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We are turning this week's blog over to one of our authors, Robin Saint, posting on the subject of Robin Hood. Disclaimer: The views expressed in this blog are not necessarily those of Selfishgenie Publishing.  Actor Richard Greene as Robin Hood. As a youngster I was brought up on stories of Robin Hood. There were the movies of course, with Douglas Fairbanks and Errol Flynn, that used to pop up on Sunday afternoon TV. Even Disney gave us a cartoon version. But the big influence was the ITV series starring Richard Greene that ran between 1955 and 1959 (though it seemed to run for much longer). There were other series that came later, some better, some worse, but the 1950s version was the one that shaped my memories. Once I started to read for entertainment, rather than just to learn to read, Robin Hood books were high on my reading list. There were many written for children, and I probably read them all. As a naïve child I loved the idea that someone would exercise justice on behalf of the “little people” and right the wrongs that the rich and powerful perpetrated. How the persecuted sub-postmasters of the UK could have done with a Robin Hood to fight their corner for the last 20 odd years. But then I grew up and realised that while we would love people like Robin Hood to have existed, they probably didn’t. At least not in the form the stories say they did.  The Kray Twins, scourge of London's East End Many criminals have been compared to Robin Hood in their actions. I can remember the notorious London gangsters the Kray Twins* being given a favourable comparison in some quarters because they “loved their mum” and also because no crime was allowed to be committed in their “manor” without their permission, which made it a “safe place to live”. There are two things wrong with that comparison. Firstly, just because someone loves their mother it doesn’t make them a good person. All criminals have mothers and on the basis of statistical probability alone, some of them will love their mothers. The second thing is that if the Krays stopped other criminals from operating in their neighbourhood, it was only so that they could keep it all to themselves. They operated protection rackets and other criminal enterprises that preyed on their neighbours and if anyone crossed them, they would soon find out how unsafe the East End of London could become. It was, perhaps, the arrest and prosecution of the Kray Twins in the late 1960s that made me start to re-think the story of Robin Hood.  By now I knew that there had probably never been a real Robin Hood. There may have been a few real people (petty criminals in the main) who provided the basis for the stories, but the man himself never existed. One such story originated in Barnsdale Forest in Yorkshire, where a Robin Hood type figure used to stop travellers on the road and demand they pay a “tax” to continue their travels unmolested. Another way of describing that is as a protection racket, aka extortion. But what changed for me was the idea that just because a person loves their mum or looks after their neighbours, it doesn’t mean they can’t be a violent criminal as well. For example, if you need an alibi, then it helps to have a friendly neighbour who can provide it. If someone has knowledge of your actions or whereabouts, then it is probably a good idea to make sure that they are looked after. A small favour here, a bribe there and they’ll keep your secrets. And if they don’t, an underlying threat of violence will keep flapping lips closed.  Robin Hood (if he existed) robbed from the rich, because that’s what criminals do, but he didn’t give to the poor – he bribed them. The poor peasants of Sherwood Forest would keep his whereabouts a secret so long as he was paying them more than the measly reward being offered by the Sheriff of Nottingham. And if the Sheriff of Nottingham increased the reward money, there was always the threat of violence to ensure the peasants’ continued silence. At the time these thoughts started to form I didn’t have much time to do anything with them. I had a full and busy life (I still have) and the idea of writing a book just didn’t seem feasible at the time. It was many years later when I started to write the odd paragraph that laid out my thoughts on the subject. The thoughts turned into characters and once I had those I could create the conflicts that would turn into a plot. So, what of the other characters? I won’t bother with the other outlaws. Criminals often work in gangs so we can assume that if Robin Hood is a bad guy, then his pals will be bad guys too. I gave some of them back stories, but ones that would lead them into a life of crime.  King John We have Prince John (as he was at that time). Well, he was the fourth son of a King and in those days the sons of kings pretty much took what they wanted. Historically, John didn’t have any land to draw an income from. His father had granted him rule over Ireland, but first he had to conquer it and that didn’t work out too well. When his big brother Richard became King he gave John the rights to the taxes from Leicestershire, Derbyshire and Nottinghamshire so that he would have some form of income. John gave orders to squeeze aa much in taxes from those counties as was possible, but that was the Sheriff’s job regardless of whether the taxes went to Richard or to John. John wasn’t a great Prince or King, but history tends to paint him as being worse than he really was for the period. Trust me when I say we have had worse kings (and queens) than John. The Sheriff of Nottingham was just doing his job, really. His job was to keep the peace and to collect the taxes on behalf of the King (or in this case, Prince John). Nobody likes tax collectors and if you were a criminal in Nottinghamshire you had other reasons not to like the Sheriff very much. In modern terms many people don’t like or trust the police, but they are the first ones to call 999 when their houses are burgled. So, I decided that the Sheriff of Nottingham was probably nothing out of the ordinary for the period, but he did have a boss that wanted more money, so he was probably a bit zealous when it came to collecting the taxes.  Maid Marion, a really foxy lady. Maid Marion was probably the hardest character for me to create. At first I made her a “bad girl” who was attracted to Robin because of his nasty character (according to my version of him). It is a familiar trope and one that exists in real life (Bonnie and Clyde, Rose and Fred West, Myra Hindley and Liam Brady et al). But I realised I needed a nice character to contrast all the bad ones, so that became part of her role in the story. She’s a bit of a “goody two shoes” but that just helps to contrast with Robin’s darkness. Robin himself was easy to create.  I followed some of the mythology and had him serving with King Richard’s crusaders, but rather than being a heroic figure coming home to reclaim his land and titles, I decided that he had used his time the Middle East to line his own pockets (the real purpose of the crusades was to grab land and wealth anyway. The re-conquering of Jerusalem for Christianity just provided an excuse.) and that had led to him crossing the wrong person. He fled King Richard’s army and returned to England. As he had been declared an outlaw for what he had done he had to live by his wits which, in those days, meant robbing and stealing. But even if Robin hadn’t been declared an outlaw, he would probably have followed a criminal path, because he wasn’t the type to earn an honest living. At least, my version of him wasn’t. That left me needing a hero, so I used a popular trope, which is the wrongly accused man. My hero, Erlich, is falsely accused of killing his own father and has to go on the run or face a noose. He finds a relatively safe haven with Robin Hood and his gang but hates the life they lead. All he really wants to do is clear his name and go back to his old life..  So, with a cast of characters all I needed was a plot to carry them and there were plenty of tropes to call on for that. Readers may recognise some of them. That is how I created Robin Hood the bad guy and turned him into my novel “Outlaw”. If you have any questions, feel free to post them in the comments section below and I’ll be happy to answer them. To find out more about “Outlaw” by Robin Saint, click this link. * Editor's note: Little known fact: The Kray Twins were the last prisoners to be held in the Tower of London. Ask in the comments section if you want to know why. If you have enjoyed this blog, or found it informative, then make sure you don’t miss future editions. Just click on the button below to sign up for our newsletter. We’ll even send you a free ebook for doing so.
