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Posts Tagged ‘Make a Move’

The Importance of Being Indie

Monday, May 24th, 2010

“Writers need to stop defining themselves by their publisher, or lack thereof. “Indie” is becoming a meaningless affectation.”

@glecharles, 1:00 PM May 19th

I really, really wanted to agree with this when I read it. It resonates with how I feel about my book and what I’m doing – that I’m competing with all books, and not just the independently produced ones. I’d never send my book for review by a publication dealing only with indie books; I’m putting Make a Move up for the Pepsi Challenge against every book out there, and I’m competing on story, character, dialogue and ideas, knowing that my editing and printed product are comparable with anything the mainstream can offer, and won’t let me down. The quality of my book is more important to me than any label I could attach to it, or myself.

And in a perfect world, that would be enough.

Thing is, if you don’t label yourself, someone else will. And that label is “vanity publisher”. It happened to a writer friend of mine last week; she was enquiring about whether attending a seminar on book marketing, targeted at publishers and held by a respected outfit in Manchester, would be of benefit to her. The reply she received told her that there would be little of interest to a vanity publisher. Nice.

This stereotype – the vanity publisher – was weak ten years ago, outdated five years ago, and is now just tired. Even its irony value as an inaccurate, mindless cliché sustained by a supposedly creative industry has faded. It’s time it ended.

I read Zoe Winter’s blog post over at IndieReader.com about how the term “indie author” is starting to catch on, and how indies with the skills and drive to produce a quality product need to stand up and define what it means to be an indie. I agree with her assertion of what it means – or what it should mean to be an indie author – and I’m committed to playing my part on all counts, but I’m skeptical about one thing, and that’s how far we, as indies, can push the title. I “officially” adopted the title of indie author when I changed my About page recently, but I didn’t do it because I needed to feel like part of a movement, or I was looking for validation, or I was yielding to peer pressure; I did it for the reason anyone running a business should do anything: because the customers asked.

I run Google Analytics on this site, and I monitor what people are searching for when they find me. Know what my most frequent search term is? “indie novel”. I don’t know specifically what these browsers want when they search for indie novels, but I hope they want the same thing I did when I used to search the “contemporary” section of a bookshop: something new, inspiring, raw, alternative, edgy – exactly the kind of books that are struggling to get book deals as publishing pounds are redirected to easier sells. So these readers are searching for something, and they’re finding me, and they’re sticking around to explore the site and download my sample episode (okay, I admit it, I have a data fetish).

So there is an indie movement in books, but it’s the readers who are driving it, not the writers. We have no control over where it goes, other than to do our utmost to give the readers print books and eBooks of the quality they deserve. And as for the title of “indie author”, its your choice whether to adopt it, but given the energy, enthusiasm and acceptance of the indies I’ve met since I published Make a Move and started this blog, it’s one I’m proud to accept.

 

Short Story: DESCENT

Thursday, May 6th, 2010

I’ve got a lot of time for horror short stories; I think the genre and form suit each other. There’s something about the immediacy of horror that works in that restricted word count – it’s a race to the finish in every way. I write horror the same way: fast, freewheeling and in one sitting. It’s the only way I can get that energy onto the page. The story below is an example of one of my horror shorts I thought I’d share to provide a break from the world of Make a Move. Don’t worry – this isn’t a departure, just something I do to stay fresh.

WARNING!!!

Make a Move contains no sexual swear words, and doesn’t explore violence or adult scenarios to any great depth. It’s suitable for anyone old enough to take an interest in a full-length novel. This story isn’t; it’s scary, sweary and uses words like “liquefying”. I wrote this for me, and you might not get on with it. Consider yourself warned!!!

The Story

For offline (or more-nicely-formatted) reading, download the pdf here. Please feel free to share the file with your horror-fan friends.

 

DESCENT

 

‘Is this right, Captain?’ Constable Gottschalk handed his boss a cup of coffee, but received no thanks. ‘I know we follow orders, but this guy’s never said he was anything other than innocent. He has an appeal date.’

‘He should have waited on it,’ Captain Emerson replied. ‘He chose to run.’

‘I know, sir. I’m not disputing that. I just . . .’ Gottschalk looked past the Captain to the armoured black van squeezed onto the pavement at the foot of one of the large, abandoned tenements lining the street, the large, white “K9” identifier visible through the late-day shadows. ‘I’m going to feel bad about this one.’

Captain Emerson looked up at the strip of amber sky between the tall buildings, then at his watch.

