A good writer has no need to look for inspiration and ideas, they will come flooding unto them.
The fact is, each moment of every day we are surrounded by a million and one stimuli which only need us to recognise their being. We must feel, hear, sense what is around us, what is happening in front of our eyes.
We must allow our perception to absorb, to let our mind create fiction and fantasy from implied interpretation. We must permit our creative seed to run wild.
I have written on this subject before, albeit from another perspective, in a post calledThe Cures of the Muse
This post is a little different.
A short while ago, possibly a good few months past, I read a post on a social media site from one of my connections. I think ‘friends’ is the general term used.
I was touched by the raw honesty of the post; so much I saved their words so I might use them as a basis for my own writing, either in situation or character creation.
I feel a little guilty for ‘stealing’ these heartfelt outpourings, yet, I am acceptive to the reasoning of creativity and the understanding of where, how and by what means we writers find our inspiration.
You see, most of my works, regardless of genre or setting, focus on our humanity, on social and personal interactions and on life itself.
The following is an edited version of the social media post mentioned. I am sure you will understand the reason it resounded with me, especially if you are a reader of my books and other works.
This is it…
“This isn’t poetry.
It’s not placed on a pretty post.
There are no pictures to pull you in.
This is just me needing to vent and I suppose those who want to know will read it through; there are a few thousand of you, maybe more and I’m just this sickly, tiny, thing who is easy to overlook.
My life isn’t an open a book, but should the play ever be released it will read like a tragedy of comedic design, one that tears the heart and rips the mind.
Irony, you’ll find, is the underlying theme.
I was everything I was told I would be; yet with time viewed through a rear-view mirror, I am nothing which holds value beyond the front door and those therein are on their way out.
I’d leave too, but domestic skills, they don’t count and writing words has yet to pay the bills; besides, without a degree to back up the lines, there are those who say I’ve spent the last three years wasting my time.
It’s pride, I know, but I’m pushing four decades old and I’m not sure I’m equipped to go back to the shit I did before I became a mom and wife.
I mean no offence, but I’m better than a burger to flip, or the next bag of groceries to sack, my mind knows too much to do that any longer.
I could go back to school, try and educate, but what do I do with the stack of debt that’s all late?
I have no resume. That’s the cost, the loss, of being nothing more than a stay at home mom.
Who am I without the domestic, the wife, the parental role to play, day to day?
So much needs to change and I’m scared to death I’ve waited too late.
Surely this cannot be my fate?
Even this, the sound of my self-pity makes me sick; but this decline of mine, it didn’t happen overnight.
It wasn’t quick.
My worth was stolen by minuscule measures, so slender the slices, I failed to feel the knife and yet looking at my life there’s nothing left but a bloodied mess.
I should find my way out of this.
I’m not as weak as I seem, but at this moment, I am on my knees.
This is not who I am, but damn, I don’t know what I’m supposed to be.
I’m a little lost and there’s no one looking for me.”
I titled this blog post, ‘Inspiration does not have to be Pretty’.
It does not.
Neither do the resultant writings. But I genuinely believe our words should be honest, open and emotional. After all, these are the driving factors of life, our lives. It is what we all have in common, it is what we all respond to… even in fictional stories.
Thank you for reading another of my Ramblings.
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It is a while since I have written a post focusing on the process of creative writing.
The reason being, I have said much about other ‘stuff’ associated with authoring and publishing. Stuff I felt important enough to warrant writing about.
However, doing so led me away from the core value of this blog, which is to give, in my usual rambling and rather haphazard way, tips, advice and suggestions on improving one’s writing skills and understanding of authorship.
Those of you who follow me will know I do not write in a scholarly constructive fashion, because I do not consider myself a teacher or an authority of literary genius.
I prefer to allow indefinite abstract descriptions to suggest and evoke one’s own perceptions and introspection to convey the messages in each of these Ramblings.
In my heart of hearts, I believe the soul of the writer, the artist that lays within, is the greatest asset of all. No one can learn to write unwillingly; the writer must have love and passion above teaching and education.
A writer must want to write, above all else.
So, with those matters cleared away, I guess it is time to reveal what this article is about.
As a mass noun, the definition of this word, according to the Oxford English dictionary is, ‘The action of making a mental connection’.
Regarding fiction writing, I would take this two steps further and say it is, ‘The action of making a mental, sensory and emotional connection within one’s imagination’.
However, to create such a powerful, multi-sensory consanguinity within a reader’s mind, requires the writer’s understanding and needs them to be adept at wordsmithing.
To me, the word ‘wordsmith’ is a wondrous, self-describing noun.
Imagine standing before a blazing forge, gauntlet covered hands, leather apron, large metal tongs holding a glowing red-hot bar of iron. The other hand wielding a heavy hammer.
Smell the fire, the heat, hearing the Smithy as he pounds the almost molten metal into the shape of his choosing. Not an easy task, one which takes many re-heatings and coolings of the metal. One which takes countless strikes with the hammer against the solid block of the anvil before anything recognisable is formed from the raw metal.
This is what I envisage when thinking of the word ‘wordsmith’.
My ‘association’ is with the hours of sweat and toil it takes to form a loose jumble of letters and scattered words into a coherent and meaningful sentence. To mould and form each word so it fits seamlessly with the next, so they all flow in a smooth, well-paced fashion to complete the paragraph.
The result of a Blacksmiths work is more than just flattened and twisted metal, it is a product purposely shaped into a functional object, decorated to enhance its appearance, creating an article of both beauty and reason.
Such should be our undertaking as writers. Our words should not only serve the functionality of revelation but create a pathway of beauty and intrigue for our readers to follow. Our tales should hold within their very form the pure essence of captivation, of fantastical fiction.
To do this we must weave that very essence, the distillate tincture of association within our words.
“That’s fine for you to say,” I hear you mutter.“But how do we do that?”
My answer is to consider the word this post is about, consider ‘association’. The association of words.
Now, many of you will be thinking ‘thesaurus’ because that is what a thesaurus is all about, isn’t it?
Well, yes and no.
You see, when I talk of word association I am not merely speaking of functional words you may find within dictionaries and thesaurus. Neither am I considering which words may be grammatically correct. I am talking about creativity, of creative writing. Of breaking the rules when it lends to better or even great storytelling.
Those among you who write poetry may, or at least should, have a greater understanding of the flexibility of words, how they can be moulded to convey more than their basic meanings. Particularly when two or more are used in conjunction, oblique, ambiguous or both.
Wordsmithing in fiction writing utilises what is learnt through the poetic principle, includes and encompasses it within the whole wordsmithing process.
As a way of explanation, I’ll take an excerpt from one of my short stories, ‘The Bridge‘, taken from volume three of my short stories collection, ‘Tales of Crime & Violence’.
