Review: Peridale Cafe Cozy Mystery Series

I’ll put this out front: I don’t like cozy mysteries — generally speaking.

That’s the qualifier: “generally speaking”. Exceptions abound and that is what makes life interesting. The syncopation that shakes up the rhythm of life.

And Agatha Frost has provided wonderful syncopation by creating a delightful amateur sleuth in Julia South, and a most enchanting village in Peridale.

So, if I don’t like cozies, why am I reading them in the first place? That’s a very good question and the answer, in a word, is research. Research? Yes, indeed. You see, I’m thinking of writing my own cozy mystery series and I thought I should read a few and see if I could stomach them enough to write my own.

I tried this decades ago with romance novels, found they darn near made me regurgitate, and gave up on the idea of writing the things.

To my utter surprise, Ms Frost provided me with entertaining read after entertaining read. I blew through the six novels she had published — pre-ordered the 7th, which has now been delivered to the Kindle app on my iPad. Amazon is already flying the “Bestseller” banner on the book and it’s only been out for 2 days.

What is it that Ms Frost does right? Again, in a word — characters. The Peridale Cafe Cozy Mystery series is filled with interesting and entertaining characters. There is, of course, Julia herself. She is such a dear. Very likable for the most part. Like most people. Then there’s her crazy (as in unorthodox) grandmother. Dot is the perfect comic relief. We also have Julia’s ward, Jessie, and Julia’s blossoming romance with Barker, the police detective. The banter between Barker and Julia and Barker and Jessie provides lots of laughs as well.

The characters are simply wonderful and so is the humor. Lots of humor. There are also the day to day goings on of small town life and the murders and the social commentary. All are combined into a recipe guaranteed to produce a few hours of satisfying entertainment.

And the things I detest about cozies — the police being bumbling idiots, the amateur sleuth being simply brilliant, and the constant meddling of the amateur in a police investigation and not getting herself arrested — are pretty much absent from Ms Frost’s tales. And that is refreshing.

Julia is a bit more savvy than Barker on the crime solving. But then she grew up in Peridale and Barker is an outsider, a big city guy, unfamiliar with small town dynamics. So I can accept her superior puzzle solving ability.

Ms Frost’s writing style is straight forward. Nothing fancy. The dialogue is realistic and the description just right. The books are on the short side: 48,000 words or less. Which suits me just fine. I’m getting too old for ponderous tomes, where I might die before I can finish the thing.

My only gripe is that her proofreader sucks. The constant use of “her” instead of “she” is very annoying. Julia South became Julia Smith for a brief moment in one book. And the other grammatical and typographical errors that are so obvious one wonders how they got missed.

Ms Frost’s saving grace is that she writes a truly fab story. Her writing lets me be forgiving of the less than stellar proofreading. But just barely. I’m very fussy when it comes to such obvious errors in such numbers.

So what did I learn about writing cozies from my experiment?

  • Make sure the main characters are interesting, as well as the important supporting cast.
  • Give the amateur sleuth a police connection (which we also see in TV mysteries such as Grantchester and Castle, for instance).
  • Humor. Lots of humor. Doesn’t have to be rolling on the floor belly laughs. Wit, whimsy, and amusing interactions work just fine.
  • Introduce the murder early on. Second or third chapter. We are reading a murder mystery after all.
  • The pacing doesn’t have to be fast. Character, humor, and the murder can hold sufficient interest. Which is fine with me. I don’t care all that much for these full-throttle thrillers. They’re usually light on character and heavy on the action, and for me that gets boring after a while.

On the marketing side, I noticed, since this is a culinary mystery, the covers all have food on them and are brightly colored. The titles are also alliterative and have a food theme as well.

I highly recommend Agatha Frost’s Peridale Cafe Cozy Mystery series. It’s a winner.

Comments are always welcome and, until next time, happy reading!

Share This!
Facebooktwittergoogle_pluspinterest

The Actual Cost of Publishing A Book

So my writer and reader friends, how much do you think it costs to self-publish a book?

Some will tell you a couple thousand dollars. A well-known indie thriller writer, in his course for writers, said one could publish a book for $500 on a tight budget.

Chris Fox, on a podcast I recently listened to, said he spent $800 for a cover re-make as part of a series re-launch. Then, because he didn’t like it, paid another $1000 to get it “right”. And that was just the cover. No mention of any other fees.

The thing I’ve noticed with so much of the advice out there being offered to independent authors by other independent authors and so-called writing and publishing authorities is the amount of money I “must” spend when on even a tight budget just to publish my book.

Swinging Alexander’s sword at the Gordian Knot, I’m going to tell you the truth. The true and actual cost to self-publish a book is nothing. Nothing but time. In other words, if you are truly on a limited budget, you don’t have to spend one red cent to publish your book.

If you don’t have disposable income, you don’t have it. Writers such as Mark Dawson, Joanna Penn, and Chris Fox all had, apparently, large amounts of disposable income to pour into their nascent self-publishing endeavors. Lucky them.

Let me repeat that. There are some writers who had upscale jobs or careers and large amounts of disposable income available to them when they started their writing careers. Money to spend on editing, covers, formatting, and the like. They are the fortunate ones. The ones with the silver spoons in their mouths.

There are many of us, perhaps most of us, who didn’t and still don’t have disposable income available to fund our publishing dreams to any large extent.

The writers mentioned above who are “killing it” also write to market — which is very important to keep in mind.  Because they have a greater chance of getting their money back.

Not all of us wish to do that. In other words, they write for money. Quite honestly, a memoir — no matter how well written and exciting — isn’t going to match up in the sales department with something like Michael Anderle’s Kurtherian Gambit urban fantasy/sci-fi novels.

On the flip side, there are writers who make a decent living from their writing who have never had a bestseller and who don’t hangout in the Amazon top 100 club.

But what one writes is another subject. The fact of the matter is this: you don’t have to spend anything to publish a book these days. No matter what you write.

Think of book publishing as though it were gambling. Because, quite honestly, any business is really a form of gambling and book publishing whether on the mega-corporate level or on the self-published level is not a whole lot different than a game of Texas Holdem.

So what does this mean for you, the independent author? Quite simply it means you have to decide how much you are willing to lose on any given book. Because, especially when starting out, you have no guarantee you will make any money.

Michael Anderle, in an interview, mentioned why he didn’t pay money for an editor to go over his first books. It was this: following the principal of MVP (the Minimally Viable Product) he didn’t want to spend more than he had to on a book when he had no idea if it would even sell. He let his readers tell him what was wrong and right with the books he was producing. And his reader’s did: good stories, lousy editing. So he fixed the editing.

Once you’ve decided how much you are willing to lose on a book, then you know how much you can spend on editing, proofreading, the cover, and formatting. Just like in a poker game. If you’ve decided you can afford to lose a thousand dollars on the luck of the cards, then that’s your limit. Because you have no idea if you will win anything at all.

Self-publishing is no different. It’s a business and you have to decide how much you can afford to lose should your product not sell. Any business that continues to pour money into a losing product is going to go broke. And in the book business the competition is fierce. I read a couple years ago that 3,000 books a day were being published. There are millions of books on Amazon. Who is going to see yours? But that’s a marketing question and not germane to the cost of producing your book. But just keep in mind, the competition.

Nevertheless, it doesn’t have to cost you anything to publish your book.

In the 3 years since I started this adventure, I have published 22 books. I came into self-publishing right when it was changing from the gold rush days to today’s highly competitive and fierce competition. Those days when all one had to do was write a series, make the first book permafree or 99¢, sit back, and enjoy the sales, to today’s super competitive environment where free books are more plentiful than gold ever was. Back then competition was slim. Today it is a whole different ball game.

