a large, reclining cat in fishnet stockings, before returning to the forecourt of Federation Square.

Interestingly, one of the first places we visited was a multi-storey car park. Normally I would notice very little in such an unlovely place. Perhaps I might be conscious of cars sneaking up behind me, but I would be in a hurry to leave that temple of fumes. This time I was impressed at a visceral level as I stood looking around a vast, monolithic echo chamber. I was conscious of the titanic forces buttressing the construction, and in awe of the tons of concrete raised above my head. I could almost feel the sound, bouncing and echoing, reverberating off the hard surfaces. Underlying this, there was a subterranean buzz, a frisson, as people arrived in their evening finery, the men in sharp suits and women, with hair swept high, draped in shimmery confections falling to the oily, polished floor.

At the end of our walk, we were free to speak but I was reluctant to break the spell, even though I had gathered a swag of sights, sounds, smells, ideas and impressions and couldn’t wait to share them. Without the threads of chatter to connect me I felt very separate and alone in my skin, but, at the same time, awash with sensation, tingling from the chill of the night air and intoxicated by the parallel world I had just entered.

The experience was intense but so easy for anyone to conjure up. In many ways it was the exact opposite of a hot shower. Alone in my cubicle, I close my eyes, toss my head back and wander for a few moments in the outer reaches of my mind. My focus is entirely inward as I relish the play of hot water over my skin. In contrast, listening on a sound walk is focused entirely on the outer world. It is a journey so strange, so other, that it is like stepping into a foreign city. While I was not consciously trying to be mindful because I was listening with a little more care, all my senses seemed to chime in.

Lisa Roberts
– Assistant Editor.

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Writing Well Pays Off

Posted by on Mar 12, 2015 in Busybird | 0 comments

Click to enlarge

Click to enlarge

In life, we’re always accumulating knowledge. We accumulate it through what we read, what we watch, the people we interact with, our experiences, our successes, and our failures. We are, for the most part, knowledge-gaining machines when you consider that we start off our lives only really knowing that we should cry when we’re uncomfortable or insecure.

We also gain knowledge from some of the unlikeliest sources. Did you know it takes the average human seven minutes to fall asleep? I read that in a Stephen King novel decades ago – I don’t recall the novel, but I’ve always remembered that fact. We are surrounded by information. It comes in various forms and titbits, regardless of the vehicle.

Some of it becomes essential to us personally or professionally. All the knowledge I’d gain at home in working with computers, software like Word, and online platforms such as WordPress, I was able to take into work. When I was developing this knowledge base, I didn’t realise how useful it would become to me in a professional environment. I thought I was just screwing around.

Sometimes, information seems either surplus to our needs, or just plain old unnecessary. When we die, how much stuff will we know which we never used, was never useful, and/or had no real merit in our lives? Learning it took seven minutes for the average human to fall asleep was – if nothing else – an interesting titbit.

Many would argue that contemporary schooling is replete with lessons that are not germane to real life. Back in Year 9, one history teacher (who eventually became principal of our school) insisted we memorise every state in the USA. As a 14-year-old living in Melbourne, Australia, I didn’t understand the relevance. Similarly with classes such as Legal Studies and Accounting. If I’m ever up on a murder charge, it’s not like I’ll defend myself because I took Year 9 Legal Studies.

Of course, some of these classes exist only to broaden our minds in directions they may not have gone otherwise. Additionally, they’re there to act as tasters. For some, they might be the platform to pursuing careers in these fields – for some. There’s a key phrase, though. It gets you thinking: what do we learn in life that would seem essential for all?

The answer is simple: writing.

The good people at Grammarly have allowed us to repost the image you see running alongside this blog, which studies how people with stronger writing skills are ‘are better at their jobs, [and] get paid more’. Take a look at the image (you can expand it by clicking on it) and note the differential in errors between professions, as well as salaries.

Grammarly concludes:

There are many possible explanations for the correlations we observed in this study. For example, people with stronger writing skills may simply be more attentive to details and thus better at their jobs. So, while Grammarly cannot imply causation between writing well and job/performance salary, we can say that professionals are judged every day by the quality of their writing. It never hurts to put your best foot forward, grammatically speaking!