Out of context, I think this is a rather unremarkable excerpt. Even so, once studied while holding the concept of association in mind, its secrets are revealed.
The Humber Bridge is monumental. It is suspended by a mass of giant pythons, twisted metal cables one hundred feet above the sludge brown of the river. From tower to tower it is one mile and the road continues to reach out from there, grabbing the riverbanks with blackened tarmac and concrete fingers.
Yet, for all the earth destroying steel and concrete construction, the bridge has an illusion of beauty that is enhanced by nature itself. Somehow the two blend, even complement each other, an amalgamation of converse contraries.
Firstly, the suggested size of the bridge is stated, in an emotional way, by using the word monumental.
It is then revealed to the reader this is a suspension bridge.
Using the term ‘mass of giant pythons’ is suggestive of and leads into the next sentence ‘twisted metal cables…’
Here are the first wordsmithing associations.
Most people know what a suspension bridge looks like. The story could be told by simply stating this bridge is a vast suspension bridge.
The following words about metal cables could have been just that ‘metal cables’. But the addition of ‘twisted’ is used specifically because of its association with the commonly held image of snakes.
We have now created an image in the reader’s mind of ‘giant twisted pythons holding up a bridge’. Which is a far better read than say, “a large bridge held up by steel suspension cables”.
To continue, the height of the roadway on the bridge is given, one hundred feet, so is the fact the bridge is above a river.
So, once more, the story could read “… a large bridge held up by steel suspension cables one hundred feet above a river…’ Which factually would be correct, although it does not make a very captivating or entertaining read.
Moving on, the incorporation of the words ‘sludge brown’ is purposeful. Not only to transfer the perceived visual perception of a dark river but to almost subliminally link back to the snake imagery by suggesting colour association while taking into consideration most people visualise a river as ‘winding’ or ‘twisting’. Another correlation.
While this imagery of bridges and pythons is building in the forefront of the reader’s comprehension, there is also the fact the author is creating an atmosphere of dark foreboding; or at least the idea of something ominous germinating.
Sludge brown, twisting, python, mass, all have links with the nefarious.
The next ‘s sentences structure reinforces this unease.
The factual description of the bridge is given, but this is enhanced by a form of predicate which strengthens the sinister. “… the road continues to reach out from there, grabbing the riverbanks with blackened tarmac and concrete fingers.”
Reaching out, grabbing, blackened, fingers; all strong adjectives which focus on creating a sensory awareness of the underlying drama.
While a person may not be fully aware why, or what effect these words are having as they read, you can bet your bottom dollar their subconscious will. Personal and social belief, acquired by myth, legend and the silver screens of Hollywood has conditioned us to be susceptible to even the slightest of suggestive input.
It is also a long-proven fact when one reads, they absorb far more, far quicker than by any other method of communication.
The above example is a rather direct and implicit one. But there are stronger yet more oblique instances.
Like these, from my poem ‘Doorway’
This side or that.
In or out.
With, without or within. Feast on the cornucopia of having or scrabble naked in the dry dust of want. Birthright or luck? Fertilised or barren.
Life or death.
Simple. A wooden frame. Harsh nails, forged from iron, blood and sweat in the furnace of forgotten hopes. Spikes driven deep, driven through, splintering the flesh of being, binding into cold stone of indifference. Hanging forever, bearing the pain for an eternity.
But not so simple. A sign, a warning, a barrier. Invisible in its presence of possibilities lost, scorned, unfound, unbelieved. Open but empty, a nothingness that stops you dead in your tracks.
This side or that.
In or out.
With, without or within. Feast on the cornucopia of having or scrabble naked in the dry dust of want. Birthright or luck? Fertilised or barren.
Life or death.
Lost or gained or never had. Can you lose what was not? Can dreams die or do they fade away; decompose as out our living bodies rot with age upon our bones.
What is there, beyond the gaping opening of the way?
Future, or past repeated. Mirrored fears steeped in time, awaiting our return from where we have never been. A destination desired by myth, by greed of those who will not step this way, cowering in the shadows of mediocrity, of sallow existence, of being too far from any door to be truly known, except by repeated words, all meanings lost in the whisper of time, misinterpretations and vague comprehension.
What ifs lay as a carpet of likelihoods, a vastness of possibilities, probabilities, stretching away to the rims of risk and horizons of chance; choices to be made, taken, grasped or passed up.
Prospects scorned or lies waiting to trip the unwary traveller, to crush your skull, your hopes, your faiths until they crumble into a dust of inferiority until your knees bleed on the cold stone floor of humbleness and subservience.
Know your place.
With, without or within. Feast on the cornucopia of having or scrabble naked in the dry dust of want. Birthright or luck. Fertilised or barren.
Life or death.
How long the openness. How soon the slam of too late shall shut out the light from the other side, of this side or that, or the other, and so vice-versa. Versa-vice.
Sounds vanished, diminished. New hope runs down our legs, incontinent imaginings puddling beneath our feet, wasted.
There is no return. Time flows by, constant. There is only now, just then, what was. Already you are too late, it has gone. Stealing away those possibility’s which once were yours and now belong to another. Maybe not yet born. A foetus of stardust, a twinkle of forlorn wishes.
Maybe they will be the ones who shall hesitate at the gates of option and chance. Maybe they will settle for comfort and the familiar and choose not to stumble blindly into the realm of the unknown?
Or maybe they shall pass this way, step through the door and into the future of destiny without looking backwards?
This side or that.
In or out.
With, without or within. Feast on the cornucopia of having or scrabble naked in the dry dust of want. Birthright or luck? Fertilised or barren.
Life or death.
Without getting too bogged down in technicalities, (not my thing), I will just highlight a few instances from the above, and then leave you to read and re-read the above poem and find the associated words which link together to create the stories own vibrancy.
First, ‘cowering in the shadows of mediocrity’.
One may expect to read ‘Cowering in the shadows,’ I am far from the first to write those words in that order. But then consider the use of ‘mediocrity’, it is not generally expected in this framework.
What are the shadows in your story associated with? Think of an indirect but implicit word and use that or another to suggest the ‘feeling’ you wish to create. Pair words which are oblique or ambiguous to create new meaning, to create the atmosphere you intend.
Forget about those ‘rules’. Ignore the grammar check in word or Grammarly or whatever. There is no substitution for the mind.
Secondly, take ‘your knees bleed on the cold stone floor of humbleness and subservience’.
This conveys a strong message from the initial simplicity of what may be expected until the string ‘humbleness and subservience’ appear in conjunction with the rest of the sentence. Those reading are expecting something far simpler, say ‘the castle, or maybe ‘the house’. But inserting ‘humbleness and subservience’, leads the mind to immediately think of servants kneeling on the cold stone floor.
Linked with the previous segment of the paragraph that mentions prospect, lies and faith the ambiguity is one of suggested religion and loss of belief or at least a trial of personal conviction.
