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Once again we turn our blog page over to a guest blogger. The views expressed are those of the blog's author and don't necessarily represent the views of Selfishgenie Publishing  Have you noticed how books are all starting to conform to a pattern these days? After reading the start of a few books quite recently I rejected them, but it was only after I rejected them that I started to realise that the reason I rejected them was because they weren’t conforming to the pattern. Therefore, I wasn’t prepared to carry on reading them. Which was most unfair on the authors who had invested so much time in writing them. So, what is the pattern? It’s the habit many authors now have of hitting the reader between the eyes on page one of the book, with some sort of action scene, before dialling down the action to properly introduce the characters and develop the plot. They then pick up where the action left off and continue the story in a more linear fashion. I have to plead guilty with regards to my own books.  It doesn’t just apply to books that are action focused. Romances, too, sometimes start in the middle before returning to the beginning. So, has this always been the way books were written? Going back deep into history, to the start of my own reading, I remember that stories happened in a predictable order. There was the beginning, where the characters were introduced and the starting point of the story was established, then a middle, where the plot was developed, then an end, where the climax was reached and everyone lived happily ever after. This allowed the author to develop their characters before launching them into their adventures. Who could imagine “Pride and Prejudice” being a success if we didn’t know all about Elizabeth Bennet’s personality from the very start.  If you think about the fairy stories of childhood, they always conformed to the beginning, middle and end pattern. We don’t first encounter Snow White breaking into the Seven Dwarves’ house, then go back to find out that she was sent out with the huntsman to be murdered on the orders of her wicked stepmother. Similarly, we don’t first encounter Cinderella running away from the ball, losing her glass slipper on the way, then go back to the kitchen to find out she is being bullied by her wicked stepmother and the ugly sisters.. Of course, those stories are for children and a child’s unsophisticated mind couldn’t follow a story told any other way. But what we learn as children tends to stay with us for life. As we grow up the stories still follow the beginning, middle and end paradigm until we reach adulthood. Then mayhem ensues.  The problem with this traditional style of storytelling, of course, is that it takes time to introduce characters, explain who they are and what they are doing. I remember having been bored silly by “The Warden”, a novel by Anthony Trollope and considered to be a classic. The reason I was trying to read it was because it was a set book for my English exams and I was supposed to be learning how to use language and how to tell a story properly. Today Trollope’s book might never find a publisher, because it takes so long to get going (no great loss if you ask me). The same could be said of many other books that are regarded as classics. So why this change in the approach to storytelling? Well, literary agents are partly to blame (or are they?). When an author wishes to submit a book to an agent in order to try to get a publishing deal, the first thing they do is go onto the agent’s website and read the submission guidelines. These are invariably the same. Submit no more than the first 10,000 words or the first 3 chapters. If the agent likes what they read, they will ask for more. If not, they won’t. Even when it comes to publishers who accept submissions direct from authors, the word limit is usually still applied.  So that’s it guys and gals. If you can’t grab the agent’s attention in those 10,000 or so words your book will be rejected. So, in order to deal with that the author tries to inject some action into the first thousand words in the hope that the agent reads on. The result is that the middle of the book, or at least part of it, gets stuck in before the beginning. However, is it really the agent’s fault? After all, isn’t the author making a rather large assumption about what the agent wants to read and is tailoring their book on the basis of that assumption. Maybe the agent actually wants to see how the characters are developed and how the plot unfolds. Maybe that is why so many authors receive rejection letters. Maybe we are making our submissions based on false assumptions. If you are an agent or publisher reading this, perhaps you’d like to comment.  Then there is Amazon. Their “look inside” feature gives the purchaser the opportunity to read a couple of thousand words of a book before they purchase it. This is to match the experience of the “browser”; the reader in the bookshop or library who has the time to spare to actually read the first few pages of the book before they decide whether or not to borrow or buy it. So, again, the author may set out to grab the reader’s attention so that they don’t put the book back down again. But again are we, the authors, usurping the process by making the assumption that the reader won’t borrow or buy our book if we don’t hit them between the eyes on the very first page. It is said that the first line of a book must be an attention grabber. That’s fair enough, but that doesn’t mean that the author then has to launch into climactic action before the reader even knows who the characters are.  As part of the research for this blog (yes, I do research) I read the ‘look inside’ portion of Herman Melville’s “Moby Dick”. This, of course, is reckoned to be another classic. But based on what I read, I wouldn’t buy it. To be sure, Melville’s use of language is beautiful, but in the opening pages of the book not a lot happens. The reader isn’t even told that a whale is involved. We don't even find out who Ishmael is or what he has to do with the story (not a lot, as it turns out). So, is it therefore not the reader’s fault that the whole nature of storytelling has changed? We expect instant gratification. We want the action to start on Page One, and if it doesn’t we put the book down and move on.  Thinking about this made me think about films (movies) and the way they now tell their stories. We are used to James Bond films, for example, where Bond is always in mortal combat with an enemy in the opening scenes of the film, well before the title music starts up. Other films also use this technique. So, maybe, in our minds, we have started to think that is how our stories should be told. We, too, are putting the action in before the metaphorical title music. So, when an author goes back to the traditional beginning, middle and end format for writing, we think it a little bit odd. Is this what guided my decisions to reject certain books? Or is it just me? I may have been rejecting masterpieces, simply because I didn’t have the patience to let the author tell the story properly. I have had the same conversation with my wife when new TV dramas start up. It’s a bit boring, she’ll say, and my reply will be that we have to establish who everyone is first and how they connect together.  Again, thinking of TV crime shows in particular, they often open up with a dead body and it takes the rest of the story to find out who the dead person really was, and all their little quirks and foibles which led them to being bumped off. Along the way we also find out about the police officers who are investigating the death, but not until after the body is found. Would I still watch the programme if it unfolded any other way? I can hardly complain that a character is underdeveloped if I won’t give the author time to develop him or her. I can’t complain about the plot being difficult to follow if I don’t give the author time to explain what is happening. This is particularly so when it comes to back story. It is like trying to tell the story of World War II without first telling the reader who the Nazis were. Will I be changing the way I write my own stories as a result of what I have deduced? I don’t know. I rather like hitting the reader between the eyes on Page One. I don’t do it in every book I have written, but I have to admit to doing it in the majority of them. Judge for yourselves whether it is the right technique. Just click on the “books” tab at the top of this page to find out more. If you enjoyed this blog, or found it informative, be sure not miss future editions by signing up for our newsletter. Just click on the button below. We'll even let you choose a FREE ebook for doing it. 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Once again we are turning our blog page over to a guest blogger. All the views expressed in this blog are those of the blogger and are not necessarily representative of the views of Selfishgenie Publishing.  