Rarely do I venture into posting about promotion and marketing as these are areas which deserve a blog of their own, allowing for comprehensive explanations and discussion.
However, there are many simple elements authors can utilize to assist the sales of their books.
Many of these aspects, like listing your ‘other titles’ as part of your books backmatter should be standard practice.
Some mainstream publishers are now using a paragraph or two from their author’s other works in the front matter, stating the obvious.. ‘From the author of…..other title’. I think it is a spin-off from Hollywood film promotions, i.e. ‘From the director of….blah blah’.
While it’s a practice which is becoming common, flick through the first few pages of mainstream novels in your local bookstore to see this trend. It is not one I particularly like. To me it is a little too aggressive, even hinting at desperation. I’ll leave you to decide where you want to go with it, should you want to try this option.
One often-overlooked opportunity, (I have neglected this myself too many times in the past), is the use of QR codes.
While links, (hyperlinks), work well with most electronic flow files, that is eBooks, Kindle and such, they cannot be used in a physical Paperback or Hardcover book.
One can list site addresses, such as this one, (my Amazon author page), https://www.amazon.co.uk/~/e/B00CJCT5DKbut, with a physical book, it means the reader must type out the whole address string on their keypad. Not a spontaneous act and therefore it is more likely to be ignored than actioned.
I find a significant alternative is using a QR code, like this one which can simply be scanned with a cellphone. (Try it.)
Some may consider QR codes as ‘old school’. However, QR codes offer a great way to connect your reader instantly and directly with your chosen location. This could be your Amazon author page, (as in the example above), your website, your books purchase location, blog, or social media page on Facebook, Instagram, LinkedIn or any other social site.
The location you choose to send your reader to is entirely up to you.
In reverse, QR codes included in you books can direct readers to you social pages, blogs or personal website. You could include several QR codes in one book if you so wished, but you would need to be judicious in their use regarding the appearance of your book.
In ‘Within the Invisible Pentacle’I use QR codes to direct people to my targeted locations, once internally in the back matter on my ‘About the Author‘ page and once on the back cover, next to the barcode.
This is how I use them.
As an Electric Eclectic author, I also use a QR code to help direct people to the Electric Eclectic blog. This QR code you will notice incorporates the EE logo.
Using QR codes is a simple, extremely low-cost, yet effective addition to your marketing and promotional armoury and one I highly recommend you adopting.
You should incorporate these QR codes in your books and use them with your blogs, newsletters and in your social media posts, directing people to your chosen location(s).
The only limit is your imagination.
I am happy to produce bespoke QR codes for your author marketing needs.
I can also create QR codes incorporating personal or business/brand logos.
My QR codes can be produced in a variety of colours and in several bespoke shapes while maintaining their full functionality.
While many authors are proficient in creating individual personalities for their fictional persons, it is imperative when developing such characters’ lives, for one to write in a convincing and accurate mode to cultivate believability from the readers perspective.
Failure to originate plausible credibility of personality and interactions of fictional characters, over prolonged periods, proves detrimental to the reader’s gratification as it detracts from the overall principle and foundations of the author’s storyline, the very premise of which the reader chose for their entertainment.
Reality is fiction is all-important.
Therefore, understanding the social structure your characters inhabit is paramount to building such authentic originality. National, regional, fiscal, domestic and public constructs all constitute facets of each fictional character’s composition and structure.
Below is a list, created to assist with placing your complex and sophisticated character natures in a sound literary context. Therefore, accurately reflecting personality traits found in factual, genuine, true-life people of your chosen genre of state.
Such traits are often referred to as the ‘Hidden rules among Class.’
Following the subject heading, in bold text, are three subtexts. In order, they refer to; Lower Class (poor) – Middle Class (rich) & Upper Class (Wealthy).
Money: To be spent (Lower class) – To be managed (Middle Class) – To be invested (Upper Class)
Money: To be spent -To be managed – To be invested.
Personality: Sense of humour – Achievement – Connections.
Social emphasis: Inclusion – Self-sufficiency – Exclusion.
I recall reading Roald Dahl’s ‘Georges Marvellous Medicine’ to my son when he was a child. One phrase I found particularly hilarious was when George’s grandmother said, ‘Growing was a nasty childish habit’.
I’ll give you a short extract for context.
‘You know what’s the matter with you?’ the old woman said, staring at George over the rim of the teacup with those bright wicked little eyes. ‘You’re growing too fast. Boys who grow too fast become stupid and lazy.’
‘But I can’t help it if I am growing fast, Grandma,’ George said.
‘Of course, you can,’ she snapped. ‘Growing’s a nasty childish habit.’
As it happens, in the ensuing years I found my son adopted other ‘nasty childish habits’ growing boys seem to enjoy. I mentioned most of them to him in much the same way as George’s grandmother, not that it had any effect!
However, it is not childhood or growth or adolescence peccadillos I speak of today, but one of habits.
You see, like many other authors, my mind is constantly working overtime. Even when I am ignoring it, doing regular stuff like cleaning, gardening or shopping, it is whirring away noticing things, listening to other people’s conversations, reading notes, lists and phone screens over people’s shoulders and so forth.
It really is a bit of a rouge in many ways.
The thing is, those subconscious bits of my mind remember it all, record it and mull it over, twisting totally unrelated events, jiggling individual occurrences, shaking them together until a kaleidoscope pattern of instances which hold the possibility of illusory whimsy form.
This is when it digs a sharp elbow of attention into the soft kidneys of my platitude, painfully jerking my ‘normal’ daily thoughts away from the mundane and into the imaginative world of fantastical conception.
Last night, as I was going to bed, I felt the aforesaid sharp elbow ram painfully into the soft parts of my consciousness.
A voice in my head spoke excitedly to me.
“You know,” it started, “you write a fair bit about remembering the past, about nostalgia and stuff?”
“Um, yes,” I said, not sure where this was leading.
“Well, what about if people get all nostalgic because they survived it?”
“Survived it?” I questioned.
“Yeah.” The voice was shouting in my brain. “Think about it.”
“I’m going to bed,” I said. Trying to placate my thoughts.
“Yeah, but you’ll not sleep, not until you understand this.” The voice said sounding a little annoyed and a more than a little bit smug.
Of course, it was right. I needed to do this now, as tired I was. So, I grabbed a notebook and pen. I have several dotted around the house exactly for moments like this.
“Okay,” I said, “fire away.”
“How about if… people love the past, the recent past, like the times in and around their childhood because they lived through it, or most of it. They survived relatively unharmed. Well, they must have done or they wouldn’t be here now, would they?”
“Um, no,” I replied, “I suppose not.”
“So, just like in a good book, or a movie, where the hero rides off into the sunset at the end, that’s what you have done, along with everybody else who reminisces. You rode off into your sunset and arrived in the here and now.”
“Well, maybe, sort of.”