Writing well requires something else, though: innovation.

Writers operate in a constant state of innovation. We consider the perfect word, pursue the perfect phrasing, write and rewrite ourselves in our heads before we even get a letter down on the page, and then we revise ourselves on the page. Writing well is, in fact, both a state of high achievement, and improving on everything we’ve done before.

So are the benefits any surprise?

Thanks again to Nikolas Baron and Grammarly. Check out http://www.grammarly.com/grammar-check to learn more about Grammarly.

LZ.

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Everyone’s a Critic

Posted by on Feb 26, 2015 in Our Books | 0 comments

strike-51212_1280The rise of the blogosphere (is that the official term now?) has enabled countless individuals to establish an online presence and a platform for public discourse. There’s a blog for everything and everyone, with numerous writers of all stages of development contributing to a vast and evolving network of content.

This is great. It allows everyone to be heard and to find an audience. But it hardly needs to be said that the internet is a pretty negative and hostile place a lot of the time. The phrase ‘don’t feed the trolls’ is now a common warning – born from the fact that hordes of users just want to watch people get irrationally angry. We love seeing anger and outrage. We love being angry and outraged. It’s cathartic if nothing else.

Most writers know the impact of criticism. Especially anyone involved in workshops. We weigh our words so that we provide constructive feedback while pointing out the flaws in someone else’s writing. Most writers know how devastating a badly-worded comment can be to the recipient.

But outside of the workshop environment, the claws come out. A writer who can practice this diplomacy can still be guilty of the same pointless savagery in a public field.

I don’t want or need to point fingers or provide links. Just think about the reactions to modern fads in publishing and other creative disciplines. Fifty Shades of Grey. Twilight. The Da Vinci Code (yeah, remember that one?). The public discourse goes beyond satire or actual criticism and turns into a feeding frenzy over a popular piece of work that’s perceived to be irredeemably flawed. We take joy in it. The brutality becomes a fashionable statement. The work itself can lose its own identity. The work’s flaws become the identity.

That isn’t to say that the criticism is invalid. Everything cited above carries its own issues and shortcomings. As does all writing, in varying degrees.

Anyone who’s seen the animated film Ratatouille knows the critic’s monologue. It’s pretty apt for such a brief discourse on the status of a critic – both professional and amateur – and pointing out the responsibility held by anyone who seeks to appraise the work of another. A responsibility that has evaporated with the expansion of the blogosphere.

In the meantime, let me just wind back the heavy-handed social commentary so I can actually get to the point of all this lip-flapping. I wanted to bring this up because the way we perceive and apply ourselves to the creative work of others is important. Especially as creators ourselves.

A good writer is capable of seeing the virtues and shortcomings of someone else’s work in equal measure. In my opinion, part of the evolution in becoming a good writer involves knowing how to approach everything you consume as a blank slate – something to learn from. It might be how to pull off something remarkable, or how developmental or thematic flaws may manifest in an otherwise perfectly marketable and successful work of writing.

I think most writers know this. But the constant vigilance in applying this principle is important. Yes, Fifty Shades of Grey, to take one example, is widely acknowledged as being consistently flawed in its narrative. You might even say it’s a bad book. (Note that I have neither read Fifty Shades of Grey nor seen the film.) But as a produced work that has found a worldwide market, it still has more value than most of the mud being slung its way. I don’t defend its content, but I do defend its existence.

By all means, be passionate in your convictions about whether something works or not. But know what you’re doing when you vocalise those convictions, and how you do so, specially if you’re placing it in the shark-filled waters of the internet. Know the responsibility you carry when you become a commenter on the efforts of others. Not just to protect their egos. But also for self-development as a writer – as someone actively participating in the exact same network that hosts all these pariahs of publishing.

It’s one thing to condemn a book like Fifty Shades of Grey for being popular when it supposedly doesn’t deserve it. It’s a bigger thing, for your own craft, to consider why it’s popular and what can be learned from it – and how the approach can be refined to avoid the same pitfalls. That’s part of what it means to develop as an active writer.

Beau Hillier | Editor, page seventeen

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