The Reading Experience

Every reading experience begins in the mind of the writer and is completed in the mind of the reader.

That means every time I finish writing a book, I’m only half done. No communication, no entertainment has taken place until someone reads what I wrote.

Only when there is a reader has the act of writing a novel been completed. And for the reading experience to be a positive one, the reader has to be able to tap into the world I created and been able to take something away from it that he or she can make part of his or her ongoing experience in this journey we call life.

Lee Child, in his 2012 introduction to a new printing of the first Jack Reacher novel, Killing Floor, says essentially the same thing.

Child wrote in that introduction this gem:

To me, entertainment was a transaction. You do it, they watch it, then it exists. Like a Zen question: If you put on a show, and nobody comes, have you in fact put on a show at all?

The reader is vital to any fiction writing experience. Not awards. Not accolades. Not bestseller status. Those things are nothing.

Bestseller status can be, and often is, gamed. (For example, Joanna Penn wrote a blog post on how you can ad stake your way to bestseller status.)

Accolades can be false. “That was a great book, Chris!” Said not because Jed actually meant it, but because it’s the social thing to do. Or maybe he’s hoping I’ll write him a 5-star review.

Awards basically mean nothing except to those who put value on what other people think. And often the award is based on who gets the most votes. So the winner is simply the one who got his or her fans to cast the most votes. Pure high school.

All that really matters are readers. Because readers read books. It is the reader that counts — and only the reader.

I am a reader. I have been ever since I can remember. Books are my life. Wear the old coat and buy the new book.

What do I look for in a book or short story? First and foremost — character. As Lee Child noted in the above mentioned introduction:

Character is king. There are probably fewer tha 6 books every century remembered specifically for their plots. People remember characters. Same with television. Who remembers the Lone Ranger? Everybody. Who remembers any actual Lone Ranger story lines? Nobody.

But great characters are only a part of the puzzle. There are certain themes I gravitate towards and others I shy away from.

In my life, I’ve experienced a significant amount of injustice. Unfairness. So for me, justice and fairness are very important themes. I want to see an unfair world made fair. I want the characters in the books I read, the good guys, to right wrongs. To see to it that the bullies and cheaters don’t win.

As a reader, so am I as a writer. My private detective’s name reflects it all: Justinia Wright. Justinia comes from the Latin for justice, and Wright to connote that she makes things right.

Pierce Mostyn fights an uncaring, and to us unfair, universe and its minions. He does his best to prevent bad things from happening to good people.

The other theme that is important for me is loyalty. In my world, when I was a child, I often felt like Julius Caesar, crying out “Et tu Brute?”. And in some ways that feeling of betrayal at the hands of those I trusted continued into adulthood. So loyalty and betrayal are themes which gain my attention as a reader.

And loyalty and betrayal also factor in my writing. For all their bickering, Tina and Harry Wright depend on each other. They are loyal to each other, through thick and thin.

Bill Arthur, in The Rocheport Saga, as he seeks to build a new world out of the ashes of the apocalypse, is constantly faced with issues of loyalty and betrayal.

To the extent a writer can tap into what is important to me, that writer becomes memorable.

For the most part, I think most readers don’t give this idea of themes conscious thought. They read books and like some and not others. The books they like they often aren’t even sure why they like them. Most likely, though, they like those books because they tap into things that matter to the reader.

As writers, we have to give this considerable thought if we want a ready audience. What is our message? The more we can identify it and communicate it, the more likely we are to find our fans. And not have to rely on accident or luck.

Comments are always welcome! And until next time, happy reading!

Four Years

November marks my four year anniversary as an independent author-publisher. And they’ve been four super wonderful years. I’m very much looking forward to year 5.

I’ve published 28 books, with number 29 coming out by year’s end. If I’d gone the traditional publishing route, I might still be looking for an agent. Screw traditional publishing. It’s the indie life for me!

Now I’d love to write that I just bought that Rolls Royce I’ve always dreamed of owning with my royalties from this year. Unfortunately, my desire has greatly outpaced my earnings.