‘He’s got fifty minutes. That’s time enough to change his mind.’

#

Trent Morgan rolled the ambulance to a stop outside the emergency entrance of Three Sisters of Sorrow hospital, the sirens silent but the blue strobes running, reflecting from the red-brick fascia of the ageing building and the smog-blackened signs that now hid directions to mothballed departments. He grabbed a high-visibility jacket from behind the driver’s seat, pulling it on over his stab vest, and holstered a sidearm alongside a bloodied nightstick. It was a struggle unloading the stretcher through the rear doors without a partner, but no one was around to see him fumble to extend the trolley’s wheels. He slammed the doors closed and then pushed the trolley, with its black-bagged cargo, to the entrance, swiping a security pass before ramming the heavy door aside.

Inside, the triage nurse looked away from her computer screen for a moment but, seeing the zipped bag on the trolley, returned to her work. Trent pushed through another set of doors.

Away from the public areas of the building, the charitable status of the hospital was more obvious – the lack of funding evident in the flickering lights, patched walls and exposed wiring. The gurney rumbled through potholes in the linoleum. Trent spotted a sign for the haematology unit, unglued, simply propped against the wall. He had no choice but to trust the arrow and keep moving.

The haemo department doors lacked security – no one would enter if they had a choice – and he wheeled inside, drawing his gun. A technician was unloading a refrigerated trolley of blood bags, moving slowly in his hazmat suit; he looked up to see Trent, and Trent’s gun.

‘Are you fucking kidding me?’ the man asked, his voice muffled by the visor of his suit. ‘You want to shoot anything in here, you’d be best shooting yourself. Quicker that way. You hit one of these bags . . .’

‘You’re going to help me,’ Trent said. ‘You’re going to make me not have to shoot you.’ He reached for the head of the body bag, pulling the zip down far enough to reveal the naked man inside, his nose and eyes dark with bruises. ‘You recognise him?’

The technician looked closer and nodded.

‘He’s alive. I just needed his clothes and transport. His partner is in the back of the ambulance out front. I’m not looking to kill anyone.’

The technician replaced the loose blood bags into the trolley and closed the lid before pulling the protective hood from his head. ‘What do you need?’

‘New blood’ – Trent holstered his gun long enough to remove his coat – ‘and you’ve got half an hour to give it to me.’

#

The sky now dark, Captain Emerson returned to his car, stepping over the cables from the mobile floodlights. He sat in the driver’s seat, pulling the door closed.

‘Control from Emerson?’ he asked into his radio. There was a pause, then his reply.

‘Go ahead, Captain.’

‘Do you have Judge Minter on the line?’

‘Connecting you now, sir.’

Another pause, then an older voice spoke.

‘Captain Emerson. Do you have him?’

‘No, Your Honour,’ Emerson replied. Only now, in privacy, did his voice reveal any trace of regret. ‘I have teams across the city, but you know as I do, we didn’t get him early, so our chances now are almost none.’

‘Agreed.’ Judge Minter paused. Emerson could hear him breathing. ‘Then it’s out of our hands. Under article one-seventy-seven of the People’s Charter, I authorise the retrieval of Trent Morgan. Bring him in, Captain.’

‘Understood.’ Emerson looked at the silver crucifix hanging from the car’s shotgun mount, dangling on a thin chain, glowing dully in the floodlights. ‘Emerson out.’ He climbed from the vehicle, striding along the street to where his men were gathered, far from the K9 truck. ‘It’s time,’ he said, his voice clear, carrying along the street ahead of him as he splashed through the puddles. ‘Get set up, and get me the padre.’

#

‘What group are you?’ the technician asked as he dug through blood stock data on the computer.

‘B negative,’ Trent replied.

‘You’re not giving me much help here, Trent.’

‘You know who I am?’ Trent asked, pausing in unbuttoning his shirt. ‘And what do you mean?’

‘Yeah, I recognised you from the trial coverage. If it’s any consolation, I don’t think you did it.’

‘No?’

‘Nah. Guy did that was a fucking animal. I never saw that much evil in you. I don’t now.’

Trent sat on a stool, reaching for his shoes, but he stopped. ‘They were my children,’ he said.

‘I know, man. I know.’ The room was quiet for a moment, the only sound the regular beeping from the refrigerators. ‘But, what I mean is, I don’t carry much blood. It goes into bodies as fast as we can get it out. And B neg is not a common type.’