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This week we hand our blog over to our most prolific author, Robert Cubitt. Disclaimer: The views expressed in this blog are those of the blog's author and are not necessarily those of Selfishgenie Publishing.  Author Robert Cubitt Authors get asked a lot of questions. Some of them sensible and others not so. Having been given the freedom of this blog I’d like to answer some of the sensible ones from my own perspective. One of the most common questions an author gets is “How did you get into writing?”. Well, it goes back all the way to my childhood. I loved reading. My local library, when I was about 13, would only allow me to take out one book at a time, but on at least one occasion I visited 3 times in one day because I read my single book so quickly. It was a 4 mile roundtrip and I had to walk, which says a lot about my reading addiction. It was only later that I worked out that it would have been a lot more efficient for me to sit in the library to read my book, which says a lot about my ability to think logically at the age of 13.  At the same time, I loved essay writing at school. “What I did on my holidays” (and other such topics) gave me the opportunity to create all sorts of adventures. I was once punished for writing a less than true account of whatever the teacher had asked us to write about that day and my mother went to the school and protested on the grounds that they were stifling my creativity. The objective, she pointed out, was to produce a piece of well written work, not to provide evidence for use at a trial. My mother’s intervention made no difference. For future assignments I was warned not to stray from the truth. What I actually did was tone down the drama in my fiction to make it more believable. Perhaps my first lesson in plot creation! I made my first attempt to write an actual book when I was about 14. I had no idea what I was doing, of course. My characters were shallow, and the plot made no sense. But everything we do provides us with lessons and the lesson I learnt from that was that writing a novel wasn’t as easy as I had imagined. But it didn’t put me off writing.  An apprenticeship in some arcane craft. The school I went to when I was between the ages of 14 and 16 wasn’t the sort of school that produced writers. Pupils were expected to “learn a trade”. It was an all-boys school which meant apprenticeships in some arcane craft, motor mechanics, the building trade and so on. I assume that at the girls’ school across the road they were being taught to type, to cook and to raise babies. Our horizons weren’t even stretched as far as working in an office, at least, not without staying on for 6th form, which the families of most of the boys couldn’t afford for them to do. Regardless of academic ability. the vast majority left school at 16 to start earning a living so they could contribute financially at home.  So that’s what I did. However, having been raised on the works of Captain W. E. Johns, author of the “Biggles” books, I decided to learn my trade in the RAF. But I didn’t stop writing. Almost every RAF station I served on had a station magazine and they were always looking for “content”, as we would call it today. I was happy to oblige them, though not everything I wrote was published. Apparently, parodying the domestic lives of the senior officers is frowned upon. Who knew? At the end of my 23 year stint, I suddenly found myself unemployed. I threw my efforts into finding a job, of course, but we were in a recession at the time and job hunting was an uphill struggle. To preserve my sanity in that dark time I decided to have another go at writing a book.  Learn from the best. Having, to a certain extent, honed my skills in writing for magazines, what I produced was far better. I won’t go as far as to say it was good, as evidenced by the fact that I have never attempted to get the book published. But it was a start. It also served its purpose in keeping my mind occupied. More than that, it was a learning exercise. The most important lesson I learnt was that it is the characters who must take centre stage. A plot without good actors will never work. Instead of reading for pleasure, I started to read to learn how to write. Firstly, I read the books of successful novelists and analysed them to discover why they were so good. It always came down to the characters. The plots could be laughable in the way they were contrived, but having good characters, ones I came to care about, meant that the clunky plot was ignored, and I enjoyed what I was reading because of my emotional engagement with the characters. It was probably the most valuable lesson in writing I have ever learnt.  I eventually got another job and 17 years later switched jobs again. That final job was actually 20 hours of work squeezed into a 35 hour week, so I had a lot of time on my hands. I used the extra time to start writing again. I spent so much time writing that on one of my performance reviews my boss commented on how busy I always was, constantly beavering away. Little did he know! (BTW, I always did my real job first and to the best of my ability and was commended for my achievements). But the writing spark had turned into a forest fire, and I wasn’t dishonest enough to keep allowing my employers to continue paying me to be writer, so I took early retirement and started writing full time. Here I am, 12 years later and with 31 books published (including non-fiction) and I’m still writing like there’s no tomorrow.  The next question I would like to answer is “where do you get your ideas from?” Well, they are all around us, all the time. Let’s start with world news. Every bulletin has the potential to produce ideas that can be turned into a book. All human life is there, in graphic detail. The politics, the hardship, the heartache, the trauma, the drama and blessedly, sometimes, the humour. Turn on the TV or radio news, pick up a printed newspaper or go onto the internet and there are myriad news stories just waiting to be fictionalised. Real authors can spot those and turn them into a full length novel.  History is a great source of ideas for stories. So many kings, queens, politicians, rogues, heroes, vagabonds, explorers, adventurers etc. Each has their own story and those can be borrowed and turned into fiction. I’m a great fan of this genre myself. Then there is everyday life. Some people call it “people watching”, but the world around us can provide the author with a thousand stories if they have the imagination. A young woman running for a bus, almost losing a shoe, can provide a hundred questions as to how she came to be there and what may become of her. If the author can imagine good answers, they can turn them into a book. Finally, there are our own “lived” experiences. Life rarely runs smoothly for anyone, and the speed bumps and car crashes all provide us with stories we can tell. In reality we do tell them, to friends and family, or maybe to our therapists. All an author does is write the same stories down and pad them out to a length that will make them a book rather than an anecdote. Of course, they have to be amplified to make them more dramatic/romantic/funny but that comes down, once again, to imagination.  What about sci-fi and fantasy? They don’t come from day to day life. Wrong. For the most part, sci-fi and fantasy novels are made up of the same plots as the stories we set on Earth. They just have bits added on to make them appear different. Star Wars, for example, is just the story of good vs evil transported to a galaxy far, far away. All the author does is to use their imagination to create worlds where the stories can be told, as they do with fantasy. “Luke, I am your father” is a trope that can be found in many an Earthbound story, as can the twins separated at birth. Shakespeare’s “Comedy Of Errors” and “Twelfth Night” both use the basic separated twins trope. The final question I want to answer is “Is it difficult to become a writer?”  If writing is ever this boring, you aren't a writer. My answer would be “no”. But there are many caveats to that. Anything you enjoy doing is never a chore. I enjoy writing, so I don’t find it difficult. If someone sits down and starts to write and they have become bored after a couple of thousand words, they will never become a writer. Not because they can’t write well, but because they clearly don’t enjoy writing. The more you study and practice a subject, the easier it gets. That is what I have done as a writer. But I find chess hard. Chess Grandmasters will tell you that playing chess is easy and for them it is. Because they have practiced for thousands of hours playing hundreds of thousands of games to get to where they are. Of course it’s easy for them. I play one game every ten years, so for me it’s always going to be hard. So it is with writing. The more you learn and the more you practice what you have learnt, the easier it gets. If your idea of writing is doing the weekly shopping list, you will struggle if you start to write a book.  Finally, you have to believe you can write. Like many other creative professions, authors are plagued by insecurities.