Why do it? Why put yourself through all the trials and tribulations of writing a novel, searching for an agent, then possibly having to do all the work to self-publish if you can’t attract an agent? I have applied some thought to this and have come up with the following list of reasons. It isn’t exhaustive, so please feel free to add your own suggestions in the comments below the blog. 1. You like writing. I know that this sounds obvious, but I have actually met authors who have told me that they love being an author but hate all the writing that goes with it. Sorry, that will never work out. You can test yourself on this. If, suddenly, an hour of your time were to come free, which would you rather do (A) watch something on TV or (B) sit down and try to write something. If the answer isn’t (B) then you are never going to be an author.  2. You have a genuine talent. When you first decide to write you may not know if you have the talent for it or not. Even when you have written your first book and shown it to friends and family you still can’t be sure, because friends and family often want to be kind and so they say kind things about your work. But if you do have a talent then it is vital to express it, or frustration is the only possible outcome. The first review on Amazon (other book selling sites are available) that is submitted by a stranger will tell you if you have a talent or not. But there are two different forms of talent that make a good author. The first is a talent for story telling – and it doesn’t have to manifest itself in the written form. If you are the sort of person who is able to make up stories for the entertainment of others, you have this talent and you are halfway to becoming a successful author. The second talent is the actual writing part. Being able to construct sentences that grab the reader’s attention and provide them with the emotional input they crave. Being literate in the grammatical sense helps, but that can be sorted out by a proof reader or editor. 3. You love reading. Reading and writing go hand in hand. All real authors start off as avid readers. The best books inspire us to have a go, while the worst books inspire us to try to do better ourselves.  4. You live somewhere where there are harsh winters. I’m serious. It’s far easier to sit indoors and write a thousand words if the sun isn’t shining outside. Even small outdoor distractions, such as tidying the garden, get in the way of writing. If you live in the sort of latitudes where it is dark for 18 hours out of 24 (or even longer) then so much the better. 5. You have something you want to say. We all have opinions, but some have stronger feelings about things than others. Writing them down in the form of a novel allows you to imbue your character with your opinions while also telling a story. However, there is a downside to this. You may be alienating all those potential readers who disagree with your opinions. While you may believe that you are right, they have the right to disagree with you.  6. You want to expose something that needs exposing. Making an issue part of your plot allows you to expose a problem or a scandal. If your readers are intelligent (they probably are, otherwise they wouldn’t be reading books, they’d be playing computer games) they will see where the fiction ends and where the reality starts. You can often reach a far larger audience with a novel than with a polemic. To Kill A Mockingbird did far more to expose racism in the USA than any number of learned treatises. 7. You want to entertain people. We can’t all sing or dance or play the piano, but if you can write a decent story, you can be an entertainer. Story telling as a form of entertainment goes back far further in history than music or dance. 8. You have to get the stories out of your head. So many good ideas for stories, but they are no good stuck inside your head. They just nag and nag at you. So, tell the stories and stop them nagging you.  9. It’s cathartic. Expressing yourself artistically (yes, that’s what authors are doing) makes you feel better. Getting your demons out of your head and onto the paper prevents them from praying on your mind and threatening your sanity. 10. You like telling lies. Authors tell lies for a living. The best of them are able to make you believe their lies so well that they can transport you to a whole world that they have created out of their lies. Tolkein, Pratchett, Douglas Adam, Richard Adams, the list goes on but the one thing these greats have in common is that their worlds didn’t exist, but they made us believe in them anyway. They could sell snow to an Eskimo. And One Reason Why You Shouldn’t Become An Author.  1. You want to make lots of money. Sadly, you probably won’t. Even if you sell quite a lot of copies, your publisher, agent, printer, retail outlet etc will all take a cut. Typically the author only gets about 10% of the gross income from sales and then the Inland Revenue want a cut of that. For a £9.99 paperback ($11.50 approx) the author won’t get much more than 80 pence. To make the top 100 best seller lists you have to sell at least 100,000 copies, which means the author might get £80,000 before tax. But the majority of authors, probably 90% of them, will never sell more than 1,000 copes, so earnings expectations are very low. According to The Guardian most authors make less than £600 a year. Given that you have probably invested about 1,000 hours in writing your book, that isn’t a very good return. It’s certainly below the hourly rate for the so-called Living Wage. A meagre 1.7% of traditionally published authors and 0.7% of self-published authors make in excess of £70,000 ($100,000 approx). The article is a bit old now, but the fundamentals of publishing haven’t changed since it was written. The big money from books comes from film and TV rights. If your book attracts that attention then the sky is the limit, but again, that won’t happen for about 90% of authors.  How many authors are out there writing away and how many of them will hit the big time? Well, accurate figures aren’t available because most data is based on sales and if no sales are forthcoming you won’t be counted. Then there are the thousands of authors who are still working away in the bedrooms, kitchens or sheds to complete their first manuscript and can’t be counted because they haven’t yet broken cover. But put it this way, over a million books are uploaded onto Amazon each year, the vast majority by by self-published authors and then you have to add on those that are published by small, on-line publishers. Whereas the total output of the big publishing houses, who dominate the market, is between 1,000 and 2,000 books per year of all types (UK figures). Even with the backing and marketing budget of a major publishing house most of those books will sell less than the magic 100,000 copies needed to make it onto a best seller list. In Susanne Collins’s The Hunger Games the supporters always say to the combatants, “may the odds always be in your favour”. The truth is that in book publishing, the odds are always stacked against success.  Ignore all those claims made by some authors of being “Number 1” on Amazon’s best seller list for such-and-such a category. The way Amazon works you can make it to number one with the sale of half a dozen copies in a day, even less in some obscure categories. You’ll only be there for a day, perhaps even for an hour, but that’s long enough to do a “screen save” to share on Facebook or Twitter. if you doubt me, re-read Reason 10 above. Many writers will never make anything from the sale of their books. That doesn’t mean that they are bad books. How would anyone know if they haven’t read a copy? No, the authors don’t make any money because readers like to stick with the tried and tested. They may read a book that is recommended to them by a friend or relative, but they don’t often go seeking out new authors for themselves. The friend or relative probably bought their copy because it was reviewed in a newspaper or magazine, channels that are securely stitched up by the big publishers. Hey – who said that the world was fair? Show me the contract! That is why authors are always asking for reviews. So if you, as a reader, do find a new author and, if you like their book, please consider sharing your discovery by writing a review. So, if you are going to become an author, do it for the love of writing because it is probably the only reward you will ever get. And for those very few of you who will one day hit the big time – don’t forget the little people! If you have enjoyed this blog and you want to be sure of not missing the next one, just sign up for our newsletter. We promise not to spam you and we'll even let you choose a free ebook for doing it. Just click on the button below. And if you would like to be a guest blogger for us, just send us your blog idea. You can find our email address here.