Often when using oblique association, or creating one in such a way, it strengthens the powerfulness of the imagery formed.
If this includes creating your own metaphors or making new words do so. Shakespeare did not suffer the slings and arrows of outrageous fortune by only using the accepted words of his time.
Using this ‘sideways’ form of association, not only in poetic context but in storytelling, can produce a weighty and influential transcript that will hook the reader both openly and subliminally.
Good storytelling is not just about style and content; it is not all about narration, it is not simply getting all your words in order, it is all of this melded cohesively and working in harmony throughout the entire structure of your manuscript.
It is about modelling the words you use, moulding and melding them to conceive something new, something uniquely yours, it is about practised and proficient wordsmithing.
When editing, read, re-write and work each individual sentence. Hone it, sharpen it, until it has its own perfect edge and then move onto the next.
Never skip a word, examine each one; examine its place in the sentence and change it, one word by one word, sentence by sentence, polishing and shaping and forming each little detail until every sentence is a magical story in itself.
Do the same time again and again, until every detail shines clearly.
Only then will your tale truly deserve to be called your ‘finished’ work.
Anything less is less.
The first excerpt in this post was taken from ‘Tales of Crime & Violence, a three-book collection.
It is some time since I wrote a ‘Rambling’ Rambling on this blog.
Partly, this is because of the large number of commitments I have undertaken recently. Commitments which have left little time to indulge myself in creating an informative and entertaining Ramble.
Which I hope this post shall be, (at least if you read on from this point.) Although this post may seem to ‘go around the houses’ to reach its point, bear with me. It will be worth it in the end… Honest 😊
My last Rambling style post was a bit of a rant, but one which shares the truth about how ineffective giving away free booksis and how doing so is damaging all indie author’s prospects.
This post sort of follows suit regarding ranting… maybe I am becoming a ‘Grumpy old man’ or maybe I am already one?
The basic theme here is “Stop whinging, get off your arse and DO something about it.” In fact, I think I’ll use that phrase as the title of this post.
First, the ‘whining and whinging’, the consistent, droll, mind-numbing drivel I am hearing from too many indie authors recently.
“My sales are bad.”
“Facebook doesn’t help anymore.”
“Things are getting worse.”
“People don’t even want my free book.”
“Nobody leaves reviews.”
“Adverts are so expensive and don’t reach enough people.”
And so forth. All one must do is read the comments and posts in various social media groups and pages to find a torrent of such remarks.
Now, I may or may not agree with all the above. Okay, the first three are stupid statements, the last three have some if little, merit.
But this wave of despondency seems to be sweeping the internet at present and gathering momentum as it does.
Fuelled, no doubt, by the rumours about CreateSpace, Amazon and Goodreads along with the recent and forthcoming changes and alterations to Facebook.
Don’t ask me for details, go read Gisela Hausmann’s books on the subject, she is far better informed than I. Read more Here
Now, nobody said writing a book would be easy. Nobody told me marketing and selling would be a cinch.
It takes commitment, persistence, patience and determination… and lots of it. I said lots of it, that’s much, much more than you are considering or believing right now. So, treble the difficulty factor and then multiply that by the power of 92 and you could be approaching reality.
Calculate the exact opposite for difficulty and obstacles. The resultant sum should reflect the starting point of your journey into the realms of authorship.
Bilbo Baggins exploits were a simple walk in the park, in comparison of what you shall have to endure.
That is why we love being indie authors.
However, (for those who may not be familiar with my Ramblings I love the ‘However’s’.)
So, to continue.
However, I cannot take this downhearted view as one expressed solely by the Indie community, or for that matter, one voiced on social media alone.
I think this mood or at least the pessimistic and depressed expression of disappointment and negativity concerning the present and, more so, the cynical distrust of the future is something which is sweeping our society.
This attitude has now reached such proportions everybody has to have ‘a condition’, be it a simple skin complaint, a dietary need or speech impediment, let alone a major physical or mental syndrome.
As an alternative, or as an added factor, one must also be a survivor… of sexual or mental abuse, a victim of crime, a recovering drug user or alcoholic with latent effects of reoccurring PTSD… and so forth.
Nowadays everyone must have an underlying ‘Backstory’ to be accepted as part of our modern society, however truthful or however factitious that may be.
Personally, I blame Simon Cowell and the XFactor… which traumatic experience I have survived, by the way.
I am an exexfactorbackstorysurvivalist, in tentative remission.
NOW… don’t get me wrong. I am not speaking of genuine suffers from such disorders, I am speaking of the media hype and their insatiable appetite to present all who become ensnared in their tentacles as some form of miracle entity. A god or goddess-like warrior who has fought off the evils life has thrown at them.
Such influence affects us and our children’s perception of ‘normality’ in the most ambiguous ways. It is this seeking of constant sensationalism which clouds many of the authors and writer’s minds when they complain about how difficult it is to sell their books.
Instead of ‘doing something‘ to alter the situation it is far easier for many to shout “I am a Victim” and “Facebook is abusing my rights” and such like.
This is where, if you are still with me, I refer you back to the title of this post. “Stop whinging, get off your arse and DO something about it.”
I shall finish with one simple and short example-
I recently launched an initiative for indie authors called Electric Eclectic. I doubt very much if you have not seen at least one blog, post, comment or advertisement concerning such.
Electric Eclectic allows indie authors a way of using, or recycling, short stories to market and sell their prime titles. This is a form of promotion which actually earns the author money while working as a silent salesman on their behalf.
I have offered, both on major social media sites and by personal email invitation, the opportunity for a limited number of other authors to join us.
The take-up has been dismal, even though our own authors have seen sale generated via Electric Eclectic already and indications of ongoing success.
YET, I have seen some of those who know about this opportunity continue to whinge and whine about sales, the cost of promotion and the ‘state of the market’ while ignoring the offer from Electric Eclectic and other genuine initiatives.
My suspicions are these people enjoy the attention their complaining creates and, I wonder if, they like to ride the current media bandwagon of portraying themselves as victims, casualties and wounded sufferers of circumstance?
Thank you for reading this Rambling. Paul.
To find out more, or to request becoming an Electric Eclectic author, visit the website HERE and use the contact page to message Electric Eclectic.
Before I talk about Electric Eclectic in detail, lets set the layout of the indie publishing ground.
It is something like this….
I constantly hear writers say they are looking for new ways, or better ways, or alternative ways to market their books.
I also hear many authors saying they would like to find an effective way to promote their books without spending a fortune.
Not forgetting those who lament they never knew about a new initiative, or would have loved to be in at the beginning of… whatever it may be.
In this post, I shall offer you one of those alternative ways… and the opportunity to get in on the ground floor of something special… read on, but only if this is the type of opportunity you would really like to grasp.