Trent didn’t interrupt the technician as he tapped at the computer keyboard, searching. ‘No. I’m sorry, Trent. I don’t have any.’

‘Nothing?’

‘No, unless . . .’ The technician crossed to the blood trolley and scrolled through the touch display built into the lid. ‘I’ve got three litres in here, which would be enough to keep you going as long as you took it steady, but it’d take me an hour or so to clean it.’

‘Just give me all of it, then shoot me up with adrenaline’ — Trent continued undressing — ‘I don’t have time to rest.’

‘No, Trent, you don’t understand. This is dirty blood. There are so many viral agents in here . . . It’s not a question of what disease you’ll catch but how many. You will die.’

Trent stopped unlacing his shoes. ‘What’s your name?’

‘Bradley.’

‘Bradley. I’ve been on death row for two months, and you know what’s coming after me. Dying of some disease even a week from now is my best chance. Please help me.’

Bradley stared at Trent for a moment, then pulled his hood back on, sealing it shut. ‘Okay,’ he shouted through the visor. ‘Get that guy off the gurney and drag it over here.’

#

Captain Emerson stood clear of the truck as the handlers lowered the rear ramp. Two of the four men, all dressed in armoured suits, climbed the ramp and unlocked the security door, giving them access to the cages. The men fed long-handled snares into the first cage, working them left and right as they tried to snag the screaming, thrashing form inside. Their colleagues waited at the foot of the ramp, armed with automatic shotguns, which they kept trained on the cage.

‘You ever worked K9, sir?’ Constable Gottschalk asked.

‘No,’ Emerson replied. ‘Pay was never good enough. Never would be.’

‘I don’t know how they sleep. I couldn’t.’

‘You can get used to anything, Gottschalk, given long enough.’

A scream echoed out of the back of the truck, a bestial sound, driven through a dead throat.

Gottschalk looked at the Captain, but Emerson’s face was impassive.

Footsteps approached. ‘Captain Emerson,’ the priest said. He was also dressed in body armour, as thick and restricting as that protecting the K9 squad, but with a light-reflective cross painted onto the breastplate. His voice was distorted, relayed from a microphone in his helmet to small speakers in the fascia.

‘Padre,’ the Captain replied. ‘Do you have the prisoner’s sample?’

The padre held up a small, glass test-tube, encased in a protective metal frame.

‘Over to you then.’

The padre approached the K9 truck and climbed the ramp, escorted by the marksmen. With the snares attached, one of the handlers typed a code into the lock on the cage door, his fat, gloved fingers mashing the oversized keys. The locking bolts boomed as they were pulled down into the floor of the truck, and the door crashed open. The two men holding the creature fought to restrain it, forcing it down onto the floor, spreading its limbs.

The padre took two cautious steps, placing him within the zone marked out by the long handles of the snares. His voice issued clearly from the helmet speakers.

‘Trent Alastair Morgan, according to the will of the people, I sentence you to retrieval. May God have mercy on your soul.’ He twisted the metal frame surrounding the test-tube, breaking the glass inside and dripping the contents onto the ramp, a foot away from the beast, before stepping back.

The reaction was immediate. The low growling that had accompanied the padre’s words now rose to a shriek, and the handlers released the snares, stepping off the sides of the ramp, backing away under cover from their armed colleagues.

The beast pounced on the spilled blood, lapping it from the ramp, its long, dirty hair falling into the glistening pool. Its fingers clawed at the metal of the vehicle as it drank.

Captain Emerson could sense his men backing away further at the sight. They were sensible to fear the creature, but now it had Morgan’s scent, they were safe as long as they didn’t do anything stupid, anything to provoke it.

The K9 truck rocked as the beast leapt from the ramp, locked on its prey. Emerson watched the creature scrabbling for traction, its claws scraping at the asphalt as it worked up to speed. Meeting Gottschalk’s eyes as he turned, he had nothing to say to the young constable, nothing that could ease the guilt.

He climbed into his car and reversed slowly back down the street, ignoring the officer who waved him through the barricade.

#

Trent tried to relax on the gurney as Bradley fed two long needles into the veins of his forearms, working the thick tubes along his vessels before taping them down and moving onto the other arm. It was hard work in the restrictive suit, and he wasn’t gentle.

‘I’m really not happy doing this,’ Bradley said.

‘My heart bleeds,’ Trent replied through gritted teeth. ‘If you can’t do it without hurting me, just do it fast.’