“I’m right. The past is where your parents were. They helped keep you safe, mended your cuts and bruises, kissed your grazed knees. It was home, comforting, warm. Your bedroom your inner sanctuary, guarded by your parents.”
“I guess so.” I was chewing my inner lip. Something I rarely do. “But not all memories are good ones, bad things happened too.”
“Yeah, yeah, yeah,” my mind said, “I’m not talking about those bits. No one gets all sentimental over the bad stuff. We remember it when we must, but not in a nostalgic way. Nostalgia is reserved for nice memories.”
“I’ll go with that,” I said, nodding to myself.
“Well, that’s the key,” my mind continued.
“The key to what?” I asked.
“The key to writing something captivating in your books, especially when you’re basing them in the past, or have characters talking about ‘back when’ & ‘do you remember’ and stuff. It’s great for flashbacks, prequels and shit like that. Think about it.”
I was thinking about it.
“Even a futuristic story must have its past.”
I scribbled a few rough notes, odd aide memoir single word notes I could refer to later. (That later being now).
The thing is, after a good night’s sleep, a day carrying out family chores and a visit to the dentist for a clean & polish, I have mulled over my conversation with the excitable voice from last night and my conclusion is… I agree.
It makes a ton of sense for us to hold fond memories of good times. They could well be recollections of childhood events, maybe a loving mother tucking you into bed, possibly escaping an annoyed farmer when scrumping for apples, or like some of the memories I have written about previously, such as days out for a family a picnic or a train journey to the seaside; all exciting experiences for a child.
My teenage years hold more life events which have helped forge who I am today. Don’t get me wrong, I have instances of near-death, but… I survived to tell the tale. I did ride off into my sunset… although some moments may be more akin to crawling along a drainage ditch in inch thick cloying mud… but those tales are for another time.
It’s called living life.
As an author, I feed on such memories, use them to build my fictional worlds, create my characters, lay plots and write scenes. It is a habit I’ve adopted.
Until now, until the conversation with myself, I did not consider why nostalgia, which is according to the dictionary, ‘A sentimental longing or wistful affection for a period in the past; even one never experienced,’ is such a powerful apparatus to use to elicit emotion.
Now I have spent time complementing the reasons, it makes perfect sense and one I shall be far more aware of when employing it in my writings in the future.
So, while scrumping for apples and reading George’s Marvellous Medicine may be unconnected events, both in time and geographical distance, the voice in my head found a way to join them together into a cohesive entity.
You could say they were unconnected connections of habit.
Keep Happy, Paul
I would love you to check out my books, you can see them all on my website,even those not available on Amazon, including exclusive hardcovers.
Don’t forget to look at my Electric Eclectic books, eBooks and Pocketbook paperbacks You can find them on my websiteor on @open24, the Amazon store for readers & writers
I am open to comments and communication, so feel free to contact me at firstname.lastname@example.org or via Facebook.
In most of my posts, I ramble away in an unplanned manner, eventually making sense of, or come to a conclusion, about whatever topic is being discussed.
I tend to stay clear of jargon and try not to get too bogged down with the technical aspect of… stuff.
I have tried to do the same here; if you really want to get all techy and scientific you’ll need to undertake some research of your own.
Otherwise, please read on, some explanations, tips, and links are included.
‘A9’ is the proprietary search algorithm developed by Amazon. It is named after the company’s subsidiary which handles SEO
It has one job, to answer customer’s purchasing queries.
Please note, it is NOT Google.
Amazon is the primary destination for book searches, so understanding A9 is critical to your author success on this platform.
Amazon is happy to let A9 fly under the radar, even with A9 being somewhat revolutionary, to say the least.
We all love how Google seamlessly adapts its SERPs to your browsing habits, but A9 floated this idea successfully way back in 2004. A9 also pioneered visual street views long before Google Maps was a thing. The point is, despite being the most valuable company in the world, Amazon isn’t keen on pushing A9 through as a wide-lens search engine. In fact, you won’t find many people who have heard of the A9 algorithm.
The simple reason is, as I said above, it is NOT Google.
Amazon is not in the Searcher Intent business. Searcher intent is simply the type of request or query a specific user is looking for. For example, searcher intent is extremely obvious when terminology such as “buy” or “sell” is used. This is 100% commercial intent. E.G. “buy shoes” “sell my car” etc.
Whereas other intents, such as informational, e.g. “how-to” is also searched by users in YouTube, Google and other major search engines.
Amazon though, being a product-based search engine, doesn’t have this issue. That’s because people coming to Amazon are looking to do one and one thing only: Buy Stuff, like YOUR books. Unlike a traditional search engine, A9 does not need to consider whether someone searching for say, ‘Stephen King’ wants to learn more about the author or if they want to buy his books, Amazon it ‘knows’ they want to buy his books… and this is the most important factor. It is what shapes the way you need to work with A9 to gain higher rankings on the platform.
To place your book in a ‘high’ and visible position the A9 algorithm needs to consider factors such as degree of text match, price, availability, selection, and sales history.
Therefore, optimizing your books potential rating on Amazon begins before your listing goes live. There are several optimization elements you have control over and need to address before you sell even a single book.
1, Book Title and Brand Name, (if any)
The most relevant keywords will be the title and subtitle (if any) of your book. As with Electric Eclectic branded books, the brand name is used as, or as part of, the subtitle.
This allows people optional and assorted methods of searching for your book. They can key in your book title if they know it or remember it, or at least search for something similar. Alternatively, they can use your author name, or simply type in the brand.
For example, when you enter ‘Electric Eclectic books’ into your Amazon search bar you will be presented with a list of all the titles, from authors who have written under the Electric Eclectic brand.
While it is clearly important to write a compelling description to entice the person browsing to buy your book, consider using three to four ‘bullet point’ at the top of your description, such as, ‘Fast-paced Thriller’ or ‘Romantic Fantasy’, to clarify the genre of the book.
Bullets naturally stand out and make content easier to read than a block of text and help increases conversion rates.
Other bullet point options are such things as ‘Revised Edition’, ‘Prequal to ….’ and so forth. Not only does this help your potential buyers to decide, but it also reduces the risk of bad reviews due to a purchaser buying a book outside their regular choice/comfort zone.
A9 will also pick up on the words used, helping to target your book towards those who will enjoy your story.
TIP:Try by selecting three top-ranked competitors, (Mainstream publisher/agent listings are great for this) chose ones which boast the greatest number of reviews.
With the list of keywords in hand, remove those that aren’t relevant. As easy as that, you’ve got a handy list of keywords in your arsenal
In most cases, data from 3 or 4 competitors is enough to get started.
Your books must be strategically and competitively priced. If they are your conversion rate will benefit. Analyse the book pricing of those with high volume sale in your book’s genre, ensuring they are of similar page count/format. Find the ‘sweet spot’ price points, both on and off Amazon and price your book accordingly. Do not overprice or under-price, doing either will reduce your potential sales.
