Gobsmacked is a well-known colloquial saying in the county of Yorkshire. (That’s Yorkshire, England, for all my American friends.)
Gobsmacked roughly translates as; So surprised you cannot speak. Overwhelmed with wonder, surprise, or shock. Astounded.
Liken such a surprise to that of being punched in the mouth and you are beginning to understand the word.
To break it down, ‘Smacked’ as in hit, slapped, punched, struck etc. and ‘Gob’ a slang word for mouth.
Hence, I would say it means; So surprised you are dumbfounded, unable to speak, as you would be after being ‘smacked in the gob’.
Now, on with this post.
I do not feel Gobsmacked about the general lethargy and apathy I see and sense within the indie author community of late. I have noticed it, slowly but inexorably, growing over the past year or so.
Don’t get me wrong, this dispirited indifference is not an affliction which infects every single author, but a general condition proliferating throughout our worldwide community.
It could be a reaction to the changes at Facebook, the closure of CreateSpace, Amazons ever-changing algorithms or the news G+ is soon to close to the general public.
It could be a response, a consequence of them all. A mass writers communal PTSD from the constant shock and awe of all changes on social media… doubtful, but who knows?
(Much of what has passed this year, 2018, I predicted and wrote about on this blog. Not surprisingly about a year ago.) Check it out HERE.
So, you may ask, what is it that causes me to feel Gobsmacked?
Allow me to elucidate.
I frequently, make that continually, read posts on social media where writers ask how to market their books.
I read questions that ask what is the ‘best way’ to do this or that. I see authors enquiring “who has had success with (such & such) and how did they do it?” or “what is the best book marketing platform?” and “is it worth paying Joe Bloggs ltd to market my book, they only want £10,000 a week“… okay, maybe that figure is a little exaggerated, but you get my gist.
Far too many times have I read how authors have been ‘ripped off’ or ‘scammed’ by the unscrupulous preying on writers.
I have no doubts I shall read similar accounts tomorrow of people feeling ‘robbed’ as I did yesterday and today.
Why then, when a genuine marketing method is offered do so many authors fail to grasp the opportunity?
I am speaking of a marketing organisation run by well respected, established and recognised indie authors.
No strange claims.
No get rich quick schemes.
No large sums of money required.
Just a solid method of creating awareness and establishing trust with readers.
What’s more, I am speaking of a marketing method which pays full royalties to those participating. In effect, it is a marketing which pays authors to sell their own books.
Yet this is one writers ‘cannot be bothered’ looking at or cringe about paying the small, token (once only) membership fee.
Instead, those very same authors, the ones who did not want to spend a few pounds or dollars, then post on Facebook about how they have lost a fortune on scammers and vanity promotions.
This then has the effect of pulling down the mood of the whole indie community. Something which is currently tangible. All you have to do is follow a few of the author group conversations on social and you will soon see for yourself.
That is why I get ‘Gobsmacked’.
I am the founder of Electric Eclectic, a book brand marketing programme and author co-operative.
Electric Eclectic is not a get rich quick scheme. It does not offer magical solutions for generating massive sales.
Electric Eclectic offers a dedicated promotional strategy with growing market reach. It is a long-term, slow burn plan generating loyalty and confidence within our marketplace.
Oh, and yes, authors who are part of Electric Eclectic earn royalties too… but that’s only part of being an Electric Eclectic author.
So much to do, so little time. (I think I have heard that said somewhere before.)
At least I have found a few moments to share another post about being an indie author.
I do not normally write a ‘list’ style post as they generally tend to be little more than ‘clickbait’.
However, on this occasion, I have made an exception to the rule and produced a sort of list post myself. But one I hope is better and far more informative than those ‘clickbait’ I mentioned above.
I hope these tips will help you create a book which will sell in (vast) volume.
“On with the post”
I hear time after time and frequently read, on social media, authors asking why no one is buying their book(s).
It could be down to many things, even the lack of serious or targeted promotion.
Novice writers often spending too much time and effort in posting their book(s) on author group pages… HINT… authors are more interested in writing their own books and most already have a vast TBR library they will get around to reading, soon(ish), one day, maybe later, or never.
You need to put your energy and effort into targeting those people who are more likely to want to read your work than another author. (Coals to Newcastle, busman’s holiday… ring a bell?)
However, before you get anywhere near that stage, here are a few basic questions, self-check questions, you should ask yourself and, this is most important, answer honestly.
You will only be letting yourself down if you lie to yourself.
In a nutshell, you must ask yourself, (way before you publish) if your book looks professional and is your blurb up to scratch?
These are the questions you need to use to clarify each point of consideration.
Regarding your books cover:
1, Does it look professional.
No, truly; do your book cover(s) look like they could be displayed alongside the best sellers on show in your city’s premier bookstore?
If you cannot say it does with absolute certainty, take a mock-up, even a full-colour print of your cover and visit some bookshops. Hold your image up, place it on the shelf next to the big named author’s books.