Am I disappointed? I’d be a liar if I said I wasn’t. But I’m only disappointed a teeny-weeny bit. Why? Because I have 28 books, soon to be 29, available for people to enjoy. I’m making some money. And people, at least some people, like my stories. Plus I’m doing what I always wanted to do and loving it. What more can one ask for?

I’ve learned a lot these past four years and I’m hoping the next four years will at least allow me to buy a Ford Focus. :)

While all that sounds optimistic, fundamentally I’m a pragmatist. In the end, what works is what counts. I’ve read dozens of books, articles, and blogposts by writers as to what works and what doesn’t. I don’t focus on the fads or the gimmicks or the golden parachutes. I look at what truly works.

For indie writers, there is one refrain that has been constantly sounded by virtually all the successful writers — and it’s simple: write fast, write in series, publish often, and build a mailing list. Those 4 things are what virtually all successful indie authors have done and are doing.  Sure there are exceptions. But they are the exceptions.

If you are an indie writer and aren’t writing fast, aren’t writing one or more series, if you aren’t publishing often, and you aren’t building a mailing list — then you will almost certainly fail. It doesn’t matter how good your writing is. Indie readers want lots of books, because they tend to be voracious readers, and they want them in series. It’s that simple.

Self-publishing today is easy and gaining in respectability. And I’m glad. For anyone who wants to write and publish a book, now that person can. There are no longer any gatekeepers stopping people. We can tell the world whatever is on our hearts and minds. We can tell the world all the stories we want to. And that is a good thing.

Marketing, however, remains the bugaboo — for both indies and the big corporate publishers.

Finding one’s audience is the real challenge for any artist or entertainer who hopes to make a living producing art. And fiction writers are both artist and entertainer. And this is where a mailing list can help the writer. Because a mailing list is really a list of those who like your work, or are at least interested. You won’t get that from Amazon or Apple or Barnes and Noble. They keep the email addresses to themselves.

Marketing in some form is essential to getting our name and our work out in front of potential readers and buyers. A mailing list is simply a voluntarily captive audience, as it were. There are other forms of marketing, and they should be used. But you writers, don’t neglect the mailing list.

For the curious, I’ve earned the following royalties for my efforts:

2014 (2 months) $113.48

2015   $233.87

2016   $231.04

2017   $212.53

2018 (through October) $280.53

Those earnings came from the sale of 513 books, 35 borrows, and 23,202 page reads.

As you can see, I’m no mega-star. No bestseller. No award winner. But I’m not ashamed of those numbers. Thus far I’ve achieved all that with but 4 weeks of paid advertising done at the beginning of this year. The bulk of my sales and page reads came from free advertising venues.

My fan base is tiny. And I do mean tiny. But it’s a start and I continue to be excited and encouraged with every sale and page read.

For the coming year I’m going to focus on the indie formula for success. I plan on writing lots, at least 1,000 finished words a day and hopefully I can push that to 2,000 or 2,500 on a consistent basis.

The old pulp formula, which is now the indie formula, is alive and well. Publishing 3 books in 3 months proved it to me. It’s what has given me my best year ever. I had sustained sales for 4 months after the third book was published. If I’d had more ready to go… Who knows, I might have been a bestseller.

I’m also going to work on building my mailing list. I’m a believer in the 1,000 fan theory. Which is this: all an artist needs is 1,000 super fans (those folks who will buy whatever you put out — books, recordings, cups, sweatshirts, etc.) to make a living from his art.

To find those fans, I’ll be using such avenues as Prolific Works and BookFunnel: giving away a free copy of a story in exchange for an email. The process is slow and tedious. Many unsubscribe right away. Many drop off in the first few months, and many never open an email. I’ll cull from the list those who are unresponsive. Leaving the folks who are hopefully interested in my books.

I love writing. I love being retired so I have the freedom to write all day if I choose. I wouldn’t have it any other way. Life is grand.

Comments are always welcome. And until next time, happy reading!

Horror, Weird Fiction, or Dark Fantasy?

I will be launching a new series, probably in the new year. I have the first three books written and am in the editorial process.

