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The Divide Could Be Great

Wednesday, February 10th, 2010

I was reading this blog post earlier about how only professionals can give a manuscript the full attention it needs to see it into a complete, quality book, and I was getting pretty pissed until I realised it was sarcasm. In hindsight, it’s a great post. It got me thinking though…

The commercial viability of books, and how some books are too niche to sell enough copies to justify the setup costs, is one of the main arguments of the “gatekeepers” – those who decide who does and doesn’t warrant a book deal, namely agents and editors. It’s a fair point; if a book is going to lose money, you’d hope they wouldn’t print it, especially if you have shares in their employer. It’s a shame, then, that so many vocal supporters of the gatekeeper model are so negative about the alternative – namely indie publication (whether small-press or self-published). Books published through these channels are so often dismissed as “not good enough”, but the fact that they could just be “too niche” is never considered.

I don’t think Make a Move is niche (in fact, my current readership is more diverse than I dared to hope for) so this isn’t about me. It’s about a segregated market – and the colour and variety that can provide – being hindered by a curious, self-defeating world view of the mainstream.

I’m not sure what the cause of this view is, but whenever I see some unfair disparity in a situation involving massive numbers of unconnected people, I just assume it’s fear, and it usually is. I know that makes me sound old and bitter (I’m 35, and reasonably equanimous) but I’m pretty sure it’s the case here. Maybe it’s the fear that with the advent of eBooks, there’ll never be another Harry Potter (there won’t – piracy guarantees it) but maybe the real fear is that we might see a literary Blair Witch Project. Now that would upset the apple cart.

It’s not a polished theory, but it’s an interesting notion, and one I’m going to explore more.

Thoughts?

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Going Non-linear

Wednesday, February 3rd, 2010

There’s an established process to take you from writing a book to it reaching a reader’s hands, and it goes like this: submit to an agent > agent pitches book to publisher > publisher buys, prints and distributes the book. There’s more to it than that, obviously, but that’s the bare bones (and I’m ignoring the option of bypassing the agent step as although there’s a chance of getting a deal by going direct to a publisher, 0.0001% is zero in my book). From the moment you step outside of your story-in-progress to research your potential markets and study the process, you’re conditioned to believe that this is the only route to success (not your definition of success, mind you, but everyone else’s) and that failing to make it through this process is failure.

Fair enough. Money and celebrity – or lack of – seem to be the benchmarks for success in modern culture, so let’s assume the masses know something I don’t.

So what if you can’t make it through that process, and you’re stuck without an agent? Would you keep trying for a year? Of course. How about 10 years? Maybe. How about your whole life? What if the inability to get a deal on your first book is mentally holding you back from writing your second? Would you blow your entire career waiting for someone to give you a chance?

Or would you try something else?

The Past

I submitted Make a Move to 5 agents and publishers. These were people/companies who’d expressed a taste for the kind of work my book vaguely falls into, so I thought they’d be worth a try. As I’ve said before, Make a Move is a hard sell, and I targeted people I thought would give it more than the cursory look it needs to understand why it exists. I got stock rejections from all but one of them. I was ok with that, as I’d prepared myself for that rejection, but I admit I was disappointed. A bit.

About that time, people were arriving in my life who helped me break out of that linear mindset, and stimulated me to look at other options. Readjust my perspective. Break out of the box. I recalibrated my definition of success and what my goals were in getting Make a Move out. I looked at the money in my bank account, decided that having more of it wasn’t going to make me any happier, and thought hard about what I needed from my writing. I needed connections. Ideas. Human interaction. Life.

And all of those things were there for the taking, without needing a single nod of approval from anyone in “the process”.

It’s been two months since I released Make a Move, and in that time I’ve met more cool people than I have in the previous two years. I’ve created relationships. I’ve given people ideas. I’ve changed.

The Present

I received some comments today that implied that I’m nothing more than a vanity publisher, and that my book, by definition, must bite. It’s not the first time. What was scary to witness though, was that the negativity was aimed at myself, and another writer, who have both put out work online for free download, and who are both “out there”, and that it originated from a number of unpublished, unrepresented, unfinished writers. It’s the internet, and we all know the joke about arguing on the internet, so I left it, withdrew with my honour intact, and thought about what I’d learned. And what I learned is this:

People need the validation the system gives them, as they’re too scared to say “my work is good enough to sell”. They cling to that system, even when it steals their productive years from them. Sure, the system keeps mediocre or even terrible books off the shelves, but there are more good writers than there are publishing slots, so good writers – good people – are going to be left behind.