Now, give it ten coats of looking at. Ask those who are browsing what they think of your intended cover.
This is a form of market research. It can save you a ton of heartache let alone money. But you must be honest and you must listen to what others say, after all, it is they who will be buying your book, not you.
2, Does your book cover clearly demonstrate the genre of your book?
Your potential readers will, most often, have one or two genres they prefer. Like many people, once we find something we enjoy it takes a giant leap to change.
Therefore, if your book does not accurately reflect the genre of its content, you WILL be losing any potential readers initial interest.
3, Does your cover immediately garner attention?
Is it sufficiently attractive to stand out among other books on the shelf or on Amazon?
Does your cover artwork stand out amongst the other books around it? How well does your book ‘stand-out’ as a ‘thumbnail’ image on an Amazon page full of other books?
Are your friends or the bookshop browsers immediately drawn to your cover? If not, you need to make changes.
Note: Too many authors make the mistake of trying to tell the entire books story on their covers. This is not what the cover is intended to do. In simple terms, the cover is like a candle flame to a moth. It is there to attract a person browsing to take a closer look at your book. Once the browser has the book in their hands or has ‘clicked’ for more details, the cover has done its main job.
After which the points below come into play.
4, Does your book title grab attention?
Pretty much like the cover image ‘as a whole’, the title of your book must do several things. It must accurately reflect the genre of your book while defining its own individuality.
Along with this, it must show who the book is intended to be read by. Not an easy task to succeed at, especially when regarding fiction, which is far more subjective than non-fiction.
Regarding non-fiction, your title must indicate the benefit and what makes your book different to other covering the same or similar subject matter.
5, Does your book’s subtitle and/or description clarify who the ideal reader is?
Does your description work as a prime first hook on the general browser?
The description (subtitle) should convey the emotional (or practical) payoff to the reader when reading your book. (The ‘what’s in it for me’ factor)
To communicate this your description needs to capture the curiosity of the browser, it must take them on a clear, cohesive, emotional journey and leave them wanting to know more. You must engage their curiosity?
Is your books description length similar to the prime authors/major publishers books of the same genre?
Note:Nothing on the cover of a major publisher’s book is thereby happenchance, everything is carefully calculated and designed based on a vast database of market research and marketing sciences.You should not go far wrong by following their designs and formatting.
6, Pricing your book
Have you priced your book to match that of similar titles of the same genre by other indie authors?
Here price point could be a major influencing factor. Price your book too high and few will buy it. Too low and many will perceive it as a low-value item and pass it by.
The trick is to get this balancing act weighed off. Not an easy task.
7, Are your books first pages intriguing enough?
Many online bookstores offer a ‘look inside/sample read’ function. This is akin to flicking through a few pages of a physical book in a bookstore.
When considering this fact, it becomes clear you need to ensure an early hook is built into the first pages, say the first 10% of your book.
This will create an intrigue, a wanting to know ‘What happens next’ question into your potential reader’s mind, encouraging them to buy your book.
I hope these pointers will help you with the designing your books cover and when writing your ‘blurb’.
You will find many more ways to reduce your publishing costs and loads of money-saving methods by reading ‘The Frugal Author’, immediately download-able HERE.
Does this title sound stupid? (Don’t answer that.)
I was trying to come up with a fancy, clever, literary genius of a title, one which would give an undeniable clue to the content of this post.
I got a few good ones lined up and then re-read them. Most were so oblique even I forgot the connection. Others read more like popular newspaper headings than a serious post about writing.
In the end, I settled for what you have above. Which cannot be too bad because here you are, reading me waffling on about something inane.
Okay, on with my post.
Many of my indie author friends, especially those who tend to write in a specific genre, have one or more series of books.
I know writing a book series is no new thing, but it is one which has become resurgent in popularity over recent years. This is partly because of a shift in reading habits, which in turn is partly influenced by film and television ‘franchises’. (I shall not go into the reading trends and patterns regarding general social psychology of the masses here… albeit a subject I love.)
The ideal is to have someone buy a copy of one of your books and like it so much they rush out and by the whole series… or nowadays go to an online bookstore; not so much fun as browsing a ‘real’ shops shelves but quite practical, especially for social hermits.
Anyway… I seem to be digressing.
The problem, it seems, lays with having ‘that someone’ buy the first book of your series.
Herein lies a quandary.
Until such a person has a copy of your book in their sticky mittens, they shall never know how captivating the story is. They shall never know your carefully crafted characters, fall in love with your protagonist or hold disdain for your antagonist.
Neither will they learn how well you write, narrate or how charming a tale spinner you are. Which would all be a ‘bit of a shame’.
Oh, I hear so many of you thinking, “it’s all about promotion and marketing, that’s how you get readers.”
Well, yes and no.
Yes, it is about promoting your works, and NO… Allow me to enlighten you on my reasoning.