Ever since I conceived of the series, I’ve been scratching my head as to what to label it. My inspiration came from The X-Files, Stranger Things, Charles Stross’s The Laundry Files series, and HP Lovecraft (both his Cthulhu Mythos and non-Mythos stories). The series draws on the quasi-scientific, supernatural, and paranormal. There be monsters here! As well as psychological elements of fear and terror.

So what exactly am I writing? Is it horror fiction? Or weird fiction? Or dark fantasy? Maybe it’s dark speculative fiction. Or perhaps it’s simply paranormal fiction.

For the series title I chose the word “paranormal”. Pierce Mostyn Paranormal Investigations. Mostly because “paranormal” anything is hot right now. But as noted above, like The X-Files, Pierce Mostyn investigates the quasi-scientific, the pseudo-scientific, as well as the supernatural and paranormal. Anything that is weird and might be a threat to the good people of the United States of America. See my dilemma?

My old Webster’s New World Dictionary, Second College Edition defines horror as “the strong feeling caused by something frightful or shocking; shuddering fear and disgust; terror and repugnance.” Therefore, a horror story is one that would induce fear, terror, disgust, repugnance, or shock.

Weird, on the other hand, is “suggestive of ghosts, evil spirits, or other supernatural things; unearthly, mysterious, eerie, etc.” The dictionary goes on to say “weird applies to that which is supernaturally mysterious or fantastically strange.” Weird fiction, then, would be fiction that induces a more general feeling of fear or uneasiness. A story that leaves one with an unidentifiable feeling of dread. Although one reviewer on Amazon was of the opinion that weird fiction puts the protagonist into a situation where no choice he or she can make is a good choice. If that is the case, then to my mind weird fiction sidles very close to horror.

Dark means “hidden; secret; not easily understood; obscure; evil; sinister.” So dark fantasy would be fantasy that explores the hidden, secret, evil, or the sinister. And could easily leave the reader with a feeling of dread. Identifiable or not.

The Pierce Mostyn series might induce fear in some, and certainly deals with those things that are hidden, secret, evil, or sinister. The series also explores that which is supernaturally mysterious or fantastically strange.

I suppose it all comes down to what’s my primary intent with the stories. My guess is I’m probably going more for the weird impact than anything else. But then again, each story might be different. Certainly that was the case with The X-Files, or Night Gallery before that, and The Twilight Zone before that.

Any suggestions will be very much appreciated. Please leave them in the comments.

My Interview

On a separate note, my interview with fellow author Andy Graham went live on Thursday, September 7. You can find it at One Book Interviews. The interview was fun and challenging. Trying to find just one book for each of Andy’s questions. Just one. Difficult, a bit of soul searching, and yet fun, because I got to revisit lots of great books in my mind. And put a few on the reread list!

Please, do check out the interview. And while you’re there, take a look around Andy’s site.

Comments are always welcome, and, until next time, happy reading!

What’s in a Cover?

Of late, I’ve had several of my fellow writers tell me my book covers don’t reflect the genre, or they need a bit of work, or that they could be better — more like the top selling indies in the genre.

All of that may be true and may be part of the reason I’m not rolling in the dough after 3 years of being an independent author-publisher.

So I’ve been having myself a major think. Significantly enough, the above comments came on the heels of my having listened to the two modules in Mark Dawson’s Self-Publishing Formula 101 course on covers and blurb writing.

Mark Dawson’s cover designer and artist, Stuart Bache, in the module on covers noted there are two different approaches to book covers: genre similar and genre standout. If you take a look on Amazon or even a walk through a bookstore, you’ll quickly see what is most popular. Genre similar. Why?

Because people are in a hurry, as the thinking goes, and what a genre similar cover does is tell the potential reader this is a sci-fi novel or a romance or a mystery or a thriller. Then other factors begin to influence. Title. Author name. Blurb. 

However, if I’m specifically looking for a science fiction novel, a genre similar cover does nothing for me because I already know I’m looking for science fiction. I’m standing in the science fiction section of the bookstore. Or I searched for science fiction on Amazon. I think that is something that’s important to keep in mind.

Bryan Cohen, who presented the module on blurb writing, said that Mark Dawson’s own survey of his readers, asking what actually got them to buy the book, said it was the blurb — by a 5 to 1 margin — over the cover. Why? Because Dawson’s covers are all genre similar. There is nothing to distinguish his covers from any other author’s in the genre.