 A while ago, in this very blog, I made an offer to review books for other authors. It was intended as an act of solidarity to undermine the leaches that are preying on the writing community by offering dubious quality services in exchange for even more dubious quality benefits - and all at a price. I should have thought it through a little bit more. It isn’t the work involved. If I was worried about that I would never have made the offer in the first place. No, it is that there are so very many poorly written books out there and when you make an offer to review books you have to read them first. The problem is quantity versus quality. There are more people writing books today than ever before. When Covid struck (and a recession earlier in the century), writing a book would seem like good way to generate a new income. The cost of entry into the market is as low as the price of a pencil and a notepad, though a computer of some sort makes life much easier. The truth is that very few authors make enough money to live on, but very few of these new authors would actually know that.  When satellite, cable and free to air digital TV came along I made a personal prediction that the quantity it offered would come at the cost of quality. It is a prediction that came true. While there are good quality programmes on some channels, once you get away from the big name providers you are into a world of repeats, reality TV and pseudo reality. Most of it fits neatly under the heading of "junk TV". The same applies to writing. Quantity comes at the expense of quality. Anyone who can write 80,000 words (it is frequently a lot less) can click on the “upload” button on Amazon, Smashwords, Kobo, Lulu et al and hey presto, they’re a published author. Now, don’t get me wrong. I have read a lot of very good books by Indie authors and those published by small, online publishing houses. I’ve even reviewed some of them in this blog. They deserve better than the publishing industry gives, simply because the big publishers, hand in glove with literary agents, have such a strangle hold on the industry, which means that the majority of authors never have a fighting chance of hitting the big time.  No, the problem is that so many people think that they can write a book when, really, they can’t. Before I go any further, I’m not going to mention any authors or book titles by name. It isn’t fair that I damage their prospects for sales by bad mouthing them in a blog. I’m not a big believer in karma, but I also don’t want to run the risk of retaliation. Let's face it, when it comes to sabotage, these authors have done such a great job themselves. I’m not talking about the “nearly” books that a half decent editor could help the author to lick into shape. The underlying talent in those books shines through and as an author myself I’m willing to tolerate the sentences that don’t quite come across as well as they might, the bit of dialogue that is a little bit clunky or the loose end in the plot that isn’t quite tidied away. All authors know we would write those books differently, but the point is that they aren’t our books, so the author has the right to tell their story the way they want.  What I’m talking about is the book that should never have been written in the first place. The “it seemed like a good idea at the time” books that had no chance of ever making it to a satisfactory ending. These are the books filled with characters that are so badly written that to describe them as one dimensional is to ascribe one dimension too many. The books so lacking in emotion that you would think that the world was filled with emotionless robots rather than with real people. It is the latter which bothers me the most. Readers engage with characters they care about. They will want to read about them. They will want to turn the page to find out if they succeed or fail, love or lose, live or die. Readers care about them because they can identify with them and they identify with them because they understand them. So why couldn’t I identify with any of the characters in these poor novels? Basically it was because the authors told me so little about the characters. Oh, we get plenty of physical descriptions, to be sure. I was also given plenty of plot to read about, some of which was inventive, but much of which had been done before. To make me want to read on, I needed something to care about, and wasn’t given it. I ended up questioning my reason for reading the books. Why should I care about these characters? I don’t know them; I feel nothing for them.  OK, they may be dangling above a fiery pit, just about to get burnt to a crisp, but do I care? Not really. The authors gave me no reason to care. They are just names on a bit of paper (or letters on the screen of an e-reader). They mean nothing to me because the authors haven’t told me anything about them to make me care. Like the guy on the left, they're just a caricature. When I think back over all the books I have ever read that I really enjoyed, the common factor is that they had strong protagonists. I don’t mean strong in the “wading through fire to rescue the damsel in distress” type of strong. I mean emotionally strong. Their authors made me feel every pang of emotion that you would expect a real person to feel. This is what worries me about the authors who are writing such poor books. Are they not people too? Do they not love? Do they not feel fear? Do they not feel happy or sad? To read their books you would think that the answer was a resounding “no”. If someone can’t write about emotions then I would suggest that they shouldn’t be an author, because to be an author you have to live with emotion every time you sit down to write. I don’t know about other authors, but when I stop writing at the end of the day I sometimes feel as though I’ve been through an emotional mangle; crushed and wrung out. If I can’t make myself laugh or cry then how am I ever going to make my readers laugh or cry? If I can’t make myself worry about what will happen to my characters, how can I expect my readers to worry about them?  Another problem that I have encountered in recent books is a lack of drama. Drama comes from conflict and if there isn’t any conflict in the story there will never be a story worth reading. Even romantic stories have a conflict at their heart. It is the conflict that prevents the romantically entwined characters from being happy together, at least not until they have resolved the conflict so that they can live happily ever after.
This means that the characters must have something meaningful happen to them early in the story. Something that will expose their emotional state and tell me who they are, deep down inside. I have to say that some of the books I refer to have garnered 5 star reviews on Amazon and Goodreads, which is rather worrying. Either the readers who posted those reviews are less critical than me, or the reviews aren’t genuine. I am well aware that not every reader will enjoy every book to the same degree. One person’s 5 star read may be another reader’s 4 or even 3 star. But I can’t believe that 20 or 30 people gave 5 stars to the book I would struggle to award 1 star. It defies logic. I think the problem for some authors is the market testing of their books. They ask friends or family to read them, rather than asking for criticism from somebody independent. However well-read friends and family may be, at heart they want to be seen to be supportive of the author, so they say nice things about the book even if it hasn’t got many redeeming features. Consequently, the author gets a false sense of the real quality of their work and they publish based on that. They may get away with it once and sell a few copies, but no one will be returning to read the sequel. In the meantime, if you have written a book that you think is better than the ones I have talked about above, I’d be happy to review it for you. I really, really would like to be able to post a 4 or 5 star review for someone. And if you think I’m an arrogant know-it-all who wouldn’t recognise a good book if it jumped up and bit me on the nose, then you can say as much when you read one of my books and post a review of it. You can find out more about my books by clicking on the “Books” tab at the top of this page. If you have enjoyed this blog, or found it informative, then be sure not to miss the next edition. Sign up for our newsletter by clicking the button below. We'll even send you a free ebook if you do.  How long should a book be if the author wants it to sell? I had better state up front that I’m not going to attempt to actually provide a definitive answer to the question I have posed. I’m entering into what might be regarded as a philosophical discussion on the subject and any views I express are merely opinions. But it is quite an important question because the answers, right or wrong, may strongly influence whether or not a reader actually purchases a book. If you use Google to try to find the answer you’ll get various opinions. But, generally, a novel is expected to be between 80,000 and 120,000 words. This is based on hard copy books, of course. Less than 80,000 words and it’s going to look pretty malnourished sitting on the bookshelf in W H Smiths (or Barnes and Noble) alongside its fatter neighbours. Size gives an impression of value for money, even if it is no guarantee of quality of writing.  Once you get over 120,000 words, however, the publisher has a different problem. Paper costs money and profits will be reduced if publishers have to spend more money on paper but still have to charge the same price for the book in order to remain competitive. Most books sell at the same retail price regardless of size; about £18.99 (call it $20) for a hardback book and £9.99 for a paperback. Those prices are for bestselling authors, of course. Kindle books can run from 99p right through to marginally less than the price of a paperback, depending on how famous the author is. There is also a psychological factor. A thick book looks challenging. Maybe it’s so thick because the author has used a lot of big words. Maybe it will take too long to read and I’ll get bored with it. Maybe it’s so long because it’s very complex and I don’t want to spend a lot of time unravelling a complicated plot. Who knows what people might think when faced with a thick book!  