Local or global promotion?

The story so far… I tried putting one of my books on the Kindle free list. 115 copies were downloaded, and quite a few readers were reading ‘pages’ during the four days of the promotion and shortly afterwards. No way of knowing whether there will be a longer term impact on sales.


downloadLast week I tried another of KDP’s suggested strategies, where the price gradually increases over four days – I think. Seemed complicated, but I gave it a go with another of my books and kept my eye on the ‘promotion’ results. Nothing. Nada. Nichts. Not a single download, at any of the ‘staged’ prices, and no impact on the ‘pages read’ numbers. I deliberately didn’t do a lot of Tweeting etc about the ‘promotion’ as I wanted to see whether price alone was the reason for people choosing to download.

The conclusion of these two deeply unscientific investigations is that you can guarantee a high level of interest in your ebook only if you give it away, for free. I find that pretty depressing.

In the past week I’ve experienced another form of ‘promotion’, which started small and then stepped up. Much of my readership is based in Cumbria, where all my books are set. Many of my readers are pre-digital, and the limit of their internet engagement will probably be Facebook, reading but not posting. There’s an FB page run by a a group in my local town and I use it to check dates, events, things for sale. I posted that my new book would be out on June 6th and a few details about it, and the post was shared quite widely. One of the people who saw it was obviously a local reporter looking for a story, and he rang me and asked a few more questions. The exchange took about five minutes and I thought no more about it.

The following day, this was the front page of the North West Evening Mail, based in Barrow-in-Furness and read all over South West Cumbria. There was a fuller article on an inside page, with quotes from my website and more information. It doesn’t raise my international profile, but the people who read this will get their signed paperback copy and pay the full price on the cover. Maybe thinking small and local is the way to go.IMG_0637

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Do book ‘promotions’ work?

Well, I put ‘A Good Liar’ on the Kindle free ebook list last week and 115 copies were downloaded over the five days of the offer. At the same time the number of (KENP) pages being read of both ‘A Good Liar’ and ‘Forgiven’, which is the next book in the series, both went up markedly. FORGIVEN_2017There may or may not be a connection. This week I’ve tried another Kindle promotion strategy, putting ‘Forgiven’ into the process where the price progresses from low back to the ‘normal’ of around £4 over four days. No noticeable increase in downloads as yet, but I admit I’ve been too busy to do anything about telling anyone about the promotion. At least there’s some income from this strategy, but it doesn’t look particularly effective so far.

More news on that next week. In the meantime, I’ve sent the new book ‘Burning Secrets’ to the printers and can do no more with it until the delivery arrives on May 31st. I know I should be more proactive about promotion, but I need a break after the struggle to get all the production stages completed on time and make all the necessary decisions. And I had a big birthday party to organise and then enjoy – which I did, very much. pexels-photo-634694.jpegLoads of people came from away, and it was great to have a steady flow of visitors on the following morning, so we could catch up properly.

I could have put flyers about my new book on the tables at my party, and made a little speech about it, and had a draw for a free copy, but I just didn’t want to to do that. This was an important personal occasion, and the books are about what I do, not who I am. Does that make sense?

Hitting the big 70 puts things in perspective, and running around pushing people to buy my books isn’t top of my priorities. There are many readers, especially in Cumbria, who enjoy the books and say so, and have been anticipating the new one for some time. I’ll do the usual round of meetings, talks, festivals and radio, and hope that will draw some new readers in too. The ebook and Amazon sales will be picked up by my US distributors Fahrenheit Press and its charismatic MD Chris McVeigh,who knows the book selling business far better than I do. I could do with a similar ‘champion’ here in the UK – someone who loves my work and knows how to promote it – and does so for love, not money. Maybe that’s unrealistic, and lazy!

‘Free’ ebooks: what are the implications?

After my post last week about the ludicrously low prices that are being charged for ebooks, I decided to try something. I put one of my novels – the first one, ‘A Good Liar’ – onto a four day free offer, starting on April 23rd, which happened to be my birthday. free dreamstime_xxl_24924655(Considering my qualms about this method of book promotion, you might call it an ‘unhappy birthday to me’. ) Ever open-minded, I wanted to see what would happen in both the short-term and as a possible more lasting consequence.