As a reader, not a writer, but as a reader, what do I look for when I’m looking to buy a book? Me. Not some survey, or industry standard. Me. What do I look for? After all, I’m the reader I know best.

I think that is an important question to ask. So I expanded my think to include the actions I went through to buy my last few books. And what I came up with for me is:

Unless the cover is truly a standout cover, it’s the title that draws my attention. Or the author’s name. When looking at the search results.

I haven’t been in a brick and mortar bookstore in quite awhile, so I limited myself to how I go about looking for a book on Amazon. This is the procedure I came up with for how I, a 64-year old guy, looks for a book to buy. Keep in mind younger men may do things differently, as most likely do women.

1. I select the Kindle store.
2. I key in the genre or sub-genre I want to read.
3. I scan the search results.
4. I pick a book.
5. I read the blurb.
6. I take a look at the reviews.
7. If I’m still interested, I “Look Inside”.
8. If still interested, I buy the book.

Those are the steps. Now let’s look at an example.

At step 2, I keyed in “private investigator mystery series”.

The results I got — minus cozies that got in there and box sets and sponsored ads — were the following in order on the first page:

The Mystery of the Secret Parents - Dan Taylor

 Easy Prey - Dan Ames

 Murder with Sarcastic Intent - Dan Ames

The Observer - T. Patrick Phelps

The Kill List - David Archer

Haggard Hawk - Douglas Watkinson

Tackling Death - Bud Craig

Double Fake, Double Murder - Dallas Gorham

Hidden Agenda - David Archer

After scanning the list, I ruled out Murder with Sarcastic Intent because the cover hurts my eyes, it’s that garish to me.

From the thumbnails, you can see genre similar prevails. What caught my eye was the first book: The Mystery of the Secret Parents. The cover is somewhat standout, the colors catching my eye. It doesn’t convey genre very well, but then I already know it’s a mystery because that is what I searched for. The title is a good mystery title. Not thrillerish. Just a good old-fashioned mystery.

So I clicked on the book and read the blurb, which was okay. So I looked at the reviews. There were some that threw up red flags for me, but I decided to “Look Inside”. Once I did, I said, Nope. Not for me. Back to step 3.

The only other book on the page of search results that caught my eye was Dallas Gorham’s Double Fake, Double Murder. The cover was a traditional murder mystery cover, which is what I like. The title conveyed the same idea, so I took a closer look.

The blurb didn’t particularly grab me. Too much selling in it. The reviews, though, were pretty good, so I took a “Look Inside”. Sad to say, I wasn’t impressed, and passed on the book.

Analyzing my process, I came to the conclusion that for me — genre similar covers without an eye-catching title — don’t pull me in from the search page. Notice, I passed on Dan Ames’s book with the genre similar cover and lackluster title. Which was the second book on the list.

What caught my eye, were the two covers that were somewhat different. With the title being the clincher.

If a standout cover and a snappy title are what catch my attention on the Amazon search page — where I’m already  looking for a genre specific book — then why would I want to put boring genre similar covers on the books I write? I think the answer is obvious: I don’t.

To my mind where all of this genre appropriate cover advice goes south is that I’m not looking at a mix of genres and trying to find the genre I like. Which the cover would identify for me. I’ve already passed by that step by searching specifically for the genre I want to read. No one seems to have grasped that.

Now the danger in having too standout of a cover, is it can turn people off. As did Ames’s Murder with Sarcastic Intent.

Circling back around, as I’ve noted in previous posts, there is a lot of group think that goes on with people. There is a lot of thinking invading self-publishing that comes from traditional publishing. Which may be appropriate for the Big Corporate types, but not for us indies.

Even when I regularly visited bookstores and looked at books on a self, I went to the genres I wanted to read. And I passed by all the genre similar covers, unless they had a standout title, or a familiar author name, and picked up the book with the standout cover.

So are my covers hurting my sales? It’s possible. Or is some other factor at play here? Such as my doing virtually no advertising?

I’m inclined to think the virtually no advertising may be the actual culprit here, not the covers.