A9 takes pricing into consideration as it is in Amazon’s best interest to prioritise products (books) that sell. To better your chance of being listed next to, or in the proximity of a ‘Best Seller’, you need to be thereabouts.
4, Cover Images
Although images are not a direct, performance-related Amazon ranking factor, they play a critical role in both your click-through and conversion rates.
While cover images are not factors A9 specifically evaluates, (presently) They are very important for your potential customers and can have an impact on your sales.
High-quality images which view clearly when enlarged can increase sales by as much as 10%, according to Amazon, and the A9 algorithm rewards products that sell well.
Genuine, unsolicited, un-incentivised reviews are an ‘indirect factor’ which may impact your product’s rank on Amazon. Customer reviews can significantly influence the conversion rate, demonstrating their role in Amazon SEO. Books with strong ratings (four stars or higher) are more likely to rank higher in Amazon search results than those with less than four stars.
Although your Amazon ranking, as discussed, is dependent on many other factors; so often a two-star review rated book will show next to four and five star reviewed books. This could simply be because it is a new book is without enough reviews to give a true indication but more often it is because the author simply got everything else perfectly set up for A9, so the book appears higher on the pages.
You should constantly monitor your reviews to ensure customers do not abandon their potential purchase due to a negative review.
By responding to negative reviews in a timely fashion, you are showing your prospective customers you hold a value of their comments. This helps maintain positive overall customer experience.
You will notice at the start of this section I used the wording ‘Genuine, unsolicited, un-incentivised reviews’. This is because these are the ONLY reviews that Amazon A9 is concerned with.
Many authors believe that paid for, swapped, coerced or otherwise incentivised reviews help with Amazon rankings. Well, maybe they once did, but Amazon has been working extremely hard and are finding ways to validate every review.
Amazon uses a number of various systems to log everything… the numbers, the names, usernames, associated usernames (friends of), web locations, physical locations, device ID’s of reviewers, ISP addresses associated with reviews and many more data points.
This information is used to monitor the posting of fake and incentivised reviews, along with authors and businesses linked to enticing fake reviews. You may get away with one or two, but that’s about it, many more and A9 will flag your account(s). This may mean the reviews will be deleted, your account may be suspended or closed, just as those posting the reviews.
As A9 and its associated crawlers and bots develop and gather more information about each author/users’ actions and their algorithms enhanced, Amazon has vowed to clear all fake and incentivised reviews from the platform to improve quality.
The most important thing to remember about the A9 algorithm, and what differentiates it from traditional search engines, is that it exists to facilitate one thing: sales.
A9 looks at your title, product descriptions and the price you set to determine relevance. Together, these factors create a flywheel effect where improving one element of your product marketing also increases sales velocity which, in turn, improves your listing’s visibility.
Higher A9 ranking means more targeted exposure by Amazon, such as showing on ‘Also bought’, ‘Also viewed’ and ‘Frequently bought together’ directed to a relevant audience.
7, The Future for A9
Looking at how Google evolved over the years gives us a look into how we believe Amazon is expected to change.
Amazon’s A9 algorithm will follow a similar trajectory, albeit more slowly and less aggressively (remember, as effective as it is, A9 is not one of Amazon’s most important ‘products’).
Amazon is working to fix many problems: low-quality listings, broken English, higher return rates and how people generate reviews (fake reviews, for example). Amazon has aggressively targeted fake reviews in the past few years, going so far as suing Fiverr directly.
In February 2011, Google released an update called Panda.
Despite its tame name, this update wiped out millions in affiliate marketer & SEO consultant earnings. Superficially speaking, the update itself was aimed at low-quality sites from a content point of view. Copied, scraped and poorly created content was the chief target, meaning that millions of low-quality sites were hit very hard and de-indexed. 95+% of traffic and all the income associated with it, poof, GONE.
Amazon is looking to publish a similar update; the goal to have listings that read well and avoid broken English, duplicate content and generally poor optimization overall, instead of just basing the majority of factors on sales directly.
One of the reasons this makes sense from a business point of view is to reduce the number of low-quality Chinese sellers driving out genuine, quality-focused businesses. (Think future competition, think Alibaba).
There are multiple other reasons it makes sense to Amazon’s business model.
This ‘Amazon Panda’, or whatever they may call it, will change the game, but what will ultimately turn Amazon SEO services & marketing agencies on its head would be an algorithm update similar to Google’s ‘Penguin’ update.
The Panda update in 2011 was big but the Penguin update actually changed the SEO game forever. Released on 24th April 2012 (version 1) it impacted close to 3.1% of search queries. If you’ve ever implemented an SEO campaign, you’ll know it’s a massive amount of organic search results.
In short, this update aimed to remove link spam. Any site which was using questionable link building tactics was hit and penalised. Organic traffic for some companies went to zero and some never recovered.
Amazon’s ‘Penguin’ update, a form of which is under construction (I have been told), will involve targeting elements such as sales manipulation, discounted product giveaways, which they are already combating, and overall search engine manipulation.
Other trust signals will become more and more important.
Industry chatter tells me that generating more than 3 reviews per day is a signal that Amazon uses to identify review manipulation. Other tools such as Fakespot or Reviewmeta are also very common for spotting fake reviews.
Third parties are building tools that identify fake reviews. Amazon has signals and software to reduce the amount of review spam on their platform.
The end result is if you want to stay 100% safe, ensure you stay within Amazon’s terms of service and avoid any algorithm manipulation
One final ‘thing’ to end this post..
Myth: Discounted books and Giveaways Still Work.
NO, they don’t.
This is an Amazon SEO myth we have to cover… discounted and book giveaways. They just don’t work anymore.
This was a very sharp change Amazon made almost 2 years ago now. The main tweak involved how Amazon weighted the ranking signal for discounted product sales.
Previously Amazon weighted discounted products (80%+) still relatively heavily. So, a small amount of discounted product giveaways resulted in large organic ranking movements.
The tweak Amazon added downgraded the weighting used. With this in place, running discounted giveaways just doesn’t make economic sense anymore.
… it was a long time until I owned another vehicle. You see, I was back at sea, often for long periods and there is not much of a requirement for cars aboard a ship.
However, when I was home from leave I did have the opportunity to drive whichever car my father had at the time. It seemed each time I returned home a different car was in our garage. I cannot remember them all, but I do recall one I enjoyed driving, the Hillman Hunter.
The photograph shown above is about the closest example I can find to my fathers’ car, a gold-coloured Hillman Hunter with a vinyl (leather look) roof, (all the rage at the time), The car was an automatic, making it a very easy vehicle to drive.
The Hillman Hunter was probably one of the best vehicles being built at the time in the UK, whose motor industry was in total meltdown, from which it never recovered.
Today Morgan is about the only manufacturer still British owned.
Other famous marques, often still perceived as British, are all foreign-owned.
Aston Martin belongs to Ford, Rolls Royce to Volkswagen, Bentley is part of Tata as is Land Rover, Lotus is a division of Proton, MG is a Chinese brand, Mini is BMW, and Vauxhall is part of General Motors (GM).