It is not all about promoting your books. (‘Promoting’ is a word I shall use as an ‘umbrella’ term to include marketing, advertising and such hoo-ha for the duration of this post.)
It is all about promoting you, your books, both individually and collectively, and your author brand, in a certain way.
If I were to cover all these topics, in one post, I would end up writing an entire thesis three thousand pages long, neither something I have time to write in one sitting, or, I am sure, you have time to read. So, I shall concentrate purely on one aspect and follow up, in future posts, on other relevant subjects.
As the amazingly conceived title of this post states, I shall continue discussing your book series.
It has become something of an urban legend, a myth which survives to the present day and one which far too many authors still fall prey to, that is the one which says: “if you give your first book of a series away as a freebie you will gain lots of new readers who will buy all your other books.”
That is a lie, promoted by those who generate financial gain from (often desperate) indie authors. Free may have been a viable option in the early days of the internet when Amazon was just a simple bookstore when indie authors were referred to as desktop publishers and vanity press meant having a book for sale outside of a mainstream publishing house. (See: https://wp.me/p5nj7r-1fn )
There are ways forward, none are push and go or plug and play. Each takes time and consistent effort to achieve and not all will work equally for all authors, their books or series. Book promotion is not an exact science.
Thunderclaps, Daycause, Blog hops, Tweet chains can all form part of your overall promotional strategy… You know, the carefully planned and timed schedule you have designed. The one which ensures you maximise each promotional effort… Yeh, that’s the one, your synergetic multi-arena integrated sales stratagem for the 2018/19 marketing period.
However, few authors consider writing a further book, or two or three or more to help gain and build readership and, on the face of it, with good reason. After all, writing another book is only adding to the series and that takes us back to square one… doesn’t it?
You see, this is about taking a new approach to authors promotions, in this case, Prequels… now, I know prequels are not new; way back when, we had Charlotte Brontë’s ‘Jane Eyre’ (1874); but did you know that Jean Rhys wrote the ‘Wide Sargasso Sea’ in 1966 as a prequel and response, describing the background to the marriage Jane learns about after going to work for Mr Rochester?
How about a prequel with a difference?
Let me ask you some questions…
What if… you could write a shorter book, a book especially targeted at attracting readers to your current series?
What if… a group of authors would help you promote that book?
What if… a book brand would include your book in its promotions, making it constantly visible to a global audience, online, in magazines and via social media?
What if… you became an Electric Eclectic author?
Currently, Electric Eclectic are well known for their ebook Novelettes, their short stories books which help connect readers and authors.
But now, Electric Eclectic is launching a form of book they call a ‘Proquel’
These are Prequels, Character Backstories and Parallels designed specifically to introduce readers to your book series, in fact, the name Proquel is simply an amalgamation of the words promotion and prequel. (Pretty cool, yeah?)
Now… unlike many books, an Electric Eclectic proquel is unashamedly a promotional tool. While there is no compromise regarding the quality of content or storytelling, these books do not have to be full-length novels, but novella’s, with a suggested word count of between 17K and 40K words.
Once assessed and accepted by Electric Eclectic, your book(s) benefit from all the marketing and promotional activities of Electric Eclectic and your fellow EE authors.
You will have your books on the Electric Eclectic website along with a personal author page and much more. You can check out the Electric Eclectic website HERE.
And…this is the BEST BIT… you make money on your proquels too… yep, you still earn full royalties on your book sales.
Electric Eclectic is NOT a publisher and does NOT take royalties.
You will get all the above for a minimal fee… and I mean a minimal fee.
You have nothing to lose.
So, why not find out more about becoming an Electric Eclectic author and, how writing just one other book, could help you sell your whole series?
With major ground shifts and changes occurring throughout the publishing and online worlds, becoming an Electric Eclectic author could be the best decision you make this year.
Once we have learnt about something, once we consider we understand it, think we have mastered it, we like to run with it, to keep it.
We are often loath to stop, to give it up… to alter anything.
Many of us are resistant to change, of losing the little comfort zone we made for ourselves. One can liken such to the reluctance of a child giving up a blanket, or a soother.
If we do make the move, we find it easier to be weaned, to slightly adjust, little by little, so we don’t notice the change, or at least that is how we convince ourselves.
The problem is, by the time our situation has evolved in a way which assuages our reluctance, we find we are far behind the madding crowd, so far behind we have little chance of catching up.
In these days of high tech communications and internet connectivity, it is now more obvious than ever before.
Only the fearful and desperate cling to what once was,.
Only the backward and slow reminisce and wish for those ‘good old days‘ when a Facebook post actually reached ALL your ‘friends’ and not just the 3 to 10% they do with today’s algorithms.
The same is true of your book promotions. This is why your sales do not exceed the minimal expectations you tell yourself are reasonable goals, let alone your wishes and dreams to become a consistent bestselling author.