Imposter Syndrome stalks us like a hungry tiger. It sucks all the enjoyment out of writing which, as previously mentioned, is an essential part of being a writer. Overcoming that barrier of lack of self-belief has curtailed many a potentially successful writing career. So, when the whispers of self-doubt start to be heard in your brain, you have to shout back very loudly “I am a writer!” I shout it out loud, which is very disturbing for my wife. But if I didn’t, I would have given up 31 books ago. So don’t give up. Most authors take years to become an overnight success. Some never will become a success, but that doesn’t spoil their enjoyment of writing. To find out more about my books, see the "Books" page of this website. If you have enjoyed this blog, or found it informative, then make sure you don’t miss future editions. Just click on the button below to sign up for our newsletter. We’ll even send you a free ebook for doing so.  Is the game up for traditional publishers? I’m not talking about today or tomorrow. What I’m talking about may take years to come to fruition, but the publishing world is changing, and the trad publishers don’t seem to have cottoned on to the fact yet. Between themselves and agents, they have made it almost impossible to access mainstream publishing. The gate keepers are no longer just keeping the gate, they are building high walls and digging moats so deep in front of the gate that no one can get in.  Which is why not only is the publishing model changing shape, it has no choice but to change shape. But the trad publishers are sticking their fingers in their ears and singing “la, la, la”. With so many authors now taking the self-publishing route, it is becoming the norm rather than the exception. According to this article, 300 million self-published books are sold each year. That’s 30-35% of the publishing market. While the global publishing market is expected to grow by 1% per year, the self-publishing market is expected to grow by 17% per year.  Prior to 1998, the only way to self-publish was to pay a printer to print your books, then hawk them around local book shops trying to find one to stock it for you. But in 1998 Chip Wilson, a millionaire entrepreneur, created a self-publishing website called Lulu and that all changed. Now anyone could publish their book on-line and sell it through the platform. Imitators followed and, of course, the retail giant Amazon established their own platform, Kindle Direct Publishing (KDP), which now dominates the self-publishing market. So, from almost nowhere in 1998, self-publishing now holds approximately 34% of the market – and growing. I’m not going to say that the quality of the books is 100% great, but there are plenty of good self-published authors and many make a respectable living from their writing. In fact, some make a better living than authors who are trad published. There are at least 7 self-published authors achieving 7 digit income levels and many more making 6 digit levels.  Which is one of the reasons I think there will be further shifts in the industry. A trad published author receives about 10% of the sale price of their book in royalties. From that they then have to pay their agent (actually the agent usually gets the royalty cheque, deducts their commission and then passes the rest to the author). Richard Osman’s latest best-seller is priced at £11.99 for the Kindle edition and £9.99 for the paperback at the time of writing this blog. Don’t ask me why the paperback is cheaper because I don’t know, but it probably started out being more expensive. Based on current publishing practice Richard will receive around £1.19 in royalties for the Kindle edition and around 99p for each paperback sale. If he were to self-publish and sell his book at the same price, he would make either £3.60 or £8.39 per copy, depending on whether he took the 30% or 70% royalty option. If I were Richard, I’d be starting to wonder about the wisdom of sticking with trad publishing.  As a big name author, he would have no problem setting up distribution deals with all the major retailers, without having to rely on his publisher to do that for him. The rest is down to editing, cover design and marketing and he could hire people to do that for him. I think he’d still end up with more money in his pocket than he does now. For a start, he wouldn’t have to give between 10% and 20% of his royalties to an agent. I suspect that a lot of trad published authors will do these sort of sums in future and when their existing publishing deals come to an end, they’ll self-publish the next book they write.  It is noticeable that publishers are now trying to tie authors into multi-book contracts in order to prevent that sort of desertion, though at the moment they are more worried about their authors being poached by other trad publishers than they are about their authors opting to self-publish. The more top quality authors who go down the self-publishing route, the better the reputation self-publishing will gain. I strongly suspect that the much of prejudice against self-published authors is being fuelled by trad publishers trying to protect their businesses.  Change sometimes happen at a glacial speed. But change can also function more like a snowball rolling down a hill, getting bigger and bigger and going faster and faster.
I may not be around for long enough to see which metaphor is more accurate, but many of you will be. But I predict that one day, when a new author announces on social media that they are about to start querying their novel, the response from other writers won’t be “Good luck”, it will be “Why on Earth are you bothering with that?" If you have enjoyed this blog, or found it informative, then make sure you don’t miss future editions. Just click on the button below to sign up for our newsletter. We’ll even send you a free ebook for doing so. Selfishgenie Publishing are pleased to hand over our blog this week to one of our poets, AngieD, who is writing about how she became a poet and how she is inspired to write her poetry. Disclaimer: All views expressed in this blog are those of the author and aren't necessarily those of Selfishgenie Publishing  Poet AngieD I’d like to say that writing poetry was something I was good at in school, though in between Romeo and Juliet, Hard Times et al, there didn’t appear to be much time devoted to this category of English Literature; what little poetry we children were exposed to I could barely understand since, to my mind, it was in adult language and highly cryptic; too cryptic for my little ears. I therefore had very little knowledge of what poetry was about, except for limericks and nursery rhymes. And so, if I said it was something I’ve always wanted to do and that each time I read a ditty it had me thinking “Gosh! I wish I could write a verse” and piqued any great interest, I would be lying! It wasn’t something that ignited any spark of excitement or great interest at all, quite different from hearing someone with extraordinary musical abilities, which aroused feelings more of jealousy that I couldn’t, and probably would never, play like that.  I didn't get excited about poetry. So, besides reading limericks and silly nursery rhymes, I didn’t really give poetry much thought. In fact, the first I really knew about any ability to write a verse was quite a few years ago, lying in bed one weekend morning in my very small and humble-in-great-need-of-decoration second floor London flat and being disturbed by the neighbours occupying the one below. They were making an awful racket but, instead of getting highly irritated (well, not strictly true – I was a little irritated at first!) my mind just seemed to speak in rhyme. It was quite a startling and frightening revelation to me.  Gracula religiosa intermedia (Common Hill Myna) At first I heard myself say “who’s that talking?” not realising it was my mind. Nevertheless, I went with the flow, chuckling as I wrote down the words of this verse about a Myna bird. I had never had an encounter with one; I’d never even seen one. I even had to look it up. What connection had this with the noise I was hearing? I have no clue, but my first ever verse was written and, being a PA Secretary (and previously in the “be prepared” Girl Guides and Girls’ Brigade), I always had pen and paper by my bedside. And that was the start!  From then on it was, as they say, all systems go, like a dam had burst and that part of my mind which had laid dormant had suddenly woken up, its contents released, and there was now no turning back. Things I’d never noticed before would quickly come into my mind’s eye and words or lines would pop up. Voices would say “hurry up there’s another waiting to be written down”. It could be frantic at times since I couldn’t write quickly enough to get everything down! Now, was this the reason I learned shorthand?* Even if it wasn’t, it was now coming to the fore, since it enabled me to write at breakneck speed. This doesn’t bode well for wrists and hands since even before I arrived to start a day’s work, I was already weary from an hour or more of writing while on my train journey.  The lightbulb of inspiration. I found nothing in particular inspired me. In fact, everything inspired me. Finding a window seat on the train was my most important early morning mission so I could write while observing the scenery and how it changed from morning to morning. It was beautiful. How had I never noticed this before? So much to see and appreciate; now that was exciting! Scenery, people and animals were looked at in a different light. Do you ever notice the habits of people: feet on seats where others have to sit. Leaving their rubbish on seats and floor. Grownups picking their noses, biting their nails, coughing or sneezing without covering their mouths, speaking so loudly one can hear every word (and me itching to join in!). That annoying clicking on laptops or ‘phones as they type away as if the train is their office! My mind would just rhyme away; I could have sat on the train all day just writing.  