The Future

I’m not turning my back on the system – I’d love to land a deal with a reputable publisher who could get me into the big retailers – but I’m not waiting around either. I’ll send some more submissions once I have time, but I know that establishing a readership is probably the only way I’ll find someone willing to give Make a Move a read with a view to taking it on. A lot of people dedicated to the process would call that arrogant; I call it self-aware. A lot of people would say I’ve given up; I say I’ve opened myself up to possibilities.

I’ve been thinking for some time that I’m too tuned-in to the internet and the ideas and opinions of its denizens, and today confirmed that. I’ve found a few good people online whose opinions I know I can trust, but aside from them, I’m going to tune out the noise . Take a step back and focus. Enjoy this new clarity.

I’m going to go non-linear for a while.

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Digital Values, Or Lack Of

Friday, January 22nd, 2010

Not many publishers or agents accept email submissions, so it was refreshing to find an increasing number doing so when I began submitting Make a Move. Paper submissions take time to prepare and are relatively expensive to both produce and post (twice), so it was with some relief that I sent my first four or five email submissions out alongside a reduced number of paper-based queries. A lot of the publishers accepting submissions by email are independent, demonstrating their flexibility and willingness to stray from the traditional path when they see value in doing so, and the majority responded promptly with a stock rejection.

So far so good.

One indie publisher I queried seemed particularly well-thought-of, having won awards for their trade, and were advertising a willingness to view work of the type I was sending, so I had high hopes that this might be “The One”. I was reminded of that submission a couple of days ago when I received an email advertising their print-on-demand service, the second (or third?) I’ve received from them. Their service is actually a bit more than print on demand, as they’re offering to pick up top-selling POD titles with a “traditional” contract, so they’re effectively asking you to pay some money, do all of their marketing, promotion and market research for them, and they’ll step in at the last moment to pick up a sure-fire hit. Good business for them, but not for me, so I passed.

Thing is, this is the only communication I received following my submission about nine months ago. I didn’t even get a rejection letter.

If I was feeling charitable, I’d suggest a slip on their part that is not the normal way they treat people, but I’m not feeling charitable today, so I can only see it as a marketing ploy of questionable ethics. They offer a potential publishing opportunity, attract a market of writers keen to get published in an increasingly impenetrable industry, and make it as easy as possible for you to give them your email address for their direct marketing. That first advertising email from them shattered a few illusions I had, and I felt thoroughly let down, to the point that I’ve only now felt able to write about it dispassionately.

One other publisher failed to respond, but they’re much bigger and, to be honest, it’s easier to dismiss if you’re expecting it, but that’s kind of the point of this post. Email is easy and free, and that perceived lack of value impacts on how people behave in response to it. If you send a paper submission with return postage, the recipient is compelled to respond, but with email, it hasn’t cost you anything, so people find it easier to let their manners slip.

I wrote before about how the perception of poor quality in one self-published book affects all self-publishing writers negatively, and I don’t want to reinforce negative preconceptions about independent publishers and small presses by suggesting this behaviour is commonplace. It isn’t, and most indies are far more open and engaged than their larger, traditional counterparts, and should be a valid, if not preferred, target for your submissions. Just take care, do your research, and don’t be surprised if your eSubmission fails to find its way back to you.

And, no, I’m not naming names.

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Why Self-publish?

Thursday, January 21st, 2010

Word of mouth has now carried Make a Move as far as friends-of-friends, and yesterday I heard that a friend recommended the book to someone, only to be told “not a self-published book; they’re just badly written ego-trips”. You could say the same thing about most celebrity autobiographies, and they’re selling okay… Fortunately, the person in question was open-minded enough to listen to a counter-argument, and not only did he accept that well-written work can be self-published, he also bought a copy. It’s something I’ve encountered before, and will again, but coupled with a number of blog posts I’ve read this week explaining why the authors self-published, it made me think it was time I justify my decision.