This, the Hillman Hunter, is one of the cars I recall in which we, the family, travelled to the beach and countryside for ‘days out’ and picnics, something I have blogged about before.
Many of these trips, or instances from those journeys, are part of the various recollections I write about in one of my ‘works in progress’ On the Highway of Irreverent Rumination & Delusion, which takes the form of a fictitious road trip, allowing me to share my thoughts and perceptions with you, “strung together as a collage of momentary instances, loosely stitched together by wisps of fleeting reflection.”
In a way, I feel I am cheating a bit by writing this book. You see, I am blending reality and fact, suspect and distorted, even selected memory, along with fiction and fantasy to create a platform in which I can share my personal observations and sideways views on life, society, culture, civilisation and humanity by way of a series of connected monologues.
The result, when completed, will be a book which is neither a factual piece nor a work of fiction but rather one of reflective opinion and personal contemplations. One which is far from accurate or objective, although it is both genuine and honest.
I find On the Highway of Irreverent Rumination & Delusion difficult to classify or, as is the want with everything nowadays, to give a label. I wonder who may read it once completed? Is this book pure indulgence on my part, a form of catharsis so I can justify my own assessments and evaluations of life?
I am hoping people find the cover and blurb intriguing enough to buy it, so I can take them on a voyage where we can rattle along the twisted neural carriageways of my psyche and see where it leads.
We can but wait and see.
I shall have this book ready at some point during 2020… hopefully.
In the meantime, I have some news, there is a NEW blog, Electric Eclectic’s blog. Please, please, head over there and follow the blog today. You will love it… that’s a promise, not an order!
This week I continue with the ‘cars I have owned’ themed series of posts.
(Okay, I did not own the Vauxhall Viva in the first post, but that’s just a little technicality we can dismiss for the sake of this blog.)
So, where was I… oh, yes.
I was back from sea.
My trip from Portsmouth took me over to Lisbon, on to Keel, then up to Copenhagen and onwards to Oslo before heading back to England, via Scapa Flow and Inverness. After which my sailing schedule was halted for a short period and I found myself based in the small village of East Meon, Nr Petersfield in Hampshire.
Now, East Meon is not a well-known place by any stretch of the imagination. It is one of those villages that, should you blink while driving through it, you would miss it completely.
I think the village was served by two busses a week. One on a Tuesday morning and another late on a Thursday afternoon, which meant, apart from the old ‘Shanksy’s Pony’ I would be pretty well isolated from humanity.
Not an attractive prospect for a young man of almost seventeen years of age.
Thus, four of my friends and I rummaged around in our pockets and collected the sum total of £39.86 (GBP) pence. This is, at today’s exchange, worth around $52.45 (USD).
Now, back in late 1974 early 1975, this sum was worth a little more than it is today and, I think, the Pound to Dollar rate was about two US Dollars for each British Pound. Anyway, whichever way you slice the cake, it was not a vast sum of money.
But it was more than enough for the five of us to find ourselves the proud owners of a 1961 Vauxhall Cresta, with two new tyres, which were in the boot, (that’s the trunk in Americanese) awaiting to be fitted.
Our bargain car cost us the princely sum of £25.00, cash, from our pooled funds. That left us with £14.85 pence to buy some petrol, (that’s gas to you Americans), and beer at the local village pub; which is located at the foot of the hill, about three miles away, along a very twisty and dark tree-lined country road.
Now, before you think this tale is about some disaster concerning five young men, a vehicle without any documentation or roadworthiness inspection, two bald tyres, a very dark, twisty, rain-soaked road and the fact that not one of those young men, (except my few lessons which got me passed my test almost eighteen months ago, lessons and procedures now totally forgotten), had ever driven a vehicle of any description on any sort of road before, you are wrong… sort of.
Brian, (I’ll call him Brian because, after forty-six years, I have forgotten his actual name), got to drive Caroline first. Why we decided to call the Cresta ‘Caroline’ escapes me but I should think there was no good reason, at least not one which would make any sense today.
The trip was a simple one. We would leave the base and, once we were off the track and onto the road, we would allow the car to freewheel down the hill for the three-mile trip to the village. Once in the village, we would be able to coast to the filling station, which in fact was just a single pump garage, put a small amount of fuel into the car and then go to the pub for a few beers.
We reached the tarmac road at the top of the hill and began our descent, killed the engine and allowed the car to coast downhill, picking up speed as it went. In those days’ cars did not have power steering and the breaking was a matter of pressing hard, feeling the breaks fade, letting them off and jumping on them again, as sort of camber breaking to help the breaks bite.
However, as none of us were experienced drivers; we knew nothing of this technique and, as the car began to accelerate to breakneck speed, the four of us pressed ourselves further and further back into the leather seats with wide grimaces plastered across our fear frozen faces as we watch, unable to move as Brian, now a paler shade of white than an albino turd, stood upright planting his entire 7 and a half stone, that’s around 105 pounds, weight on the brake pedal and wrenched the steering wheel right and left as the sharp, blind bends rushed at us at warp speed.
Rounding the final bend, the road levelled out as it approached and entered the village of East Meon. By the time we were nearing the garage, the car had slowed to around thirty miles an hour and Brian realised he had been standing on the accelerator (gas pedal) and not the break. He now pressed the correct pedal and the car jerked to a halt, throwing the four of us forward.
I hit my head on the dash. Dave slid off the bench seat and disappeared under the consul. Jack became wedged in the passenger footwell and Mark landed on top of him, breaking Jack’s nose in the process.
Dave said, “What the fuck” as he extricated himself from wherever he had disappeared, climbed over me to get out of the car, ran around to the driver’s door and pulled Brian from the vehicle, throwing him unceremoniously into the middle of the road. He then jumped in, started the car and drove the remaining ten yards to the pump.
We fuelled the car with enough fuel to get us back up the hill and, we hoped, back down again but in a much more controlled manner. Then Dave drove to the pub, but not allowing Brian back in the car, so he had to walk. (It was a quarter of a mile at most.)
After a beer or three each. It is amazing to recall how far a few pounds would go back in those days. It was time to leave and make our way up the hill and back to base. I am unsure of how it happened, but I was the one nominated to drive back. I was both terrified and excited at the same time.
Now, as I said before, this car did not come with any warranties with regards to its roadworthiness or any guarantees as to what parts worked and what was defunct. We soon found out only one headlight worked, as did one windscreen (windshield) wiper and, guess what, it was not the one on the driver’s side.
The heaters power however compensated for both of these malfunctions. Whenever the headlights or the windscreen wipers were switched on the heater blasted out a stream of red-hot air akin to the afterburner of an F15 fighter aircraft. The heater was also automatically activated when the left turn indicator was used, as it was when reverse gear was selected.