Inspiration can come from anywhere. I’m finding writing poetry is a 24/7 thing. Everything I look at, see, or hear becomes a subject. Although I have written now for quite a few years, I have only recently succumbed and accepted the fact that writing is a part of me. It happens anywhere at any time, in any place (church, supermarkets, the aforementioned trains), I’m not really conscious of it happening, it just happens; commuting on my way to work when I had to commute; walking from the railway station to the office; in a restaurant (and often I would be asked if I was a reporter!). Whatever popped up in my mind would have to be written down. I find writing takes no prisoners if it’s in your mind it has to exit somewhere and if one doesn’t comply pretty sharpish, it fades away and is forgotten. Work produced ample opportunities to write fun little personal verses. If a colleague was having a bad day, I could write something to make them smile. Business acquaintances too would engage and respond to my verse, in verse. Which made work all the more fun and, sometimes, they would even apologise for not replying in the same vein!  Everything seemed now to be about writing verses, not just writing a memo in prose, but some notification of meetings or cancellations were rhyme written and, again, replies would come back in verse! See, everyone can rhyme! Earlier years would see me go to bed with a pencil and notebook and practically never sleep! I am learning to control it a little more than in past years. I won’t say I’m completely successful, that would be impossible. If that which is filling my mind is not written down then it is lost forever. This has been tested; I’ve had a verse(s) in my mind and thought that chanting it over and over during the night would ensure it would be remembered in the morning. Not so, I couldn’t even remember the subject, so that much I’ve learned. Even though I now leave the pencil and paper on a cabinet three steps away from the bed, verses still often, come in the middle of night and I have to write them down but, thankfully, it’s much easier doing it via the recording app on my phone!  The queue of ideas is never ending At times it feels like a tap that never switches off. Each new day brings a different set of subjects and so the writing continues, and you tend to become at one with whatever you’re writing about. It never occurred to me that I would be writing for so many years. Did I ever think I’d write so many? No. I thought one day I’d run out of things to write about, maybe about the 50th verse and that one day the verses will dry up. Touch wood, thousands of verses later it hasn’t happened yet. I am aware of the saying all good things come to an end, but my end has not yet come! Do I get tired of writing? Well actually, physically, yes I do. It’s a never-ending task to which most poets and authors of books can probably attest. There is always an idea in your head and before you can write it down another one is waiting in the wings eager to be noted. The unavoidable task of writing is logging all that is written!  The one about the loo rolls! I write to empty my mind of words to make room for the words I can see pushing past those I’m writing, so I think so there’s no time to enjoy. I do often sit while watching TV reading some of the verses and often wonder what the blazes was I thinking to write that (like the one about loo rolls!). But what I enjoy most and the best reason to write is seeing those who hear my readings, and knowing those who read my book smile and/or comment that they can relate to whatever they’ve heard, whether it’s romance or why toenails grow much faster than fingernails. I’ve said it before and I’ll say it again, if it makes people smile or gives food for thought then it’s been worth writing!  Poetry seems to be within me for the foreseeable future, so I have (happily) learned to live with it and the constant buying and sharpening of pencils!. Poetry is my world along with music, spinach, dancing and cheese. To find out more about AngieD’s poetry, see her collections on our “Books” page. Two more volumes are scheduled for publication during Spring 2024. * For younger readers, shorthand was a system of speed writing. The modern versions can be traced to 1720, but it is known to have existed as far back as the 4th century BC. It is a way of writing that allowed secretaries, journalists etc to record the spoken word at the same pace as it was uttered, without missing any of it. Modern technology has rendered it obsolete. To find out more about AngieD’s poetry collections, click here. If you have enjoyed this blog, or found it informative, then make sure you don’t miss future editions. Just click on the button below to sign up for our newsletter. We’ll even send you a free ebook for doing so.
 It is a sad fact that around 80% of people who start to write a book, never finish writing it. Why such a high dropout rate? It’s not easy to say as those that don’t finish don’t tend to talk about why they didn’t finish, but we can make a few assumptions which may not be too far off the mark. First there is the time factor. Writing a book is a very time consuming activity and when someone has competing priorities, such as work or family, something has to give and the thing that is easiest to abandon is writing.  Secondly, some people don’t actually realise that writing a book is quite difficult. They assume that the words will simply flow from their brains to their keyboard of their own volition and in no time at all there will be a 90k manuscript that is all ready to go to the publishers. That is down to a lack of research, of course. Anyone who spends even the smallest amount of time on social media groups dedicated to writing would soon see the posts from frustrated writers and would realise that writing isn’t anything like as easy as it seems. Then comes the realisation that writing the book is only a fraction of the work that is involved in producing a book. Once it is written it has to be edited, market tested (beta readers), edited again, proofread and then the biggest mountain is still ahead: either finding an agent or going self-published. That is enough to put the less motivated off the idea of finishing their book.  Which brings us to the biggest barrier of all for finishing the writing of a book: a lack of basic motivation. It is very easy to come up with an idea for a book. We can be inspired in all sorts of ways, including the “I’m pretty sure I could write a better book than this myself” we have all probably felt after reading a mediocre book. But the world is full of half-finished projects for which the explanation is that the person who started the project didn’t have enough motivation to finish it. Real writers are highly motivated. There can be no doubt about that. There are many reasons they are motivated, and we can take a look at some of them.  The most obvious is that they have a story to tell and writing it down is the best way of telling it, other than pinning someone in a corner and telling it to their face while they try to escape. I’m one of those sorts of writers. Once I have an idea for a story there is no way I can rest until it is written. Sometimes I’m halfway through writing one story when a second comes along and demands attention. It can be a real problem finishing the first story while the second one jumps around in my head trying to get my attention. I think that many real authors suffer from that problem, which is why they produce so many books at frequent intervals. They just can’t stop the stories from flooding out.  The second motivation is that people do it for money. If you are just starting out on your journey as an author, and the possibility of making a lot of money is what is motivating you, then brace yourself, because I have some bad news for you. 70% of all the books ever written never sell more than 100 copies. How motivated do you feel now? There are many reasons why they never sell more copies, and a lack of marketing is one of them, but it shows you what a tough industry you have chosen to enter. Of the remaining 30%, 70% of those will never sell more than 1,000 copies. To put that into context, you have to sell around 30,000 copies to make the equivalent of the “living wage” in the UK, which is about £20k p.a. at time of writing (about $25k or €23k).  Only the smallest percentage of authors will ever make more than the living wage from writing books and the mega rich authors are the ones that get their books turned into movies or TV series. Yes – that could be you. But before you give up your day job, ask yourself what the probability is. The vast majority of authors are the equivalent to the Sunday-morning-in-the-park footballers comparing themselves to Lionel Messi (or Joe Burrow if you are American).  For many authors writing starts out as a hobby; something they like to do to pass the time. The thought of actually publishing a book often doesn’t cross their mind. It is something suggested by someone who has read their “scribblings” as they self-effacingly describe them. Those people tend to be some of the ones in the 70% who never sell more than 100 copies, because they don’t understand that the writing is the easy part. It is the marketing that sells books and that is the difficult part. Thos sorts of people would much rather just keep on with the writing part, so their books never sell. Which is a great pity because they might be potential best-sellers, but no one will ever know.  For some people writing is cathartic. Writing allows people to express their emotions, especially negative ones. Getting things down on the page is a form of release. It can also provide insights into why people feel the way they do, so it is good for their mental health. I have met many authors who have told me that this is why they write. Many of those sorts of books become best sellers, because the emotions expressed are so authentic.  I have described just 4 examples of motivation for writing in this blog, one of which is actually built on a false premise. There are many more I am sure. Why not tell us what motivates you to write? Use the comments section below to share your story. So, if you are just starting out on your writing journey, ask yourself how you are going to keep yourself motivated for weeks, maybe months, on end while you work on your book. Then ask yourself how you are going to keep yourself motivated during the seemingly endless querying process. And, if the querying process doesn’t pay off and you end up self-publishing, ask yourself how you are going to keep yourself motivated while you market your book yourself.  I’d love to be able to answer those questions for you, but in the writing world there is no boss or team to help you stay motivated.