I came into self-publishing with some knowledge, but was woefully ignorant in a lot of areas and I made lots of mistakes. Mistakes which I must now work with or work around. That said, I’ve spent nothing on editing or proofreading. I used free help and my own time. No one has ever taken me to task over bad editing. I spent nothing on my covers. Nor have I spent anything on formatting. Since I don’t have money, I have to spend my time.

So in 3 years how much money have I made? Not much. I don’t advertise except on social media (which I find to be mostly worthless), yet I sell an average of 9 to 10 books a month. Michael Anderle, who had a good paying job and a wife with a good paying job, spent money on Facebook ads almost right away and saw hundreds of dollars in sales per day. I don’t have $50/day to spend on Facebook advertising. Even $5/day would be stretching it.

For most of us, I think my experience is more the norm. Writers, most writers, don’t make money or a lot of money off of their writing. Unless they write to market and are prolific. And have money to start with.

The genres I write in are not barnburners either. Post-apocalyptic with no zombies. Traditional murder mysteries, not thrillers. Alt history/dieselpunk. Slow burn or whimsical horror. If I wanted to make piles of money, I’d write what is currently popular. Romance, paranormal anything, thrillers. Or erotica (sex sells, after all).

So I spent nothing on the actual production of my books because I didn’t have the money to spend. If I had spent the above mentioned $500 per book for a person on a tight budget, I’d be in the hole $11,000. In three years of self-publishing, I’ve made $600. Looking at those numbers, I’d say I’d have to declare bankruptcy.

However, any money I do make on my books is all profit. Because I have no debt in the product.

I saw on a Facebook forum that one writer of a general fiction novel scraped together $440 for an editor. On her first book. I feel sorry for her. She gave in to the current hype that one just has to have one’s book professionally edited. I hate to say it, but she will probably not see that $440. It’s gone. Because a general fiction book, according to all the experts, will not sell well in the indie world. The indie fiction world is genre driven. It’s like the old pulp fiction world of the ‘20s, ‘30s, and ‘40s. The keys to indie success are:

  • write in a popular genre, that is write to market
  • write in a series, because indie readers like series
  • write fast
  • publish often

The only exception to writing in series that I see is if one writes romance, erotica, or horror. And even romance and erotica often involve series characters or a common universe.

That writer with the general fiction book? IMO, the $440 spent on an editor was a waste. She did it because she felt it would be a learning experience for her. Perhaps. But you can either tell a story or you can’t. And if you can’t, no editor is going to help you with that unless they essentially become a co-author.

The only successful writer (defined by making a living from writing), I’ve run across who understands the money end of self-publishing is Patty Jansen, an Australian writer of sci-fi and fantasy.

She honestly states you don’t have to spend a dime on publishing your book. You can do quality yourself. The questions you have to ask yourself, though, are these: how much is my time worth, and will doing it myself take too much time away from my writing?

Those are very important questions to ask. For me, DIY does not take away from my writing. But it might for you. If that’s the case, then you need to look at how much you can afford to lose in order to protect your writing time. At least at the beginning of your career.

To repeat: how much does an independent author-publisher have to spend to self-publish a book? Nothing. You don’t have to spend one red cent.

However, you might want to pay for some services to protect your writing time. Always keeping in mind how much you’re willing to lose on the book and not succumb to temptation to go over that.

If you are an indie author and one who isn’t writing in the most popular of genres, then I think you need to be careful as to how much money you put into your books. Tom Huff wrote spy novels under his own name and sold few. Under a slew of female pen names he wrote romance. As Jennifer Wilde, he tore  up the sheets with his bodice rippers.

My point here is this: if you write what you love, you might not make any money from it. That is a fact of life. So invest your precious dollars carefully. If you write to market, that is you write in the most popular genres and cater to all the whims of marketing to the readers of that genre, you might make a lot of money. In which case, the risk to put more money into your book might be worth it. But do remember, Michael Anderle and TS Paul just wrote their books and threw them out there. And they are laughing all the way to the bank. Only now are they going back and fixing their lack of editing. (Which in my opinion they could have largely fixed by being just a touch slower to market in order to read through their typescript at least once out loud.)

Self-publishing is gambling. If you keep that in mind, you’ll protect your money and spend it wisely.

If you are an indie author, I hope this and my previous two posts have been of benefit. If you’re a reader, I hope these posts have given you a better understanding of the ins and outs of self-publishing. Next week, I’ll be off on some other tangent.

As always, I appreciate your comments and insights. Until next time, happy [indie] reading!

Share This!
Facebooktwittergoogle_pluspinterest

The Parasitic Middleman

During a Gold Rush, Sell Shovels.

In 1848, Samuel Brannan ran through the streets of San Francisco with a glass bottle filled with gold dust, yelling gold had been discovered out at Sutter’s Mill.

He is generally credited with starting the California Gold Rush. And became California’s first millionaire. Yet he never panned or mined for gold.

A few days prior to his hype with the bottle of gold, having learned gold had indeed been discovered by the American River, he’d bought every pickax, pan, and shovel he could find. In nine weeks, by selling his goods at exorbitant prices, he made $36,000. That’s equivalent to the economic status 18.5 million dollars would bring someone today.

Many icons of American business got rich in the Gold Rush and never touched any gold, except to take it from the miners.

Levi Strauss had a dry goods business by which he did quite well for himself. He also sold miners the forerunners of what became Levi jeans. He eventually left California, went home, and became exceedingly wealthy selling jeans.

Phillip Armour opened a meat market in Placerville, then took his profits back to Chicago and founded Armour Meats. And increased his wealth many times over.

John Studebaker sold wagons, made money, and returned home to make wagons for pioneers and later on Studebaker automobiles. I remember those cars and I still love them.

Henry Wells and William Fargo started a bank for miners, at least the ones who made some money. Today, Wells Fargo is a leading American bank.

During the California Gold Rush, the middleman, the merchant, the one who offered services, that’s the person who really made the money. Not the prospectors.

Fast forward to today and a different kind of Gold Rush. The indie author/publisher revolution. There are thousands of writers and hopefuls and wannabes all clamoring for the dream of writing and publishing the Great American Novel. That one book that will let them quit the day job and retire to the Bahamas.

Sounds a little bit like the Gold Rush, doesn’t it?

Today’s indie authors are the prospectors and an army of service providers are making money hand over fist off of these poor and sometimes naïve dreamers.

So who are these service providers who’ve convinced so many, many writers they can’t live without their services? Let’s name a few of them.

Sellers of Writing Software Programs. Seriously? I need software to write my book? Whatever happened to pencil and paper? Or the keyboard and the word processing program on my computer?

Now I’m not going to say Dragon, Story Mill, Easy Writer, or Story Weaver can’t help you write. But before you spend money, maybe money you don’t really have, ask yourself if you really need a software programmer and his toy to help you write your book. Just think of the thousands of writers before you who didn’t use such programs and got along just fine. Some using an ink pot and a steel dip pen or a quill even. Maybe you can too.

Grammar, Spelling, and Editing Software. I see some value to this. But honestly, can’t people do a better job? Give me one serious beta reader with an ear for cadence and a knowledge of grammar and who can spell. I’ll pit that person against an army of programmers and software running simply on rules.

Formatting Services. When I started in the indie writing business. I’ll admit I was loathe to spend money. First off, I’m not rich. Secondly, I already had the California Gold Rush scenario in the back of my mind. So I spent $25 for Legend Maker to make my ebooks. It’s a simple program and requires only simple formatting of my typescript. In less than an hour I can format my text and in less then 10 seconds get an epub and mobi file. Now if I had to pay a formatter for my 20 books… Hm, probably a lot more than $25.

Cover Artists. Yes, we all need covers. But seriously, have you taken a look at indie book covers lately? They are so genre similar, they all look just the same. Like the ticky-tacky houses and people in Malvina Reynolds’s song “Little Boxes”. It is no wonder Mark Dawson’s readers said the incentive to buy his books didn’t come from the covers — but from the blurb! By a 5 to 1 margin! The lesson here is simple: don’t spend big bucks on a cover. Spend time crafting your blurb.