To give away a book for free is an archaic, outdated and outmoded marketing model. One which no longer holds any credence, but one which so many still cling to with dying hope, like a gambler sliding deeper into depressive debt.
Paying another organisation to give your books away is a sign of utter desperation. A despondent cry for help, for someone, anyone to read your story.
In reality, it is authorship suicide; one you may never recover from financially and one which could leave your reputation in raggedy tatters, before you even start.
Book launches and parties no longer pull the crowds. They are a nice way to spend a few extra hours chatting with those you regularly talk to every day; to hear them say nice things about you, your book and “what a marvellous cover” you have.
But such events no longer attract readers. They have been overdone and done over, like an ancient, wrinkled whore, they no longer hold any attraction whatsoever.
Thunderclaps, Headtalkers, Daycause are little more than a (mostly) unseen flash-in-the-pan. A quick blast of tweets and public post which disappear down the scrolling stream faster than Usain Bolt running a hundred meters.
Authors, you NEED to find new ways to promote your works, ways which offer longevity rather than the promise of making a ‘quick buck’ or selling a few more copies of your latest tome overnight… for one night only.
You need to find a simple, ongoing promotional aid which is always working for you, even when you’re not working.
A low-cost way that won’t break the bank, or better still, a way which will pay you a return, a royalty, on your promotional material.
Now wouldn’t that be wonderful…
If only such a thing existed…
Well, such a thing does exist, but only for those who are prepared to move forward, to see the changing lights (mostly red ones) as social media platforms are brought to task and the hyper highway of freedom and unlimited possibility become more crowded, slower and, well… limited.
Even more so now Google plus is/has shut its doors. MeWe and Pluspora just don’t have the numbers or, as yet, the financial backing to grow fast enough or fight hard enough to take on the big boys… at least for now.
A small, but growing group of indie authors, are moving forward into the new dawn of altered perception, of interweb reconstruction and publishing future.
It is a group which, (at present), still has its doors open to welcome a few more indie authors inside. Authors with great tales to share, who are well crafted in penning a wonderful story. Authors who are serious about writing, about selling their books, about being authors.
So, what is this group and who are these indie authors?
Simple, we are Electric Eclectic. The book brand which is sweeping the internet.
Before you ask, yes, this is about sci-fi and Robots… but it also about crime fiction, fantasy, steampunk and many other genres. It’s about understanding, imagination and the muse… so read on…
Like all fiction genres, Sci-fi and its many sub-genres must evolve with the times, writers must look to the future. (pun intended)
Czech writer Karel Čapek introduced the word “robot”. It is said his brother suggested using a derivative of the word robata, which means literally “serf labour” and figuratively “drudgery” or “hard work.”
No wonder the robots usually want to revolt, to take over our world. To turn the tables on us!
But, long before the word “robot” was invented, the ideas of mechanical or artificial men was in our ancestors’ consciousness. Early ideas of robots or automata drew inspirations from early writings and figures in mythology, who were described as anthropomorphic and crafted from stone or metal.
Described in the Argonautica as a giant man of bronze forged by the smith Hephaestus, Talos is tasked with patrolling the island of Crete and fending off pirates.
However, he is still partially organic, as is shown in the description of a single blood vessel that runs from his neck down to his ankle. Much like with Achilles and his heel, the vein of Talos is his weakness, and he dies in the story from exsanguination.
This developed into ‘other’ forms of automata,
In ETA Hoffman’s short story, The Sandman, the main character Nathaniel falls in love with the daughter of one of his university professors.
While she is beautiful and elegant, Olympia speaks very little, only responding to conversations with “Ah”.
She is also often motionless for long periods of time.
The people around her find this disconcerting, and it is eventually revealed that she is a lifelike doll.
Enter the early days of Sci-fi as we recognise it now,
Edward Ellis’s Steam Man is an early example of the Edisonade genre of science fiction.
Derived from Thomas Edison’s name, the genre describes stories that feature an ingenious young American inventor, who uses his inventions to go on adventures, solve problems, and defend himself against his enemies. The invention often has many purposes, such as weaponry and transportation.
In this case, the teenage hero is Johnny Brainerd, who creates the steam man and uses it to pull wagons that can carry passengers. Despite its large size, the steam man can run quite fast, and Johnny uses this to his advantage (such as, for hunting buffalo).
An imitation of this story was written by Harry Enton in 1876, called Frank Reade and His Steam Man of the Plains, which also features a young inventor and his robots. Frank Reade’s steam man improves upon the first, with a much more efficient engine due to improvements in hydraulics and use of lighter-weight alloys. Thus, it is faster and stronger. Frank Reade’s son, Frank Jr., would eventually go on to create Steam Man Mark III, and replaced the use of steam with the use of electricity.
This and Steam Man of the Prairies were dime novels, popular fiction that is much like the comic books of today.
Dorothy finds the mechanical man, Tik-Tok, with a printed card suspended from the back of its neck.