There is only you, the device you are writing on and, if you are lucky, a loved one who will keep you supplied with cups of tea and comforting words. But you aren’t really alone. There are thousands, possibly hundreds of thousands, of people in the world just like you. Join a writers’ group either in the real world or the virtual world, because they, too, can provide you with encouraging words. But it will still be down to you to do the rest and there is no one to motivate you to do it except you. If you happen to have some good motivational tips, please feel free to share them in the comments below. If you have enjoyed this blog, or found it informative, then make sure you don’t miss future editions. Just click on the button below to sign up for our newsletter. We’ll even send you a free ebook for doing so.  Having a great idea for a story is one thing, turning that idea into a book that people want to read all the way to the end is something else. Countless books end up as DNF (did not finish) and attract poor reviews because the author couldn’t keep their readers interested enough in what was happening for them to stay the course and finish the book. And a book that ends up as DNF means that its reader won’t buy the author’s next book. Then you have the books that readers did finish but didn't like, which also attract poor reviews. So, 10 simple tips to make sure your book doesn’t share that DNF fate and attracts good reviews. They aren’t complicated, but they do need to be at the forefront of the author’s mind as they write.  1. Invest time in your character building People engage with characters, not plots, so the characters are the most important part of writing. A good protagonist (or MC if you prefer) isn’t what is visible from the outside. It is what is on the inside that counts. We may be attracted to a person by their looks and style, but we fall in love with them because of who they really are, even making allowances for their flaws. In real life we don't fall in love with shallow people, so why would we do it in books? Create a pen picture for all your major characters. Start by giving you character a back story, beginning with their family and home life, through their education, their peer groups and their life experiences. These things shape their values and beliefs and those are the things that direct their behaviour. Your character has to behave consistently, in accordance with their values and beliefs. They may be forced by circumstances to “act out of character” at times, but that always creates a dilemma for them and is a source of internal conflict (see below). Above all give them emotions, so that readers feel those emotions and reflect them in their reading experience. If your character is moved to tears, your readers should be moved to tears too. If your character is laughing, your reader should also be laughing. You may not use a lot of the material that you generate in your pen pictures, but knowing how characters will behave in any particular set of circumstance means they can behave consistently over a lengthy story.  2. Create a meaningful conflict. Character + conflict = plot. The conflict that faces your protagonist is what the story is all about. No matter what the conflict is, they have to resolve it by the final page in order to complete the story and fulfil the destiny you create for them. Conflicts come in many different disguises and will depend very much on the genre in which you write. It can be the character’s internal struggle to overcome their own demons, or it can be an external struggle to overcome actual demons. Every story, even a comedy, is about overcoming conflict. But whatever the conflict is, it has to be of interest to the reader, so it has to be larger than life and something that readers are unlikely to experience for themselves, which makes it interesting for them  3. Create a meaningful consequence Failure to resolve the conflict has to have consequences, otherwise it is hard to inject drama into the story. The more severe the conflict, the greater must be the consequences of failure. In romance, failure may end with a broken heart. In a court room drama failure may end in imprisonment or financial ruin. In action adventure the consequence of failure is almost always death and/or destruction. Whatever the consequence, it has to match up with the reader’s own fears because that is what will keep the reader turning the page. Even though the reader knows the story will probably have a good outcome for the protagonist, that element of doubt is what keeps them reading, because they have to know how the protagonist avoids the consequences.  4. Motivate your character. In a story, as in real life, the protagonist has a choice whether or not to get involved with the conflict. A hero isn’t a hero because they are brave. A hero is a hero because they choose to run towards trouble when other people are running away from it. This means that the protagonist has to have a reason to get involved and this is where their values and beliefs come in. On the other hand they can’t get involved because they are compelled to by some outside agency. In other words, it can’t be just about the job they do. There must be an opportunity to walk away early in the story and even later in the story when things get difficult. Take a typical private investigator story. The PI gets involved initially because they have been hired to do so, but they can also turn the case away if they wish. They don’t know at that stage that their life may be threatened. Later, however, they find that their life is on the line if they continue the investigation, so they can choose to walk away. Why they don’t walk away is because of their motivation, not because they are being paid. The motivation has to be believable, and it must fit in with the character you described in your pen picture.  5. Invest time in creating your villain Authors often spend a lot of time building good protagonists, only to let themselves down with their antagonist. Nobody is born bad, so there must be a reason for them becoming the person they are. It doesn’t matter the genre, your villain has to have his or her own back story which explains their behaviour. Just as with your protagonist, you may not use all the material you generate in developing your antagonist, but if you understand them it will add depth to your plot and your readers will understand them.  6. Create smaller conflicts to add complexity and drama. Sub plots are what turns a short story into a full length novel and those sub-plots are created with small conflicts that get in the way of your protagonist dealing with the big conflict. Imagine our PI, mentioned above, who owes money to a loan shark, who wants his money back. The PI spends time during the story dodging the loan shark, trying to raise the money to pay him back etc then, just as the PI is about to solve the case and confront the villain, they are snatched off the street by the loan shark and are threatened with dire consequences if the money isn’t forthcoming within the hour. There is several chapters worth of drama available in that short paragraph. Sub-plots are also a great way to put your minor characters centre stage for a while as they try to help the protagonist deal with the minor conflicts so the protagonist can get on with dealing with the major conflict. This is what injects "pace" into a story; the peaks and troughs in the action that keep the reader turning the page to find out what happens next. However, the sub-plots and the main plot must interact with each other. If the sub-plot has no impact on the outcome of the main conflict it is redundant, and the reader ends up saying “what was that all about?”, which is not a good thing.  7. Do your research This applies to any genre but is particularly important when it comes to specialist settings such as police, medical or legal dramas and historical fiction. Readers of that sort of fiction know their stuff and they expect their authors to know their stuff as well. I’ll give you a real life example. I recently read a book set during World War II. The first third of the book was set against the backdrop of an RAF Lancaster bomber squadron. It became quite clear that the author knew nothing about the RAF. He had researched the Lancaster bomber and knew quite a bit about that (but not as much as he should have known), but he was clueless about the RAF in general. As I’m a former member of the RAF he had me wanting to throw my Kindle at the wall in frustration at the gaffs he committed, and he completely undermined his credibility as an author writing about that period. Needless to say, the book ended up as DNF. What made it worse was that most of what he needed to know he could have found on the internet and the rest from one of the several standard works about the RAF during WW2. The golden rule is always “write what you know”. As that is a bit limiting the next best thing is to work out what you don’t know and learn about it. Learn everything about it. Like character development, you may not use everything you learn, but at least you won’t make the sorts of gaffs the above author made, your credibility will be retained and your story will be more authentic. It’s easy to say “Readers probably won’t know that, so I won’t bother researching it” – but some readers will know it and they are the ones who will write the bad reviews of your book.  8. Don’t show off. This includes using multi-syllable words when single syllable words will do and using technical, scientific or jargon words that readers won’t understand, or including unnecessary detail just to prove you’ve done your research. Your readers don’t want to have to read your book while holding a dictionary in one hand and an encyclopaedia in the other. So, use language that the average reader will understand, even if you know all the technical or scientific terms yourself. There will be times when you need to use those terms, in context, but make sure that you provide your readers with an explanation so that they will understand it too. You can have the protagonist or another character acting in place of the reader and have the “expert” explain what they mean in simple language, for that character’s (and the reader’s) benefit. This is often done in cop shows where the Forensic Medical Examiner has to explain post-mortem results in terms the lay person (the viewer) will understand.  