Professional Editors. Recently I’ve heard all manner of arguments as to why I need a professional editor to edit my book. It’s as though the editor is going to teach me how to be a better writer. But editors aren’t writers. They’re essentially critics. They served a need for traditional publishing to make sure a manuscript, if accepted, was salable. In other words, that it met the publishing house’s criteria for salability.

Which means, an editor is not primarily a teacher of writing — but a fixer for the publisher.

Now I’m not saying an editor can’t be helpful. But if you need a content editor to massage your manuscript into something that is genre and reader acceptable, maybe what you really need is time spent learning the craft of writing.

Stephen King shows us the path to becoming a writer: “If you want to be a writer, you must do two things above all others: read a lot and write a lot.” I don’t see the word editor anywhere in there.

The indie movement is direct from writer to reader. The reader will tell you what he or she likes. So recruit them to be your “editors”. Not some academic or someone the Big 5 laid off. Trust your readers. If they don’t like your book, no amount of work from an editor is going to help it.

And I can’t see spending money on a line editor. Find a beta who will do that for you. Preferably someone older who knows how to spell.

We indies broke free from the tyranny of the corporate publisher. Why do we want to saddle ourselves with all the crap the corporations imposed on us? Makes no sense to me.

Review Services. Kirkus is making money off indies to the tune of $500 per review. Wow. That’s incredible. So are outfits like Reader’s Favorites. Pay them money and get a review. They won’t guarantee a 5 star review. But honestly, you think they want to give less than 5 stars and have disgruntled writers bad mouthing them?

I’m not saying these services can’t help sell books. But are they truly any different than the now discredited practice of buying 5 star reviews? Organic and honest reviews by readers are what really sink or float a book. And to get them takes time.

Discount Book Marketers. These outfits are more prolific than mushrooms after a rain. For a fee, they will tweet your book and post about it on Facebook and send it out to their mailing list (along with scores of other books). The problem I see with these outfits is that they encourage indies to constantly offer their books for free or 99¢. And in the long run that trains readers to expect from indies nothing but free or 99¢ books. Very bad for business that mindset.

I’ve come back to the position that if I don’t value my work, who will? If I offer everything I write on the cheap, what does that tell readers? If I barrage my mailing list with free offer after free offer, how can I expect them to buy my books? I’m competing with myself by offering them free books! Not a good business practice at all. Save your money and stay away from these folks. This writing business is really about building a reader base. Not selling books.

Writing Courses. Writing courses have been offered since ever. Everyone who thinks he or she can write has at one time offered one. There are good courses and bad courses. Just like everything else.

However, I do think you are better off taking a good writing course than resorting to an editor for every book you write. Learn the craft of writing. If you don’t know the basics of storytelling, a writing course can help you with that. And that’s about all it can do. The rest of it is back to Stephen King. Read lots. Pay attention to what you like and don’t like about what you read. And write lots. Putting into practice what you’ve learned from reading.

Writing is hard work. Fun work, but hard work. Writing is not a get rich quick scheme. It takes time to develop the craft. A potter doesn’t throw a perfect pot the first time on the wheel. Take the time to learn the craft.

Marketing Courses. These are legion now. Many, many successful indies are putting together courses to teach their fellows the path to success. And charging big bucks to do so. And, as with anything else, some are good and some are bad.

One so called expert got her claim to fame by being a New York Times bestseller. The problem is, the book that did it for her was in a multi-author box set and her name wasn’t even in the advertising! Cheating if you ask me. Yet, she is a respected expert on marketing. Go figure.

Another novelist wrote a few books that apparently sold well or made number one on some list. Now he no longer writes fiction, just sells his course on fiction writing success. Ugh.

So be careful. Vet the person you are going to take a course from or buy books from or get advice from.

The best advice for the money I’ve gotten to date was free. A blogpost by Australian indie novelist Patty Jansen. Wish I’d had that information 3 years ago. You can read it here.

Not everything that shines is gold. Not everything of value costs big bucks, although sometimes you do get what you pay for. We indies are the prospectors. So remember this: the worst time to buy a shovel is on your way to the gold field. Get it before you leave home and take it with you.

As always, comments are welcome! And until next time, happy reading!

Share This!
Facebooktwittergoogle_pluspinterest

Professional Editing — Is It Necessary?

From the New Yorker on Charles Dickens’s 200th Birthday

Is professional editing necessary? The short answer is no. The long answer is maybe.

But before we get into this subject, we need to define what is meant by “professional editing” and what is meant by “necessary”.

What is Professional Editing?

A professional is one who does something for a living. An editor, in our context, is a person who “corrects” a typescript for a novel or story.

Broadly speaking, there are two types of editors: content editors and line editors, or proofreaders.

Content editors edit a book’s content. They look for continuity issues, plot holes, structure issues, character defects, and the like. This is high level editing.

Line editors, or proofreaders, look for typos, misspellings, grammar issues, punctuation problems, and the like.

The purpose of an editor is to alert the author to problems with the book so the author can fix them and supposedly improve the book. However, a professional editor isn’t the only person who can do this. As we’ll see.

Necessary

Webster’s New World Dictionary, Second College Edition, defines necessary, in our context, as something “that must be done; mandatory; not voluntary; required.”

Is an indie author required to use the services of a professional editor? Obviously not, since they are voluntarily hired in the first place. Therefore a professional editor is not necessary. Is one recommended? Maybe.

The Problem with Editors

The problem with editors is the same problem with any professional: they’re human. They’re people like you and me and that’s the problem with them.

Professionals charge money for their services — but in the end can really guarantee nothing. When I hire an editor, I’m simply hiring one person’s opinion. That’s it. Nothing more. Nothing less.

This goes for any professional. Whether your doctor or your mechanic. We all know there are doctors who make bad decisions (I was the victim of one) and mechanics who are unscrupulous. We who are the non-professional need to be as informed as possible, so we aren’t taken for a ride.

Every editor I know, puts his or her pants on the same way I do. Sure he or she may have gone to school to learn the craft of writing. But I know of few editors who make a successful living from writing fiction. If they can’t make a living from writing fiction, then how valuable is their advice?

“But so-and-so — an award winning author — has John Doe for an editor. So John Doe must be good.” That’s assuming the writer’s success can be directly attributed to the editor. And if it can, then I question the writer’s ability to write. If a writer can’t succeed without an editor, then in effect the editor has become a co-author.

At the end of the day a professional editor has biases, prejudices, agendas (just like everyone else) that have nothing to do with my writing or me as an author. Yet those biases, prejudices, and agendas can adversely affect me as author.

The Problem with Writers

We writers, as many in the creative arts, are plagued with a host of self-defeating problems. They seem to go with the territory. I know I’ve had my share. Here are a few:

  • Insecurity issues
  • Inferiority complex
  • Low self-esteem
  • Lack of self-confidence
  • Procrastination
  • Perfectionism
  • The need of approval by others and from those in authority

These problems open writers up to be easy marks for the unscrupulous.

Writers fall victim to people who provide them with approval. Writers who seek approval from authority figures lose their sense of self.

I think that’s one reason why we still have traditional publishing today. Because the insecure writers need to get “approval” from the “authorities” in order to shore up their self-esteem. Getting a publishing contract makes them feel worthy. And let’s them look down their noses at the indie author “who just couldn’t make it”.

Traditional publishing is an ego trip. My agent. My editor. My publisher. And many writers want that ego drug.

And many indie authors seek the same high. “I couldn’t have done it without my editor.” Or my cover artist. Or my formatter. Or what have you. These people sound just like their traditionally published counterparts.

The point of being an indie is independence. Freedom from all that crap. The indie movement is about the producer marketing directly to consumer. Cutting out the middleman. Kind of like the farmer’s market versus the grocery store.