I’ve just checked the figures on my KDP dashboard and 97 free ebook copies of ‘A Good Liar’ have been downloaded in the past two days, 72 on day 1 and 25 yesterday. Will the downward trend will continue over the next two days? Apart from listing the offer, I did nothing more to publicise it. I assume that Kindle have a list of freebies that tight-fisted readers trawl through. It only takes seconds to click and costs them nothing, but then what? Do they actually read the book, or check the first page or two and discard those that don’t appeal?

By the weekend I’ll know the total number of downloads. What I will not know is how many, if any, of these free books were read. I could check the Amazon reviews, but very few readers actually bother to submit anything. I could check hits on the website, or sales of the other books in the series – all of which are still listed at the ‘normal’ price of around £4 – £5. I’d be surprised if a freeloader was prepared to pay that for a book, unless they were so enamoured of the story that they simply had to read on, and that would be great.

My curiosity is piqued. Maybe I should try another experiment, temporarily reducing the cost of one of my books to 99p, to see if that makes the same difference. I could use it as part of the promotion campaign for the new book, which is due in early June. That book will handled by Fahrenheit Press, who have the ebook rights to my crime novels. I’ll be interested to see what their fairly idiosyncratic approach to promotion does to raise reader awareness.

I’ve done ‘loss leaders’ before: in my previous life as an international education consultant I did work ‘pro bono’ sometimes, just to introduce myself to a new client, confident that ‘work generates work’ and that more jobs would follow, and they always did. With book sales I’m less confident that a free offer will produce a lasting effect. That could be because my books are not as good as the contribution I made as a consultant, although I do get a gratifying amount of positive feedback. Or maybe as a relative novice,  I just don’t understand how book selling really works.balance sheet dreamstime_s_114698015

Fortunately, I don’t expect or need to make a living from writing and publishing my own books, in paperback as well as ebook formats. But I don’t expect to make a loss either. I work hard at my writing and want readers to enjoy the result. I find and pay good people with expertise to edit, typeset, proofread, design the covers and print my books. All those paperback production costs need to be covered, and that depends on the delicate balance of sales and pricing. Conversion to ebook is relatively cheap, but I still don’t want to undervalue the work that goes into my novel, in what ever format. There’s the dilemma.

 

Are eBook prices far too low?

I had an interesting exchange recently with an indie publisher who’s been in the trade for many years and seen it all. This is what he said on the issue of eBook prices. “Things are tough for every indie publisher – readers seem to havebusiness-money-pink-coins.jpg decided that the price point for eBooks is 0.99 or free and as you know there are very small margins involved at that level”. Oh yes, the margins are very small indeed.

Self-publishing writers like me are attracted to eBooks for all sorts of reasons. The upfront costs are minimal compared with publishing ‘real’ books; you don’t have to decide how many to produce, balancing unit costs and the risk of coping with unsold stock; and there are no issues around storage. Cheap and easy, or so it appears.

But, if you want to produce an ebook to an acceptable standard, you may want help with editing, and proofreading, and the cover. All those need to be paid for, and the costs will far outweigh the cost of conversion to eBook format. And if you want people to buy your book, in whatever format, you will need to publicise and promote it. Any potential reader first needs to know that your book exists, and believe that they want to spend some money on it. Promotion takes effort and energy and can be frustrating, as you realise that ‘professional’ reviews are unachievable, the market is saturated, local media don’t care that much, and advertising is expensive.

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The promotional strategy that takes least effort is simply to lower the price, and here’s where the problem starts that all of us are currently facing. If a sufficient proportion authors are prepared to sell their work for £1 or $1, or even give it away to manipulate the ‘best-seller’ lists, how can we then persuade readers to pay a proper price, for a product that represents many many hours or work? It makes no sense to under-price, and thereby under-value, a book. It cheapens the writing process, and makes me – for one – feel like a mug.

 

If selling for these ludicrous prices were a rarity, and a temporary way to attract buyers, fair enough. But the ‘bargain’ price has now become the ‘standard’ price and the value of our work as writers appears to be permanently pexels-photo-266174.jpegdebased.

I would love to increase my ebook sales, but right now I’m simply not prepared to reduce the price to less than a cup of tea. Am I being foolish? Maybe, but I value my self-respect.

Does proof-reading flatten language?

Of course, the question is facile: it’s not as black and white as that. So let’s pick apart the proof-reading stage of the publishing process, just to see what it contributes and where problems can arise.

First off, doing without proof-reading is a mistake. Nothing irritates a reader and or embarrasses a writer more than published text containing missing words, incorrect or unclosed speech marks, upper case/lower case mistakes, or whatever the obvious transgression might be. pexels-photo-415105.jpegHaving said that, something seems to depend on the reader. While some readers spot everything, and usually tell you so, others seem not to notice at all.