‘Okay, okay.’ Bradley rammed the last pair of needles home and added the tape. He moved around the gurney to the transfusion unit, guiding the rubber tubes up and over Trent’s shoulder, but froze at the sound of a crash and scream from across the building.

‘Fuck,’ Trent spat, sitting up and tearing the needles from his arms. ‘Thanks anyway, Bradley.’

‘Shit, shit,’ Bradley panicked. ‘You’ve got to run, man. C’mon. Fucking run!’

Trent grabbed his shirt and shoes from the stool, and was backing away from the doors when the creature butted them open. Seeing no recognition in its pure-white eyes, Trent had no warning that it was about to leap at him, but his instincts were sharper than his mind, and he dropped his shoes, grabbed one of the diseased blood bags, and hurled it at the beast. The plastic split, showering both the creature and the wall behind it with blood, leaving it running down its face, into its mouth. Licking its lips, it reached for the torn bag where it lay on the floor, bringing the plastic to its face to suck down the remains. Both Trent and Bradley moved slowly away, trying to reach the doors on the other side of the room without distracting the beast from its gluttonous revelry.

Feeling the door behind him, Trent watched the animal closely, trying to gauge the level of its preoccupation with the dirty blood. Looking at its eyes, he saw the whiteness fade in the centre, as if something were rising to the surface of a milky pond. He dismissed it as spots of gore, but the flickering movement now visible in those eyes alerted him. He had to move.

Pushing Bradley aside, out of the creature’s path, he backed quickly out of the door, then ran, his bare feet pounding the floor. He heard the doors crash open behind him but kept running, dropping his shirt as his arms pumped.

Spotting a door to a stairway ahead, he shouldered through it, making no effort to secure the door behind him. Instead he hit the stairs, heading upward. He made it two floors before he heard the door splinter below him, heard the resonant booming of the creature jumping from one handrail to the next, leaping up the central shaft of the stairwell. Knowing he would be brought down in seconds, he pulled open the next door he found and left the stairs, finding a long, unlit corridor ahead of him. He kept running, looking for his next opportunity to escape, but could see nothing ahead.

The door he’d just used didn’t even click closed before it was thrown from its hinges, the beast thundering after him, its claws ripping into the linoleum floor as it tore along. Eighteen months in prison – on remand and on death row – had left Trent lean and pure, but his abilities were pitiful compared to the beast’s.

Seeing his imminent death, and the large, frosted-glass window at the end of the corridor, Trent gave up. Covering his head with his hands, he dived for the glass, feeling it give way before him, tearing at his sides as he breached into the alleyway beyond, falling, bleeding, screaming.

The impact from behind felt like a bus had followed him through the window, knocking the air from his lungs. The tearing claws at his back, arms and legs snagged him tight, but the creature’s momentum pushed them both further across the alley, into the derelict mill building opposite. The windows had all been smashed, the loading bays on each floor boarded up a long time ago, the wood now rotting. The beast twisted as gravity competed with their momentum, steering them toward one of the doors on the first storey, but letting Trent’s body take the full impact as they smashed through, landing on the wooden floor. The creature’s teeth bit into Trent’s shoulder as they rolled, and the pain flashed bright in his head, focussing his fear into coherent thought.

Seeing a chain winch still clinging to the rotting joists of the floor above, Trent grabbed at the chain, bringing it up behind him, around the creature’s neck. Unconcerned, the beast kept moving, dragging the chain with it. As it pulled taut over the pulley, the chain wrenched the winch from the floor where it was moored, the assault shattering the boards around it, allowing it to fall through to the floor below. The beast was hauled, screaming, from Trent’s back, flying up to the rafters as the chain thrashed through the pulleys, only to smash the pulley mounting from the ceiling, adding more mass to the creature’s bonds as it was dragged back to the floor.

The creature came to rest straddling the shattered joists, suspended across the hole in the floor, pinned by the weight of the chains and the lifting mechanism swinging below. Trent lay bleeding, his head turned to watch the beast as it struggled. Only when he was convinced the animal couldn’t escape did he allow himself to black out.

#

Trent woke hours later. The opening into the building, surrounded by the shattered remains of their incursion, revealed grey light as the sun penetrated the alley. The floor creaked as the creature, still bound by the weight of the winch, strained to free itself.

Trent pushed himself upright, pulling his torn, battered legs beneath him. He pressed at his wounds, finding them tacky and firm, beginning to heal. Walking was still a distant hope, but he could crawl, and he approached the beast, dragging himself nearer.