Of course the only way to know for sure is to do a test. Slap a few genre similar covers on my books, do nothing else, and see if I get better sales results. That test I’m considering. It might prove to be very interesting.

As always, your comments are very much welcome. If you’re inclined, take a look at my Amazon page and see if you think my covers are a problem. If you think they are, let me know. I genuinely want to know. But do look at them as I did above, in a long list of books in the same genre. Just so we keep things the same.

Until next time, happy reading!

The Parasitic Middleman

During a Gold Rush, Sell Shovels.

In 1848, Samuel Brannan ran through the streets of San Francisco with a glass bottle filled with gold dust, yelling gold had been discovered out at Sutter’s Mill.

He is generally credited with starting the California Gold Rush. And became California’s first millionaire. Yet he never panned or mined for gold.

A few days prior to his hype with the bottle of gold, having learned gold had indeed been discovered by the American River, he’d bought every pickax, pan, and shovel he could find. In nine weeks, by selling his goods at exorbitant prices, he made $36,000. That’s equivalent to the economic status 18.5 million dollars would bring someone today.

Many icons of American business got rich in the Gold Rush and never touched any gold, except to take it from the miners.

Levi Strauss had a dry goods business by which he did quite well for himself. He also sold miners the forerunners of what became Levi jeans. He eventually left California, went home, and became exceedingly wealthy selling jeans.

Phillip Armour opened a meat market in Placerville, then took his profits back to Chicago and founded Armour Meats. And increased his wealth many times over.

John Studebaker sold wagons, made money, and returned home to make wagons for pioneers and later on Studebaker automobiles. I remember those cars and I still love them.

Henry Wells and William Fargo started a bank for miners, at least the ones who made some money. Today, Wells Fargo is a leading American bank.

During the California Gold Rush, the middleman, the merchant, the one who offered services, that’s the person who really made the money. Not the prospectors.

Fast forward to today and a different kind of Gold Rush. The indie author/publisher revolution. There are thousands of writers and hopefuls and wannabes all clamoring for the dream of writing and publishing the Great American Novel. That one book that will let them quit the day job and retire to the Bahamas.

Sounds a little bit like the Gold Rush, doesn’t it?

Today’s indie authors are the prospectors and an army of service providers are making money hand over fist off of these poor and sometimes naïve dreamers.

So who are these service providers who’ve convinced so many, many writers they can’t live without their services? Let’s name a few of them.

Sellers of Writing Software Programs. Seriously? I need software to write my book? Whatever happened to pencil and paper? Or the keyboard and the word processing program on my computer? 

Now I’m not going to say Dragon, Story Mill, Easy Writer, or Story Weaver can’t help you write. But before you spend money, maybe money you don’t really have, ask yourself if you really need a software programmer and his toy to help you write your book. Just think of the thousands of writers before you who didn’t use such programs and got along just fine. Some using an ink pot and a steel dip pen or a quill even. Maybe you can too.

Grammar, Spelling, and Editing Software. I see some value to this. But honestly, can’t people do a better job? Give me one serious beta reader with an ear for cadence and a knowledge of grammar and who can spell. I’ll pit that person against an army of programmers and software running simply on rules.

Formatting Services. When I started in the indie writing business. I’ll admit I was loathe to spend money. First off, I’m not rich. Secondly, I already had the California Gold Rush scenario in the back of my mind. So I spent $25 for Legend Maker to make my ebooks. It’s a simple program and requires only simple formatting of my typescript. In less than an hour I can format my text and in less then 10 seconds get an epub and mobi file. Now if I had to pay a formatter for my 20 books… Hm, probably a lot more than $25.

Cover Artists. Yes, we all need covers. But seriously, have you taken a look at indie book covers lately? They are so genre similar, they all look just the same. Like the ticky-tacky houses and people in Malvina Reynolds’s song “Little Boxes”. It is no wonder Mark Dawson’s readers said the incentive to buy his books didn’t come from the covers — but from the blurb! By a 5 to 1 margin! The lesson here is simple: don’t spend big bucks on a cover. Spend time crafting your blurb.