Solution

Are indie authors therefore free from the task of editing? Heavens no! Not if they’re concerned about putting out a quality product. The question is, do they need to hire a professional editor? And the answer is, no they don’t.

If a writer knows how to tell a good story, there is little need for a high-level edit. The content editor has little to offer. If a writer is concerned about the craft of storytelling and is in the lifelong process of honing his or her craft, then a content editor will have little to offer.

Now that same writer might benefit from a proofreader. But one doesn’t need to hire a line editor to get those services.

If a writer is not very good at telling a story, then a high-level edit may be of great help. But what may be of even greater help is simply more writing. If you’re going to an auto mechanic, do you want the one who is fresh out of school with little to no experience? Or do you want the guy who’s been doing it for 20 years?

It’s the same with writing. Practice makes perfect. It’s why Edgar Rice Burroughs advised writers to write lots. One story has little chance of getting published (in a magazine). But write a hundred and one or more will probably be accepted.

Robert Heinlein’s Five Rules of Writing operate on the same principle: lots of writing and the constant submission to market of that writing.

Writers can only improve their writing by writing. No amount of academic learning or professional editing can improve a writer’s work. Bad writing can’t be edited into good writing. It’s just well edited bad writing.

The first novel I wrote, Festival of Death, way back in 1989, was not ready for publication when I finished writing it. I was honest with myself. I read the manuscript and it just did not compare with the novels I was reading. I put it away, also realizing I didn’t have the stuff to rewrite it and make it better. Twenty-five years later, I had that stuff, rewrote it, and was pleased with the finished product. I didn’t need an editor to tell me all that. In the interim I did lots of writing. I gained confidence. I became a better writer.

We writers don’t need to spend any money to edit our own work. There are many tools available to help us and even without all those tools, there are people who won’t charge anything to proof our work and offer constructive suggestions for improvement. And I heartily recommend the people approach.

Here are a few suggestions based on my own practice:

  • Read your story with a critical eye. Put yourself in your reader’s shoes.
  • If your characters don’t make you laugh or cry, they won’t make the reader laugh or cry.
  • Read your story aloud for flow. It’s a great way to catch clunky sentences and sections that are confusing.
  • Have the computer read to you while you follow along. The computer reads exactly what’s there. A great way to catch typos and misspellings.
  • Have someone read the text to you. This combines reading the story aloud and having the computer read to you — with the added advantage of the reader being a human other than you.
  • Use the spell checker and grammar checker in your word processing program or something like Hemingway or Grammarly.
  • Use good beta readers to catch issues you didn’t catch. A good beta reader is worth his or her weight in gold. What is a good beta? One who likes your genre and ideally your writing, who has a good understanding of what makes a story work, is someone you can trust will be honest with you, understands grammar, and knows how to spell. These people exist. Go find them.

That’s all you need, and none of it costs money. Unless you choose to buy some editing software — which isn’t at all necessary. But a nice little luxury.

One other caveat: don’t be in a rush to publish. We’re indie authors. We set our own schedules. There’s no one to tell us what to do except ourselves.

We indie authors are independent authors. Don’t become a victim of the Should Mentality or the You Have To Mentality.

We write for readers, not editors.

Enjoy your freedom from the man. I do.

Comments are always welcome. Tell me what you think. And until next time, happy reading!

Share This!
Facebooktwittergoogle_pluspinterest

The Free Book Glut

Announcing all the free books in the latest author newsletter.

Free books are everywhere on the internet. The independent author-publishers are glutting the market with freebies. Why? Because writers are glutting the market with themselves and in the heat of competition to be seen, they’re giving away the store.

Now don’t get me wrong. I welcome the new technology that enables anyone who has a book inside him or her to publish that book once it’s been written. After all, this is the age of social media and books are a form of social media. They convey thoughts, feelings, imaginings, dreams, and hopes. And today’s technology makes it all that much easier for a writer and his or her audience to interact with each other. And I think that is a good thing.

What I am beginning to have a problem with, however, is the current mania of giving away books to try to secure an audience. I can’t help but think the practice is going to have long term detrimental effects on the indie movement. Here are some concerns:

  • The devaluing of books and thereby the writer’s craft. After all, if a book is free it can’t have much value — can it? And if a writer gives away his or her work, he or she can’t think much of it — can they?
  • The creation of the expectation that indie books should be free. Because, after all, the big corporate publishers don’t give anything away for free.
  • Glutting the market with more books than readers can possibly read. Too much of a good thing is, well, too much!
  • The self-delusion of writers, who are not very good, into thinking if they give enough away somebody will read their work. When in truth, they should find a different hobby or occupation. One they are much better suited at.
  • Writers deluding themselves into thinking if they give enough books away, people will love their work and buy their other books so the writer can live his or her dream and quit the 9 to 5.

The latter two points above not much can be done with. Those fall under the umbrella of self-realization. Unfortunately, even bad writers can become popular — which only fuels the problem.

Nevertheless, the first three points we writers, as a collective, can do something about.

I ran across an interesting article with comments on the subject of book giveaways the other day. Here’s the link so you can read for yourselves: http://selfpublishingadvice.org/opinion-why-indie-authors-shouldnt-give-away-free-books/

When I first started self-publishing, the debate among indies was permafree or 99¢ for the series starter. Back before 2014 I think permafree made sense as there were not so many indie authors and free actually got traction. Even so, I said there was no way I was going to give my book away for free. The Big 5 don’t do it — why should I?

Then the tsunami hit. Starting in 2014, indie authors began coming out of the walls, the woodwork, the light socket, you name it. Indie authors were everywhere. To get traction, book services began springing up overnight offering to promote their books — if it was free or 99¢ — on Twitter, Facebook, and to their mailing lists. Of course, the services weren’t free. An author had to pay for those. Pay to give away books. Hm.

Yet, I could see a certain logic in the giveaway mania that was developing. The free first book in a series was a sample of good things to come. Give away the first book and build your mailing list and reap the harvest of good things. And that has worked for some.

However, seeing the glut of indie authors and the many, many hundreds, if not thousands, of books being given away for free — I’ve started re-thinking the free strategy.

For myself, I have to admit I’ve read few of the free books I’ve downloaded. That doesn’t mean I won’t read them at some point in time because I might. But I’m not reading them now. And of course that’s what all of those authors want me to do. Read their books now and buy all of their other books. Sorry folks. It ain’t happening.

Why? Several reasons:

  • Some simply can’t write.
  • For others, the style puts me off.
  • Some are okay, good even, but the price of the other books is too high. The writing isn’t good enough for me to spend that much money.
  • Some don’t have any books to follow up with from their freebie. So why offer the first book free?
  • I have over a thousand books on my iPad. And more on my computer. Most are free. Most are classics. That’s a lot of very good stuff to read. The freebie offerers are competing with thousands of good books no longer in copyright and available for free.
  • My time is limited. I write and I read. I read what my contemporaries write to keep a finger on the pulse of what’s going on. But my contemporaries have a lot of competition.

So if I, as an author and a reader, am not reading in any great number the free books I download — why should I expect people to read mine? That is a very good question. And my conclusion is that of the 1000+ copies of my books that I’ve given away, probably few have been read. I’ve garnered a few reviews, so I know at least 5 of those freebies were read. For which I’m very grateful and thankful.

As a strategy, giving away a free book in the traditional private detective mystery genre to drum up sales of my series and build an active and supportive mailing list doesn’t seem to be working all that well. I think I have a few fans developing and I’m very pleased. But nowhere near a thousand.

Granted, there may be things I need to be doing that I’m not to turn those folks on my mailing list into rabid fans. And in fact I know there are because I’m learning more and more on the business end each day. Hopefully in time I will turn my mailing list into that group of rabid fans.