If on occasion, the glove box was opened while the car was moving at over thirty miles an hour, the radio would come on at speaker shaking, window-rattling volume; tuned into some random station, never once the same as the time before. Other than that, the radio would not work at all.
So, I got to drive the three miles back up the hill in the pouring rain with illegal tyres, no clear vision, jets of hot air bonding my polyester trousers to my legs, all the windows wide open, to compensate for the lack of oxygen available to our lungs because of the same furnace, the persisting rain blowing painfully into my face by the gale-force winds and the radio ear-splittingly blasting the drumming jazz hit, ‘Skin Deep‘.
I must say though, this journey back was surprisingly uneventful if you disregard my searching for and getting the wrong gear on the column change as I struggled to understand the mechanics of controlling a motor vehicle whose controls were alien to anything… that one vehicle I took lessons in… oh, and the swerving, harsh breaking and full 180 degrees spin, on tyres so worn they were all but slick, I managed as I swerved to avoid the deer, which ran out from the almost pitch black shadows of the trees in the pouring rain.
How I did not hit the deer, the embankments or end up shitting my pants, I am unsure but I got us all back alive if a little shaken.
Over the next few weeks, we did get the headlight fixed and replaced all four tyres. No one knew what to do with the heater, so we simply put up with its furnace temperatures by driving most of the time with the windows wide open. As for the radio, we decided it was haunted and the soul of the car, so we left that well alone, just in case ‘Caroline’ was a relative of ‘Christine’.
A few months later it was time to move on, so we sold ‘Caroline’ to a group of ‘newbies’ for the heavenly sum of £50.00. That was a one hundred per-cent profit on our original investment.
I often wonder what became of Caroline. Maybe she continued to service the base’s personnel until they closed it down in 1993.
What, you may ask, has this post got to do with writing or being indie?
I like to think it shows one can create a story from even the most basic of events from our everyday lives.
The next time you feel stuck for something to write about, scribble a short article about what happened to you today, yesterday or twenty years ago. I am certain you will find you have an audience eager to read about those events in your life.
Try it. You have nothing to lose.
Keep Happy, Paul
If you liked this short story why not download one of my Electric Eclectic Novelettes, they are longer short stories I am sure you will enjoy.
Find my books, paperbacks and ebooks, including my Electric Eclectic booksHERE
Want a bit more? Then check out ‘Within the Invisible Pentacle’ a collection of short stories all with feminine titles.
You can find Within the Invisible PentacleHEREin the UKandHEREin the USA
On the Highway of Irrelevant Rumination and Delusion is my musings on life and living, taken from my old blog series of the same name and explored during a fictitious road trip, itself an amalgam of many, to create a captivating, informative and entertaining monologue.https://paulznewpostbox.wixsite.com/paul-white/works-in-progress
I am beginning this series of posts with a car from 1973 in which I first learned to drive, the ubiquitous Vauxhall Viva.
In its time, the Vauxhall Viva was the most popular car to come from Vauxhall’s Luton works. Once seen on every street corner The Viva was the first Vauxhall to achieve a six-figure production run and, by the early 1970s, was Vauxhall’s best-selling model.
None of that mattered to me as I struggled to master the necessary synchronicity between clutch, steering, mirrors, gearshift and acceleration while simultaneously looking ahead and in my mirrors. No mean feat for someone who never road a bicycle until they were eight years old!
However, the point of this series of post is far from riding bicycles or driving cars, its about life, the world, being an indie author and, at least for the first few posts, a little bit of nostalgia. A mix I hope you will find informative as well as entertaining.
So, without further ado, let me get started ‘proper’.
At the end of 1973, I was a young sailor in the Royal Navy. I had around six weeks left before I was to join my first ship and sail away to some far-flung shores. I was, to all intents and purpose a ‘whippersnapper‘. I suppose it was the start of me becoming me, becoming who I am now.
Did you know the word Whippersnapper was originally a “diminutive, insignificant, or presumptuous person?”
It was a term of reproach, here is the word used in a lengthy harangue by Edgar Allan Poe, from his story “Loss of Breath”:
“Thou wretch! – thou vixen! – thou shrew!” said I to my wife on the morning after our wedding, “thou witch! – thou hag! – thou whipper-snapper! – thou sink of iniquity! – thou fiery-faced quintessence of all that is abominable! – thou – thou –”
(The speaker in the story is then, gratifyingly, bereft of breath and stops speaking.)
Some may have preferred to call me a ‘Whiffet’ which has similar connotations and also means “a small, young, or unimportant person.”
But the cuteness of the word kept it becoming a term of reproach. Whiffet was used in the 19th century in relaxed and informal writing, such as this breezy passage from an early magazine movie review:
Particularly is this true in the case of William Haines. This cinema actor invariably plays the obnoxious, precocious whiffet who upsets plans, causes heartaches by his wilfulness.
—“The New Pictures,” Time Magazine, 10 October 1928
Now, back to my tale…
With little to do with my ‘off-duty’ time, I decided to learn to drive. (Not that I was going to get much chance to practise the skill once at sea!) Anyway, I engaged the services of a driving instructor and jumped into the driving seat of a shiny red car. The picture on this blog is exactly as I recall the vehicle.
Three lessons a week taught me the skills necessary for basic car control, well, enough to pass my test and gain a licence just in time to board my ship and sail away on the high seas.
My first ‘foreign’ port of call was Lisbon, Portugal; which is just across the English Channel and a little south. The fine city that it is, it was not the exotic tropical port of my boyhood dreams. (Thankfully I did get to visit those too.)
But tales of sailing the high seas and exploring foreign lands is not my premise of this post. It is about me taking those driving lessons although I knew it would be many months before I could use to use my newly acquired skills. Besides which, I still needed to purchase a vehicle.
You see, far too often we stop ourselves from undertaking certain tasks because of… well, whatever excuse we can find to convince ourselves. I could have so easily not taken those driving lessons because I was going to sea, because I did not have a car, because I… whatever. The point is it would have simply been an excuse with no real foundation of any matter.
It is making these excuses to ourselves so many of us authors and writers do far too frequently when what we should be doing is finding reasons to do something, making time to do something.
We must say to ourselves, “Yes, I can write another chapter today despite having to work late.” Or “I can watch the TV later, or tomorrow, but I must write this down now.” No matter your book may not be ready until next year; no matter your laptop is broken, you have paper and pen.
I got to drive later that year when I returned from my first sea draft. Since then I gained an advanced drivers’ licence. I have driven racing cars on various tracks around the world, from Brands Hatch in the UK to Yas Marina in Abu Dhabi. I have personally owned some amazingly powerful machines like a Nissan Skyline GTR, a Toyota GT4 and an Aston Martin BD9.
I don’t think I would have done so had made an excuse to myself not to take those driving lessons. I am a firm believer that each decision we make forges our life path ahead for a length of time until our next pivotal decision must be made. Once each choice is selected there is no going back, no return, just differing routes to choose.