The general consensus it seems, is Facebook adverts don’t work; unless you are willing to give all your hard-earned cash to Mark Suckonaburger (to gain a small exposure to a limited number of people for a minimum amount of time and still have no guarantee anybody, outside of your regular social network, will actually see this paid for promotion.)
The same goes for the confusion which is Goodreads and the plethora of similar book/author/reader platforms such as (in my opinion) the expensive Library Thing. Authors Den tries hard but is much the same and just as confusing as Goodreads.
Of course, you can pay for people to ‘give away’ your books, there are plenty who are willing to freely distribute all those months of your hard work, not to mention the money you have invested for… well, more of your money.
They will use the old adage, the saying that a short-term investment (read loss) is a way of gaining new readers. You know the type who will take your free offer, one of those folks who ONLY read free books “because there are thousands of free books ‘out there’, so why do I need to pay for any?” type of folk.
Why then, should they suddenly have a change of heart and convert to actually paying to read someone’s creation because they see your book going for free?
It is NOT going to happen.
Books are perceived to be devalued when they are offered free.
If you ever do find a grand number of these folk, enough to create an income large enough to sustain an author’s life, please let me know, because no one else has achieved that, so you would be making groundbreaking world history.
Please do not get me wrong, I am not against people paying for marketing or promoting books. All I ask is you consider exactly what they can/are doing for you and what realistically you can expect as a return on your investment.
Try calculating the cost/return usingthis thought process:
Equate the cost/fee the person/company is asking, as a royalty return per-book. (after tax).
Calculate how many book sales that figure equals.
Note how long you have to achieve your target.
This will tell you how many paid for books you MUST sell to replace that spend. (Your break-even point for this promotion.) and how long you have to accomplish this.
Remember, this calculation does not take into account the amount of money you have already spent on getting the book published in the first place, such as cover design, formatting, editing, maybe printing costs and so on.
If you are looking for a return, or to achieve an income from your promotion and marketing, doing this simple calculation is a good way to judge the portent of such an investment.
You do the math.
You decide if its genuine value for money.
Now… to Electric Eclectic. (EE for short)
Because I often approaching marketing from a slightly different angle, some can find my concepts a little confusing or difficult to comprehend at first, even though I try to keep things a simple as possible.
What gives me the right to write this… and who am I anyway?
I spent several years working in marketing, primarily with the larger advertising agencies such as John Walter Thompson, BBDO, Saatchi & Saatchi and so on. It was back when computer manufacturers had names like Sinclair, Dragon and Amstrad. Google was something to do with cricket, Windows were for looking through and cleaning, telephones had curly wires attaching them to the wall and programming used a language called Basic.
I now employ many of the principles learnt during my time in London, albeit updated and developed to work on social media, in the marketing of my own books. Doing so has served me well; I am a recipient of several literary awards and I am credited as an Amazon Bestselling Author.
Continuing with the development of my online marketing techniques, I have created a way for authors to earn royalties from their advertising while promoting their books.
I have branded this as Electric Eclectic.
You see, I know most, if not all writers have many short stories, part stories, old stories lingering in rarely accessed files. These stories are the ones they have not finished yet or are keeping to work on at a later date, (a date which never comes), or once used in a charitable anthology years ago. Some are little more than rough notes waiting to be developed, others unused cuts and edits from a previous novel.
No matter which or why they are there, most if not all writers have unused ‘stuff’ lingering around.
I have an idea how you can Moneytise these loitering tales.
At the same time authors are spending even more money, time and effort discounting and giving books away, ones they have worked so hard and so long writing. They are doing so in the rather vague hope of hooking the odd appreciative reader.
This is to me, like throwing the proverbial ‘shush’ at the fan. Sometimes called the shotgun or scattergun approach. Using a big unfocused blast in the hope we hit something.
More often than not, all that happens is we suffer splashback.
You must admit, it all looks and sounds a bit amateurish and silly when considered from this perspective.
So… what have I devised which makes any difference?
The answer is Electric Eclectic books.
It works like this; You (the author) digs out one of those old stories, one of your half-written, lingering, lost works, or you could write a new piece for Electric Eclectic books. It’s up to you.
The story is edited and formatted using EE guidelines, a cover produced under the same EE format, (working within the EE guidelines is of paramount importance) This results in the creation of an eBook between 6K and 20K words.
In other words, a Novelette.
By creating this book or books, (there are no limits to the number of EE books any author can produce, although two to three would be a good starting number.) using the Electric Eclectic branding, the book becomes an EE book.
The author pays a small, once only/lifetime fee, to licence the use of the EE brand for their book. (It is a franchise licenceif you wish.)
The EE licence applies and is associated with the books ASIN. Therefore, each book requires its own EE licence.
(Sorry, but certain parts of the EE formatting and branding system can only be revealed to authors after the licence fee is paid. They will not be revealed here.)
The Author publishes their own book, under their own name on Kindle and any/all other sites they wish.
ALL rights remain with the author.
The author keeps all royalties.
As an EE author, you now benefit from the Electric Eclectic branding.
This means sharing in the exposure of all EE book promotions and marketing; the general ongoing brand marketing, the general promotions, even each individual title and author promotions helps the brands overall publicity. Not forgetting inclusion in online magazines and recommended book listings and the EE search page on Amazon.
The final part of the jigsaw is… when readers purchase an EE book, not only does the author receive the sales royalty (rather than paying to give their book away), but the readers are shown and directed towards the author’s other books and works directly by hyperlink.
To conclude; by using unused stories, re-published works etc. Electric Eclectic branding allows authors to earn from their stories which were previously just collecting dust. EE books link readers directly to your other books, greatly increasing potential sales of your prime works.
Increasing income, having a greater chance of sales and gaining new readers, saving money on marketing and reducing costs by not discounting or giving away your major books, makes publishing an Electric Eclectic book a win-win situation for all authors.
Electric Eclectic is a marketing brand designed for the promotion of indie-authored books.
Electric Eclectic is NOT a publisher.
Electric Eclectic do NOT take any royalties.
Authors are not contracted, leaving them unrestricted regarding other publishing options.
Would you like to join us?
Would you like to be one of the first Electric Eclectic authors?
While this post focuses on writing blogs, website content, social media and emails rather than stories and books, much of the following could be adapted by authors and publishers of books.
As independent authors, our ability to write such is of paramount importance to our promotional and marketing strategy. Yet the way you write could be alienating those who are not quite as apt as you or me at reading.
A couple of years ago, I had a wonderful comment from a person who suffered from dyslexia about a post.
Although his comments were primarily about the content and not the presentation of the post, he mentioned he found my post far easier to read than many, if not most.
Curiosity got the better of me.
Why I wondered, could he read and understand my posts, when he struggled to read so many others?
Over the next few days, he and I conversed, by email, about his reading on a personal level and Dyslexia in general.