While it would be nice to think that readers buy books solely based on the quality of the writing there has to be other factors involved. It can be the only explanation for some of the dross that makes it into best seller lists alongside much better written books and why some very good books never make it. For example, let’s say that a new author publishes their very first book. None of the reading public will ever have seen the author’s name before and can’t have read any of the author’s work, so how will they decide whether or not to buy the book? There is no doubt that marketing plays a big part in this. If the author is published by a major publishing house the publisher will put a lot of money into getting the name of the book out there in front of the reading public. Adverts have to be paid for; review copies have to be sent to newspapers, magazines, radio and TV stations etc. Authors are sent on book signing tours etc.  Best selling "author" Katie Price Based on the marketing blurb, readers may take a chance and shell out some of their hard earned, but in effect they are buying the publisher, not the book. And it works; Katie Price has sold a lot of very poor-quality books. Well, her ghost writers have anyway; she just gets the lion’s share of the royalties. But that doesn’t account for why some books released by smaller publishing houses, or even self-published books, also make it into best seller lists despite the minuscule amount of money spent on marketing them. The readers’ decision won’t be based on the quality of the author’s writing because, with a first book, they can’t have read any previous work on which to base that decision. It is also unlikely to be based solely on the few pages that Amazon allows the potential buyer to read using their “look inside” feature. As both a reader and an editor I know that a promising first few pages doesn’t necessarily lead to 300 good pages. Many authors, even quite well-established ones, are unable to maintain their writing quality for that long and some start to stumble after just 20 or 30 pages. By 50 pages I’ve already binned the book and gone looking for something better written.  Some Indie authors will already be aware of this phenomenon. Having submitted an extract as per an agent’s submission guidelines, they get a request for the full MS. They are elated, naturally, but then brought down to Earth with a bump when the full MS gets rejected. Learn from that – because what the agent is effectively saying is that you couldn’t maintain a consistent quality of writing for a full-length book. So, if the decision isn’t going to be based on the quality of the writing, what is it going to be based on? You would think that price might have something to do with the decision, but it doesn’t appear to do so. When it comes to the price of books we live in a strange world. A pint of beer costs around £4 and a large glass of wine (is there any other sort?) over £5. A self-published e-book, however, will retail for anywhere between 99p and £5 depending on the author’s knowledge of pricing strategies and their vanity. Now, which is going to last longer and offers more potential for enjoyment, the pint of beer/glass of wine or the book?  Well, let me put it this way. In my experience, after 6 months I find it easier to recall a good book (or even a bad book) than I do to recall the qualities of a specific pint of beer or a specific glass of wine. There is another factor involved here as well. If I really enjoy a book, I may go back a few months or years later and read the same book a second time. I’ve read Lord Of The Rings far more times than is healthy for a grown man. But I can’t go back and enjoy the same pint of beer or glass of wine again, not for free anyway – I have to buy another one and, thanks to inflation, it will cost more. So, if people won’t shell out the paltry sum of 99p to read an author’s first book what other factors are there?  Leo Tolstoy I go back to my argument about the word count. Is the reader truly getting value for money, or will they feel intimidated by the “thickness” of it? War and Peace is about 590,000 words long. When Tolstoy first had it published it was released in 4 volumes and a 2 part epilogue. If you want to buy a modern copy it would be more likely to be published as a single volume. In value for money terms you would think that it would be flying off the bookshelves, but it isn’t. Why not? It’s an acknowledged masterpiece after all. Well, perhaps people feel intimidated by its size. Let’s look at a more modestly sized classic, also by Tolstoy: Anna Karenina. Not many sales for that these days though it is perhaps one of the greatest romantic stories ever told. Length? 350,000 words. Hardly lightweight. Remember, I am also talking about e-books here, where you can’t “see” or feel the thickness of the book.  But you can. Because Amazon helpfully tells you, as part of their product description, how many pages long the book is As a guide, 80,000 words gives you a paperback book of about 290 pages, so 120,000 words would be about 435, big enough to qualify as a “blockbuster” in the Arthur Hailey mould. The sort of book that will not only last you for a whole holiday, but also for the cancellation of your flight due to a volcanic eruption and a 24 hour rail strike when you get back to the UK. The Kindle version of Arthur Hailey’s “Hotel” is actually 485 pages long. Perhaps that’s why he rarely features in the best seller lists any more. That and the fact that he died in 2004.  The sad truth is that the attention span of some readers isn’t that great. They’ll read 300 pages but 301 will defeat them. That presents the author with something of a problem. Do you disregard those readers and concentrate on those that will stay the course, in which case you are placing an artificial ceiling on your sales volume.
Or do you take another course of action? Maybe you do what many authors are doing these days and write your books as a series; telling the story in 300 page chunks. You wouldn’t be the first: remember Tolstoy and War and Peace? It’s now common practice and one I have adopted for 2 separate series I have written. There can be no doubt that the margins for success for the new author are very narrow and seemingly quite arbitrary. It therefore makes sense, to me at least, not to do anything that might put the potential reader off buying a book and that includes thinking about exactly how long the book should be. Let’s face it, the average story could be told on a single page of A4, yet we expect a bit more than that. So the book should be neither too short (poor value for money) nor too long (too “weighty”). For me that means between 80 and 90,000 words. It’s entirely up to other authors where they draw their lines. If you have enjoyed this blog, or found it informative, be sure not to miss an edition by signing up for our newsletter. Just click the button below. And if you do - we'll send you a free ebook of your choice (from those we publish, not from the entirety of the publishing world). For the next few weeks we are featuring blogs by guest bloggers on a wide range of subjects related to reading and writing. All the opinions expressed are those of the blogger and are not endorsed by Selfishgenie Publishing. Enjoy!  The circus is in town and a wizened little man goes into the big top during rehearsals and approaches the ringmaster. “I’ve got an act and I want to join the circus.” “Ok” says the ring master. “Show me what you’ve got.” So the man goes into the ring and climbs the tent pole all the way to the top. When he gets there he lets go and stretches out his arms and starts to flap them. He then proceeds to fly round the inside of the big top, doing loop the loops and barrel rolls, swooping and soaring, all the time flapping his arms for all he’s worth. After five minutes he settles gently onto the ground in front of the ringmaster once more. “What do you think?” The little man asks. “Is that it? You do bird impressions?” Boom boom. My apologies to the long running TV series M*A*S*H for stealing that joke. But did you laugh at it? If nothing else, it does show you how up to date my TV viewing is these days.  The reason I ask is that comedy in the written word is very hard to do. What one person finds amusing will pass over another person’s head and may be misinterpreted completely. Stand-up comedians spend hours practicing in front of test audiences above pubs and in tiny comedy clubs making sure their material works before they unleash it on their target audience, whether it is in a larger comedy club, at The Edinburgh Fringe or in the 02 arena. A writer doesn’t have that luxury. If he gets it wrong then it could cost him his audience forever. It’s a one-shot deal. The writer may have an editor that may question the suitability of a joke, its comic value, its relevance to the plot and so on. What appeared hilarious when being written in the solitude of the author’s kitchen may fall as flat as a pancake when it reaches the editor’s desk. So what does the writer do? Do they trust to their instinct and go for the laughs, or do they play safe and keep the story serious? Is there room for both?  Another problem is that it’s tough to sustain comedy over a long period. A stage comedian works at a rate of two or three laughs a minute. Story telling comedians may string a joke out for three or four minutes before getting to the punchline. So how many jokes does the writer need to put into a story to give it that humorous feel? Is it one per page? One every thousand words? One per chapter? Let’s say it’s the latter. My books generally run out at about 25 chapters. Some have more and some less. At the rate of one significant joke per chapter the sums are easy enough. 25 jokes for a stand-up comedian, therefore, is about ten minutes worth of material. Perhaps half the duration of a comedy club slot. That’s a lot of jokes and every one of them has to hit the mark. Of course, not all the humour in a book has to be in the form of joke. Some of it can be situational. The writer gets a lot of leeway in this area, painting pictures of absurd characters or giving them funny things to do or say. The writer can make his characters do silly things. He can make them stupid to the point of imbecility. He can make them accident prone. He can make them pompous or self-important. But he still has to maintain the humour for over 80,000 words (that’s about the acceptable minimum length for a novel these days). That’s a lot of jokes to have to write. Name one well known writer who is noted mainly for the humour in his novels. Difficult, isn’t it? There are plenty who write short pieces for newspapers and magazines. The now defunct Punch magazine was known for them. But ask them to extend that to a full-blown novel and you would start to see the panic in their eyes.  