9. Know the ending before you start. If you know how your story is going to end, you can construct a “road map” that will take your protagonist to their destination. One of the biggest problem for “pantsers”, as some authors are called, is that in not having a map to follow, they get side-tracked, which is confusing for the reader and it is hard for the author to get the plot back on track because they have confused themselves. It is OK to deviate from the map, but if you don’t have a map to start with you won’t know if you are deviating from it.  10. Write for your readers. Many authors are advised to “Write for yourself first” and that is OK if all you want to do is write. But if you want to write a best-seller, you have to write for your readers. You have to know what they want and what they expect, and you have to fulfil their wants and expectations. If you do that your book will get good reviews, which will mean it sells more copies. But if you don’t meet those wants and expectations, you can only expect bad reviews, which will stop sales in their tracks. What the readers want and expect will vary from genre to genre, so you have to understand your genre inside out, and that means reading books in that genre. Read the best-selling authors in that genre to learn from the best. Once you have established yourself as a best-selling author, you can then “write for yourself” in the certain knowledge that your name will sell the book. But you have to cross that bridge when you reach it, not when you are just starting your journey.  And Finally
Nobody can guarantee that your book will be a best-seller. But if you follow the advice above, you will stand a better chance than those authors that don’t follow the advice. But if there is a key to success it is in the first three tips. Character, conflict and consequences. They are what make up the vital elements of the story. At least get those right and you are well on your way to writing a best-selling novel. Now that you have read this blog, why not take a look at our books to see if our authors have followed the advice that we have offered? Just click on the “Books” tab to see their work. If you have enjoyed this blog, or found it informative, then make sure you don’t miss future editions. Just click on the button below to sign up for our newsletter. We’ll even send you a free ebook for doing so.  There was a recent kerfuffle amongst Indie authors on X/Twitter when a well-known, trad published, author (I won’t name her, the posts are all there if you want to look) suggested that Indie authors take the “easy route” by self-publishing. She actually said it on Instagram or TikTok, or one of those platforms, but the kerfuffle was on X/Twitter. Naturally, this is not a view we share. And we are pretty sure that it isn’t true anyway. I know for a fact that Selfishgenie Publishing wasn’t the first choice for any of our authors. Nor were we their second choice, or their third. In fact, if we made it into their top 100 choices we would feel quite proud. Those authors came to us because they felt they had nowhere else to go. It most certainly wasn’t an easy choice for them to make, we know that. Our authors came to us for three reasons:  1. We were willing to give them a chance. 2. We were able to provide skills that they didn't have. 3. Unlike vanity publishers, we didn’t make any upfront charges for our services. Now, you may be wondering why, as publishers, we lump ourselves in with Indie authors. It is because that in many ways we function in exactly the same way as the indie author functions. We may be publishers, but we are also authors ourselves. Our company exists because we started doing for other people what we were already doing for ourselves. And, just like many other indie authors, self-publishing wasn’t our first choice. But it wasn’t really a choice we made for ourselves anyway. It was made for us by others. For many self-pubbed authors, there is a three step process. Let’s just go through it to see if it rings any bells.  Step One – Querying. Sending out queries to agent after agent and getting knocked back every time. How many letters are sent and over what time scale varies from author to author, depending on their resilience. But in the end the author finally admits that it isn’t going to happen for them and stops sending out query letters. The decision to do that isn’t one the author makes voluntarily. The author has just come to the realisation that none of these agents are going to offer to sign them, so it isn’t actually a decision at all.  Step Two – Pitching to smaller publishers. There are some smaller publishers that accept submissions direct from the author, not via an agent (they do accept submissions via agents as well, of course). After working through the lists of publishers who will accept those submissions and once again getting knocked back every time, the author once again realises that those publishers aren’t going to sign them. Again, the decision isn’t really being made by the author. It is being made by the publisher. The author is just accepting the reality of their position. Let’s face, getting a trad publishing deal is a numbers game. Using the old iceberg analogy, it is only the authors that represent the tip of the iceberg that get a publishing deal. The vast majority that sit below the waterline don’t get one. They are probably around 95% of all authors writing today. They can’t all be bad. In fact most of them are pretty good.  Step Three – Self Publishing. When the author decides to self-publish, they are making a choice. The alternative is not to publish their work at all and, sadly, some authors do make that decision. Their talent will be forever lost to readers simply because they are worn out from trying. So, what part of steps one and two were easy, do you think? Is it easy to get rejection after rejection? No, it isn’t. Every rejection feels like a dagger through the heart. Is it easy to get back on the horse and try again, and again, and again? No, it isn’t. Yet we kept sending out those queries, even though we knew we would get more stab wounds.  The author who thinks it is easy to go self-pubbed is speaking from a highly privileged position. They got their agent before their resilience ran out. They got their publishing contract. Every time they submit a new MS to their agent, they know that the agent is very likely to go into raptures of appreciation for it, because they know that another pay-day is approaching. And when the agent puts the MS forward to publishers, they know there is a very high probability that it will be accepted for publication. That is privilege indeed. But, apparently, we Indies are the ones who take the easy route. So, what does that easy route look like? Aside from getting stabbed repeatedly, of course.  Learning new skills, that we never imagined we would ever have to learn when we first sat down to write our book. Not writing skills - we knew we might have to learn a few of those. No, we have to learn to edit, to proofread, to format, to use new platforms so we can upload and distribute our books. We have to learn how to spot the fakes and the scammers who want to take our money. But most of all we have to learn how to market our books. This really is the biggest challenge for the author. Nobody is going to buy a book they don’t know exists and marketing is the way we get the book out in front of readers so that they know about it.
So, how can any of that be the easy option? The only easy option is to not market the book and accept that it isn’t going to sell.  I suspect that the author in question, like so many trad published authors, simply has no idea what an Indie author actually goes through, or the amount of work they have to do, not just today, but every day until they either give up or they die. If that is the case then they should understand the risks of talking about things of which they have no knowledge. They should also be aware that they are perpetuating the prejudice that being self-published is somehow second rate. It isn’t. We are self-published because no agent or publisher would take a chance on us. That doesn’t mean our work isn’t any good. Agents and publishers want guaranteed best sellers. There is no room for risk in that equation and new authors are risky.  We know that because quite a few authors do get book deals with trad publishers, but when their book doesn’t sell as expected, the publisher drops them. And when the publisher drops them, so does their agent.