The Reasons

The following reasons are not stating why you should self-publish; they’re just why I did.

  • Make a Move is a VERY difficult pitch, which means it’s hard for an agent to work out how to sell it to publishers, and it’s hard for publishers to work out how to sell it to customers. Try this on for size: it’s a thriller populated by slackers, it’s about spies, but there’s little-to-no spycraft; it’s set in a porno cinema, but it’s not smutty, and the narrative structure is stolen from a sit-com. Would you pick it up for publication? Explaining the book takes time, and doesn’t fit into the paragraph or two available on a cover letter, so I decided to get the book out there, so it might find readers with the time to explore and understand it, who could then pass that knowledge on, and eventually word might reach an agent or editor looking for something different. Of course, editors aren’t looking for something different, they’re looking for something “original”, which I guess means different things to different people, but publishing is in flux right now, and who knows what opportunities that could create.
  • Even if I could get a book deal, it wouldn’t pay very much. I’ve read the figures and I know the chances of getting a bestseller and being able to write full-time. Looking at it pragmatically, it ain’t gonna happen. I enjoy my day-job and it pays well, so if I’m not trying to get the book published for money, why give up the rights and control when I can do this myself? A lot of the process of self-publishing is hard work, but there’s a lot of fun to be had too. And I don’t need a publisher to arrange the fun stuff, such as networking and promotion. I’ve met some cool people in Manchester since I started this process, and while I’m in control, there’s no reason that can’t continue. As long as I’m chasing fun and not money, I can’t go wrong.
  • Make a Move is the first in a series of 3-or-so books, and that series is dead while the first instalment is stagnating on my hard disk. I NEEDED to get the book out. I’ve nearly sold out the first print run, which means I’ll soon have 100 readers. Then I’ll have 200 (my target). Then I’ll have 1000 (my dream). That’s impetus enough to keep writing these characters, and that’s really all this is about. Me, Freddy, Jay and Holly, seeing how far we can take this.

So that’s honestly why I made this choice. You should make it for different reasons, as it’s your time and money you’re investing, and those reasons have to sustain you when times get hard. And they will get hard. But as long as you’re doing it for reasons that are right for you, there’ll be easy, fun, fulfilling, creative times too.

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The Road to eQuilibrium

Friday, January 8th, 2010

eBooks are an interesting concept for me, as they potentially solve a problem I have: the only way to ship books to international markets (such as the US) economically, is in bulk, and I’m not dealing in bulk, so those markets are closed to me. I’ve been looking into eBook platforms as a way into those markets, but the eBook market is barely more than nascent. If anything, it’s childlike. Any effort I put into ePublishing will yield a fraction of the return I could get by marketing my printed book in the UK. There might be a time when the market is mature enough to allow a self-publishing writer to receive a good return on their efforts, but it’s a long way off. I can see a point where eBooks and printed books will coexist, satisfying the needs of a varied readership, but I don’t think it’s as imminent as some others appear to.

The Hurdles

Before the eBook market becomes a serious contender, I can see a series of hurdles holding back mass acceptance:

  • FreeBooks. The race to the bottom has seen most books by independent or minor authors on sale for jack – $0. Trading financial remuneration for exposure, these authors/publishers have driven the market into the ground, to the point where the content has been so devalued, even if people do start charging again, it’s going to take a long time before customers are prepared to pay.
  • Loss-leading. At the other end of the scale, blockbuster titles are selling at heavily discounted prices; for example, at time of writing, the Twilight novels are selling on the Kindle store for just north of $5. This means that even if customers are prepared to pay more than nothing for a book, you’re very soon going to hit a ceiling beyond which you can’t charge. There’s no market in that gap.
  • Format Wars. A slew of new eBook readers arrived at the CES show this week, and with them comes an increasing number of conflicting eBook formats and DRM systems. I don’t know exactly how many formats, as I don’t care, which is my point. Customers don’t want to be restricted in what they can and can’t do with their content, and don’t want to be stuck with hundreds of pounds-worth of eBooks that only work on a dying platform. There has to be consolidation, and it has to happen quickly, otherwise the market will be dead before it’s started (look at what happened to HD DVD: people waited and waited to see which format would become the standard, to the point where they gave up waiting, and now the winner also the loser).
  • Publisher Acceptance. The book publishing industry is chasing its tail trying to work out how to survive in the digital real, and they’re not, in my opinion, playing it smart. When Apple launched the iTunes Music Store, they became the gatekeepers to a way around the music piracy problem; the record companies needed Apple, and as a result they got reamed on the deal. The book industry doesn’t have a problem – at least, not to the same extent – yet they seem to be elevating Amazon to a position of power. It’s not like book pirates are scanning books in their bedrooms and uploading the pdfs to torrent sites. So why are the publishing companies letting Amazon lead them in this dance? They need to work out a deal in which everyone, and not just the technology manufacturers, benefits and books, and good writing, don’t become the innocent casualties. Then they could focus on how to market and manage this new product. Of course, if the publishers realised that by joining together for a common good, they could kill off eBooks within a month by refusing to move to a digital platform. But that would be naughty.

