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.
The green lock means that the site has been issued a certificate and that a pair of cryptographic keys has been generated for it. Such sites encrypt information transmitted between you and the site. In this case, the page URLs begin with HTTPS, with the last “S” standing for “Secure.”
Sure, encrypting transmitted data is a good thing. It means that information exchanged between your browser and the site is not accessible to third parties—ISPs, network administrators, intruders, and so on. It lets you enter passwords or credit card details without worrying about prying eyes.
But the problem is that the green lock and the issued certificate say nothing about the site itself. A phishing page can just as readily get a certificate and encrypt all traffic that flows between you and it.
Put simply, all a green lock ensures is that no one else can spy on the data you enter. But your password can still be stolen by the site itself if it’s fake.
Phishers make active use of this: According to Phishlabs, a quarter of all phishing attacks today are carried out on HTTPS sites (two years ago it was less than 1 percent). Moreover, more than 80 percent of users believe that the mere presence of a little green lock and the word “Secure” next to the URL means the site is safe, and they don’t think too hard before entering their data.
What if the lock isn’t green?
If the address bar shows no lock at all, that means the website does not use encryption, exchanging information with your browser using standard HTTP.
Google Chrome has started tagging such websites as insecure. They might, in fact, be squeaky clean, but they don’t encrypt traffic between you and the server. Most website owners don’t want Google to label their websites as unsafe, so more and more are migrating to HTTPS. In any case, entering sensitive data on an HTTP site is a bad idea — anyone can spy on it.
The second variant you might see is a lock icon crisscrossed with red lines and the HTTPS letters marked in red. That means the website has a certificate, but the certificate is unverified or out of date. That is, the connection between you and the server is encrypted, but no one can guarantee that the domain really belongs to the company indicated on the site. This is the most suspicious scenario; usually, such certificates are used for test purposes only.
Alternatively, if the certificate has expired and the owner has not gotten around to renewing it, browsers will tag the page as unsafe, but more visibly, by displaying a red lock warning. In either case, take the red as the warning it is and avoid those sites — never mind entering any personal data on them.
How not to fall for the bait
To sum up, the presence of a certificate and the green lock means only that the data transmitted between you and the site is encrypted, and that the certificate was issued by a trusted certificate authority. But it doesn’t prevent an HTTPS site from being malicious, a fact that is most skillfully manipulated by phishing scammers.
So always be alert, no matter how safe the site seems at first glance.
Never enter logins, passwords, banking credentials, or any other personal information on the site unless you are sure of its authenticity. To do so, always check the domain name — and very carefully; the name of a fake site might differ by only one character. And ensure links are reliable before clicking.
Always consider what a particular site is offering, whether it looks suspicious, and whether you really need to register on it.
Make sure your devices are well protected: Kaspersky Internet Security checks URLs against an extensive database of phishing sites, and it detects scams regardless of how “safe” the resource looks.
I hope this highlights some areas you may not have been aware of. It’s always good to know ‘stuff’
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 percent, was larger than the market share of big-publishers, at 34 percent.
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 percent 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 percent. (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 percent 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 percent 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 coming years.
In the first three months of 2015, 41 percent of ebook buyers read digital books primarily on their tablets, according to the newspaper (citing Nielsen data), and 32 percent read ebooks primarily on their e-readers. However, the publication also reported on a Nielsen survey from this past December that found 54 percent of ebook buyers read on their smartphones at least some of the time. In 2012, that number was just 24 percent.
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.
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?
I have been working on an awful lot of ‘Stuff’ these past few weeks.
I am always busy, it keeps me from hanging about on those street corners. But these past weeks I have been busier than most.
Let me give you a clue….
Over the last two weeks, I wrote approximately 630,000 words, 350,000 last week and 280,000 the week before.
I have promoted the November edition of CQI magazine, the Sci-Fi season special. Click on the cover image to read.
I am in the midst of compiling two annual catalogues for CQI, ‘The Collection – a guide to year-round giving’ and ‘The LIST 2018′ a catalogue of commended and acclaimed books.
During which time, I have beavered away at marketing to keep my two latest books high on the Amazon sales lists. Successfully.
I finalised and formatted a further two books, including designing the covers. They are:
Dark Words – dark tales & darker poetry is scheduled for release on the 1st of February 2018.
Within the Invisible Pentacle, a collection of intriguing feminine titles is due out on the 1st of June 2018.
That done, I can concentrate my efforts on completing two other WiP:
Floyd a Novel about an escaped psychopath on a bloody rampage of revenge and…
On the Highway of Irreverent Rumination & Delusion, which is a rendering of my past blog of the same name, about musings of life, living and our society, with many additional perceptions, formed into a book.
I am hoping to have both completed by the end of 2018… but who knows?
Included in this time, right up until yesterday morning, I have published three new eBooks, Kindle ‘novelettes‘ under the collective brand of Electric Eclectic.
Electric Eclectic books are absolutely fantastic, they enable readers to ‘taste‘ a previously unread or unknown author at the extremely low price of just 1.00 (Dollar/Pound/Euro). HOWEVER… unlike many low-cost books all EE novelettes are vetted to ensure they meet exacting standards, so readers can buy Electric Eclectic branded books with confidence.
EE is a Franchise, where the individual authors benefit from the marketing and promotion of being associated with the prime EE brand itself. Enquiries about becoming an EE author to EEbookbranding@mail.com
My current EE novelettes are:
North to Maynard, a tale of Gremlins in our modern world of high tech.
Three Floors Up, where a psychotic man watches those below until…?
Mechanical Mike, a tongue-in-cheek sci-fi robot story, set in Paris during WW2.
Oh, I have also helped a fellow author to create a fully illustrated children’s book, written by an eight-year-old girl. A project not without its problems, but one where I have enjoyed overcoming the challenges.
I took three days out to travel to Belguim during this time period too.
This post focuses on writing blogs, website content, social media and emails rather than stories and 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 synopsis, or for a promotional activity.
We all know, or at least should, that mixing sentence lengths makes for better reading. But so does spacing and breaking them up, like 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 my 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, another online book publisher like Babybook or Smashwords, 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. CreateSpace is now undoubtedly the main supplier of indie books to Amazon, as it is an Amazon-owned company. (Even so its demise seems imminent as Amazon is moving this service into its KDP stable.) So, for the least chance of having your book listed as out of stock, or as a delayed delivery, CreateSpace is your best bet at this moment.
Lightning Source, Blurb, Babybooks, Lulu 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!
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.
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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!