There have been some, of course. Terry Pratchett managed to achieve this in many of his works, but not all of them by any means. The late Keith Waterhouse wrote Billy Liar and I’ve already mentioned M*A*S*H, which made three outings as books for Richard Hooker (real name H. Richard Hornberger). Twelve others in the franchise were ghost written by William E Butterworth and were less critically acclaimed because of it. But when we talk about humorous writing we are often talking about satirical works or parodies, rather than books that are intended solely to be funny. I’ve read a few books recently which, according to their “blurbs” on Amazon, were laugh a minute works. I have to say that they generally failed to make me laugh. The jokes often descended into slapstick and that is a visual media, or it became very juvenile in nature, which is not the sort of comedy that will appeal to an adult reader. More often the jokes were non-existent. So, as someone who likes to introduce a lighter note into my books, that makes me a little bit nervous. What if my readers don’t get the jokes?  I’ve hedged my bets a bit by not claiming that my books are funny. That way at least I’ll be managing expectations. But that is a double-edged sword. A lot of the time we laugh at jokes because we know they’re jokes and we’re waiting for the punch line. If they were told in a more serious tone of voice with no comedic preamble, would we automatically laugh? Maybe, but maybe not. Like most people I have preferences when it comes to comedy. I laugh at some comedians more readily than I will laugh at others. We all know that humour is a very personal thing, as evidenced by the joke I started with. Some people will have laughed and others won’t. That makes life difficult for an author, because they need to appeal to their entire readership, not just to the few people who will understand their humour. So, humour in a novel is fraught with difficulty, for both the writer and the reader. All I can say is that if you find yourself laughing at my books then the jokes were intended. If you don’t laugh then the book is a serious work of fiction and therefore not the place for me to start telling jokes. Either way I hope you enjoy them. Would you like to be a guest blogger for Selfishgenie? Just email us with your idea for a blog. The address is on our "Contact" page. Did you enjoy this blog, or find it interesting? To be sure of not missing an edition, just sign up to our newsletter. We'll even send you a free eBook for doing it. Just click the button below.
 Pricing your book – is it an art or a science? I’m not asking you to pick a side; I’m only offering an opinion. Take it or leave it, but before you make up your mind, you have to understand two things. First of all, there is the economics of pricing. Then there is the psychological aspects of pricing; what assumptions do people make when they see a price tag on a product? Let’s start with the economics of pricing. If you are a big publishing house, there is a lot you have to pay for before the product (book) goes on sale. First off there are the publishing rights for the book – what the author wants for selling his or her soul to Mammon. Many new authors won’t get that, they’ll just be offered royalties based on sales. But a bestselling author can charge a hefty fee up front for giving a publisher exclusive rights to their next book - or even several books.  Then there is the cost of editing and proof reading in order to get the book into the best possible version of itself. Add to that cover design, printing and distribution and the publisher has already invested a considerable amount of money that must be recouped. Then there is the cost of marketing, because nobody is going to buy a book if they don’t know it exists. Finally, there are all the “back office” costs that must be recouped: HR, accounting, IT, rent, utilities, etc. What are known as “overheads” but without which no business functions efficiently. Put that all together and there is a lot of money to be recovered and publishers want their money back quickly, because they have shareholders who want a dividend at the end of the year. Consequently, publishers price high because they know that once a book has been out for a while, people lose interest in it because there are other, newer titles coming out all the time, so they must cover their costs and generate a profit in the shortest possible time.  All that marketing is aimed at getting the book into the best-seller list as quickly as possible, so that sales gain some “momentum”. Readers are more likely to buy a book if they think that a lot of other readers have already bought it and that is what the best-sellers list tell them. And there was you, thinking that the best-seller list followed sales, when they are really leading them. So, when you see a book with a list price of, perhaps, £20 ($22) for a hardback, £13 for a paperback and maybe £12 for the Kindle version, all that stuff is what you are actually paying for – not the words on the page. The author will probably receive less than 10% of the sale price for each book and their agent takes a cut of that, reducing it further (are you still sure you want to be published by a big publishing house?).  But you are an “Indie” author. You don’t have all those costs to meet before your book goes on sale and you don’t have to recover them quickly in order to satisfy shareholders. You can charge what you like. Therefore £5 for a Kindle version and maybe £8.99 for a paperback doesn’t seem unreasonable. You aren’t greedy – so as long as you make some money from your book, you are happy. Well, you may need to rethink that a little bit. You really need to market your book if you want it to sell and if you want to sell more than a handful of copies, you may need to spend some money on marketing. That means pitching your price at a level that will allow you to cover the marketing cost. Either that, or you will have to settle for a smaller slice of the cake.  But what about the psychology of pricing? What does the reader infer from the price at which you sell your “product”? Unsurprisingly, there have been books written on the subject. I’m not going to name any as I haven’t read them, so I don’t know if they are any good. But if you are interested, Google “Psychology of book pricing” and they’ll show up in the results. But I did find this blog by Thomas Umstattd Jnr, written in 2020. For a start, Umstattd reminds us that price is so important that it has been included as one of the “P”s of the marketing mix. That means it has to be taken seriously as a subject in its own right.  But the real issue on book pricing is what the reader compares the price to. Let’s imagine that it takes 10 hours to read a book. What else could the reader do for 10 hours, and how much would that cost? That is the comparison that readers make when they buy a product. They mentally say to themselves “If I spend my money on this, would it give me as much fun as spending my money on something else?” This is called “anchoring”. They anchor the price they are willing to pay to read your book against the cost of another type of entertainment (or another product) and form an opinion on how good a bargain it is by comparison. If they are browsing books on Amazon or in a bookshop, you are already halfway to winning the sale, but there is still a choice to be made – your book or someone else’s. That suggests that the lower the price you set, the better comparison and the more books you will sell.  But, of course, the anchor point is only part of the story. Because you have to tell your readers that, whatever comparison they are mentally making, your book is going to represent better value. You have to guide them into making that decision because, otherwise, they may conclude the opposite and not buy your book. Umstattd describes a number of ways you can use your marketing ‘copy’ to influence readers into perceiving that your book represents good value for money. I won’t repeat them here but, intuitively they seem to be good suggestions. But readers don’t just want something to read, they want to read a “good” book; in other words, they want quality. The price should indicate to the reader that they are getting that. It means that setting a low price isn’t always a good strategy.  But at the same time, readers will want someone else to tell them that your book is good, so the reviews have to justify the price. If you are only getting 3 star (or lower) reviews, then you can’t charge a premium price for your book because readers won’t believe they are getting “quality” because other readers are saying they aren’t. If you aren’t getting any reviews at all, then you are really in trouble. And if the reader is paying a higher price for the book thinking it is a quality product, then the content has to match the price. It goes without saying that the story has to be excellent. It also has to be well edited, free from typos and grammatical errors and the cover design has to be more than just the basic offerings chosen from the KDP menu. If they aren’t getting that interior quality, the chances of selling other books to the same reader are slim. There is a way of making money by setting a low price and that is to write a lot of books. There are readers who will accept a loss of quality (even in the storytelling) in return for a cheap read. Making 10p a copy on 5,000 book sales is more profitable than making £1 per copy on 100 sales. And you get the bonus of there probably being more reviews posted about the books.  But that is a decision that you have to make for yourself. But you don’t have to make it blind. If you have beta readers, one of the questions you can ask them is how much they would have been prepared to pay on Amazon to read the book if they’d had to purchase it. You will get a range of responses, but you can average them out to give you an indicative price. This blog, on the AuthorImprints website, also takes a look at how to price your books and offers some indicators. One thing seems clear, if you are just starting out, selling your book cheaply in order to generate reviews seems to be a recommended strategy. Once your books gain in popularity and gains positive reviews, you can always increase the price to improve your royalties.  Then there is the 99p (99c) “special”. KDP allows you to reduce the price of your book for up to 5 days, providing it is subscribed to KindleUnlimited. That can be used, in conjunction with advertising, to generate sales because people are more inclined to say “why not give it a try?” at that price.