Before I carry on and explain the outcome of our conversations, I think as writers we should all know and understand what dyslexia and some of the most common reading difficulties are. So, I am including the following few paragraphs & bullet points, (which I cribbed from the internet), for clarity.
A formal definition of dyslexia used by the National Institute of Child Health and Human Development states, “It is characterized by difficulties with accurate and / or fluent word recognition and by poor spelling and decoding abilities. These difficulties typically result from a deficit in the phonological component of language that is often unexpected in relation to other cognitive abilities and the provision of effective classroom instruction. Secondary consequences may include problems in reading comprehension and reduced reading experience that can impede growth of vocabulary and background knowledge. “
Unsurprisingly, the International Dyslexia Association defines it in simple terms. “Dyslexia is a language-based learning disability. Dyslexia refers to a cluster of symptoms, which result in people having difficulties with specific language skills, particularly reading. Students with dyslexia usually experience difficulties with other language skills such as spelling, writing, and pronouncing words.”
In contrast, Irlen Syndrome is a perceptual processing disorder, meaning that it relates specifically to how the brain processes the visual information it receives. It is not a language-based disorder and phonics-based instruction will not help someone with Irlen Syndrome improve in the same way it will help someone with dyslexia improve their reading skills.
At its core, Irlen Syndrome is a light sensitivity, where individuals are sensitive to a specific wavelength of light and this sensitivity is what causes the physical and visual symptoms that people with Irlen Syndrome experience. People with Irlen Syndrome have difficulty reading not because their brains have difficulty connecting the letters they see with the sounds those letters make, but because they see distortions on the printed page, or because the white background or glare hurts their eyes, gives them a headache, or makes them fall asleep when trying to read.
Unlike dyslexia, difficulties experienced because of Irlen Syndrome can reach well beyond just reading. People with Irlen Syndrome have difficulty processing all visual information, not just words on a printed page, so they often have trouble with depth perception, driving, sports performance, and other areas not generally connected with dyslexia.
Alexia is a form of dyslexia, but dyslexia is developmental, meaning that it does not happen from an occurrence such as a stroke or traumatic brain injury.
Alexia is an acquired reading disability because of an acquired event such as a stroke. It is most common for alexia to be accompanied by expressive aphasia (the ability to speak in sentences), and agraphia (the ability to write).
All alexia is not the same, however. You may have difficulty with the following:
Recognizing words ● Difficulty identifying and reading synonyms ● Difficulty with reading despite your ability to sound out pronunciation of words.
Although you can read words, it is too difficult to read for very long ● Blind spots blocking the end of a line or a long word ● Focusing on the left side of the paragraph or page ● Double vision when trying to read ● Reading some words but not others. Of course, this makes reading impossible.
A stroke survivor with alexia that can read larger words, but cannot read tiny words such as “it,” “to,” “and,” etc. ● Any combination of some of these traits.
My conversations with, (I shall call him ‘Jay’ during this post), led me to take a close look at how I was presenting my blogs, what made them so different and, could I improve them further?
It turns out the style I chose… I was going to say developed, but that sounds arrogant. So, the style I was using at the time was to write in small(ish) chunks, using relatively short sentences and paragraphs, as I have so far in this post.
Unlike the following.
This differed to most blogs and posts on the interweb which were, (and still are), long blocks of continuous sentences and sub-sentences, forming large paragraphs with very little line spacing or breaks. This may be a ‘style’ welcomed by universities and those writing technical/medical/professional and some literary journals. I have seen many papers which follow this style. I have even read a few and I must agree it makes for extremely uncomfortable reading. To read such a document, one must concentrate fully and focus on each word of each line. Whenever the eye moves from its forced liner motion, even for a moment, is when the reader finds some difficulty in returning to the exact location they were at previously, often meaning one must, annoyingly, re-read sections already read. Like you have possibly just done when reading with this last long drivelling, over-worded paragraph I have written in just such a manner to illustrate my point that it makes for uncomfortable reading, even for those of us blessed with good eyesight and adequate skill. A point which I hope I have now made adequately clear with this paragraph which is representative of many blogs.
Writing in this form creates such a large block of words it becomes challenging to separate them into clear concise ‘bite-sized‘ and manageable ‘lots’ of information.
This is one of the areas of written presentation which was highlighted to me by Jay.
I already used a style of writing which broke long paragraphs into much smaller ones, whenever practicable, but I was not aware of the impact doing so made on the reader. From then on, I broke paragraphs down even further than I did ‘pre-‘Jay’
I was also made aware of unnecessarily long sentences, sentences with too many superfluous words.
This simply meant cutting out all those unnecessary words to make sentences read far more precisely and clearly.
Eliminating irrelevant words.
You see, this is not fictional or creative literature as when writing a novel, or even a short story. This is describing and sharing thoughts, ideas, information and data. Another skill set entirely.
Authors often discover this when having to write a precise about their latest book, like the back-cover blurb, an agent’s query letter, a synopsis or copy text for a promotional activity.
We all know, or at least should, that mixing sentence lengths makes for a better reading experience. But so does spacing and breaking them up as I have done in most of this post.
Please do not get me wrong.
I am not solely writing or directing my words specifically to those with reading difficulties, but I am looking to be as inclusive as possible and not simply because I am attempting to be politically, or socially correct.
I do it because I want as many people as possible to read my words. That is why I write.
Looking at how one presents their posts on the screen does not take much effort. Neither does adjusting one’s style to make it clearer and easier to read… for everybody, including you and me.
To finish, look at this Git-Hub virtual reality page. It shows how we can best comprehend the way those suffering from dyslexia and associated reading difficulties may see the written word.
My lesson, following those conversations with ‘Jay’, is,
“We can all learn from others, even those we may have previously considered had nothing to give us. After all, I never thought a dyslexic could teach an established author how to write clearer, even better.
How wrong I was.”
Thank you for reading another of my Ramblings. Please subscribe to this blog if you will.
I am open to all comments and try to reply to them all personally.
You have guessed it, this post is all about marketing…
BUT… not marketing as you may comprehend it from a basic level, which is an amalgamation of advertising and promotion, but marketing from a perspective you may not have realised exists.
Have I got your attention?
I do hope so, because I believe having a clear understanding of this view of marketing can make or break your success as an author.
I once worked in hard-copy magazine publishing and spent many hours discussing marketing with prime agencies like Saatchi & Saatchi, John Walter Thompson (JWT), BDM & BBDO (now combined with Abbott Mead & Vickers I think,) along with media buying services Zenith, Media.com and OMD and PR companies including Ogilvy, Brunswick and Edelman.
ALL the agents I met were looking for that ‘something’ which would take the target audience by storm. They all wanted to make their mark within the industry by having a campaign which would enter media/publishing/broadcasting folklore. I.E, propel them into ‘the big time’.