I think this is why I have several books and various art projects on the go at any one time, I don’t like saying no to myself; I don’t like making excuses to myself about why I can’t, or shouldn’t do something, anything.
I like to encourage myself to forge ahead, to do it, to say yes.
I encourage you to support and believe in yourself. I bet you will find you are a far more capable person than you give yourself credit for.
Okay, so the title of this post is probably not the best metaphor ever written. Maybe, I was just fishing for compliments, or reeling you in… okay, okay. Enough.
But relating your books sales, or rather your book marketing, to fishing is not so far off the mark as you may think.
I am sure you would have heard the term ‘hook’ used many times when referring to writing, particularly fiction
Most authors know and recognise the importance of having a ‘narrative hook’ in their book’s opening lines and at the end of each chapter, even in the closing paragraphs of books in a series.
The idea, of course, is to leave your reading wanting more, wanting to know what happens next or indeed, on ‘tenterhooks’.
Which, by the way, is an old English word deriving from the 14th-century wool making industry. A ‘Tenter’ was a frame used to stop cleaned woollen fabric shrinking, (from the Latin ‘tendere’, meaning ‘to stretch’). Hooks are placed around the edge of a frame, to which the fabric was attached, so it stretched it enough to stop it shrinking whilst drying.
By the mid-18th century, the phrase ‘on tenterhooks’ came to mean being in a state of tension, uneasiness, anxiety, or suspense, i.e. figuratively stretched like the cloth on the tenter.
However interesting all that may be, these facts have nothing to do with fishing and by association, sadly nothing to do with my terrible metaphor.
So, let me get to the nitty-gritty of this post, which is about your book’s description.
For this blog post, I am including your back-cover blurb and the description you use on your sales page of online sites, such as Amazon, Barnes & Noble etc. as the ‘description’ discussed.
It seems, by the requests for answers I receive and the social comments I read, the writing of your book’s description is an area many authors struggle with, which is, on consideration rather strange as, after completing an entire novel, pages upon pages of creative writing, authors should then struggle to write a dozen or so lines describing the very premise of the book.
Which is, in all honesty, probably one of, if not the most important few paragraphs of the entire work.
What I find is, as the creator of the story, authors tend to want to put every element into their book description. (Much the same is true in amateur cover design.)
The thing is, the description is not supposed to be a summary, or a report, or a review. It is simply an advert. The intent of which is to ‘reel’ in book browsers and have them buy your book.
Allow me to elucidate.
Someone will buy your book if…
Firstly, the little thumbnail image of your front cover catches their eye.
Then, when they enlarge, click, expand or whatever they might need to do to see your book as a larger image if they like what they see at the smaller resolution. (The reason you need a great cover artist. One like PeeJay Designs. PeeJaydesigns@mail.com)
This is the online equivalent of having a potential buyer physically pick up your book from a bookstore shelf and hold it in their hands. If they never pick it up they will never buy it.
The next step is, your potential purchaser will now read the carefully crafted and captivating description of your book. This could be the ‘blurb’ on the back cover or the description given on an online bookstore.
Reaching this point means the cover has done its most important job.
Of course, your book’s description will stop the reader in their tracks, intriguing them enough to want to…
One, buy your book immediately or…
Two, read some of the ‘Look Inside’. (If in a physical bookstore, flick through and read a few random samples.) and then they will, of course, buy your book, won’t they?
Sarah Gribble of The Write Practice, says. “I recently picked up a nonfiction book, which I don’t read many of, and almost put it right back down. But the description intrigued me. It got me to read the first couple pages, standing right there in the store. Then it got me to buy the book.”
However, if you have a lazy, badly worded and therefore an unsuccessful book description, they will simply move on to the next book, regardless of how wonderful your actual story may be, a story they, along with thousands of others, will never get to read.
This means you will have blown your chance, your opportunity to get the sale, all for a few lacklustre lines.
Okay, I hear you saying, “How do I make my book’s descriptions work for me?”
I’m glad you asked because it’s a little like fishing; you must bait your hook with the right lure, the right bait, for the fish you want to catch. (Yep, back to my metaphor.)
Perhaps, one of the best ways is knowing what to do and what not to do when writing your description.
The (basic) do’s:
Always write in Third Person
Use keywords, emotional words, like chilling or passion; they work well for both nonfiction and fiction book descriptions. You can Google power words to find some good ones. But do not overdo it.
Also, consider what people might be Googling that would take them to your book. This is especially true for nonfiction works. Think about employing those in your description.
Be succinct and to the point, no purple prose or verbose writing.
Be clear about the genre, the main genre, do not focus on sub-plots. i.e. if you have a thriller, say so, do not harp on about the romantic story which runs as a sub-plot.
Employ the proper utilization of grammar
Use eye-catching, powerful language. Just like your book needs a hook at the beginning, so does your book description. No one’s going to continue reading the description, let alone the whole book if the first line is as boring as dry toast. Plus, this is often the only thing an online shopper will see before they are prompted to click to see more, and you want them to click, don’t you?
Hint at the climax, never reveal it.
Tell your potential readers how perfect your book is for fans of… genre/style etc.
Mention any awards, high-class reviews, or serious ratings – (see notes below in ‘don’ts’)
Add any audience and age-appropriate.
Give trigger warning when it’s necessary. (These can have a positive effect on sales.)
The (basic) don’ts:
Never use shouty capitals.
Give too short a description.
Cut off words
Make false or misleading claims
Double/triple edit. Do not allow any misspellings or typos to get through. If you cannot write a short description without any errors, there is little hope your book will be error-free.
Do not employ ‘date language’ like ‘just released’ or ‘new novel’, in a week it won’t be and you will need to re-word your description.
Stay away from aggressive calls to action. Such as “You MUST buy this book”. Using such language lends a note of desperation and drives potential buyers away.
Do bear in mind retailers accept differing lengths of descriptions, so you may need to tailor it to each site’s requirements.
Surprisingly, some things you might think influence, do not, according to recent Bookbub research;
It seems it is irrelevant to include details of which type of bestseller you may have, i.e. New York Times Vs USA Today. Simply saying ‘Bestseller’ has far more significance.
Adding a question at the end of your description has no effect on your potential purchaser’s decision making. Which makes doing so a total waste of time.
Neither does saying the book is your debut novel, or your tenth novella, or your seven hundredth and fiftieth for that matter. It has no significant impact on the choice to purchase.
Therefore, use your description to tell people about your story, get them intrigued, wanting to know more.
Avoid telling them about ‘the book’. You may be proud of all those things, but readers don’t give a flying ***, they simply want to know if they will enjoy the story.
Including the series name in the description did not affect readers positively or negatively. Therefore, adding such information (in the description) is pretty much a waste of time and effort. It seems the cover, and the titles on online pages, already show that information; so potential buyers do not want the same information repeated over and again… they know, they get it already.
I now hear you asking how you get to a good description.
The easiest way is to create two versions of similar text, like this:
Both versions have the same information. They both start by listing the accolades which represent the renown of the book.