He knew what to expect – had read the disclaimers during his incarceration – but it was still somehow more alien than its biology should dictate. It was a man, thin and wiry, with pallid, grey skin. Its feet and hands were drawn into tight fists, its fingers and toes armed with thick, black talons. Its face was distorted by the mass of teeth pushing from between its lips, the canines thick sabres, overhanging the bottom jaw.

Horrific as the creature was, the details added by its police masters were nauseating. The metal collar had saved it from having its neck crushed by the chain, but even unbound, the controller restricted its movement, tight up beneath its jaw. From the collar, a metal tag dangled, a single word – the creature’s name – engraved upon it: “Penance”. Trent moved closer, close enough to meet the creature’s eyes, which had now cleared, resolving to reveal maroon irises, pierced with pinpricks of black pupils. The eyes swivelled, fixing upon him.

‘Look what they have made of me!’ the creature growled. ‘I am a God, and they render me bestial.’

Trent was surprised by the eloquence of the creature’s speech. Conditioning through starvation not only turned them into singular, tormented hunters, driven through fear and rage to locate and eviscerate their marked prey, it also stole their higher functions, leaving them no more guileful than an animal. No more able to reason, or be reasoned with. The blood Trent had supplied it had been sufficient to restore its mind, though he knew its humanity was forever gone.

‘You’ll find no sympathy here,’ Trent said.

The creature rolled its eyes to the alley. ‘The sun,’ it snarled.

‘Like I said — your problem. I’ve got my own.’

Trent shuffled around, his movements slow and careful as he worked his way from the beast.

‘Please,’ the creature moaned. The sound was pitiful. ‘This was not my choice. This is what they made me. I do not want to die like this.’

Trent paused, already exhausted. ‘You’ll kill me,’ he said.

‘No. I am more than a beast. I am restored. I can converse. I can choose. I can choose to take another.’

‘Why would you?’

‘I have to. It is all I have to offer for my freedom.’

Trent watched the creature, trying to detect either truth or deceit, but it was impossible. There was so little of the human left in the creature’s face, he could no more read its intentions than a lizard. He turned his back and began moving again.

He’d covered half the distance to the stairs when the sun breached the building. The creature moaned, the noise rising to a scream, then a roar as the sunlight moved across its face and body. Smoke filled the large room, spilling across the floor. The crackle of flames was audible over the creature’s screams, the antique wood charring, the creature’s body bubbling, liquefying.

The smell of the smoke was hideous, and Trent coughed hard, trying to clear the greasy suspension from his lungs. Gasping for clean air, the smoke suddenly cleared, rushing away. He looked back, seeing the remaining length of chain disappear through the burning boards, then into the hole in the floor. He heard a metallic crash from below.

Trent tumbled down the stairs to the ground floor, landing at the doorway to the main workfloor. He looked in to check that the beast was dead. The taloned extremities were largely intact, arranged like compass points around a rose of jellied remains, in the middle of which lay the metal collar, blackened by the smoke but otherwise intact. Putting the sight from his mind, Trent dragged himself to the back of the building looking for a way out.

Having found a broken window large enough to fit through, Trent pulled himself up and over the sill, then half-tumbled out, feeling the sharp texture of the derelict ground pressing into his bare flesh. He crawled along behind the building, deep in the shadows. Reaching the end of the mill, peering out into the daylight, Trent felt an uncomfortable prickling in his eyes, as if he might pass out. He sat back against the wall, waiting for the sensation to pass, then leaned around the corner again. The unpleasant sensation returned, forcing Trent back into the shadows. Accepting that he was in no shape to keep moving, he relaxed against the wall, waiting for his strength to return.

He was in no rush; for the first time since his escape, he thought, he could afford to wait a while.

 

THE END

 