This is especially good if you write a series of books. By heavily discounting the price of Book 1 of the series, people are more likely to by Book 2, 3 etc if they enjoy it. And you have nothing to lose, because if your book isn’t selling then reducing the price makes no difference because 100% of nothing is still nothing. And, finally, there is the “freebie”. I’m not talking about giving your life’s work away for free, just letting people have a taster of what they could get if they buy your life’s work. The freebie is usually a prequel or other introduction to the main series of books. Giving it away for free is a way of generating interest in the main series. But be warned: the freebie must be of at least the same quality as the full book, because even if people are getting it for free, they will still be judging you as an author and you can’t risk that judgement coming back negative. But if the reader likes your freebie, they may buy the book and give it a try. I can say from personal experience that I have bought books off the back of free ones. If you have enjoyed this blog or found it informative (hopefully both) and want to be sure not to miss the next edition, just sign up for our newsletter by clicking the button below. And we’ll even send you a free book for doing it.  In last week’s blog we discussed marketing for the Indie author and, in particular, constructing a marketing plan. The blog was getting pretty long, so I didn’t say all I wanted to say at that time. What I did say was that the content of your plan lay in the old Rudyard Kipling quote “I keep six honest serving men (they taught me all I knew); Theirs names are What and Why and When and How and Where and Who.” Putting those words into questions helps you to decide the content of your plan: what you will say, who you will say it to, when you will say it etc. That is all good, but some people have never constructed any sort of plan at all, so this blog is aimed at them. How do you get from that Kipling quote to selling more books? For those of you who have written so many plans it is you who should be writing this blog, please feel free to tune out. Maybe go and browse our catalogue, which can be found on the ‘Books’ tab of this website. For everyone else, are you sitting comfortably? Then I shall begin.  The first thing you need when creating a plan is an objective, goal or desired outcome. Call it what you like, but it is a description of where you want to be by the time your plan has been delivered. For Indie authors this is usually quite simple to define – your goal is probably to sell more books. You even have a readymade measurement there to tell you if the plan is working – the number of books that you are selling after you have delivered the plan compared to the number you are selling now. But that is a big goal to achieve and you will need to do a lot of work to achieve it. What you also need to know is if your plan is taking you in the right direction. It might take you 3 months or more to achieve your goal and that is a long time to wait to find out that your plan isn’t working and needs to be re-thought.  So you have to create sub-objectives, which you can tick off along the way to make sure you are staying on track for success. Believe me, if each step is successful, then the final outcome can never be in doubt. And if some of the sub-objectives still seem quite daunting, you can break them down even further. Remember the old maxim: “How do you eat and elephant? – One bit at a time.” (apologies to vegans). You may even want to run a few “pilot schemes” or “trials” to see if what you plan to do is actually going to work on a larger scale when you set the whole plan in motion and those trials also become sub-objectives.  Build the walls before you try to put on the roof. One of the things of which you have to be careful, is that you lay out your sub-objectives in the right order. For example, if you were building a house, “Put the roof on” wouldn’t appear in the plans until after “dig foundations” and “build walls”. You may need to spend a bit of time making sure your marketing plan is constructed in the right order, just like you would build a house.  Last week we talked about getting some training in social media marketing, so that might be an early sub-objective in your plan. We also talked about writing your marketing messages, so trying those out on people might be another sub-objective. But basically, all you are doing is breaking down one very big and daunting objective into several smaller, less daunting tasks, then laying them out in a logical order. In project management we call the completion of sub-objectives or tasks “achieving a milestone” and it feels very rewarding to reach each milestone and tick it off your plan. But, just like real milestones, you have to know where they are, which means having some sort of measurement of achievement for each task.  After all, there is no point in knowing “you are here” if you have no idea what “here” looks like. In the same way, you can’t know you have reached a milestone if you don’t know what a milestone looks like. A written description of what it will look like is the best way of recognising a milestone. For example, a description of the messages you want to send out about your book might read: “Write 7 sentences/paragraphs of up to 140 characters* that provide a clear indication of the book’s content., grammatically correct, correctly spelt and tested on sample readers.” You can see from the description that “quality” checks are built in. That is the sort of “product” or task description you could write for each sub-objective, so you will recognise your milestone when you get to it.  But all plans are meaningless if they don’t have resources assigned to them. A plan without the resources to deliver it is just a wish, a hope or a dream. These resources can include money, to pay for things such as advertising. But a far more important resource is information. You have to know the answers to those who, what, why etc questions you asked, so that you can apply your other resources in the right place at the right time. So one of your objectives is almost certain to be information gathering, or research as it is more commonly known. This will result in you not wasting your other resources (such as money) on the wrong activities.  Time is another major resource. None of this stuff will do itself. Yes, I know, you’re a writer. You don’t want to have to spend all your time doing marketing. Which makes it all the more important that you don’t waste what time you are willing to expend on marketing, doing the wrong things. There is an old saying in quality management “Isn’t it amazing how people who don’t have time to get things right the first time they do them, always have plenty of time to correct their mistakes.” And if you are spending money, you can’t afford to spend even more money correcting mistakes by getting things wrong first time. So, all that research is critical to you avoiding getting things wrong the first time you try them.  The final resource I’m going to talk about is knowledge, which I have already touched on earlier. If you don’t really know what you are doing, you are going to waste your other resources on getting things wrong. “Trial and error” may teach you a lot, but it is an expensive way to learn.