My goal, though, is not to become a bestselling author. My goal is to build a sustainable and dependable income from my writing. I don’t need fame and glory. If it comes, wonderful. But I don’t need it. I’m not sure I even want it.

So I’ve been rethinking the free book strategy. And I’ve decided that I’m going to move away from it. In the long run, I think giving away books cheapens them. Makes them less important. It develops an expectation on the part of readers that indie authors should give away their books for free. And I don’t want to be part of that — because it’s self-destructive. Writers lose and readers lose.

Writers lose because if an author can’t make money to at least cover his or her costs, that writer will stop writing.

Readers lose because the vast choice currently before them will go away. And once again readers will be at the mercy of corporate giants deciding what they should read. And who wants that?

Readers will lose again because the cheap books will go away and the mega-priced big corporate offerings will remain. I mean $15 for an ebook? Seriously?

The glut of free books may satiate readers and may even turn them off from reading. And who wants that?

My new strategy is a modification of the free book approach. It’s the sampler.

On Saturday morning, when I go into the grocery store, there are all manner of nice ladies wanting to give me samples. Cheese, meat, dips, spreads, crackers, you name it. They don’t give me the whole product. Just a sample. If I like the sample, I’ll probably buy whatever it is to give it a further test drive at home.

When I buy a car, I get a test drive. A sample of the driving experience in that car. No car dealer gives away a free car. If I like the drive, I have to buy. So why not apply that to my books, which I worked very hard at producing?

That’s my new approach. Give a sample of my writing and hopefully whet their appetite for more. Give them the invite to buy. Because we almost always value what we buy more than what we get for free.

In the process, I also hope to weed out the freebie grabbers. Those readers who’ve grown fat on freebies and expect indies to give them more and more and more.

If a freebie grabber does snap up my sampler, at least they won’t have the entire book. Just a few chapters, that they probably won’t read anyway. If they do, they’ll have to pay to read the rest of the story.

So that’s the circle I’ve traveled. No free books to free books to no free books. Just a delicious tidbit. That test drive to hopefully get folks to buy.

After all, I’m a business and no business stays in business by giving away the store.

Share This!
Facebooktwittergoogle_pluspinterest

Why Read Indie?

Why read indie, indeed? Aren’t self-published authors losers who couldn’t get a big publisher contract? Won’t I get a better book from a mainstream big corporate publisher?

As a reader, I can say one thing for sure: you’ll pay more money for the book you’re buying from the big corporations. And that is about it.

A few days ago, Jack Tyler posted on the Facebook public group, The Steampunk Dominion, his thoughts on the subject. Before we go any further, let me give you Jack’s post in its entirety:

WHY INDIES?

A simple question. Why should you, an experienced reader, carry a selection of independent authors on your reading list? For a very good reason. Originality.

What was the last original movie you saw? Can’t think of one? That’s because no one is making them anymore. That’s why we’re inundated with remakes of old movies, re-envisionings of old TV shows, old, popular books “brought to life” by the “magic of Hollywood,” episode CCXLVII of the big Space Saga. No one will take a chance anymore that something, God forbid, might not rake in a billion dollars a day.

Books have gone down the same path. Publishers, unwilling to take a risk, compete with one another to shovel out copies of copies of copies of The Last Big Thing. Where is the grand fantasy tale that doesn’t follow Lord of the Rings to the letter? How many versions of Twilight can you read before you can recite the plot points before you come to them? You may be surprised to hear that those cutting-edge stories and novels are out there waiting to be read, and I’m going to tell you where to find them.

In the files of independent authors. While traditional publishers cling to the center of Writingtown, searching the carefully tended lawns for the next retelling of a tired old tale, independent authors, just as independent filmmakers and musicians, are out on the fringe, past the edge of the map, chronicling the tales that no one has yet heard, that have yet to be told. These are the stories you want to read, the stories that are worth finding, the jewels that you’ll remember long after the last elf/dwarf/human/orc slashfest is in the landfill and long forgotten. These are the heirs to the tradition of storytelling.

Authors decide to self-publish for any number of reasons. Some because we have been rejected by traditional publishers, often for being too original to suit their no-risk publishing model. Some have gone indie because we didn’t want to get involved with the “you do the work, and we’ll keep the money” policy of the big publishers. Some of us are well-known traditionally published authors who have been screwed out of our due one time too many, but we all have one thing in common: We answer to our creative muse, and no one else.

We have all had an experience, maybe more than one, with an independent author who had no business writing a grocery list, let alone a book, and some of us may have said, “Enough of this! I’m sticking to the Big Five from now on.” That’s your choice, but you do yourself a grave disservice by that reasoning.

We all try new products every day. Whether it’s a new makeup, pain reliever, pipe wrench, or ball-point pen, we have all gotten our hands on one that doesn’t do what the advertisement said it would. But do we then say, “I’m never wearing makeup again!” Of course we don’t. We learn to be more careful consumers. There are many ways to carefully consume books, one of them being to never stray from the big names. Again, that’s your choice, but there are ways to find the quality indies as well, and if you want to read the books that are telling the new stories, you must include indies on your reading list. How do you find quality indies? Amazon.com is a huge help. Most of us publish there because they make it so easy, and they provide useful tools. Look for an indie who has high ratings, even if there aren’t too many of them. A low rating isn’t a deal-breaker either, unless that’s all there are, but ratings can help. Then once you find a book that looks interesting, use the “Look Inside” feature. Yes, it only shows you a few pages, but if the author can’t write, you won’t need more than a paragraph to determine that. Then, of course, there’s the tried and true method, word of mouth. If someone you know and trust is recommending an indie, by all means, take a look. You may discover worlds beyond imagining that lie at the tips of your fingers. So, come on out to the fringe; we’re waiting to welcome you.

As a reader of my fellow indie authors, I have to largely agree with Jack. Self-published authors, or Author-Publishers as I like to call them, can write and publish works no major or even small press would touch. Not because of quality, but because the publishers aren’t risk takers, or they have no idea how to market the book.

That doesn’t mean there aren’t indies who ride the current waves, for there are and their name is Legion. They are also the ones, who tend not to be very good.

Several of my current favorite authors are indies and I look forward to their new releases, because I know I’ll get a good read. One that will be entertaining, fresh, thought-provoking, and stimulating.

As a reader, I’ve been disappointed by too many big corporate-published authors. A writer who perhaps starts out promising and then fizzles by book three. Or a writer who never really starts out at all and I close the book only partly read and ask, “Why the heck did they publish this?”

By way of example: I love the TV series Midsomer Murders (well, until John Nettles retired). So I bought the first three books of the series on which the TV show was based. Carolyn Graham’s first book was great. The second book was so boring I put it down with only a quarter of it read. I loved the TV episode, though, which was based on the book.

Another example is Murder in the Marais by Cara Black. I stopped reading when Aimee Leduc (the detective) just so happens to have a neo-nazi outfit in her closet to wear when she tries to infiltrate a neo-nazi group in Paris and the group readily accepts her! Obviously Ms Black has no concept of how closed extremist groups are, and we all have neo-nazi outfits in our closet just in case we might need them. Right? Sheesh.

Yet, the Big 5 accepted Death of a Hollow Man (as boring as it is) and Murder in the Marais (as preposterous as it is) and published them. Why? Because they are easy to market. The fit conveniently on the bookstore shelf.

One more example. I love SJ Rozan’s private detective Lydia Chin. I’m less enthralled with her PI Bill Smith. The Chin books are fresh and interesting. The Smith books are typical and I’d even have to say average PI fare. Yet which books garnered the awards? Why the Bill Smith books, of course. Go figure. Not even the award givers want to go out on a limb!

I know readers frequently bash indies for typos. But seriously? Have they read current Big 5 books? Typos abound! And we get to pay big bucks for the privilege to read them!

Good indie books are out there in abundance. And they are very often at least half the price of the books put out by the Big Boys.