And they end up here with us indies. But we also know our books are good because, providing we get the marketing right, we are able to sell our books. And some of us even sell them in quantities that some trad published authors can only dream about. So, to all you indies out there, we want to tell you that you are our heroes. You are the people we admire. We admire you far more than we admire trad pubbed authors, because we know what it has taken for you to get where you are today. Because we have travelled the same road and we know how hard the journey is. We wish you well. Keep fighting the good fight. If you have enjoyed this blog, or found it informative, then make sure you don’t miss future editions. Just click on the button below to sign up for our newsletter. We’ll even send you a free ebook for doing so. We’re going to be a little bit controversial this week, so we will understand if you don’t agree with us (by all means, tell us in the comments section). But we have given this subject a bit of thought and our reasoning is solid, we think. We are recommending that after you have published an ebook, you wait for a period before you publish a paperback (or hardback) version. We suggest waiting 4 - 6 months. This is contrary to the way mainstream publisher’s operate. They publish a hardback copy first (mainly to send to reviewers) then a paperback then, finally, the ebook. Nowadays it is common to publish all three fat the same time, but some publishers still spread the process out over 9 to 12 months.  So, why are we recommending publishing the ebook first and then delaying a hard copy for up to 6 months, when mainstream publishers do the opposite? Mainstream publishers have an army of proof-readers and editors who work with the author to get it ready for publication. So, when they put out their hardcopy version, they are already confident about its narrative quality and that it is error free. Even then I’m sure we have all read books from mainstream publishers that have been error strewn. But Indie authors only have an army of one; themselves. If you want to change an ebook after publication, it is easy to do so. If you wish to change a paperback, it is much harder. OK, I’ll have to qualify that and say that some publishing platforms make it harder than others.  Because of the way Draft2Digital publish their paperbacks, using 3rd party printers, they don’t allow you to change the paperback content once you have approved the book for publication. You have to purchase “print change tokens” which cost $25 (about £20), which covers the cost of getting the 3rd party printer to make the changes.. So, why should this matter? Well, experience shows us that 30 seconds after you click on the “publish” button, you will spot a typo in the MS. Or, more likely, your readers will spot a typo. Secondly, once the book starts to sell you start to get reviews and if the reviews are negative you will want to do something about them.  So, you need to give yourself some breathing space to correct the typos and to make changes to the MS to address the issues that have resulted in you getting the negative reviews. There is a psychological factor that will come into play as well and that may affect the sale of future books. If someone pays $5 for an ebook and they aren’t happy with it, you may get away with it. For those sorts of prices, the reader may not bother posting a review. They may even give the author a second chance and buy their next book.  BUT For a $15.99 (£13.99) paperback the rules change. For that price the readers are much more likely to leave a negative review if they don’t like the book and they almost certainly won’t buy a second book by the same author. OK, in an ideal world your book will be perfect the day you publish it. You will have used the feedback from both your alpha and beta readers to improve the book. You will have formatted it properly and you will have eradicated all those pesky typos and incorrect homophones. But we don’t live in a perfect world. Some of those things will have slipped through. Even if you have paid a proof-reader to check your book (like a mainstream publisher does) some may still slip through because proof-readers have human failings too. You also may not have used alpha or beta readers, so you have no idea if your book is any good or if it can be improved.  By delaying the publication of your hardcopy version, you give yourself the time to sort out the teething problems. Your ebook readers effectively become your beta readers, editors and proof-readers. As a quality strategy it isn’t one we would recommend, but we are realists and we know from experience that this is what some authors are unwittingly doing. Now, I haven’t mentioned Amazon, but that is because they are more forgiving. If you want to change your MS for the hardcopy on Amazon, you are able to do so. But, as we’ve said in other blogs, Amazon is only one sales channel, and you need to be covering all possible bases. That means that if you are going to change the MS on Amazon you will also need to change it on D2D and that is going to cost you money.  And don’t forget those psychological connections between pricing, reviews and future sales. They apply equally to books bought on Amazon.
So, when you’ve published your ebook and you get that prompt that says “Do you want to start your paperback?” please resist the temptation.to say yes. Take a step back, take a deep breath and say “No, I’ll leave it for now. I’ll come back in 4 - 6 months’ time when I’ve seen if there is anything wrong with my ebook version and had time to fix it”. Finally, if you are lucky enough for your ebook sales to go stratospheric, you can always change your mind and roll out the hardcopy before the 4-6 months has elapsed. If you have enjoyed this blog, or found it informative, then make sure you don’t miss future editions. Just click on the button below to sign up for our newsletter. We’ll even send you a free ebook for doing so.  Back in June of this year we blogged about the way some authors don’t engage properly on social media, so they don’t get the best results out of it. We called it “fake engagement” and there is a lot of it about. We are happy to say we now have a case study we can use to demonstrate the value of good quality social media engagement, so we can show how it is superior to fake engagement.  It is the basic principle of social media marketing that selling should always be secondary to engagement. If people think that all you want to do is sell them something, they will scroll past your posts. That means you spend a lot of time and effort trying to market on social media, only to get poor results. So, to our case study. A reader of our blog about fake engagement, we’ll call them Red Bus, got in contact with us to say they make regular posts to their account on X (formerly Twitter) related to the themes of their books. They are just statements of fact that Red Bus thinks readers may find interesting. The posts don’t have URLs linking them to Red Bus’s books, because that wouldn’t be engagement, that would be selling.  This week Red Bus got a response to one of the posts from someone we will call Maple Leaf. Red Bus responded back and a virtual conversation started up, with Maple Leaf talking about their dad’s experiences and Red Bus making contributions based on personal experience. This went on for about two hours, off and on (maybe a dozen posts each) when Red Bus had to end the conversation, as there were other things that needed doing and X is too much of a distraction. Red Bus said goodbye and thanked Maple Leaf for the chat, logged off X and thought no more about it.  Red Bus logged back onto X the next day and found that Maple Leaf hadn’t quite terminated the conversation the previous day. Maple Leaf had asked a couple of questions about Red Bus’s books, relating to where they were available. Naturally, Red Bus replied, providing the necessary information. But Red Bus didn’t include a link to the books. That would be too pushy, Red Bus decided. Again, Red Bus didn’t think too much more about it and got on with the business of the day. Later that day Red Bus logged onto their KDP dashboard, to see that there had been a sale in the territory where Maple Leaf lived. A coincidence? Maybe. But Red Bus didn’t think so. Logging back onto X, Red Bus saw a notification from Maple Leaf, and sure enough, Maple Leaf said they had purchased one of Red Bus’s books. So, quality engagement on social media had led directly to a sale. At no point did Red Bus link to any of the places their book is sold. At no time did Red Bus suggest to Maple Leaf that Maple Leaf might like Red Bus’s books.  Maple Leaf took the decision to ask, and then took the decision to buy, without any prompting. Now, you may think that a single sale is no big deal, and you would be right – and wrong. Firstly, if Maple Leaf likes Red Bus’s book, they may buy the other books that Red Bus has written, so one sale turns into several. Secondly, if Maple Leaf likes the book(s), they may leave a review and we all know how valuable reviews are. But, most importantly, Maple Leaf may tell their family and friends about the new author they discovered on X, and suggest that the family and friends take a look for themselves.  Because Maple Leaf has had a positive experience as a result of this engagement and that is so rare it may be worth mentioning to others.