I’m not anti-eBooks. Not really. I think eBook textbooks for students are an amazing concept, and newspapers/magazines could flourish in the digital space. And I do know a few people who read a lot and don’t want to own the paper books, and they could be a good niche market for eBook publishers. Whatever happens, I just want it to be over. All of this wrestling to establish the market, it only really harms consumers, and it seems that, as always, the media companies are fine with that.

But this is books, not pop music, and not Hollywood movies. There’s always been a certain legitimacy associated with the book industry – an element of class. How about we keep that traditional image intact, and just get this done as quickly, and as painlessly as possible?

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The Business of Creativity

Friday, January 1st, 2010

After a long Christmas break, I’m starting to think about my next steps in marketing the book. A large order from one of my retailers has forced me to look at my supplies and printing plans earlier than I’d intended, and that situation has a number of side-issues tied to it:

  • I need to maintain a stock of books for the fulfilment of web and direct sales.
  • I need to maintain a separate stock of books for potential retailers, as the last thing I want to happen is for a new retailer to place an order and not be able to satisfy it.
  • One goal for the next few weeks is to submit review copies to local publications; I wouldn’t do that if I didn’t think I was going to generate sales off the back of the reviews (thinking positive…) so I have to keep a stock of books for any sales spikes reviews cause.
  • I’m going to contact a larger retailer who may require ISBN barcodes printing on the books. A block of ISBNs takes at least two weeks to order, then I need to amend the artwork before resubmitting to the printers. I really want to avoid using ISBNs, but this is potentially a big retailer.

It all comes down to timing – making decisions and taking steps in the right order to make sure new print runs arrive just in time to avoid both running out of stock and having to sit on a new shipment (and invoice) for longer than necessary.

That second part is the main problem I’m facing as try to plan this out; even though the first print run has broken even, I’m not significantly into profit yet, certainly not to the extent that I can fund a second printing from the profits from the first. On paper, I’m in the same position I was when I started: I have to pay for the books up front. The issue this time is I don’t have a large number of pre-orders to satisfy, so I’m ordering the full print run with no guaranteed sales. It’s more risk this time, but I knew this point would come, and I’m committed to seeing it through.

So that’s where I am, and the tasks ahead of me. I know I can work through this transition by focussing on one thing at a time within the framework of the broader plan, and by working efficiently, but that doesn’t solve the other problem I’m facing: I need to start the next book.

I know that by deciding to self-publish, I’d always be fighting to balance the business with the creative process of writing, and I hope that the successes (or failures) of one endeavour will inspire the other, but it could go horribly wrong. I guess that’s why, traditionally, authors have a marketing team working for them while they write. Whether I ever land a book deal or not, it seems those days are over, so my only choice is keep working, keep generating ideas in both areas, and keep having fun.

2010 is going to be a busy year.

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The Break-even Point

Monday, December 21st, 2009

Make a Move broke even today; the income from the book passed the cost of the print run for the first time. This is a HUGE THING, and I wanted to write to thank everyone who bought the book and supported this endeavour. It took three-and-a-half weeks from delivery of the books, and the numbers include direct sales, online orders and retailer copies. I’m a very happy writer/publisher.