Take Jack’s suggestions and go hunting. A few of my favorite authors are J. Evan Stuart, Steve Bargdill, Chad Muller/CM Muller, Janice Croom, Ben Willoughby, Crispian Thurlborn, Erik Ga Bean (he’s not on Amazon), Renee Pawlish, and Sophia Martin (her Raud Grima series). And there are more!

Jack Tyler makes a great case for readers to venture outside of our little boxes and to read books written by indie authors. Independent author-publishers. The writers who are responsible only to themselves and their readers. Instead of the corporate bottom line.

You can find Jack’s series Beyond the Rails on Amazon. Here are links:

Beyond the Rails

Beyond the Rails II

Beyond the Rails III

Comments are always welcome and, until next time, Happy Reading!

Share This!
Facebooktwittergoogle_pluspinterest

Writer TS Paul – Does He Really Break The Rules?

This past Friday, I listened to Mark Dawson’s podcast which was an interview with indie sci-fi and paranormal writer TS Paul. You can catch the podcast on the SPF website and I’d encourage you to listen to it.

The initial hype was that Paul is a short story writer who’s crushing it with sales. Sorry, folks, that’s false advertising. Paul primarily writes sci-fi novellas and shorter paranormal novels. The visions of waltzing to the bank on my short stories quickly vanished.

The interview then went on to show all the things Paul did that were “wrong” and yet he still managed to reach a point where he’s seeing a half-million a year in sales.

Obviously, TS Paul is doing something right. So what is it?

Last week I wrote about The Writer’s Magic Marketing Machine and presented indie sci-fi and fantasy author Patty Jansen’s road map to success. Very simply, it is:

  • Write well
  • Write lots
  • Write in series
  • Publish often
  • Build a mailing list

As I noted last week, this is standard indie advice. Virtually all the successful indie authors do the 5 points above.

Dawson and his cohort, James Blatch, were dumbfounded by Paul’s success. They couldn’t explain it. On reflection, I think Paul’s success is very easy to understand — and, in fact, I’d say he’s doing most everything right.

First of all, TS Paul writes lots. A short story a week and 31 books in a couple years. Writing lots is crucial for every indie author who even hopes of being successful. It’s the key to not being forgotten.

Secondly, he writes in series. This is also critical for indie authors. Because indie readers are series readers.

Third, he publishes frequently. Publishing often keeps your name in front of readers and helps to pump up the Amazon algorithms.

Fourthly, he knows his audience. He targets the YA crowd. There is no sex or bad language in his books and the covers appeal to the eye of a young audience. I’d also hazard a guess that the shorter lengths of his books appeals to the YA folk, who primarily read on their phones.

So what does he do that is actually controversial? In the big picture, not much. He doesn’t believe in freebies. So he doesn’t give away his books. But he’s not the only writer in that camp.

He doesn’t do a lot of advertising, although he does more now than when he first began. About a $1000/month on Facebook.

He doesn’t have a mailing list. However, he’s not alone here either. What he does have is an active blog and Facebook page. Effectively, they are taking the place of a mailing list. Through his blog and Facebook page he keeps in touch with his readers and lets them know of new books.

The most controversial thing, in my opinion, about Mr Paul is his cavalier attitude towards the quality of his writing and the physical product.

He doesn’t give a fig about typos or bad grammar or lousy formatting. He says so in the interview. And the critical reviews testify to his devil may care attitude. It also appears his writing style is not all that stellar, according to the reviews.

I noticed in looking at his offerings, quite a few book blurbs note the book is newly re-edited and formatted. So maybe Mr Paul cares more about what readers think than he’s willing to admit.

The mystery for me is how a brand new nobody writer can go from $150/month in sales to over a $1000/month in the span of a few months — with no advertising. Paul didn’t say. Blatch didn’t ask. Too bad.

Based on what Mr Paul did say, my thought is that his friend, the popular author Michael Anderle, who encouraged Mr Paul to start writing in the first place, gave him a boost. Just a guess, but if correct it shows that who you know is still a very powerful means to success.

The bottom line is, TS Paul is doing everything he should be doing — except writing well and producing a quality product. But in spite of all the criticism he’s received, and there is a lot on Amazon, he’s laughing his way to the bank.

Comments are always welcome! And until next time, happy reading!

Share This!
Facebooktwittergoogle_pluspinterest

Two Year Anniversary

This month I celebrate two years being an independent author/publisher. Since November 2014, I’ve published 11 novels, 2 novellas, 2 collections of shorter works, and 6 short stories. Plus one flash fic was published by One for a Thousand ezine. I’ve had over 220 downloads of my books and stories and have made a wee bit over $500. Certainly not bestseller status nor am I making a king’s ransom.

However, I am published and I am selling books. If I’d gone the traditional route, I very well could still be looking for an agent. And most likely would be, as traditional publishers accept less than 300 new fiction authors each year. If one thinks the competition is stiff being an indie author/publisher, at least we’re competing for sales — not the “privilege” of being allowed entrance to the “club”.

So I’d have to say that my numbers are pretty decent. Especially considering I’ve done little advertising. And another thing to consider is that a mere 15 years ago, viable self-publishing on a large scale didn’t even exist. Thank you to Amazon and their Kindle and Apple and their iPad for making all this possible. Today we truly have desktop publishing.

However, as one can also see, if anyone is thinking self-publishing is the path to riches, think again. I know of indie authors who sell one or two copies a month. A lot of work for very small returns. As with any self-employment venture, it takes time, hard work, money, and patience before you begin to see a return. One writer recently told me it takes 5 to 7 years before a self-employment venture takes off — if it’s going to take off. Given that, I have 3 to 5 years of work ahead of me.

Aside from publishing books, I’ve spent the past year boning up on marketing. I had a bit of marketing in an economics class in high school some 50 years ago. Needless to say, I don’t remember much. I sunk over $600 into Mark Dawson’s Facebook Advertising for Authors course and I learned a lot. I think the course was worth the money. I’ve also taken numerous free courses and read a few books.

What I’ve realized is an indie author/publisher is a business. A self-employed business. A self-employed direct marketing business. Therefore I must think like a self-employed direct marketing businessman. Not as an artist. Otherwise, I don’t stand much of a chance of succeeding. And I certainly don’t want to not succeed. At the very least, I hope to recoup my initial costs and be able to break even on the ongoing costs. Sure I’d like more, but I’ll be satisfied to at least break even.

What does the next year hold? I’ve been giving it a lot of thought. Certainly more writing and publishing.

Early in the new year, I’ll bring out the seventh volume in The Rocheport Saga. I’m also hard at work on the next Justinia Wright novel. In addition I have two adventures for Lady Dru I’m champing at the bit to get written. Plus I have a partially written time travel adventure I’d like to finish. That’s on the fiction side.

Over the past year I’ve been thinking about non-fiction. My sister racks up at least 10 sales a month on her art therapy book without fail. And she does absolutely no advertising. Statistically (data from AuthorEarnings.com) non-fiction is the second largest category after romance for book sales. Very old advice from back in the day before the internet said non-fiction was the way to go if one wanted steady income to put food on the table, pay the rent, and buy clothes. Apparently that advice is still valid.

So I’ve been thinking about writing some non-fiction. What would I write about? That is a good question. For many years now I’ve been fascinated by the concept of simple living and how groups and individuals have gone about simplifying their lives. I’m also very much interested in silence and solitude, both as a spiritual exercise and one to simply bring tranquility to one’s daily life. And ever since high school I’ve admired Stoic philosophy. Stoicism not only touches on simple living and inner tranquility, but I believe holds the key for how we in the 21st century can best realize our potential. I think Stoicism is a far better practice for we Westerners than the eastern philosophies and faiths.

If I decide to go the non-fiction route, I’ll probably write on what I’ve noted above. Self-help books related to silence and solitude, simple living, and Stoicism for the 21st century. Stay tuned!