Invest in yourself, even if the investment is just time spent doing a free on-line course. We’re not talking about studying for a 3 year business management degree here, just a few hours learning the basics of social media marketing and trying out a few ideas to get a feel for what is right for you and your books. And once you have your marketing plan – you can use it again and again, refining it each time as you learn what works best and what isn’t working so well. Because you will have to keep repeating your marketing activity, because marketing messages soon fade from people’s consciences and you will always be looking for new readers who will buy your books, because nobody buys the same book a second time (except as a gift for someone else or because they forgot they owned it already). * We know that Twitter now accepts posts of up to 280 characters, but you need to make an allowance for the inclusion of a link to the book’s sales page and for hashtags. And, of course, character count isn’t an issue for Facebook posts, though people rarely read beyond the first few lines. For Facebook, think “elevator pitch”. If you have enjoyed this blog, or found it informative, make sure you don't miss future editions by signing up for our newsletter. We'll even give you a FREE ebook if you do.  A cautionary tale for anyone who uses Amazon to publish their titles in paperback, whether independently or through a publisher. If you have only ever used KDP then there shouldn’t be any problem, but for anyone who uses, or has used, a third-party printing service, this could be a bear trap waiting for you. If you are a small publisher, then this is definitely something of which you should be aware. Now, as we know, Amazon are a huge global internet supplier, not just of books but for pretty much anything. If they were a High Street (or Main Street if you prefer) outlet they would be present not just in very High Street in Europe and North American, they would be present in villages in the middle of Borneo that no outsider has ever seen. That’s how big they are. So, you would think that they would have simple processes in place for the resolution of issues. You would be wrong to think that. Several of the authors we represent used to publish through another small publisher. I’ll call them Fabulous Publishing for the sake of anonymity. A couple of years ago the owner of Fabulous Publishing decided he didn’t want to be a publisher anymore and closed his company down. As part of the close-down, Fabulous Publishing unpublished all the titles they had listed on Amazon (and on other etail sites). Fabulous Publishing also returned the publishing rights for the titles to the authors, so they could go elsewhere to be published, if they wished. Some of those authors went to a publisher we’ll call Selfishgenie Publishing, because we don’t require anonymity. Yes, we signed them and published their books, both as ebooks and as paperbacks. But Fabulous Publishing used a third-party printer to print their paperbacks. We’ll call them Wonderful Printing. They are a big company; they know what they are doing. When Fabulous Publishing closed down, Wonderful Printing contacted Amazon and told them that the relevant titles were no longer available as paperbacks through them and asked Amazon to “de-list” them. You would think that would be the end of the matter – but if it was, you wouldn’t be reading this blog because I would have no story to tell. "And that is where we hit our first speed bump." You will be familiar with Amazon Marketplace. This is where small traders sell goods using Amazon’s platform as their sales channel, for which Amazon receives a slice of the action. There’s nothing wrong with that, it makes good sense to “sweat the assets” as it’s known in business. But one of the things those small traders sometimes sell is second-hand books. And that is where we hit our first speed bump. Because a trader was selling one copy of a title by one of our authors, we couldn’t sell any of the paperback of the same title that we had published. Until that second-hand copy was sold, the listing showed the paperback as being the one published by Fabulous Publishing. But you couldn’t actually buy a brand new copy of Fabulous Publishing's product because it was no longer being printed by Wonderful Printing. We submitted a complaint and were told by Amazon that the trader selling his second-hand copy was entitled to do so and until that copy had been sold, all the publishing details for the paperback version of the title had to remain as "Fabulous Publishing" and our brand-new paperbacks couldn’t be displayed. That was it – we couldn’t sell any of this title as a paperback until Joe Shmo from Nowheresville had sold his second-hand copy. The only way out of this was for our author to buy the second-hand copy so that the listing could be changed. So, problem solved. "So, we went back to Amazon and asked them to fix it." No it wasn’t. The listing for the paperback was still showing as the one for Fabulous Publishing which, as already established, isn’t available. While our edition was available but couldn’t be purchased because of this ridiculous "through the looking glass" situation. So, we went back to Amazon and asked them to fix it. Their reply was that they couldn’t take instructions to fix it from us. It had to come from Fabulous Publishing who, of course, no longer exist. Fortunately, the former owner of Fabulous Publishing is a personal friend and was happy to help. He contacted Amazon with details of not just that title, but all the other titles that he had published as paperbacks and asked for them to be de-listed. (But imagine if there was no way of contacting Fabulous Publishing anymore? We definitely dodged a bullet there). The reply he got surprised him. Because the sales channel for the paperbacks had been set up by Wonderful Printing, on behalf of Fabulous Publishing, they couldn’t take instructions from Fabulous Publishing either. Only Wonderful Printing could make the request. "This time we really were in a dead end." So, (the former) Fabulous Publishing contacted Wonderful Printing, who contacted Amazon. Amazon told them how to delist the titles. But when Wonderful Printing tried to follow the instructions, Wonderful Printing were told they weren’t authorised to do so. This time we really were in a dead end. So, we here at Selfishgenie Publishing still can’t publish those paperback titles formerly published by Fabulous Printing. "So Amazon are lying to their customers." And Amazon’s response? Basically they are saying that Wonderful Printing are the problem, even though I have seen the emails that show clearly that Wonderful Printing have done everything asked of them. If you go onto Amazon to try to buy a copy of the paperback book, it shows that there is one in stock. This is normal for “Print on Demand” (POD) books. But if you click to buy it and put it in your basket, you are then told it is “temporarily out of stock”. No it isn’t temporarily out of stock. The product sold by that publisher is permanently out of stock. So Amazon are lying to their customers. Meanwhile, Selfishgenie publishing, who would gladly sell you a copy of the book, is unable to do so. This is the Alice in Wonderland world of Amazon for you. "But we need your help." The biggest irony of all, and the one that Amazon fails to see, is that while we are down this rabbit hole where neither we nor our authors can make any money by selling the paperbacks - neither can Amazon! Yes, we are using Jeff Bezos's resources and he is getting nothing out of it. Is it case closed? Not quite, we hope. But we need your help. If you think that Amazon are behaving like a bunch of clowns, then please help by sending this blog viral, so that the whole world can understand what an intransigent bunch of idiots actually manage Amazon. My thanks to the real people behind both Fabulous Publishing and Wonderful Printing for their help in trying to resolve this issue. You know who you are and I owe you a drink. And if anyone with half a brain at Amazon is reading this and can get us out of this mess, you’ll find our email address on our “Contacts” page. I’ll be happy to provide you with copies of all the correspondence. But do not despair. You can still get most of our other books in paperback versions if you want them. To find out how, click on the "Books" tab at the top of the page. PS. To be absolutely fair to Amazon, about 10 days after publishing this blog, the issues described above were resolved and the paperbacks we publish are now being correctly displayed on the relevant sales pages.