As an ex-educator with a very picky grammar school education, I’m unbearably fussy about punctuation, or I least I thought I was until a recent experience with a professional proof-reader. My ‘rules’ seem to be based on what I’d learned at school and not updated since, and I was unprepared for the technical approach to writing that my proof-reader friend was keen on. And from what I read about current approaches to ‘grammar’ in English primary schools, it looks like today’s children are getting a bellyful of these ‘rules’ which are then tested: enough to put them off writing confidently for a long time.

I have had a very unfortunate experience with proof-reading, which I’m keen not to repeat. My first three books fared well, or relatively well, with very few errors being spotted during that first nervous check when they came back from the printers. Maybe we got complacent, even sloppy. When the fourth book arrived, something had gone badly wrong. I spotted one or two mistakes in a casual flick through, but then the careful readers’ feedback started. At first it was a general complaint about the number of errors, and then after a routine library talk a woman handed me a list of the errors she had spotted and kindly written out for me. My stomach turned when I glanced at the list of shame. For days I could hardly bear to look at it. Then one morning after a miserable night worrying about it, I sat in bed with the list, a copy of the book and a highlighter pen and marked up every single one.artistic-arts-blue-business-159659.jpeg It took a while. In my distress I managed to get highlighter on my duvet covet and it has proved impossible to get rid of, reminding me of the miserable business every time the duvet cover appears on my bed.

The colleagues who had helped me with the errant book’s publication were duly informed and were as puzzled as me. How had this happened? We still can’t explain: it was as if the penultimate uncorrected proofs had been sent for printing by mistake. The ebook version of the book was corrected immediately, which was a relief, but I couldn’t afford to scrap the printed paperbacks and redo them. Mercifully, two years on, the stocks of the first edition are almost exhausted now and we can correct the mistakes before the reprint.

No need to convince me of the essential need for proof-reading. The conventions of the written form need to be visible in the text, to make the reader’s life bearable. But…are all these conventions set in stone? Some renowned authors have chosen to ignore them completely, but we can’t all be James Joyce.

Here’s my question: does the style and intensity of proof-reading vary according to genre? What’s acceptable – and required – in an academic paper maybe just too much for a work of fiction. And what’s appropriate to ‘literary fiction’, where writing style is the first concern, may feel wrong in a plot-driven crime story. Even within a story, the level of technical accuracy in a descriptive paragraph will and should be quite different than in dialogue, where people simply don’t speak in full balanced sentences with semi-colons and sub-clauses and all the rest.

Here’s my advice: when you’re working with a new proof-reader, ask for a few sample pages before he/she starts work in earnest. Be prepared for a discussion about the level of correction that could be deemed essential and what is a matter of choice and style. It’s your book, and you call the shots, but obviously you’ll listen to advice from a professionally trained person, even if sometimes you choose to ignore it. I’m sure that some proof-readers yearn to be editors even after the editing stage is officially over, but that could lead to all sorts of confusion and frustration. You – the author – may have to arbitrate and mediate. It’s your name on the cover, and you carry the can.

Back to the original question: can proof-reading flatten language? Yes, potentially it can, by applying ‘rules’ too heavily and inappropriately. If that’s not what you want, make sure you discuss the process with your proof-reader and find an acceptable compromise. “She who pays the piper calls the tune.”

 

 

 

How useful is a big book ‘launch’?

pexels-photo.jpgWhen I produced my first book in 2012 I was so taken up with the final stages  of publication and all the detailed stuff that most writers – me included – find so intimidating, that I didn’t even think about a book launch. Then I came across a friendly local PR person, who gave some free advice about a ‘launch’, and I did as she advised. It seemed like a lot of work – press releases, emails to heaps of people I’d never met – and the outcome was deeply disappointing. I didn’t realise then what I know now, that self-published novels are two a penny and rarely make ripples on the local news scene. I also know now that many self-published novels deserve to sink without trace.

In my early innocence, I was surprised that the local media weren’t very interested in my book, and nor were local bookshops. The only people who agreed to come to the launch were friends and family, and it would have been easier and more comfortable to have a party for them at home. It felt as if we were putting on a show in front of a non-existent audience. On the way home I recall feeling wretched about the waste of money and the sense of humiliation – a far cry from the achievement of a life-long goal that I might have been celebrating.