The card provides directions for ‘using’ Tik-Tok, such as how to make him speak, think, and move by winding the clockwork in his body. Tik-Tok needs to be periodically wound like a toy to function, as he cannot wind himself up.
Tik-Tok has been referenced in other fiction, and his benign nature subverted into something more sinister, such as in Gregory Maguire’s Wicked and John Sladek’s Tik-Tok.
As I spoke of in the opening paragraphs of this post, the term Robot arose thus…
This famous play, which was successful in its time, describes a factory that makes artificial people or roboti, from synthetic organic matter.
Less like robots and more like androids or cyborgs because of their biological nature, these synthetic people work for humans but eventually organize an uprising, causing the extinction of humans.
Karel Capek’s play is influential for being the first to use the word “robot”, replacing “automaton” or “android”. It is also worth noting that “robota“in Czech means forced labour, of which the robots in the play were made to do.
“Robot:We wanted to be like people. We wanted to become people.
Radius:We wanted to live. We are more capable. We have learned everything. We can do everything.
Robot:You gave us weapons. We had to become the masters.
Robot:We have seen the mistakes made by the people, sir.”
Which basically, and with a giant leap of literary faith, brings us to the time when robots were simply robots, like Robby from ‘Lost in Space’. A time when Isaac Asimov penned ‘I Robot’ and hope for humankind lingered.
We all knew where we stood.
Then along came James Camron who introduced us to Skynet, and all hell broke loose.
So, where does that leave us, how can we tell new, inventive and genuinely futuristic tales of machines, androids and automaton now?
Maybe, a little closer inspection of where we stand now will help us, if we stand on tiptoes and look far over the rising horizon…
Robots are all around us, toiling away in factories and warehouses, busting a gut in landfills and working in hospitals. The NAO model introduces school kids and students to programming and robotics and it also teaches children with autism. Another model, Pepper, was created to work in the service sector; its tasks include attracting potential customers and consulting with buyers.
As the IOActive team discovered, to seize control of NAO you only need to be on the same network as the robot. Experts found vulnerabilities allowing commands to be remotely executed, effectively giving over full control of its actions.
To demonstrate how these vulnerabilities can be exploited, the team forced NAO to demand bitcoins from its human interlocutor.
But real criminals would be limited only by their imagination and programming skills. What’s more, it’s not just NAO that can be infected with ransomware; the more business-oriented Pepper is just as vulnerable, and other models probably are as well.
Just imagine if one fine day a robot teacher or store clerk, in full view of John Q. Public, started swearing and insulting people before going on strike or picking a fight.
You never know.
But why would anyone hack a robot?
What do criminals have to gain here? Won’t it just spoil someone’s day or their life? That might be enough incentive for some hackers, who often do such things just for fun.
But there’s another reason: money.
The profit motive is simple. Buying a robot costs about $10,000; and if it breaks, it must be repaired or replaced.
Both of those require a fair bit of cash, but factor in the downtime cost and reputational loss of having a robot threaten customers and the sum rises considerably.
If an industrial robot is hacked, it can pose an immediate threat to employee safety or production quality.
An attacker compromising a robot in one of those ways might offer a quick solution to the problem, (which they caused), pay a ransom and everything will be just fine.
But, as you might guess, cybercriminals don’t always keep their word. Of course, the vulnerable robot might be hacked again, requiring another payout.
And then, another,and another…
What can be done?
Robots are here to stay (and multiply), so avoiding contact with them is not the way to go. For that, you’d need to invent a time-machine and go back a long, long way as mentioned above.
Instead, users and manufacturers need to be sensitive to robots’ weaknesses to ensure these devices do not go from cutting-edge to catastrophic in the blink of an eye.
Robot creators need to think through security issues in advance before production starts. Today. Better still, yesterday.
Then, after product release, all ears must be kept firmly to the ground to respond promptly to reported vulnerabilities and get them fixed.
…Or some sort of mayhem, a type of life-shattering, civilisation ending apocalypse may just leap from the pages of a book and into reality…
Or maybe that is just my way of stimulating your muse… think on, but carefully and you could join the ranks of Robert A. Heinlein, Arthur C. Clarke, H. G. Wells, Jules Verne, Edgar Rice Burroughs and Isaac Asimov.
You see not all sci-fi which includes rouge robots must be apocalyptic, that idea has been done, and done, and done to death. Now it is time for a differing approach.
Take your favourite crime-based books or film, or a combination of both media. Choose a story without any robots and select a character or two.
Now, think of your chosen characters as automaton, combine those two or three films/books plots. (If they are Hollywood or from mainstream publishing, it will not be a difficult task because they use a five, or seven-point, plotline… its what makes mainstream boring and predictable.) and start writing. Don’t copy… No plagiarism allowed; simply let your muse write the story guided by the basic (combination) of the plot(s) outlines.