That is the sort of result you can get from proper engagement. It is not the sort of result you will get with posts saying “Can anyone see my posts?” It is not the sort of result you will get with posts like “Who is the best band in the world?” Or with “Should you put pineapple on pizza?” And it is certainly not the result you will get just by posting links to your books. Growing a market through social media is a painfully slow process sometimes. But if you do it right, it can pay off, as Red Bus found out this week. If you have enjoyed this blog, or found it informative, then make sure you don’t miss future editions. Just click on the button below to sign up for our newsletter. We’ll even send you a free ebook for doing so.  In writers’ groups on social media, authors often post drafts of their blurbs, asking for opinions. It’s a good idea, because it can gain valuable feedback. But in reading these drafts, it is quite obvious that some authors haven’t read any of the numerous blogs that have been written on the subject of blurb writing. In the vast majority of cases, the blurbs won’t sell the book because they fail to capture the interest of the reader within the first few words. Instead, they try to precis the story and what they end up with doesn’t sound interesting enough to sell the book. But experts on blurb writing often say they can write a blurb that will sell a book without even reading the book. And this is a theory we subscribe to, in broad terms, because in the blurb you aren’t telling the story, you are telling the excitement of the story. You aren't selling the story, you are selling excitement. Let’s take visual media (movies, TV and games) and think about how they sell their product. They never try to tell the story. They try to show the viewer/player how much enjoyment they are going to get if they watch the movie or TV show or if they play the game. Depending on the genre, you will get car chases, explosions, gunfights, people falling out of aeroplanes, zombies trying to eat people, people expressing anger, fear or love. If it’s a comedy you will get jokes, either visual or spoken. What’s the most memorable scene in the movie Dumb and Dumber? Yes, that’s right, the one where Harry (Jeff Daniels) has his tongue frozen to the street sign. Yes, that’s in the trailer! By the time a good thirty second trailer is over, people are already setting reminders on their TV, booking seats at the cinema or they are downloading the game. The movie, TV show or game may be the worst ever, but you would never get that from the trailer. Because the trailer looks exciting/horrific/emotional/funny, and the audience wants to see more. The blurb is a book’s trailer, so it has to work the same way.  The reaction many book blurbs get. So many book blurbs just don’t sound entertaining enough. By the end of the first paragraph the reader has already lost interest and is scrolling onto the next book in the search results – somebody else’s book! We try to follow a three paragraph structure for blurbs. If you haven't sold the book by the end of the third paragraph, you probably aren't going to sell it at all. Research has shown, however, that many readers never get past the first paragraph. So that is the crucial one. If that hooks the reader, then the other two paragraphs clinch the sale.  We call this approach (very unoriginally) “hook, line and sinker.” Hook gets the readers’ attention, line reels them in and sinker makes the sale. (Note for the pedants: we know that is not what a sinker does, but we don’t care about that. We just want three simple words to remind us that the blurb comes in three parts. We don’t claim that our fishing metaphor is perfect.)  But the hook is crucial. It does 80% of the work in selling the book, because if it isn’t sharp enough, the reader’s attention will already be moving onto the next book in the search results. A good hook is made up of three parts (do you see a trend emerging here?): character – conflict – consequences. Who is the character, what conflict have they become embroiled in and what are the consequences of failure? But it also has to indicate the book’s genre without wasting words by making it explicit. If you write westerns, you might use the words gunslinger, drifter or cowboy. If you write medical romances, you might mention a doctor or a nurse. These indicate the genre without having to describe the genre. The hook can be written as three sentences, or as a single sentence. That isn’t so important. The important thing is that you have less than fifty words to get those things across in an exciting manner. Yes, 50! So, no room for lots of adjectives. No room for descriptions. No room for sub plots. No room for backstory and definitely no room for “world building”.  It has to be the tightest writing the author has ever done, because, if the reader’s mind starts to wander, they’ll never get them back. Here is an example: “When Private Eye Harry Jones was asked to investigate an errant husband, he had no idea it would nearly get him killed.” So, from that sentence we get genre (crime), we get the main character (Harry Jones) and we get the conflict and the consequences in the single word “killed”. To save you having to count, that was just 22 words. I didn’t need 50 and the reader will either be interested in finding out why a routine investigation nearly got Harry killed, or they won’t. I’m not trying to say that example is perfect, but it is the sort of thing blurb writers aim for as a first attempt. A 3 sentence example might be “A private investigator. An errant husband. A deadly assignment.” We still have the character, but without using his name. We still have the genre. We still have the conflict and the consequences. Some genres lend themselves to that approach better than others. I probably wouldn’t use the 3 sentence structure for a romance (though that doesn’t mean it can’t be used).  The second paragraph, which we call “line”, expands on the first to provide it with context. There are a few rules, mainly “don’ts”. 1. Don’t include other characters, focus on the protagonist (or MC if you prefer). 2. Don’t include sub-plots – stick to the main plot throughout. 3. Don’t get into world building, locations or time periods. If the book is set in a specific time period, use a generic term, eg Regency, medieval etc, or just refer to a century. 4. Don’t include backstory. It loses the focus of the blurb. 5. Do ramp up the conflict and the jeopardy. Continuing from our example hook, above, we might develop the line as follows: “When Harry Jones is asked to find out if a client’s husband is having an affair, it leads him into the seedy world of drugs and prostitution. He stumbles on the daughter of an old friend, enslaved to a drug gang. Desperate to help the girl, Harry takes on the gang's boss to set her free.” We can now clearly see the conflict that Harry has to deal with, without using a lot of unnecessary words. At the same time, we introduce a victim that needs help (the girl) and a villain (the gang's boss).  The sinker. All that needs to happen now is for the levels of danger to be ramped up so high that the reader has no choice but to buy the book to find out what happens. That is the job of the “sinker” paragraph: “In order to rescue the trapped girl, Harry fights not only the drug gang, but also his own fears. Old memories return to haunt him, paralysing him with indecision. Can he overcome his past and get to the girl before she is killed, or must he watch his friend’s daughter die? Finishing on a question leaves the reader wanting to know the answer. And to find out the answer, they have to buy the book. Yes, it is manipulation, but all marketing is manipulation of some sort.  Different genres use different types of wording. Romance blurbs use phrases like “torn apart by fate” or “star-crossed lovers” or “mutual dislike”. But whatever wording is used, the blurb has to show that the possibility of an unhappy ending is real, so that the reader will want to know the final outcome. The final message we must give you is that the hero must always have control over their actions. They must never be coerced into involvement. So phrases such as “Harry must fight…” or “Harry has to overcome…” are a no-no because they make it look like Harry has no say in the matter. Instead, phrases such as “Harry fights …” or “Harry overcomes…” take out the element of coercion and leave Harry as a hero.  This is because heroes do the right thing because it is the right thing to do, not because they have been made to do it by some outside agency. This is a pretty safe rule when writing a novel anyway. The hero is the hero because they don’t walk away, even though they could. It's is a tough thing to do with some professions. Police, military, firefighters etc have to obey orders, so what we are talking about in a blurb has to be the character going above and beyond the call of duty. Yes it’s the cop’s job to catch the killer, but it isn’t their job to dangle from a ledge a hundred feet up while they do it.  Here’s a free offer for you. If you want to try out your ideas for your blurb, email it across to us at the address on our “contacts” page, we’d be happy to provide you with a bit of feedback, free of charge.
Of course, if you’d like to browse our books catalogue while you’re waiting, we’d be delighted. You’ll find some stuff to read on our “free stuff” page. Pull up a seat, pour yourself a cup of coffee and we’ll get back to you as quickly as we can. If you have enjoyed this blog, or found it informative, then make sure you don’t miss future editions. Just click on the button below to sign up for our newsletter. We’ll even send you a free ebook for doing so. |
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