However, from there, description A focuses more on Nick Dunne’s perspective, while B hones in on Amy.
So, go ahead, create two versions of your book’s description, test them against each other and determine which works best for your book.
Use friends to help you decide. After all, their point of view will be far more accurate than your own; you will not be buying your book, they will and they know what attracts them better than you ever will.
Try using the following suggestions as an outline guide.
Start your description by using a bold opening sentence, possibly a statement to grab the reader’s attention.
Use at least one hook to grab readers’ attention.
Ensure the description does not contain any spelling or grammatical errors.
Make certain to ‘inspire’ your potential reader to ‘buy’.
While I do not suggest using direct comparisons to ‘famous’ or ‘renowned’ authors, (such as “…is the new Stephen King” or “Better than Sophie Kinsella…”) which is considered cheesy, desperate, egotistical and opens all sorts of avenues for negative feedback and bad reviews, it may be worthwhile making a statement your book would be “Perfect for fans of Lee Child” or “Martina Cole fans will love this gritty and convincing thriller“
Note, the words, ‘Gritty & Convincing’ are taken directly from the cover of Martina Cole’s book. Never be afraid of copying the methods and styles used by major publishing houses.
Once you have found a style and method which suits you, why not create your own template and use that for your future books?
After all, great fishermen have their own way of baiting their rod for the type of fish they want to catch. You can do the same, go get the readers you need, lure them in, hook, line and sinker.
See, fishing is not such a bad metaphor after all.
I have compiled a wealth of information to help authors of all capabilities and experience to know more about the publishing world, books and being indie.
Sort of following on from my previous post, ‘a Bit about Indies and Readers’, this article delves into the terms ‘Indie authors’, ‘self-publishing’ and ‘Indie publishing’ and is aimed at clarifying them… sort of.
“Five years ago, self-publishing was a scar. Now it’s a tattoo”….Greg White, Bloomberg News, 2016
Let’s not beat about the bush. I’ll get straight to the point.
This is the generally accepted definition of self-publishing.
Self-publishing is the publication of media by its author without the involvement of an established publisher. In common parlance, the term generally refers to physical written media, such as books and magazines or digital media, such as e-books and websites. It can also apply to albums, pamphlets, brochures, video content, zines, or uploading images to a website.
However, in recent years the use of the term ‘Self-Publishing’ has faded in use, along with its sister idiom, ‘Desktop Publishing’. Both have been superseded by the phrases, ‘indie author’ and ‘indie publisher’.
While both are often used as interchangeable titles, indie authorship and self-publishing are not quite synonymous.
Here is a breakdown of current publishing possibilities:
Authors do not pay any publishing-related expenses.
Well-established publishing firms include those often referred to as the ‘Big Five’: Penguin Random House, HarperCollins, Hachette, Simon & Schuster, and Macmillan. (Including their dozens of imprints.)
These large publishers historically prefer authors with mainstream appeal, particularly celebrity or ‘brand-name’ authors. Partly, this is to guard against ‘risk’, all of which the publishers bear.
Typically, they offer advance payment and, on occasion, authors receive a slice of the book profits by way of royalty. Frequently, whatever the publishers offer is based on a two to three book ‘deal’, tying the author to the publisher for a period of time.
Publishers own the rights and control most aspects of publication, especially the design of the cover and the choice of a title.
Mainstream publishers can get books into brick-and-mortar bookstores, with whom they have a historic relationship, as they do with prime book distribution organisations, national and independent libraries. The large publisher relationships with other media and the press often ensure reviews in mainstream mass media.
However, many established authors now chose to independently publish. This is one reason;
“My first book went through so many different changes that when it released, I no longer felt like it was the story I originally set out to tell.”Author Sarah Grimm, on why she chose self-publishing.
Many mid-size traditional publishers offer the same or similar arrangements as the ‘big houses’.
It is harder to categorise smaller and independent presses as these vary from well-established boutique presses to ‘mom-and-pop’ start-ups who have little experience.
Many of these smaller publishers accept first-time authors, often they do not require agents to approach them but are open to ‘unsolicited’ submissions.
With the smaller presses, authors may not receive an advance, or they may get a lesser amount than with a ‘mainstream press’, but often they receive a larger share of the profits.
It is harder for smaller presses to get books into bookstores. Which can depend if they specialise in a certain area of publishing.
As Judith Briles said in a 2014 article on the topic,
“Small presses make their profits by selling books to consumers, rather than selling services to authors or selling a small number of copies to the author’s friends.”
There are intermediate arrangements between traditional and self-publishing in which both author and publisher bear some of the costs of development, sometimes called ‘cooperative publishing’.
A hybrid publisher may offer selected services to help an author get a book published, such as story editing, copy editing, proofreading, marketing and public relations, and promotion through social media and search engine optimization strategies.
Many of these firms have their own online bookstores.
It is important for authors considering a hybrid approach to fully understand which services will be included and at what cost.
It is also advisable to seek legal advice regarding understanding the technical and implicit terms of any contract.
Some hybrids offer less-than-ideal contracts, which make it hard for an author to exit the deal later. They can also take a disproportionate share of profits; one adviser suggests it’s ‘buyer beware’ when engaging such firms.
With this model, the author funds the publication of the book, (and absorbs the risks), sometimes spending thousands to get the know-how and editing skills of the publisher.
The quality of the services offered and the terms of contracts vary widely. As a rule, royalties are less than true self-publishing but more than traditional publishing.
Hybrid Books rarely get into bookstores. Authors should try to keep as many rights with as much flexibility as possible. Some firms are nothing more than funky assisted-publishing services which overcharge.
Vanity press… (Some Hybrid publishers fall into this category)
The term ‘vanity press’ is considered pejorative since it suggests a person who hires such a service is unqualified or unable to have their book succeed in the market, and as such the author is printing the book only out of vanity.
Users pay to have their books published.
While a commercial publisher’s market is the book-buying public at large, the vanity publisher’s market is the author.
Some authors buy substantial copies of their own book, which are then used as giveaways or promotional tools.
In this business model, there are often elements of fraud; which is why some vanity presses masquerade as legitimate publishers, pretending to be selective and choosy in their book selections.
They prey upon a would-be author’s desire to be published.
If a vanity press charges a higher amount to print a run of books than a regular printer, it can be an indication of deception and fraud.
These are businesses who charge fees for various publishing-related services such as formatting, cover design and copyediting.
They make their money from these services alone.
Authors retain the royalties and control over editing and cover design and title.
These businesses can be helpful to those starting out in publishing as the author can learn the process from experienced people.
However, a word of caution.
Where the company’s profit comes from can be your first clue into what sort of company you are dealing with.
Companies which offer further services to assist the author with publicity and marketing are generally not a good deal, although there are exceptions.
If you do decide to go down this route, seek advice and recommendations from established authors.