It would have been much better all round if they had been resolved before our patience snapped and we resorted to blogging about the problem, but we got there in the end. This is a story about some books that should be selling like hot cakes, but probably aren’t. Stick with it, because there may be lessons for the Indie author to learn here. I am reading the second book in a lengthy series, written by an Indie author. Like the first book in the series (and all the others) it is set during World War I and it has a lot of merit. The plot is generally good and the main character is engaging, with a good supporting cast of minor characters. As far as I can see, the author has done his research and that gives the book an authentic feel.  Under normal circumstances I would have reviewed the first book in the series and posted the review on this blog. It is part of what we do to help Indie authors. There is enough good writing in the plot and characterisation to allow me to give it a 4 star rating and, perhaps, even a 5 star if I’m in a generous mood. It’s all “boys own adventure” type stuff, but none the worse for that. Question: why am I talking about this book as though I’m not going to review it? Answer: because I’m not going to review it. If I did review it and my review was an honest one, as it should be, I could give it no more than 3 stars and if anyone is going to sabotage this author’s work, it isn’t going to be me. For the same reason I’m not going to give you the title of the book or the series and I’m not going to name the author. Besides, why should I do what the author has done so admirably, by sabotaging his own work? The first book in the series had me screaming in frustration and the second book has me in shaking my head in disbelief. When it comes to editing and proof reading, it is awful. As we know, even books published by the big-name publishing houses have the odd typo or punctuation error in them, overlooked at the proof-reading stage by a professional proof-reader. If that were all I was talking about, there would be no problem and you wouldn’t be reading this blog.  But I’m not talking about an error every third or fourth page, or every second page or even every page. I am talking about an error in every paragraph and sometimes more than one. There are punctuation errors, typos and the use of the wrong homonyms. In some cases, the errors are so bad they change the meaning of a sentence. To give one example, in an historical note the author uses the word ‘temerity’ when it is quite clear he means ‘tenacity’. Sentences have to be read twice or three times to decipher them because a lack of punctuation means they can be interpreted in more than one way and it is hard to work out which way the author actually meant us to interpret them.. So much for proof-reading. But it doesn’t stop there, because the editing or, more likely, the lack of editing makes the books difficult to read and impacts on the entertainment value.  In Book 1, so little happens in the early chapters that I was thinking of giving up reading the book out of boredom. It made me wonder how many readers had used the ‘look inside’ feature on Amazon and done just that, passing the book by to go and look for something that grabbed their interest a bit quicker. And it is a shame if they did that because, as I said above, the stories are quite good if you can just get passed these issues. Later, some of the descriptive passages become repetitive or rambling. In some places the paragraphs make it hard to follow the plot and in other instances the paragraphs don’t make sense. "And now we get to the moral of this story " To give another example to illustrate my point about the editing, at one point the author describes the light fading – when it was dawn and the light would be increasing. He probably meant that the darkness was lessening, or that the light was improving, but that’s not what he wrote. It’s the sort of thing an editor would point out and which is easy to correct. And now we get to the moral of this story and the reason I hope you Indie authors have read this far. Because these books deserve to be best-sellers but will never become so. The poor editing and proofreading make them appear amateurish.  Now we come to a question that you might like to answer. How would your books stand up by comparison? Are you sabotaging yourself because you aren’t a good editor or proof-reader? It is entirely possible that you are if you aren’t getting other people to cast their eyes over your work. Both editing and proof reading take time, we know. And anything that takes time usually costs money if we want someone else to do it for us. So, how do we avoid the sort of mistakes that I have described above, but without it costing us anything?  You are not alone This is where the ‘writing community’ can help. We can buddy up and look at each other’s work and tell the author which bits work for us and which bits don’t. At the very least we can spot the typos, punctuation errors and incorrect homonyms that I referred to earlier. And, best of all, we get to read a free book as well. If we are doing things properly, then we will be editing and proofreading our own work anyway, so all we would be doing would be expending the same amount of time doing it for someone else, while they do ours. It costs us no more time than it was going to cost us anyway. Here at Selfishgenie Publishing we have a golden rule that no book is published until it has been read at least 4 times by a minimum of two different people (that’s twice each, not 4 times each). If anything slips through the net after that, then at least we have done our best to prevent it. And if you weren’t going to edit and proofread your own work – well, you may want to read this blog again and see if there is anything you may wish to reconsider. If, by any chance, the author of the books I have referred to is reading this and recognises my references, please feel free to contact me (use the general enquiries email address given on our ‘contact’ page) and I’ll be happy to offer some feedback on the work. There is still the opportunity to withdraw these books from sale, sort them out and turn them into the best-sellers they could be. If you have enjoyed this blog and want to be sure not to miss future posts, why not sign up to our newsletter? 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 All Indie authors need an advertising budget. There, I’ve said it. You may not want to read that and you may now be sticking your fingers in your ears and going “la la la”, but I’m afraid it’s true. Let’s start from basics. Nobody is going to stumble on your book by accident. It may be the best book ever written, but if nobody knows it exists then they can’t read it.  Nobody is going to stumble on your book by accident! You will be aware that social media can be used to bring your book to the attention of a wider audience for free, but it has a limited utility. Once your post or Tweet about your book has been read by your “friends” or “followers” they will do one of two things. They will either buy the book (hooray) or they will ignore it (boo). After that, no matter how often you post or Tweet about your book, nothing will happen. The people who bought your book when they first saw the post aren’t going to buy it again and the people who ignored it first time around are going to continue to ignore it. This means you have to keep finding new “friends” and/or “followers” who haven’t previously seen your message and who will either buy your book or ignore it. And finding those people is a relentless slog which takes up more and more of your time. And your time is valuable. You should be spending your time writing new books, not trawling through social media trying to attract new people.  Which is where advertising comes in. There is a thing in commerce called “spend to save”. The basic principle is that if you spend money now on certain things, you will save money in the longer term. For example, if you spend £1,000 on replacing your existing light bulbs with more energy efficient light bulbs, you will save more than £1,000 over the next five years, thus repaying the initial outlay and making a profit. This is also known as “return on investment” (ROI). The same principle applies in advertising, though here you might call it “spend to earn”. If you spend £x on advertising now, you will earn £y back in sales, so the advertising cost is paid back and you get your ROI. This is something that is well understood across business. If advertising didn’t pay for itself, then all those adverts that we see on-line, on TV, in the cinema and that we hear on the radio, just wouldn’t be there. Advertising has to pay for itself or or nobody would do it.  But you are an Indie author. You don’t have much money. How can you possibly afford to advertise? Fortunately, the same social media we used to promote our book for free, also offers the facility to advertise that isn’t expensive. You may have 5,000 followers on Twitter, but a paid advertisement has the potential to reach millions of people. The same applies to Facebook and to all the other forms of social media. It even works by paying for advertising on Amazon. There are some good practices that should be born in mind if you are going to advertise and I’ll touch on these now. We have covered most of them in previous blogs, so we won’t go into detail here.  Target your audience. Make sure the advert is aimed at the right people. There’s no point in paying for your book to be promoted to people who don’t read books or who don’t read books in your genre. Time your advertising. Not everyone is on social media 24/7, so find out when your audience is likely to be on-line and time your advertising accordingly. Change your message. People get annoyed by repetition, so each advert should be different from the one before. This will require you to be creative – but you’re an author, you are already creative. Make your adverts eye-catching. People are more attracted to pictures than to words and they are more attracted to moving pictures than to still ones.  Think long-term. Every new reader that you attract with an advert is likely to stay loyal if they enjoy your book. So that’s a sale in the bag for your next book and all the others you are going to write – and you won’t have to pay for those sales. Save to spend. Set aside money from each sale to help pay for your next advert. I would recommend 10% minimum from the income from each sale.  You shouldn’t waste money on those businesses (mainly on Twitter) who offer to promote your book to their gazillion followers. Their output isn’t targeted and there is very little evidence that it produces results.
You might as well stand in the street with a megaphone shouting “buy my book”. In fact, you’d probably get more sales that way (along with a restraining order). How much should you spend? Well, a Facebook advert running for 4 days will cost about £25 ($30) and that should return you enough sales to justify the cost. Other social media channels and Amazon offer similar levels of pricing. How often should you advertise? As often as you can afford it. I would suggest at least one advert per month and if you can’t afford that, try for one very two months. Have I convinced you? If not, then there is only one thing that will. Give it a try, just once, and see what happens. Experience costs money, but for some people it is the only way they will be convinced. But, let’s face it, if your book isn’t selling, then doing nothing isn’t really an option if you want that to change. If you have enjoyed this blog or found it interesting, make sure you don't miss the next edition by signing up for our newsletter. If you do, you can get a full length novel for FREE. Just hit the button. |
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