You will have a brand-new crime story, but one which includes robots. It does not even have to be set in the future or on another planet, it can be urban fiction, steampunk, fantasy… you decide.
What you will have is a cross-genre fictional work which can be promoted to a wider, but targeted audience. That means greater sales opportunities and a much larger readership potential.
Why not make your robot a stooge, a fall guy? Have the reader fall in love with it, empathize with it.
Alternatively, have your robot(s) as the victim, the missing link to solving a situation… not all robots are bad, not all are good, some simply have frailties, others damaged personalities, why, some are even human… aren’t they?
Whatever you do, have fun and visit my website HEREI have a load of crime fiction and other ‘stuff’ you will just love. But don’t just take my word, go and have a look now.
Yep, that’s a long(ish) title but it says what this post is about.
I have been asked on several occasions if my books are [officially] available from outlets other than CreateSpace/Amazon.
The answer is:I am slowly extending the platforms where my books can be obtained. Migrating some and simply offering others on multi-platforms.
The reasons for the disparity are many, I shall not delve into them all here.
Another issue on many sites is the price charged for my books. This is to some extent beyond my control, or at least I am bound by certain parameters which make it impossible for me to have a single fixed price across all outlets.
While this is somewhat annoying, I can see the relation with other products, the ‘recommended retail price‘, or ‘manufacturers suggested selling price‘, which individual retailers try to ‘discount’ against as they compete for their percentage of the market share.
I have come to accept, as an author, I am at the behest of these marketing trends and the need for retailers and distributors to make a profit, both which influence the pricing of my books.
Whilst I am happy in most cases to allow market demands to guide basic pricing structures, (after all, no one will pay more than they are willing,) it can become an annoyance in certain situations.
Allow me to explain.
I am sure, or at least I hope, you are aware of Electric Eclectic books. These novelettes, branded by Electric Eclectic, are designed to introduce readers to great authors and amazing stories.
The plan for Electric Eclectic is to offer each novelette at a uniform single price of ‘ONE’.
That’s £1.00, $1.00, € 1.00 etc.
While the Pound (GBP) and the Euro worked, Amazon.com insists adding tax after a price is set. So, the $1.00 becomes $1.34. (With the Euro, Amazon.EU & The Pound, Amazon.UK, the selected price includes tax, so you can accurately select a specific number which will show as the price the store shows.)
While I prefer the sales and marketing aspect of 1.00, a neat, round, simple figure. The issue is further compounded when listing your books in ‘other’ bookstores as they each have their own pricing parameters.
This gives a wide disparity of prices for the same item.
Take my book ‘Three Floors Up’, an Electric Eclectic Novelette such as mentioned above. This is 1.00 on both the Amazon.UK and from Amazon.EU. It shows as 1.34 on Amazon.com, although the price of 1.00 was selected on the site.
This alters further, to 1.39 & 1.43 on a dozen more online bookstores, until you reach Apple iBooks where it retails at 1.99, double the price, all bar a single cent, to that which I initially set when publishing on Amazon Kindle. (KDP).
I am sure there are reasons for such a wide differential, none of which I care about to the degree of losing sleep. This is because those who are dedicated to Apple are clearly willing to pay slightly more for a book, as are those who dislike Amazon. I know some people who detest them with a passion verging on hatred.
If you are one of the above or have a direct link, an investment, or another affinity with a particular bookstore platform you will be happy to know all my Electric Eclectic books, and some other works are now online at a selection of alternative stores. (My other books will follow in due course).
These are the main online retails officially authorised to retail my books.
Amazon, CreateSpace, Kobo, Barnes & Noble, Apple IBookstore (Tunes), Google Play, Baker & Taylor and Peecho, are the prime retailers and distributors.
These are my Authorised Booksites, ones with direct links to the retailers.
BookRix, GoodReads, Authorsdb, Authors Den, and Electric Eclectic.
Bootlegging and unofficial distribution of books is a major internet concern.
Sites with unofficial listings of my books may deliver a poor-quality product. Downloads from these sites may infect your device with a Virus, deliver Trojans, Worms or Ransomware.
Such sites create opportunities for Phishing, Mining and Pwning of your Personal Data.
This is what The Frugal Author says you can achieve, in this book of the same name.
He has written this book as an aid for independent authors in pursuit of economical, prudent self-publication.
The Frugal Author produces his own eBooks, paperbacks and high-quality hardcover publications with very little if any, financial outlay.
This book is full of the distilled results, the acquired knowledge and personal practice of being a successful indie author who dislikes paying out more than is absolutely necessary.
In this book, he explains how he achieves that, along with insights into indie publishing and sharing his ideas of how you too can implement the same type of methods for your own books.
The Frugal Author is NOT a ‘how to’ book. It is NOT a step by step guide or tuitional publication. The Frugal Author simply shares methodology, ideas and principles which you can adopt fully or partially, implement in part or whole over time and adjust to suit your own working practices.