The past two years have been fun, a bit frustrating, an educational experience, and very rewarding. There is nothing that can beat being your own person, in control of your own destiny.

Mark Dawson started publishing a year before I did. He now pulls in seven figures. That’s a lot of cash. He’s worked hard and invested a LOT of money in his self-publishing enterprise. So the rewards are out there, if one is willing to work at it.

I’m also going to work on the business end. Because that’s what Dawson did. He wrote books and advertised the heck out of them. But first he built up his mailing list. So that is my next step. Grow my mailing list from the 21 it’s currently at to… Well, as high as I can. Two, three, four, ten, twenty, thirty thousand. However high it gets.

Write and publish books — keep the product coming, build the mailing list, and market. That’s what’s in store for me for next year.

And I’m very excited about it!

As always, I look forward to your comments! Until next time, happy reading!

Share This!
Facebooktwittergoogle_pluspinterest

Why I Read Indie Books

Why do I read indie books? Well, why not? A good novel is a good novel. Doesn’t matter who wrote it now, does it? To not read indie books is akin to saying I’m not going to listen to the college or civic orchestra. Or not take my car to an independent mechanic. Or not eat homemade ice cream. I mean, get real—who doesn’t like homemade ice cream?

There are thousands of great writers out there. A few are traditionally published. Most are self-published. To not read books written by independent author/publishers is depriving oneself of life’s little pleasures. Like not eating homemade ice cream.

Steve Bargdill recently reblogged Stephen Hunt’s very valid post on this subject. Read it on Steve’s blog. In reading Hunt’s list, I started thinking why I read indie books. So, in no particular order, here are my reasons for reading books from independent author/publishers.

Good Writing

I’m impressed with the quality of indie writing. There are good writers out there who’s work may never have seen the light of day under the hegemony of the traditional publishing empire. Thank goodness the walls of that citadel have been breached and like the Bastille and Jericho, the walls have tumbled down!

A good writer is a good writer. It doesn’t matter how the book is published. Some writers who’ve impressed me are Lindsey Buroker, J Evan Stuart, Steve Bargdill, Crispian Thurlborn, Ben Willoughby, Erik Ga Bean, CM Muller, Janice Croom, and Jack Tyler. The list goes on and on and on. In coming days I’ll be reviewing some of the gems these writers have given to us.

I’ve already reviewed a few and you can find links to those earlier reviews on my review page.

Just because a person chooses the route of author/publisher doesn’t mean he or she can’t “cut it”. That he or she isn’t good enough to be published by the traditional publishers. That is, though, what the mega-corporations, academia, and book snobs everywhere would have you believe. However, simple economics (70% royalty vs 10%, minus agent commission) dictates self-publishing is the better publishing option. There’s also control of one’s work. Why should I give my hard-earned stories to some greedy corporate entity? In addition we have many formerly traditionally published authors who’ve abandoned the Big Boys for self-publishing. The reasons given are usually control of one’s work and money. Authors such as JA Konrath, Dean Wesley Smith, Linda Gillard, Rebecca Cantrell, Harry Bingham, and Claire Cook. Or Brenna Aubrey who turned down a super deal in order to self-publish.

Good writing is good writing. Simple as that. And there are thousands of good writers out there. More than I can read in this lifetime.

Cost

Quite literally, I get more bang for my buck with indie authors. I can easily buy two or three indie ebooks for the price of one from the Big Boys. And since there’s no money tree in my backyard, the price of the book is important.

I no longer buy new books from the Big 5 Publishers. I buy them used. My wallet is more important than the big corporation’s bottom line or the author’s income. Sorry traditionally published authors, but that’s a fact of economic life.

Recently, I read Janice Croom’s self-published Death of an Idiot Boss. It’s only $2.99 in the Kindle store and it was a great read. Cara Black’s Penguin/Random House published Murder in the Marais is $7.99 in the Kindle store and the writing is not as good as Ms Croom’s. In fact, I stopped reading Murder in the Marais because I found the book boring.

Out of 241 reviews, Ms Black’s book only has a 3.6 star reviewer rating on Amazon. Yet Ms Black has garnered New York Times and USA Today bestseller status. What is wrong with that picture? My money is going to Ms Croom. Sorry Ms Black. But bestseller status can’t make boring writing good.

Diversification

Politically and economically, I am in the libertarian camp. On the issue of rights, I am a Lockean and not a Hobbesian. That is, I am all for the individual and opposed to the state and mega-corporations that function like states.

Therefore, when it comes to the issue of publishing, I’m philosophically opposed to mega-corporations with their latent totalitarian market approach dictating what I can or cannot read.

I don’t like Amazon. There’s a lot not to like about Bezos’s monster. Yet it was Amazon with the Kindle that made the indie revolution possible. Apple, Barnes and Noble, Kobo, and Smashwords have all followed in Amazon’s wake. Indie authors routinely report 80% of their income comes from Amazon. Bezos’s monster is a force to be reckoned with. Something traditional publishers simply hate.

Only Apple has the ability to seriously challenge Amazon and the fact they haven’t says something. Germany’s Tolino e-reader was originally going to challenge the Kindle worldwide. So far the device stays Eurocentric.

I’d love to see the indie marketplace diversify. So far it hasn’t. It is pretty much an Amazon lake. However, that is not all bad. What Amazon did do is crush the iron grip traditional publishers had on the world of publishing. Amazon’s direct marketing made self-publishing viable and has increased the viability of the small press, as well. And those are all good things. One day, someone will come along and bring the mighty Zon to its knees — and that will be a good thing too. There can never be too much competition.

Redefining Categories

Repeatedly I’ve run across indie authors who decided to go the self-publishing route because their books didn’t fit the cookie cutter molds set up by the traditional publishing mega-corporations. One size does not fit all.

Even Amazon has not fully caught up here, although the writer can ask Amazon to list his or her book in one of their secret micro-categories. What Amazon needs to do is to give writers the choice up front to list their book in a micro-category.

Indie authors are pushing the envelope on length restrictions and rigid categories. I’ve watched the BISAC codes slowly incorporate some of these new or redefined categories. I’m waiting for Dieselpunk to get its own code one of these days.

One cannot put creativity into a box. Traditional publishing isn’t about creative freedom. It’s about money. It’s about Hobbesian control, structure, and order at the expense of creative liberty.

Recap

I read indie books because the stories and writing are good. Are there clunkers out there? Sure. Just like in the traditional publishing world. Weed them out using free samples and Amazon’s Look Inside feature.

Cost is another reason I read indie. I get more reading for less money.

I also find the reading is more interesting. More creative.

And finally, diversification. Every indie book I buy helps to bring the publishing mega-corporations to their knees and brings freedom to writers. And I like freedom.

As always, comments are welcome. And until next time, happy indie reading!

Share This!
Facebooktwittergoogle_pluspinterest

Where Has All the Money Gone?

One advantage of being older is that we oldsters have a perspective not available to youngsters. Now I’m not ancient. I’m “only” 63. However, my interest in writing and being a published author goes back as long as I can remember. It’s an interest and a desire that’s always been with me. I’ve actively followed the publishing scene for fifty years or more. I’ve ingested so many how-to books and articles I will never hunger for several lifetimes.

And I’m here to say, for all the change in the publishing world, nothing much has changed.

My friends Sarah and Alice commented on my last post and I couldn’t help but feel a certain sense of loss as to how to proceed in what is perceived as a publishing maelstrom.

I want to repeat: nothing much has changed in 50 years.

Sure we have the internet. And I’m glad. But let’s take a little techno history ride. A ride that shows why I’m so enthusiastic about the present and the future. A ride that hopefully will give some perspective.