Now, I am not one to poo-poo or trying to dissuade anyone from wishing to advance their career, far from it, BUT (I always have but’s in my blog posts), these agency agents failed to notice an overriding fact. The most successful agents, many whom now owned or partnered the companies these agents were working for, became successful by constants and continuity, not by a flash in the pan, however big a bang that may make at the time.
It is this same attitude I find when speaking to many business people, including authors, particularly new and/or first time/wannabe writers.
It is irrelevant, regarding the content of this post, if you write the most amazing, perfectly formed tome ever, or you have hastily scribbled a ‘quick’ novella or e-book novelette.
NO one will buy your book… unless they know about it, so you must tell people you have written a book. Doing so is called advertising, which a division of marketing.
Running a Thunderclap or posting about your book on social media is another area of marketing, like sending emails to friends to let them know you have published your book, BUT (another one), these are only the most obvious and basic parts of what marketing covers.
However, what marketing REALLY is, is EVERYTHING that you do.
Allow me to explain.
Whatever tasks you are working on now, right now, ask yourself this question… “How does this affect my marketing?”
Ask yourself this question at the beginning, during and at the end of each and every task you undertake in your role as a writer and author. Soon you will begin to understand everything has some form of influence in marketing you and your work to the world.
The way you look and dress in a video or podcast… “How does this affect my marketing?”
The images you post on social media. “How does this affect my marketing?”
Your profile image, “How does this affect my marketing?”
Your comments and replies. “How does this affect my marketing?”
How you look and speak at book fairs and events. “How does this affect my marketing?”
The layout and design of your tables and space. “How does this affect my marketing?”
Where, when and how you advertise and promote. “How does this affect my marketing?”
…… and so on.
You may notice I have not touched on your books covers, content, banners, advertising material design or so on, yet.
When do you make a paperback or eBook version of that book? “How does this affect my marketing?”
Did you notice I said when? Timing is also critical as an aspect of marketing.
There is an old, but true adage, is say’s, “If you want to sell your [books] you have to sell yourself first.”
Nothing is truer.
Another is, “People buy People”.
I will not argue with that.
These are things we all need to keep in mind. Dale Carnegie should have said, “we have to win friends to influence people.” That saying would sit well in our modern digital world.
In conclusion, we must create a persona as an author or business person. Much like a fictional character from one of our tales.
This character however should not be fake, but a facet of ourselves, our ‘public image’ one we must nurture and cultivate in absolutely everything we do.
The one of which we ask, “How does this affect my marketing?” in everything you do.
Only by doing so, by becoming aware that marketing means marketing YOURSELF, constantly, consistently and at every opportunity can you play the long game, the strategy which will make you an ongoing constant and not another nonentity looking for that great flash in the pan, the non-existent big bang which will propel you into the big time.
I could go on and write more. But… (another but) I would like you to consider this content seriously before I delve any deeper into the subject of marketing.
I often hear authors sound flabbergasted when their books, even their newly launched publication, the one they have been working on for so long and spent a fortune, in both time and effort promoting and marketing, shows as OUT OF STOCK on major bookstore sites.
I mean, how can a brand-new novel, only published yesterday, already be out of stock? Besides, it has been published as a POD (print on demand) so it can never be out of stock… can it?
Why, if it is available from one site, is it showing as out of stock in another? It all seems so confusing.
I have been asked, “Surely if my potential reader sees out of stock against my book, they will simply by another book, someone else’s book… won’t they?”
My answer is “It is a possibility, even a probability.”
So, why can/does your newly published book show out of stock on some site and stores listings.
There are a few reasons. Much depends on who has published your book. CreateSpace (as was), KDP, or another online book publisher like Babybook, Smashwords or B2B, or a private printing company and, who holds your prime stock, if any?
That last part may sound a strange inclusion when speaking of POD books, but some places will/do hold stock, physical stock of POD books… I bet you never considered that before, did you?
Okay, so let me clarify some of this.
First, let’s speak of those who may hold actual stock of your books.
These are varied, so this is a general overview rather than a focused statement.
Many high street bookstores, even some of the larger chains, do hold some independent authors books. You may have to get ‘lucky’ (or have a proven ‘bestseller’) for your book to take up valuable shelf space which is at a premium at this level of retail, but it can happen.
There are even a few re-sellers and wholesalers who are looking closely at getting more indie authors books in front of the high-street public… but that’s another story (Pun intended.)
Bookstores generally order their books on a fortnightly basis, often guided by their sales/buying/distribution agents convoluted algorithms, which are designed to predict purchasing patterns. Hence, if your book has continued/constant high-volume sales on a site such as Amazon, your book could, possibly, maybe, end up on the shelves of your local bookstore.
This is how the bookstore, should they have an internet presence, (I don’t know one that does not), may list your book as out-of-stock. This does not mean your book cannot be purchased via that particular site, only that the store does not have it on the shelf, or on their warehouse, but your order will be dispatched as soon as the new fortnight’s order arrives from the wholesale/resale company.
The agent will order your book as a multiple/bulk order and distribute copies to the relevant stores they supply the inventory for the two-week cycle. It is these companies who would, for example, buy from Amazon as part of the ‘Expanded distribution’ should you have enabled that option.
Now, let’s get to grips with the sites that do not hold any, or very little, stock and why they may mark your book as out of stock. (This post is Amazon focused, simply because they are the largest bookseller and I am certain almost every indie has or has had, dealings with them.)
Historically, the biggest times of out of stock, or two to three weeks delivery notices, came when Amazon was solidifying its position as the major book distributor in the world. It had a long ongoing, but quiet battle, with Lightning Source and the two main suppliers Amazon used as dropships, Ingram and Baker & Taylor.
As part of the ever-growing Amazon domination, it needed warehouse space and to reduce costs, which can spiral, expediently even for a massive organisation.
Thus, Amazon reduced its stock levels of all POD books re-ordering necessary stock on a daily basis. But this was not always enough time for POD printers to supply demand in the timespan, hence out of stock messages appeared.
Now, all this and the continued adjustments since created a shift change in the marketplace. Since the demise of Createspace, KDP is now undoubtedly the main supplier of indie books to Amazon Books, as it is part of Amazon anyway. So, for the least chance of having your book listed as out of stock, or as a delayed delivery, KDP is your best bet.
Lightning Source, Blurb, Babybooks, Lulu, B2B and so on, take a secondary seat in the ongoing war for profits, which is what effects your book sales the most. You cannot blame Amazon or Barnes & Noble, Ingram or anybody else, this is what business is about, maximising revenue and profits.
So, on that basis, not one of these companies actually cares about you, or your book. (on an individual basis). It is nothing personal, your book is just another item of stock/listing among the many millions, which needs to be sold. So, if your POD company does not supply in time, has an issue with Amazon, your book may be tagged as out-of-stock.
Oh, occasionally it is a genuine mistake, someone clicks the wrong button, but that is far and less often than many would have you believe.