You may well ask what credibility The Frugal Author has? and you are right to do so.
To date, he has published 19 books, ranging from children’s stories and poetry to psychological suspense. From Tales of Crime & Violence through to true accounts of Life in the Warzone. Pulp-fiction comic book yarns are written alongside romantic stories and non-fictional military social history.
The Frugal Author is a true multi-genre author. He is also a multi-format author having eBooks, Paperbacks and Hardcover publications.
Two of his books are recognised and authenticated Amazon bestsellers.
He is a well-known and respected member of the global Indie Author and Writers community and a founding member of APC, Authors professional Co-operative, Founder of Electric Eclectic books and chief editor of CQI Magazine.
He is acknowledged for the help and advice he shares and the initiatives he employs to help all writers succeed, irrelevant of their experience.
Now, he is sharing some of his ideology and methodology with you in this book, The Frugal Author.
Download yourself a copy today, start saving money and start heading into profit… NOW.
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.
This year 2017 has seen some seismic shifts in the publishing and advertising industries as major issues such as transparency (Note Facebook revealing their loss of Data a short while ago. This note added April 2018) and brand safety have taken centre stage. Next year is shaping up to be no different, as the industry looks ahead to key issues which will dominate the news agenda over the next 12 months and beyond.
“GDPR will hit in May 2018 and with just seven months left to be ready, many within the industry are only just learning about the implications. People are spending more time online across a wider array of devices and are becoming smarter at consuming online content. Consumers are hungry for real content and will be looking for ways to cut out fake news and time-wasting content by seeking out better quality content providers and starting to pay to access the best content.
2018 will continue to deliver opportunity; we all need to think about building interactive audio relationships via Amazon Echo, Google Home and other voice controlled devices, and how virtual reality devices like Oculus Rift and PlayStation VR and augmented reality via the latest generation of iPhones will affect the way we communicate brand messaging to our audiences in new and innovative ways.”
“Native advertising has rapidly gained momentum this year and will continue to do so in 2018. With native ad spend expected to reach more than €13 billion across Europe by 2020, it is safe to say it is no longer just a buzzword, but an essential part of the marketing mix that is finally getting the recognition it deserves from the industry.
“As publishers look to focus on brand safety, transparency, and the user experience, I expect we will see more of a migration to native as developments in creative technology bring more flexibility. By harnessing the capabilities of programmatic, the scale and efficiency of this flourishing format will be a force to be reckoned with.”
Electric Eclectic books incorporate aspects of Native Advertising in their marketing strategy assisting indie authors book sales. The amazing thing regarding Native Advertising is most people will not recognise or notice it occurring because it is an almost subliminal method of carrying your brand message.
THE CONTINUED RISE OF INDIE AND HYBRID PUBLISHING
Traditional publishers may offer prestige, but also limited creative control and royalties. In recent years, independent publishers have accounted for an ever-larger share of the market, with the help of high-quality cover designs, writing, and marketing plans.
Last year, data showed for the first time the share of self-published books and books published by small publishers, at 42 per cent, was larger than the market share of big-publishers, at 34 per cent.
Ascendant is the phenomenon of hybrid publishing, which includes a variety of publishing models which straddle a middle ground between traditional publishing and self-publishing. Veterans of traditional publishing have left behind their larger companies to bring top skills and experience to the world of independent publishing.
More and more authors are opting for hybrid publishing, which allows them to hold on to creative control and royalties while benefiting from the best of the traditional publishing world.
LONGER SHELF LIFE WITH EBOOKS WILL MEAN INCREASED COMPETITION
With the rise of digital book listings, we are seeing a change in the lifecycle of books. When keeping books available depended on a limited quantity of physical shelf space, it meant books that no longer sold well were removed from shelves as soon as possible.
With digital retailers, there is no such premium on shelf space. With books remaining discoverable indefinitely, authors and publishers may want to take a fresh look at “legacy titles” – books published in the past that are no longer a focus for your attention.
Consider reinvesting in a new cover, book description, and marketing resources to revitalise these titles.
Remember, in this age of digital ebooks and kindle, the more books you have available, the better chance you have to grab your share of the crowded eBook market.
This is one reason you should have a minimum of three marketing branded books working for you and all your prime titles. Electric Eclectic (part of CQ International) is the fastest growing and most inventive brand. Take a peek at their Website.
MORE BOOKS, STAGNATING READERSHIP
According to Pew Research Center, about 73 per cent of Americans read at least a book a year.
This is a figure which has remained stagnant since 2012. Meanwhile, the number of books published in the US has grown exponentially since 2010. Self-published titles have grown from 133,036 in 2010 to 727,125 in 2015, an increase of 446.5 per cent. (latest full figures available.)
Getting your books to readers has, therefore, become an increasing challenging.
Authors need to work towards “discoverability”, working to develop their own audience as an author and creating strong brand marketing for their books.