When I was in school during the ‘50s and ‘60s there were mimeograph machines. You typed a stencil, put it on the drum of the machine, filled the machine with fluid (always blue), and produced your printed document. Freshly printed paper was best because you got to smell the mimeo ink. Yes, we sniffed our test questions!

Then photocopiers appeared on the scene. Yippee! No stencils! No mimeo fluid! And you could even get color on some machines. Photocopiers were faster and cleaner and spawned a fanzine revolution. The editor only had to get the cover printed at the print shop. A new age was dawning!

I remember many fanzines from back in the last few decades of the 20th century and even slim books produced on the photocopier. It was certainly the best of times.

Then along came desktop publishing. Oh my! That took indie publishing to a whole new level. The things we could now do on a computer that had been impossible on a typewriter. Desktop publishing was almost as revolutionary as the printing press itself.

Then print on demand technology became practical in the first few years of the 21st century. Writers had now reached the gates of paradise. No longer did we only have the dreaded vanity presses. We could actually produce our own paperback books. We indie authors were able to go to a whole new level. But we hadn’t seen nothin’ yet.

On November 19, 2007, Amazon introduced the Kindle. It sold for $399 and the initial lot sold out in 5 1/2 hours. Restocks weren’t available for five months. Author/publishers had achieved Nirvana.

What the future has in store, who knows? But over the past 50 years, I’ve seen nothing but better opportunity upon better opportunity. I’ll take my stories on epub and mobi any day over those old, faded mimeograph pages.

From my perspective, as a writer/publisher, I’ll take the plethora of options available to me in 2016 over the dearth of options that were available in 1965. For in 1965, I could only run the gauntlet of traditional publishing if I wanted the chance to have an audience greater than a few hundred people – at best – self-publishing. And have a quality product. Of course, there was always the dreaded vanity press. Back then. Today the vanity press is passé.

Another thing to consider. Back then, because the fiction magazine market had virtually dried up to nothing, novels were the only way to go if one hoped to make money. Novels are still the fiction writers best chance at the big bucks. But, due to epublishing, novellas and short stories are making a big come back. And I, for one, am very pleased. I love the short story.

However, with ease, comes the tsunami of fortune seekers. The get rich quick mentality. Not unlike the California Gold Rush. The first ones in, got the easy stuff. Those after, only made the middleman rich.

Not unlike the Kindle revolution. Those in first got the easy money. By 2014, the easy money was gone. Now, like those old Smith Barney commercials from the ‘60s, if we want money — we have to earn it.

Today, in 2016, the middleman is alive and well just waiting to part the wannabe author from his or her money. And the desperate are easily parted from their cash.

But there is no need to be among the desperate. The Golden Age may have passed, but we are surely in the glorious Silver Age — and silver spends as well as gold.

What can we author/publishers do in 2016 to make a living from our writing? I’ve been asking myself that question for the past 20 months. I’ve read the blogs and books, I’ve observed what others are doing who have been in longer than I and who are making a living. I think there are lots of things we can do and the first is to have patience. The easy money maybe gone, but the money is still there if we’re willing to do a little spadework. Here are some further thoughts.

  1. Write well. This always has and always will be number one. The ebook revolution hasn’t changed the fact that while sloppy books will get published, the well-written ones will have a better chance at survival. Learn grammar. Learn how to spell (spell checker is fallible). Learn how to tell a story. Good grammar, good spelling, good storytelling are always in demand.
  2. Write every day. Treat your writing as though it were a job. If you aren’t writing every day, you aren’t serious about your writing. It’s just a hobby. Hobbies are okay, but not if you want to make a living.
  3. The indie formula is still alive and well. Namely, write lots, publish frequently, publish series, and write in a genre. Unfortunately, literary fiction, the stand alone novel, and fuzzy genre books don’t do that well in the indie market. If that is what you want to write, go ahead. Just realize you are setting yourself a higher hurdle to jump.
  4. Learn marketing. Whether you go indie or traditional, knowing how to sell your books is what will make you money in the end. Unless your name is Patterson, Michener, Dan Brown, Sandra Brown, or Sue Grafton, the publishing house isn’t going to spend advertising dollars on you. You are unknown. The money is spent where the publisher knows they’ll get many dollars in return for each ad buck spent. What’s more publishers never did spend advertising on new authors. For some reason there is a myth that is very popular about the supportive publishing house. They are in it for the money. If the writer can’t make them money, he or she will be kicked to the curb — because there is always the next one in line to take their place. So learn marketing.
  5. Be willing to spend some money to make some money. You don’t have to spend a lot, but you will probably have to spend some. Advertising isn’t free for the most part, although some is.
  6. Build your mailing list. This is the one thing I’ve learned recently that makes me wish I’d started two or three years ago laying the foundation for my writing career. Better late, though, than never. A mailing list is indispensable for indies. And also traditionally published folk. Don’t be dependent on anyone but you. Not Random House, MacMillan, Amazon, FaceBook, Barnes & Noble, Smashwords — not anyone. When you have your own mailing list of fans, then you can direct market to them, mobilize them, get them to work for you. It takes time and money, but no one seems to regret building a strong mailing list.
  7. Social media doesn’t sell books. Not directly anyway. Tweeting “Buy My Book” 20 times a day is going to get you ignored or muted. I’ve never bought a book from one of those tweets or from one of those companies that will do it for you. However, I have purchased books from people I’ve gotten to know on Twitter.
  8. Spending time on social media is largely a waste of time. It’s time you could be using to write your book or your next book. I’m not saying one shouldn’t be social or connect with people. One should. But spending hours tweeting drivel or playing games or what all, is time stolen from writing your book. Books will make you money. Twitter games won’t. Mainly because people buy books. They don’t buy Twitter game tweets.
  9. For indies, don’t bother about advertising your book until you have at least 4 of them. Indie readers like series, tend to be high volume genre readers, and don’t want to wait for the next book.
  10. For traditionally published folk, it’s the reverse. Advertise that book as if it will save your soul, because if you don’t earn back your advance — the publisher will kick you to the curb and take the next writer in line.
  11. Publish widely. And use Amazon. Yeah, I hate Amazon too. A giant monopolistic behemoth. But before you get on your high horse, remember 80% of ebooks are sold through Amazon. If you aren’t on Amazon, 80 buyers out of a 100 won’t see you. Can you really afford to give up that large of an audience? In addition, Amazon controls 2/3 of the print market. If you aren’t on Amazon, you basically don’t exist. And, yeah, I hate Amazon. They are like any other big company — they exist to make money. Period. But reality is reality. Publish widely and play with the 800 pound gorilla on the block.
  12. Draw up a business plan. Plan your work and work your plan. You are an author/publisher. You are your own publisher. If you don’t want the hassle of publishing, then try to run the traditional gauntlet. You’ll only get 10% and still have to do all the work as if you were an indie. This is reality. Magic doesn’t work in the real world. You need to plan for success.
  13. Don’t give up and don’t despair. Be thankful you don’t have to choose between Random House, the vanity press, or the mimeograph machine. There are over 4 million books on Amazon’s Kindle store. And yours are unique. Your readers are out there and want to be found. Learn marketing so you can find them. Be proactive. Don’t rely on magic. It doesn’t work.

This is the best of times and this is the best of times. Life is always easier for the other guy. You and me? We have to work. So let’s roll up our sleeves and get to work. No silver spoon was in my mouth when I was born and none appeared when I started self-publishing. And the real kick in the butt? Oprah had retired.

So I’m learning how to market what I write. There are a lot of resources out there. I found one I think makes sense and am going to give it a try.

Believe in yourself. Treat the days of no sales as a challenge to build your fan base — because they are out there looking for you. Don’t let them down.

Circling back around to the title of this post, where has all the money gone? Nowhere. It’s right there. Ready to be traded for quality entertainment.

Comments are always welcome. Until next time, happy reading!

Share This!
Facebooktwittergoogle_pluspinterest