I Am Not For Sale

Tuesday, April 20th, 2010

As the currents of power and money circulate in the sea of publishing, and authors and publishers from traditional shores wait for an arm to raise from the water, clutching a profitable, sustainable business model, sparkling Excalibur-like in the sun, one word constantly lurks just beneath the surface: Platform. Joanna Penn (at The Creative Penn http://www.thecreativepenn.com/2009/06/26/author-platform/) defines the term pretty well, but to summarise, your platform as an author is the things you do to engage with the book-buying public. This includes blogging, social media (Twitter, Facebook, et al), podcasting, or any regular event where you contribute as an “expert” (such as writing workshops).
Exploring Social Media
When I first created a Twitter account (www.twitter.com/cinemanche), I didn’t know what my goal was. It was pitched to me as a great way to reach customers and sell books, but after six months of active participation, I’ve decided that it isn’t. It’s a great way to connect with people who can help, advise and inspire you, and to return the favour where you can, but these are your peers/friends/contacts; they’re not potential customers. Aside from celebrities, you do see people with thousands of followers, who are clearly marketing a product, but the value of these relationships (mostly generated by spam-like follow/auto-reply behaviour) is negligible.
My Facebook profile is for my real-life friends to stay in touch and let me know, passively in many cases, what they’re up to. Some friends have bought my book, but they were all connected with the project outside of Facebook. I put the odd post about the book on there if I feel it’s a noteworthy achievement, but otherwise, I don’t try to sell to my Facebook friends. If they wanted a copy, they’d have bought one; they’re not potential customers. I do see people on Facebook who are simply using it as a marketing tool, spamming my feed with link after link, but they get their asses hidden, if not blocked, pretty fast.
I set up a Facebook fan page for Make a Move, and again I didn’t know what my goal was. Now it’s a great way for people to follow my progress and get updates first when they’re not on Twitter. In almost every case, my fans have bought the book; they’re not potential customers.
So if these tools aren’t a source of potential customers, what value are they to my platform? None. Because, contrary to what most people will tell you, they’re not Platform; they’re Presence.
Connections
I wrote Make a Move for me. I published it to connect with people. I know that sounds trite, but I sure as hell ain’t doing it for the money. I want real connections – not the one-way street of supplier > customer. I want to have a conversation, to learn something, to be entertained, and my Presence provides the conduit for that. I hope people see my blogging/tweeting/posting as adding value to the Make a Move experience, and that it will keep people with me as I write more books, but I’m not selling anything. It’s just me, online, having fun.
A Time and a Place
Some of the more aggressive marketers out there would say I’m lazy and ineffectual in not exploiting every available avenue to sell books, but like I said, it’s not a sales channel; it’s just me, online, having fun. When I do want to sell books, I go to places that have a uniquely important resource: book buyers who haven’t read Make a Move yet. You can check out the list of online and offline places comprising my Platform here, but note the common factor; in every case, people go to those places primarily to buy books.
I’m smart that way…
I try not to give advice on my blog, just examples of what I’ve tried and what the outcome was, good or bad. So consider this an insight into my psyche rather than a piece of advice: I’m more than happy to talk, to listen, to collaborate, to drink and dance until the sun comes up, but nothing turns me off faster than the rancid odour of a sales pitch. And I’m not the only one…

As the currents of power and money circulate in the sea of publishing, and authors and publishers from traditional shores wait for an arm to raise from the water, clutching a profitable, sustainable business model, sparkling Excalibur-like in the sun, one word constantly lurks just beneath the surface: Platform. Joanna Penn (at The Creative Penn) defines the term pretty well, but to summarise, your platform as an author is the things you do to engage with the book-buying public. This includes blogging, social media (Twitter, Facebook, et al), podcasting, or any regular event where you contribute as an “expert” (such as writing workshops).

Exploring Social Media

When I first created a Twitter account (@cinemanche), I didn’t know what my goal was. It was pitched to me as a great way to reach customers and sell books, but after six months of active participation, I’ve decided that it isn’t. It’s a great way to connect with people who can help, advise and inspire you, and to return the favour where you can, but these are your peers/friends/contacts; they’re not potential customers. Aside from celebrities, you do see people with thousands of followers, who are clearly marketing a product, but the value of these relationships (mostly generated by spam-like follow/auto-reply behaviour) is negligible.

My Facebook profile is for my real-life friends to stay in touch and let me know, passively in many cases, what they’re up to. Some friends have bought my book, but they were all connected with the project outside of Facebook. I put the odd post about the book on there if I feel it’s a noteworthy achievement, but otherwise, I don’t try to sell to my Facebook friends. If they wanted a copy, they’d have bought one; they’re not potential customers. I do see people on Facebook who are simply using it as a marketing tool, spamming my feed with link after link, but they get their asses hidden, if not blocked, pretty fast.

I set up a Facebook fan page for Make a Move, and again I didn’t know what my goal was. Now it’s a great way for people to follow my progress and get updates first when they’re not on Twitter. In almost every case, my fans have bought the book; they’re not potential customers.

So if these tools aren’t a source of potential customers, what value are they to my platform? None. Because, contrary to what most people will tell you, they’re not Platform; they’re Presence.