Professional Editors. Recently I’ve heard all manner of arguments as to why I need a professional editor to edit my book. It’s as though the editor is going to teach me how to be a better writer. But editors aren’t writers. They’re essentially critics. They served a need for traditional publishing to make sure a manuscript, if accepted, was salable. In other words, that it met the publishing house’s criteria for salability.

Which means, an editor is not primarily a teacher of writing — but a fixer for the publisher.

Now I’m not saying an editor can’t be helpful. But if you need a content editor to massage your manuscript into something that is genre and reader acceptable, maybe what you really need is time spent learning the craft of writing.

Stephen King shows us the path to becoming a writer: “If you want to be a writer, you must do two things above all others: read a lot and write a lot.” I don’t see the word editor anywhere in there.

The indie movement is direct from writer to reader. The reader will tell you what he or she likes. So recruit them to be your “editors”. Not some academic or someone the Big 5 laid off. Trust your readers. If they don’t like your book, no amount of work from an editor is going to help it.

And I can’t see spending money on a line editor. Find a beta who will do that for you. Preferably someone older who knows how to spell.

We indies broke free from the tyranny of the corporate publisher. Why do we want to saddle ourselves with all the crap the corporations imposed on us? Makes no sense to me.

Review Services. Kirkus is making money off indies to the tune of $500 per review. Wow. That’s incredible. So are outfits like Reader’s Favorites. Pay them money and get a review. They won’t guarantee a 5 star review. But honestly, you think they want to give less than 5 stars and have disgruntled writers bad mouthing them?

I’m not saying these services can’t help sell books. But are they truly any different than the now discredited practice of buying 5 star reviews? Organic and honest reviews by readers are what really sink or float a book. And to get them takes time.

Discount Book Marketers. These outfits are more prolific than mushrooms after a rain. For a fee, they will tweet your book and post about it on Facebook and send it out to their mailing list (along with scores of other books). The problem I see with these outfits is that they encourage indies to constantly offer their books for free or 99¢. And in the long run that trains readers to expect from indies nothing but free or 99¢ books. Very bad for business that mindset. 

I’ve come back to the position that if I don’t value my work, who will? If I offer everything I write on the cheap, what does that tell readers? If I barrage my mailing list with free offer after free offer, how can I expect them to buy my books? I’m competing with myself by offering them free books! Not a good business practice at all. Save your money and stay away from these folks. This writing business is really about building a reader base. Not selling books.

Writing Courses. Writing courses have been offered since ever. Everyone who thinks he or she can write has at one time offered one. There are good courses and bad courses. Just like everything else.

However, I do think you are better off taking a good writing course than resorting to an editor for every book you write. Learn the craft of writing. If you don’t know the basics of storytelling, a writing course can help you with that. And that’s about all it can do. The rest of it is back to Stephen King. Read lots. Pay attention to what you like and don’t like about what you read. And write lots. Putting into practice what you’ve learned from reading. 

Writing is hard work. Fun work, but hard work. Writing is not a get rich quick scheme. It takes time to develop the craft. A potter doesn’t throw a perfect pot the first time on the wheel. Take the time to learn the craft. 

Marketing Courses. These are legion now. Many, many successful indies are putting together courses to teach their fellows the path to success. And charging big bucks to do so. And, as with anything else, some are good and some are bad.

One so called expert got her claim to fame by being a New York Times bestseller. The problem is, the book that did it for her was in a multi-author box set and her name wasn’t even in the advertising! Cheating if you ask me. Yet, she is a respected expert on marketing. Go figure.

Another novelist wrote a few books that apparently sold well or made number one on some list. Now he no longer writes fiction, just sells his course on fiction writing success. Ugh.

So be careful. Vet the person you are going to take a course from or buy books from or get advice from.

The best advice for the money I’ve gotten to date was free. A blogpost by Australian indie novelist Patty Jansen. Wish I’d had that information 3 years ago. You can read it here.

Not everything that shines is gold. Not everything of value costs big bucks, although sometimes you do get what you pay for. We indies are the prospectors. So remember this: the worst time to buy a shovel is on your way to the gold field. Get it before you leave home and take it with you.

As always, comments are welcome! And until next time, happy reading!