Note:Organisations which have pushy sales tactics along with companies who masquerade as traditional publishers by having authors go through an elaborate process to make them think, or at least feel, as if they are being accepted, where the author pays to have the book published and/or sacrifices an inordinate percentage of their royalties for the privilege, should be given a wide berth.
The author controls the entire publishing process from start to finish.
They can hire freelancers to help with wherever, and whenever, the author requires. Such as cover designers, copy editors, story editors and with formatting.
It is necessary authors thinks like an entrepreneur and ensures their finished book is a professional, high-quality product.
All profits and rights remain with the author.
Except for a few independent bookstores, authors will find it difficult to have their books displayed within physical bookstores and major ‘bricks & mortar’ retail outlets.
Indie authors are pretty much restricted in offering their books via online platforms, personal and local social networks, visiting book fairs, conferences, organising book signings at selected venues and finding other ‘creative’ methods of distribution.
Why might an established mainstream author choose to indie publish?
Perhaps author James Altucher can give an indication. Here he describes working with an editor in 2013:
“Nils and I went back and forth on more than 15 different rewrites for my book. The difference between the original version and the final version is like the difference between chicken shit and chicken salad.”
“Indie authorship and self-publishing are not quite synonymous but an independent author will have self-published at least one book.”
Indie-Publishing… which is increasingly becoming the first choice for writers.
As self-publishing loses its stigma and its benefits via technology become more apparent, there are more instances in which new authors choose indie publishing as their primary route, as well as established authors leaving traditional publishers.
There are now greater instances of indie-published authors selling their books in major retailers, such as Barnes & Noble, Target, and Walmart, than ever before.
Partly this is because…
“Authors are no longer bound in their storytelling by what the traditional publishers think the market can bear… Instead, because we can go straight to the reader now, we can write exactly the books that we want to write and exactly the books that our fans want to read. We don’t have to worry about whether an agent can sell the book, or if an editor and publisher want to buy the book, or if a retailer wants to stock the book. Personally, I think this new open market can – and does – make for much more interesting storytelling.” Novelist Bella Andre in the Washington Post, 2015
The terms “Independent publishers” and “indie publishers” were until recently associated with small presses, to identify them as separate from larger, traditional book publishers. Over time, authors who wanted to maintain complete creative control over their books began to create their own small presses, which nowadays simply involves starting a business and little else.
Being a small press or an independent book publisher does not mean having a printing press in your basement. The rising popularity and ease of access to print-on-demand (POD) through such outlets as Ingram Spark and Kindle Direct Publishing have served to increase the number of indie publishers.
Of course, when mainstream publishers like Penguin announce their own self-publishing arm, it can be difficult to know what the hell is going on…. Except that we true indies now have them on the run… sort of.
“With self-publishing you don’t waste your time trying to get published, which can take years of query letters and agenting, and all this stuff. You go straight to the real gatekeepers, which are the readers. If they respond favourably and you have sales, you can leverage that into a writing career. If they don’t, you write the next thing. Either way, you’re not spending your time trying to get published, you’re spending your time writing the next work.”Hugh Howey, author of Wool
The real definition lies somewhere in between… sort of… and it’s not just semantics.
To end this rambling, here are few facts for you to mull over.
Historically, while most novels were distributed by established publishers, there are many authors who chose to self-publish, or who chose to start their own presses, such as John Locke, Jane Austen, Emily Dickinson, Nathaniel Hawthorne, Martin Luther, Marcel Proust, Derek Walcott, Walt Whitman, Janet Evanovich, Colleen Hoover, Stephen King, Edgar Allan Poe… along with Mark Twain, who also started his own printing company.
In 2010, according to a different analysis, there were 4.2 million new titles published. Much of the growth in new titles is because of indie-publishing.
In 2011, indie-published books made up 43% of all print titles, helping to increase overall growth of print production, according to Bowker market research.
Neither of the above figures relates to eBooks, whose increase in number were ‘radically higher’ due to independent publishing. (Bowker).
Some people say,“I only want to read books by professional authors because, in my opinion, they are far better quality compared to indie-published works.”
Others say,“People publishing through the big five primarily write useless, commercial drivel that the publishers demand, as it sells well. They are not real authors. It is the indie authors, the ones who are doing it for the love of writing, the ones who create original works that I love. They’re real authors.”
Being indie myself I must agree with the last statement.
As in most creative arts, such as music and film, original works tend to be far more creative, intriguing, thought-provoking and, let’s face it, enjoyable than mass-market efforts designed to create maximum profit by appealing to the lowest common denominator.
I am an ardent Indie Author who has written and Indie Published a large number of titles, in Hardcover, Paperback and eBook formats.
My books include a children’s tale, a glossy, music legends, coffee-table book; non-fiction books; semi-fiction stories; short story collections; poetry, and fictional novels.
Oh, and two special books just for Indie Authors & Publishers, both of which are waiting for you to download right now.
Do you believe your writing has been enriched and influenced by the books you have read?
If so, is it just the good books, the ones you love, the ones which made some connection with your soul?
Or… would you say the bad books have an equal hand in affecting your stories?
By ‘bad books’ I don’t mean the poorly written, but stories that aggravated, annoyed and even rasped on your sensitivities. The ones that you recall for the opposite reasons to those you loved, which means, in their own way, they too made a connection with your inner being.
So, did those bad books achieve the aim of their authors and if so, should we consider them good books for that very reason?
Something to ponder.
Here’s another matter for thought while on this topic.
I don’t write stories which have any direct connection with the books that made a mark on me. Like the historic African based fiction of Wilbur Smith; whose books I devoured as a teenager. My books are not based in history, in Africa or in any set time, as it happens.
Neither do I attempt to write like Criena Rohan, (Deirdre Cash), whose book, Down by the Dockside still resonates with me today.
While I enjoyed such wonderful works as Catch 22, Life according to Garp, and Do not go Gentle, I have never tried to replicate those authors style or attempt to write in their chosen genre.
In fact, I write the only way I can; by scribing the thoughts and feelings flitting through my mind at any given time. Oh, and as quickly as I can, before those very contemplations disappear into the amnesiac blankness of absolute… now, what was it, where was I?
So, I wonder how much and how many of those authors I read, the ones who pen compositions of illusion, write of their imaginary netherworlds and create the fictitious lives of the characters inhabiting them, find their way onto the pages and into my own work, without my being aware of their presence.
Are we, us writers and authors, part of all those who have gone before? Do we inherit, by some magic, some mystery, a trace of another, many others, literary DNA?
Are our own stories part of a continuous evolution of literary nature? Are you, in therefore my brother, my sister, my sibling or, in that context, my child?
If so, are you writing my words, is your hand guided, even in part, by that which I have written before?
Or are my words part of you?
Now, there is something to contemplate.
Thank you for reading this post on Ramblings from a Writers Mind.
I do hope you will read at least one of my books, either an Electric Eclectic novelette or one of my prime works. All can be found on my website right,HERE