Connections

I wrote Make a Move for me. I published it to connect with people. I know that sounds trite, but I sure as hell ain’t doing it for the money. I want real connections – not the one-way street of supplier > customer. I want to have a conversation, to learn something, to be entertained, and my Presence provides the conduit for that. I hope people see my blogging/tweeting/posting as adding value to the Make a Move experience, and that it will keep people with me as I write more books, but I’m not selling anything. It’s just me, online, having fun.

A Time and a Place for Everything

Some of the more aggressive marketers out there would say I’m lazy and ineffectual in not exploiting every available avenue to sell books, but like I said, it’s not a sales channel; it’s just me, online, having fun. When I do want to sell books, I go to places that have a uniquely important resource: book buyers who haven’t read Make a Move yet. You can check out the list of online and offline places comprising my Platform here, but note the common factor; in every case, people go to those places primarily to buy books.

I’m smart that way…

I try not to give advice on my blog, just examples of what I’ve tried and what the outcome was, good or bad. So consider this an insight into my psyche rather than a piece of advice: I’m more than happy to talk, to listen, to collaborate, to drink and dance until the sun comes up, but nothing turns me off faster than the rancid odour of an underhand sales pitch. And I’m not the only one…

 

Making a Global Move

Wednesday, March 24th, 2010

So, if I’m so disappointed in eBooks following my attempt to buy one, am I still considering publishing Make a Move in an electronic format?

Hell yes.

A Change of Perspective

You don’t have to be your target market to understand it; I get that now. I’m not selling to a group of people like me, who read books to relax and take a couple of weeks, maybe a month, to finish each title. eBook consumers – those driving the developing market – are voracious readers, and they consume books in varied forms. I don’t buy the pro-Kindle argument that you can take many, many books with you on holiday, as I only take one. Admittedly, it’ll be one big-ass book, but still just one. And my iPod. The people who would buy a Kindle probably take an extra bag, just for books.

Another reality I’m now starting to understand is that the US and UK markets for eBooks are completely different. As in, at time of writing, the US has one. I’m a tech writer when not masquerading as a real writer, and I work for a global software house with a lot of educated, technologically minded people. I know one person with an eBook reader, and I’m pretty sure that 90% of the contents are pirated. Add to that the fact that Sony’s reader is the only retailer-supported device available in the UK (the Kindle’s availability is more of a hack than a product launch) and that’s not a market I’m looking to enter. The US, however, is at the peak of the eBook wave. Until now, that 3000-mile-wide stretch of water separating UK writers from the US has been an insurmountable obstacle to the Stateside distribution of self-published books; it just isn’t cost effective. And now it may as well be gone.

What Price Freedom?

There is still a potential barrier in my way, though, and that’s cost. There may be a large market of readers consuming eBooks in the US, but as literate technology fans, they’re going to be intelligent enough to have the same issues with cost as I do, and that’s something I need to work out before I can find a market.

Do you know what the cost of developing Make a Move for electronic distribution is? Zero. I’ve already paid for everything in producing the printed version, so the eBook is free. Literally free. Yes, I have to reformat the text and proof it again for errors I may have introduced in doing so, but that’s just my time, not my money. I think that’s why I’m so hard on publishers who are defending their eBook prices by outlining the development cost of producing the text to the required standard of editing and proofreading. What? Are you going to slip the print books onto the shelves quietly and hope no one notices? And I know that eBook sales are going to eat into print sales to some extent, but how about allowing your business model to evolve with the market, rather than trying to cover phantom losses with padded margins up-front? Your protectionism is only hurting early adopters – the people you need on your side.

So I still need to set a price that I think is fair, and I’m not 100% decided yet. I need to put the research hours in, which is something I can do while I’m preparing the text files for upload.

But Will it Sell?

Who knows? I have been thinking about something that the poet Guy LeCharles Gonzalez first put in my head: the power of niche content. If you walk into the Sci-Fi/Fantasy section of a larger Waterstones store, you’ll usually find a bookshelf of US imports. These are books by “cult” US writers who aren’t in print in the UK. Their books are generally more expensive due to the import overheads.

So let’s flip it around. How many books by UK writers are in print in the US? Most I guess, but still a lot that aren’t. If you liked a writer and their books were available in print, you’d probably buy the book, but if you can’t get those printed books, the eBook version, coupled with an eReader, is just as good. Ubiquity isn’t attractive, whereas niche can be, simply because it’s niche. I think a lot of American’s would love my book; it’s set in a part of Paris most writers ignore, is filled with British humour, has a European flavour, and is broken down into easy-to-digest sections that I think public-transport commuters will love.