Even if your book is not listed on the major sites, the POD wholesale/agent distribution factors do still influence the availability of your book.
The note to take from this post, if nothing else, is the misconception most indies have in believing all orders from a POD publisher are printed there and then, to order, on the order/request of each customer. This is not necessarily true, as I have explained above.
Which is why you could see that unwanted message, ‘out of stock’ on your books sales pages, no matter which site(s) you use.
Finally, as a personal disclaimer, arse covering statement… there are far more book publishers/printers/distributors/suppliers than I have mentioned here, like TOAD Publishing… oh that’s my own Publishing house!
The secret is to choose the one, (or the several), which suits you and your needs the best.
That’s it from me just now. I hope this post has been helpful.
Please subscribe to Ramblings from a Writers Mind, then you will know when one of these sporadic articles has been posted.
In the meantime, you could sit back and relax with some Tales of Crime & Violence… go on, you know you want too. https://goo.gl/8aY9XR
Choose from volume 1, 2 or 3. Better still, grab all three and save yourself from coming back for another!
It may seem a strange title for a post, but it is one which reflects much of what our modern society is about.
With the event of digital photography and smart phones, far more of our daily lives are recorded, most often in a haphazard fashion. A jumble of images stored on SD cards, memory sticks and in a long scrolling stream of incoherent, often unconnected messages.
Many vanish when we upgrade our phones or computers, memory cards are lost, external hard drives become corrupt or obsolete. Some files may be stored ‘in the cloud’ or ‘on social media’ at least for now, for the time being, until it all changes once again.
Nothing is secure from loss, deletion, corruption or becoming obsolete. Such is the way of modern technology, such is modern life. A simple power outage can render even the most expensive, cutting edge technological gadget useless, in less than a Nano second.
Books, on the other hand, tend to outlast anything else when it comes to keeping their content safe. Libraries, universities, country estate houses and museums, all hold venerable tomes from hundreds of years past. Volumes of information and knowledge that do not need an external, or rechargeable, power source.
This is why you need TOAD Publishing in your life.
TOAD is a specialist publisher, who concentrate their efforts on glossy hardcover books, generally known as ‘Coffee Table’ books.
What is a Coffee Table Book?
In theory, you can put any book you like on your coffee table, but not all books inspire conversation. A Coffee Table book is usually an oversized hardcover book. It is designed to be displayed somewhere prominent, often on a sideboard, a visible bookshelf, or maybe a Coffee Table!
These books help to entertain friends, family and guests. They stimulate conversation, allow people to see what the interests of the owner, such as the arts, photography, fashion, style, travel, and family.
They are statement pieces, works of art, decorative and entertaining.
Now TOAD have taken the coffee table book one step further, one step beyond ubiquitous perception.
Enter the Heirloom Book.
TOAD create personal, unique books chronicling major events in your life, the moments you like to keep as a memento, to share with family and friends, or preserve as an heirloom.
They will turn your photos into a glossy wedding album, or a chronicle your pregnancy, childbirth and beyond, to a child’s first birthday. They will document a life project, a holiday and more.
In the past, TOAD have created a record of theatre production, from foundation to the first night performance and city art students, as they created a street mural for the council arts project.
These books are not about recording the past, they are about recording your life now, on the present moment, which will soon be the past, a too easily and too often, lost past.
When it comes to documeting your life, do not leave it to the haphazardness of chance, keep your memories safe, keep them in a Heirloom Book from TOAD.
Heirloom Books, work for businesses too. Document special projects, feature successes stories and special events, like the annual conferences, share them with your suppliers, customers, or staff, in this wonderfully unique way.
TOAD Heirloom Books enhance the perception of esteem to reception areas, hotel lobbies, waiting rooms, guest rooms, private libraries and, of course, on your coffee table.
Heirloom Books are full colour, unless otherwise specified, glossy, perfect bound, photographic and/or illustrated, hardcover publications. The interior layout and covers are designed by our in-house studio, PeeJay Designs and printed by our partners in the Netherlands, from where the books are distributed worldwide.
This year I have only two stories destined for anthologies. One is for a summer anthology, due out soon, another a children’s book scheduled for Christmas.
This is the lowest number of stories I have given for inclusion into collective tomes for several years.
I know some writers stay away from this form of publication. There are many reasons.
Some do not write short fiction, others focus on just one genre, some believe these books a waste of effort, while others only give licence if the book is a charitable or fundraising edition.
I appreciate everyone’s point of view on this matter.
To give a story away, even secured by a simple first serial rights licence, is a big thing. To take time out to write a specific tale for one is a commitment. Then, there is the fact of finding the extra time to write in the first instance.
If someone does not wish to commit to an anthology, so be it.
I, however, am a sucker for these books.
Partly, it is because I am a prolific writer of short stories and flash fiction. I always have some unpublished works on hand which need a good home. Another reason is, I enjoy writing from simple, given prompts. I belong to some writer’s groups, such as ‘500 – Iron writer’s spin-off‘ who regularly exercise their quills by doing just so.
I find scribbling a short tale a fantastic writing exercise, as I do with poetry and blog writing, even this post you are reading now is teaching me something about my trade as a wordsmith.
It is called, gaining experience.
I believe we can and should always strive to become better writers and, like modern athletes and sportsmen, we should ‘cross-train’. That may mean writing poetry and short stories, trying our hand with a genre we have never approached before, writing non-fiction too. Whatever it takes, we should often step outside of our comfort zone, we should do it to improve ourselves.
For me, committing to someone as a guest blogger, or agreeing to contribute a piece to an anthology, encompasses that training; it allows me to be creative, to try something ‘new to me’, or come at a subject from an alternative perspective. It also allows me to get my work in front of readers who may not have found me otherwise.
It is not something I do for a direct reward. I have, where there have been shared royalties, had my allocation directed to charity.
These books are to show what an alliance of indie authors, living in various countries around the world, can achieve when working in unison.
The Awethors collective produced not one, but Four great works, proving such co-operative action can be repeated and maintained.
These anthologies also bring the contributing authors closer together, it strengthens the collective and in some cases, creates new, long-lasting, genuine friendships.
If you have never contributed to an anthology before, I ask you to consider doing so. I am certain you will know at least one other writer who has a link with at least one. Do it for yourself, for a literary exercise, for learning, for betterment, but most of all do it for fun.
To finish, I quite fancy contributing to a Sci-Fi collection, (I don’t write Sci-Fi), or something from a female perspective perhaps?
Any offers, contact me.
Thank you once again for reading my Ramblings, Paul.
Looking for something different, a gift with thought? A treat for yourself?
Unlike many of my Ramblings, this post is written in a far more focused manner, giving a clue to the importance I place on this content.
I think, ALL indie authors NEED to read the following, in full.