Many self-publishing authors also face criticism for poor editing and packaging – with more books on the market, the pressure to create and maintain high-quality presentation is becoming paramount. Pay special attention to your design choices; editing and marketing can help self-published books rise above the rest. But a great cover is your first opportunity to attract readers to your book. A professional cover will help you gain sales. Check out PeeJay Designs by Paul White. They offer a professional, but friendly and communicative service HERE
AUDIOBOOKS ARE GROWING
Audiobooks are the fastest growing sector of the publishing world.
In 2015, the audiobook industry was valued at 2.8 billion dollars. 43,000 books were released that year alone, compared to 36,000 in 2014 and just 20,000 in 2013. (Latest full figures available.)
Since audiobooks do not follow the same agency model as eBooks, publishers have been more willing to experiment with distribution models for audiobooks. In particular, subscription models, such as that of Amazon’s Kindle Unlimited platform, are on the rise. In a similar approach to Netflix or Spotify, the service offers unlimited access to 2,500 audiobooks.
While the cost of creating an Audiobooks is higher than most forms of book creation, including many hardcover formats, it is one of the publishing trends to seriously consider.
As with all relatively new markets, audiobooks platforms, production and distribution methods are only in their infancy, so invention and initiative are prime.
PUBLISHING TRENDS 2018 – SUMMARY
The publishing trends of 2018 are likely to follow the broader patterns seen throughout the decade; the rise of small publishers, digital platforms and new formats.
In other ways, the publishing world will continue to see a backlash to traditional, restrictive and controlled marketplaces during in 2018.
Keeping an eye on such trends can help publishers and authors get a sense of where things are headed in the years to come. The future will be about development, choice and ‘canny’ marketing.
The data reveal what some might consider a surprising generational pattern in book reading.
Young adults, those aged eighteen to twenty-nine, are more likely than their elders to have read a book in the past twelve months.
In 2014, there were more hugely successful movies based on young adult books than ever before. Divergent, The Maze Runner, The Fault in Our Stars, If I Stay, and The Book Thief all appealed to a younger audience and may be causing this surge of interest.
We’ll have to wait to see if this is a passing phase or a longer-term trend.
The survey also noted women are more likely to be the book readers in a household. The average woman reader read fourteen books in the past year, compared with nine books for men.
In 2014, Pew reported that 50 per cent of Americans have a dedicated handheld device, either a tablet computer like an iPad or Kindle Fire, or an e-reader such as a Kindle or Nook, for reading digital content. This is up from 43 per cent in September 2013.
While tablets are still the most popular electronic way to read digital books… at present, last month The Wall Street Journalpredicted they may be pushed aside by smartphones in the coming years.
In the first three months of 2015, 41 per cent of ebook buyers read digital books primarily on their tablets, according to the newspaper (citing Nielsen data), and 32 per cent read ebooks primarily on their e-readers. However, the publication also reported on a Nielsen survey from this past December that found 54 per cent of ebook buyers read on their smartphones at least some of the time. In 2012, that number was just 24 per cent.
Fortune cites reasons for the adoption of reading via smartphone:
“Convenience, of course, as well as ramped-up technology that makes reading on mobile phones a more pleasant experience. Smartphone screen sizes, too, are getting larger.”
Okay, that will do for today.
There is a mass of indicators which will need your careful consideration when deciding which tactics to adopt in your overall marketing strategy.
Chose carefully and wisely, invest well and reap the rewards.
Thanks for reading another of my rather out-of-character serious postings… my normal, regular Ramblings shall resume shortly.
In the meantime, take a look at the latest Electric Eclectic Novelettes HERE
Unlike many/most of my Ramblings I regard this post as something of extream importance, a possible game-changing innovation, one which has wide implications but also one which will be of particular interset for indie authors
As part of a broader effort to eliminate the ability to prointerest counterfeit inventory in the open digital advertising ecosystem, Ads.txt provides a mechanism to enable content owners to declare who is authorized to sell their inventory.
The mission of the ads.txt project is simple: Increase transparency in the programmatic advertising ecosystem. Ads.txt stands for Authorized Digital Sellers and is a simple, flexible and secure method that publishers and distributors can use to publicly declare the companies they authorize to sell their digital inventory.
By creating a public record of Authorized Digital Sellers, ads.txt will create greater transparency in the inventory supply chain, and give publishers control over their inventory in the market, making it harder for bad actors to profit from selling counterfeit inventory across the ecosystem. As publishers adopt ads.txt, buyers will be able to more easily identify the Authorized Digital Sellers for a participating publisher, allowing brands to have confidence they are buying authentic publisher inventory.
ADS.TXT HELPS PUBLISHERS
Counterfeit inventory comes in many forms, but it typically results in real media spend not reaching legitimate and deserving publishers. Ads.txt helps publishers reclaim control of their media, brand, and rate card. This means more of an advertisers spend can get to the domain owner through their approved sales channels, and not be wasted on counterfeit inventory.