I don’t think I’ll find a mass market in the US, but I may find a comfortable niche. And with no setup costs, there’s nothing stopping me trying.

Fear and Loathing

Sunday, March 7th, 2010

I had an idea for a new book today and, I have to admit, it scares the crap out of me. Not because I’d have a hard time writing it – it’d be easy compared to my first novel – but because I’d be putting so much into it, and taking HUGE artistic risks. The potential for failure – financial and critical – are massive, and I could end up looking like a complete amateur for even trying to tackle this project.

Yet it excites me.

I suspect that in every successful creative career, there’s a point where the artist took a risk. I took a slight risk self-publishing Make a Move, but I was reasonably confident I’d at least make my money back. It wasn’t a leap of faith. This… is something of a different magnitude.

I needed to capture this moment so I could look back at it later – either to recall this feeling of fear in taking a risk, or to loathe myself for being a loser and not jumping for it. It might not work out; there might be too many obstacles in the way, and it’s an idea I have to “sell” to at least two different parties, but I’m more interested in finding out how I respond to this situation as/if it develops. Details, hopefully, to follow.

And don’t worry, Make a Move fans: Freddy, Jay and Holly WILL be back soon. This project, by its nature, would have to be a very fast turnaround, and it could be the creative burn I need to get Make a Move 2 fired up.

Adverbs are for Children

Monday, February 22nd, 2010

It’s a curious coincidence that somebody sent me this link today, as I’ve been planning a post on writing tips for a while now. The problem is, I’m not a big fan of writing tips, as writing is such a personal endeavour, I think it’s incredibly pompous to think that what works for you has value for others. Also, people love to give advice whether there’s any worth to their ideas or not; the joy, for them, is in the giving.

So, this post isn’t writing advice; it’s just some changes I made to my writing and life styles that got me through Make a Move, and that are on my mind as I plan book two. Maybe there’s something in here that will inspire you to make your own changes.

The List

  • Don’t plan in too much detail. If you already know every last plot detail of a book, there’s nothing left for you, as the author, to discover. If the writing of a book isn’t filled with delights and surprises, it’s just work, and most day jobs pay better.
  • Make it as easy as possible to write. For me, this meant buying a new battery for my laptop and taking it with me everywhere. A lot of people create a sanctuary of creativity in which to work – a haven of peace and inspiration. If you need that to write, what are you doing when you’re not in it?
  • Stop watching tv. Okay – this was one bit of advice I did take on board from Stephen King (in his book, On Writing), but I added my own twist. I like tv – I think Make a Move would make a great tv show, so I’m not going to dismiss it, either as an art form or a source of inspiration. What I did instead was to break my watching habits so I watch a show in my own time, rather than when it’s on. I have Sky+ for that, but there are many ways to “time-shift” your viewing (legally…): HD/DVD recorders, catch-up tv services, hell – even a VCR. The trick is to get out of that mentality that tells you “it’s 9pm, time for show X”; that hard stop is like an incoming truck ready to crush your productivity. And try to limit yourself to having one or two shows on the go at a time unless you’re working to a 30-hour day.
  • Create demand. The first book you write has nobody waiting on it, so the only pressure to complete it comes from within. If you can, deliver it to your first readers in stages, so that their expectation for subsequent parts is driving you. Make a Move is written in six episodes, so it’s perfect for this, but any book can be broken up during the writing. Those smaller project goals make it easier to keep going too.
  • Write something new. Okay – this is a contentious one, but it applies to me, and that’s what this list is about. If you’re writing your own take on a story that’s already in print, all you’re doing is walking in someone else’s footprints, and chances are, their story was pretty good (or why else did you read it) so you’re setting the bar even higher than it needs to be. My biggest issue with this approach is that I feel like I’m copying/rehashing/riding coat-tails (choose a term based on which is least offensive to you), and I can’t think of anything more likely to sap energy and creativity. If you think you’re in familiar territory, make it REALLY different. Play with textures of writing, with readers’ expectations. Break the rules. And if you’re convinced that you can’t get away from that previous work, ask yourself if there’s even a need for your book. Maybe you should move onto the next idea instead.

Like I said, this isn’t advice; it’s just a summary of the thought processes that got me where I needed to be, but like I said above, people love to give advice, so I’m going to give in to temptation and share one cast-iron writing tip:

Adverbs are for children.

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?

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.

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.

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.