The risk in doing your first print run is hard to quantify, as you don’t know how family/friends/acquaintances will respond when they see your finished book; buying in principle is one thing, but laying down a not-inconsequential amount of money is another. The worst case scenario for your print run is you sell zero books and you’re in the hole for a lot of money. The 100-book run of Make a Move cost a lot – closer to a grand than not – and that isn’t the kind of loss I can laugh-off. Okay, so someone is going to buy a copy, but that’s no reassurance. It’s a big risk.

So today, I know that my risk paid off. Every penny I make from hereon in is profit (it’s actually operating capital for the next printing, but it’s not paying off a debt, so it’s all good). It’s a big milestone for me, as I can now focus on the “business” with less fear of failure. The next milestone is going to be selling enough copies to justify that second print run, but I have good ideas – new ideas – on how to do that.

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Selling to the Sellers

Sunday, December 20th, 2009

Direct sales to friends/family coupled with online ordering is a decent way to start selling books, but to reach that elusive, lucrative market of “people who’ve never heard of you”, you need to seek out other channels. Amazon Marketplace and eBay are two options, but I don’t believe your book is ever going to be the subject of an impulse buy; for that, you need a brick-and-morter store. There are still independent stores in the UK that will stock indie books (notice I didn’t say bookstores – you need to think outside that box) and even some chains (I’m working on a deal with a larger chain right now, and will report back once I have some news). Getting your book into a store means talking to the owner/manager, and that can be an uncomfortable experience for some people, particularly writers who are just emerging into the daylight with their newly printed book. Knowledge helps calm those nerves – knowing the realities of the retail process before you stat talking frees you to worry about making a good impression. Not everyone has a friend like the awesome Haroon Mushtaq (@theanonwonder) to educate them in the ways of book retail and distribution, so I’m sharing his advice – and the knowledge I’ve gained following his advice – here:

  • Retailers will only take your books on sale-or-return terms. This means you give them X books, and sign a pro forma contract that says in Y months, they owe you X books, or the selling price of your book for each book they’ve sold minus their cut. If no books sell, the retailer doesn’t lose anything other than the shelf space the book was occupying, and you get the books back. This is why you deal with indies and small chains; do you have the cash to ship 1000, or 10,000 or even 100 books to Waterstones with no guarantee you’ll see any return? Do you have the room to store 1000 returned books? I know how much room 100 books takes up – believe me when I say you don’t have room for 1000.
  • Retailers take a cut based on a percentage of the cover price. This is typically 35%. I don’t want to say it’s always 35%, but I’ve not met anyone asking for more or less, so I’m assuming it’s always. I’ve also never felt the need to haggle on that deal; as far as I’m concerned, it’s fair.
  • Retailers will take a quantity of your books based on their opinion of how well it will sell to their customers. They know their customers better than you – it’s their job to know – so you have to accept their appraisal of the marketability of your book. You don’t need to pitch the book like you would to an agent/publisher, but they’ll want to know the setting/target market to get a feel for whether it fits their customer type. As an extreme example, you probably wouldn’t be able to get erotica into a children’s book shop (unless as part of an elaborate and tasteless practical joke).
  • The above point doesn’t mean that you should accept a retailer’s assessment without question; catch someone on a bad day, and they might view your book in an overly negative light. If you truly believe your book could find a market in their shop, ask if they’ll take a single copy and gauge interest based on that. Your book might tap into a market they’ve not found yet. As with all things, however, no means no, so don’t be pushy.
  • Your book has to be able to stand on the shelves next to its mainstream brethren without looking like a dog chewed it. It has to be a quality publication.
  • The retailer hasn’t the time or inclination to read your book, so needs to make a gut call on whether it’s a) any good, and b) well-edited and proofed. Their only way to do this is to look at how you present yourself, and infer the attention to detail you’ve paid the book from that. You don’t have to wear a dinner jacket and top hat; just be yourself, but make sure it’s a clean, tidy, laundered and polite version of yourself. Oh, and I know this seems obvious, but take a copy of the real, printed book along; no one is going to make a call based on a copy of the manuscript, nor on your word that the book is awesome.
  • Get business cards printed, and make sure you have some with you. The retailer needs to be able to contact you to re-order or to return the books, so make it easy for them. Also, when choosing your design, don’t go for glossy cards, or those new “tiny” cards that are the fashion; the one thing most people do with business cards is write on them, so make that possible.