Recently I have seen a large number of indie authors discounting their books, or giving them away freely, offering a plethora of ‘giveaways’, from the humble bookmark to expensive looking jewellery, even a combination of all the above.
Whilst this form of promotion is not unusual by itself, the number of offers has increased to such a degree, that it seems no one is selling a book at full value price.
In fact, a quick scan of the internet shows very few books, (in relative context), for sale above zero, naught, nil, zilch, nothing.
This is excellent if you are a reader. You have the largest and widest choice of reading material ever produced in the history of human life, being offer to you at no cost; even incentivised, bribed, to take up such offers, by the additional giving of gifts.
Life has never been so cosy.
This recent explosion of free books has been boosted by the hundreds of book promotion sites, offering authors the service of marketing their works to millions of potential readers, for a small fee.
The sales gist of this is, should the author give away books, each person receiving a free book may like it so much, they will buy more of that authors works.
This seems a viable strategy… in principle.
BUT… there is always a but!
This form of book marketing was, for want of a better word, pioneered by Amazon when they were quite a young organisation selling only books.
At that time, the indie authors publishing phenomenon had not established, making it a very different market place; one where the novelty of being offered a free book was the exception not the rule.
Furthermore, add this marketing fee to the cost of production, editing, proofreading, formatting, cover designer, advertising, etc. Now, work out your royalties per-sale, because that is what must pay for your books production costs.
From this simple equation, you will see how many books you must sell to break even.
NOTE: This figure is cost based only. It does not include a budget for your time, your internet bill, your software licence fees, office space offsets (even if ‘the office’ is a table in your lounge) and other associated costs, which as a business person you need to consider. If you do not, whatever monies you think you have made form that book, will be demanded from you by those wonderful, friendly folks at the Inland Revenue.
So…how much do your royalties add up too…oh, nothing… because you gave it all away, with the bookmarks and coasters you paid for to boost your sales.
Not very business minded, are you?
Let’s fast forward to today.
The indie publishing business is a global industry, with hundreds of thousands of books being self-published each month, in every country and every language on earth.
This is a world where an adage I loth, ‘A victim of our own success’, has the hollow ring of truth.
Because computer technology has allowed the growth of, what was once referred to as ‘desk top publishing’ to grow in such an unprecedented way, the competition in the indie publishing scene is immense.
However,… there is always a however, too!
While the market place for book sales has undergone change akin to continental drift, the methods used by indie authors is still as primitive as the those used in the embryonic days of Amazon’s birth.
You see, Amazon has outgrown the indie author world. It has outgrown many, if not all the established mainstream publishing companies and, by doing so, has irrevocably altered the landscape of publishing in general.
Neither is this giant called Amazon about to offer indie authors a helping hand.
It does not have to and does not want to. Not only has it outgrown the publishers, but it has established itself as the master of sales opportunities. Basically, as an independent writer, if you want to sell a lot of books you must factor Amazon into your marketing mix. What is more, Amazon will need to be your prime ingredient in the clear majority of cases.
Which brings us back to the reader, those illusive, almost mythical creatures who may, one day, if you are extremely lucky, buy one of your books.
BUT… yes another but!
BUT… it is getting less and less likely any reader will put their hand into their pocket and pull out some money, simply to get hold of a copy of your book.
You see, they don’t have too.
There are hundreds and thousands of books available for free. The reader can order any of these, or simply download an eBook version, which they can add to the hundred unread books waiting on their Kindles and E-readers, without ever spending a single penny.
Oh, that fleeting promise of maybe’s, the one the book marketing sites sold you, you know, the one that goes… “if they like your style they will buy the rest of your series/books….”
You didn’t fall for that old spangle, did you?
Because they will not.
Please do not dismiss the reader thus. Like all of us, our readers must be canny when it comes to spending, whether buying packet of sausages in a supermarket, or buying a good book to curl up with in front of the fire.
These folks will:
A, wait until another of your series is offered for free.
B, read another free book. (They may enjoy it better than yours.)
C, Both, of the above.
This is a reader’s market. It has got this way because of several factors, but (another but!), it is you, the indie author who has brought this situation upon yourself.
By publishing your book at a ridiculous low price, then lowering that price and eventually giving your book away, you are part of the overall problem affecting many, if not most indie authors.
You are simply adding to the situation you are moaning about. You know the one, about having too many free books on Amazon. That the competition is too great, because the market is flooded with cheap books, 99 cents and below.
This WILL NOT CHANGE until you…yes, YOU do something about it.
Ideally, for me. As of tomorrow morning, there would not be one book, not a single novelette being given away.
Novella’s and the such would be priced at around £2.00/$2.40 for the shortest book and escalating up from there.
Novels would kick in at a minimum of £10.00. Book prices would be back to a decent level, a level not too dissimilar to that before Amazon muscled in.
We all, from time to time, often with good reason, knock the major publishing houses who controlled publishing, much as DeBeers control the diamond market. Yet they ensured authors got a fair return for the time and effort involved in creating a book.
That cannot be said of Amazon, or any book promotion site encouraging free and 99c priced book sales.
I know there is a movement within the indie community, one which is trying to discourage the giving away of books.
I am part of that movement.
I believe, if ALL indie authors removed ALL free books, re-priced their books to reflect true value for authors, we would see a major shift change within the industry almost overnight.
People will not stop reading.
They never have and they never will. They shall simply be paying a fair price for the goods they receive.
Authors will start earning a fair return for their creativity, effort and investment. The quality of books will increase.
The world will be full, once again, of wild unicorns running free in green woodlands full of Tinkerbelle fairies… well, I may be pushing it a bit too far now; but the facts are, indie authors will be better served without cheap and free books…. FACT.
Which brings me to the title of this post, ‘ Bucking the trend’
What give me the right to state such?
Firstly, this is not me simply making a vortex of hot air.
I stand by my convictions. I do not have any FREE books. I shall not be giving any books away. I do not have gifts of incentives. I have no bookmarks or jewellery.
In fact, I am deliberately ‘Bucking the trend‘.
Recently, I have increased the price of all my books, both Paperback and eBook/Kindle formats.
One of which, is an Amazon No.1 bestseller.
The coveted No1 position, is something I doubt would have occurred, if the book was priced undervalue.
You see, perception plays a large part in decision making.
What value you initially consider an item, is easily disputed once furnished with a low price. Hence altering perception.
With that in mind, a low cost, or free book will hold little or no perceived value to the reader.
If the same book is viewed at a higher price, the value is assumed to be greater.
In association, the assumption of quality is also presumed higher or lower in direct proportion the estimated value implicit.
This is my view and the principles I adhere too.
I shall charge a fair price for my books. Not a penny less.
Readers can buy them, or not.
BUT…. (The last one I promise), consider this:
Should I just sell one copy of one of my books this year, I would have made more money than you, giving a thousand copies away.