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With the second book I tried again. This time the local paper sent a photographer and there was quite a good write-up, but again it felt like an anti-climax. With Book 3 I didn’t bother with a launch. The book just appeared in the shops and as I toured the libraries and local groups talking about it, the local paper would appear and publish a photo. So the same end was achieved without the expense and awkwardness of standing around pretending to have fun.

Books 4 and 5 went the same way. Now the concept of a ‘launch’ has been so negatively affected by previous experience that thinking about ‘launching’ the new book fills me with dread.

This fear may be irrational, as the situation is quite different than it was in 2012 when I started down this road. I now have a considerable local following of readers who are anticipating the next book, having read all the previous ones. It’s hardly the Harry Potter phenomenon, but local booksellers tell me that they are regularly asked when the new book will be out. My readership has grown through word-of-mouth not as a result of serious promotion and marketing. The area of interest is regional to Cumbria, but there is a Cumbrian diaspora too that reads my stuff, and visitors to the area sometimes come across my books too and spread them further afield.

The region at the heart of the interest, however, is largely rural and thinly spread, with no obvious population centre where a launch would naturally happen. So what to do? Is a one-off ‘launch’ worth what it would cost, in both cash, time and anxiety?

The publication date of the new book is about two months away, and I have a decision to make about how to mark the event – if at all.

Agents – how did they get to be so powerful?

books-education-school-literature-51342.jpegI saw an advert today for a ‘writing conference’, but actually it was an event designed solely to give writers access to a group of agents, for whom the writers were expected to ‘perform’, aka ‘pitching’. For this experience the writers would travel to the venue and pay a considerable fee. Could this be entitled a ‘writing conference’? It was about seeking approval from an agent, nothing more. Who are these arbiters of quality, and where does their power come from?

I need to declare an interest: twice in my writing life over the past ten years I have tried to find a agent, and twice the attempt has been fruitless. The second time, as a moderately successful self-published author, I said as much in my ‘pitching’ letter, and in one of the few responses I received I was told that my success so far was really nothing special and that I should be more ‘humble’. Thanks for that. Most of the responses from agents I have gathered over the years have been generic, making no specific reference to my work, which I suspect had not been read.

Sour grapes? Bitterness? Yes, probably. I’ve had a long professional career and don’t relish being ‘judged’ by a group of people whose qualifications for their role are so hard to define or to check. Granted my experience is limited, but the ‘average’ agent appears to be young (ie. younger than my daughter), well-spoken, publicly anodyne, and based in London. All of the agents I have encountered at conferences have been female, but some of the ones I’ve written to have been male, so gender may be immaterial.

I suspect that age may matter in this lottery of who will be of interest to an agent. The agent’s living comes from a percentage of an author’s sales/earnings. If the author has thirty or so years of writing life ahead of them they are a more attractive investment than someone like me who started late. It must also help to be well-connected in writing circles, with a wide reach for promotion purposes. When agents are, as they claim to be, inundated by submissions, the fact that the writer knows someone who knows someone would probably help too. Selecting a very small number from a huge range of applicants must be a nightmare, and any easy selection criteria must be welcome.

A fundamental dilemma of current publishing lurks beneath all these more superficial choice mechanisms. No one in publishing seems to be clear about what they are looking pexels-photo-187333.jpegfor. ‘We need new voices’, they cry, but are drawn by the lure of sales to replicate the most recent best-seller. Best-sellers are regularly a surprise, as predictable as a winning lottery ticket. The agent must be risk-averse and a risk-taker simultaneously. No wonder their public statements are often so bland and unhelpful. A regular pronouncement from the agenting group is that they know a good book because they ‘fall in love’ with it, and we all know what an arbitrary process that is, impossible to define or to rationalise.

If the yearned-for book is impossible to describe, perhaps the agent is actually looking for a writer instead? Does he/she really want someone young, photogenic, articulate, ambitious, flexible/malleable? Find a book with some quality – not much better than thousands of others but with a ‘promotable’ author – pour a great deal of money into promotion and hope for the best. We are told that the great majority of published fiction fails to make any money at all: not a great affirmation of the agents’ or publishers’ judgement.

Without an agent, I continue to self-publish, and it’s hard work. I would love someone to take on the responsibility of getting my manuscript into production, although I would be less happy with the paltry royalties. But I’m done with agents. Going to a ‘pitching’ conference seems like buying a very expensive lottery ticket, with similar chances of success.