And that’s it. I’ve been following this advice for a couple of weeks now, and have placed the book in three of the five stores I’ve tried (with a couple more in-progress). The two who didn’t take it thought it wouldn’t sell to their market, which is fair enough, and brings me to my final point; the relationship between a writer and direct retailers is more like a partnership than a buyer-seller arrangement. Placing a book in the wrong store hurts the retailer as well as yourself; find the right store and everyone gets paid. Be polite, but remember that you’re in a position to make them money if your book is good and you work hard to market it. You’re offering them a business deal as an equal, so enjoy the encounter, meet someone new, and do some good business.

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Don’t Read Me

Friday, December 11th, 2009

So it’s illegal to import and sell eBooks from foreign territories, despite the publishers delaying eBook sales for months after the hardcover release? Is it illegal to buy a copy of a printed book in the UK, take it to the US and sell it? Possibly, but I can’t be bothered to check. And I bet the publishers/distributers can’t be bothered to care either, as the bulk of printed books prohibits excessive abuse, so it’s a self-limiting problem. US distributers/retailers lose a few sales – a few points of a percent – no problem. Enter the age of ubiquity, and now they have a problem. So they slap some DRM on it, restrict customer rights to the point of rendering the product an expensive novelty for the techno fetishists, and kill a market before its first Christmas. Interesting.

Or, not. The problem with the eBook revolution, is that not one person in any of the corporations currently fighting for market position has had what this emerging technology requires: an original fucking idea. This is the same restrictive crap the movie studios/distributers have been forcing down our throats since films went mainstream – artificially creating demand by delaying releases to get two bites at the cherry. Well look how that turned out; now they have to release simultaneously worldwide just to secure some box office take before everyone gets sick of being treated like children and just downloads the film from the torrents out of spite.

And here are the same companies owned by the same media groups pulling the same crap with the same consumers. Except you can’t do it with books, because books are perfect, and people love them. People didn’t love VHS, and they don’t love DVD. It appears they’re even less fond of Blu-Ray, and as for downloads… no deal. You try to strongarm people into how they consume books, they will walk away. There are enough books in print right now for everyone on the planet to read in their lifetime, without running out of great stories. People can wait for the publishers/distributers/tech companies/big-ass retailers to dry up their pissing contest and maybe concoct an original idea between them, instead of trying to find new ways to overcharge us for the same shit twice. You want my money? Add value. As of now, DRM stands for Don’t Read Me.

And, yes, it’s been a bad day. Sorry about the language…

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Independent Preconceptions

Monday, December 7th, 2009

I came to a realisation today – one that is both unsettling and reassuring. But first, the background.

I’ve been out talking to independent booksellers (or trying to) regarding selling my new book, and a friend was doing the same on my behalf further afield. She spoke to one bookshop owner who thought my book was too modern for his clientele, and that it would struggle to sell as it didn’t have a local setting or anything to provide an angle he could push. Fair enough – I’ve learned something there. What he said that set me thinking, though, was that he was very impressed with the finish and design of my book (both the binding and the cover) and that it was refreshing to see an independently produced hardback, as most indie books he saw were in paperback, and were typically of low quality, printed on cheaper paper and with basic or unskilled cover designs. And this is a man who is happy to deal directly with indie publishers/authors; this is not a hostile market.

After my friend had reported back, I was thinking about what I’d learned from the encounter, and that was when I came to my realisation; the perception of my book, in concept, is shaped by the actions of every independent author-publisher out there. Every rushed, unedited, cheap book that someone has tried to sell damages the perceived value of my book with potential readers and retailers. That’s pretty unsettling.

But I’m looking at that situation another way now. I’ve flipped it around. Every one of us, by doing the best job we can to produce a quality product, can reinforce the reputation of indie books as an alternative, rather than a second-rate option. That’s pretty reassuring. With the tools and technology now available to everyone, both in production and communication, the time has never been better for us to work together and create a new market – one where an indie book is judged on the quality of its content rather than its cover.

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