Nathan Bransford On Self Publishing

Nathan Bransford writes:

There is no "us" vs. "them." Traditional vs. self-publishing is a false dichotomy. It's an illusion created by people who either have let their frustrations get the best of them or are trying to sell you something. We're all writers trying to figure out the best way to get our books to readers. We're all on the same team.

No, the traditional publishing industry is not a hive of retrograde monsters out to steal and eat your newborn children. No, self-publishing is not a gang of unwashed crap artists trying to poison the literary well forever.

Publishing is a spectrum of choice, from traditional publishers who pay you, will handle most things for you and assume all risk in exchange for certain rights to your book, to self-publishing where you handle everything yourself, pay your own way, and adopt your own risk. And there's a whole lot more choice in between those two poles.

What's the right way? There is no right way.

Read the rest of Mr. Bransford's post here: Traditional vs. Self-publishing is a False Dichotomy

I woke this morning, rubbed the sleep from my eyes, and trundled over to Dean Wesley Smith's blog where he raved about the fantastic post former agent Nathan Bransford wrote (Holy Smokes, Batman. I Agree With Nathan Bransford). And (as always!) he was right, it was a fantastic post.

In the past couple of months the flood gates have burst and record numbers of traditionally published writers have self-published their work. We're also seeing indie authors, even wildly successful indie authors, choosing NOT to go with one of the Big-6 publishers.

For instance, Hugh Howey, author of the runaway bestseller Wool, chose to continue to self-publish in the US and only sold Random House UK his overseas writes. Howey writes:

Now, this is still new enough to me to leave me in a daze simply from typing the words, but it gets even better: The same book--self-published, mind you--has been picked up by Random House in the UK for a major hardback release. And while domestic publishers have made offers that would have had me swooning mere months ago, I have chosen to remain independent here in the States.

I currently enjoy the best of both worlds: The ability to write what I want and enjoy the generous royalties inherent with self-publishing domestically, while also working with a major publisher overseas to hone my craft and produce the best physical books possible. Because of this avalanche of good news, I've been blessed by IndieReader to come here today and thank you all for turning what once was a fanciful dream into a mind-numbing reality. Yeah, I'm thanking you.

Hopefully Hugh Howey's success is only the tip of a very large iceberg.

Related articles:
- Hugh Howey Writes About The Phenomenal Success Of Wool


"Nathan Bransford On Self Publishing," copyright© 2012 by Karen Woodward.

Difficult Directors

Werner Herzog

I'm doing research for a short story. One of my characters is a persnickety director and since I know little to nothing about directors, persnickety or otherwise, I googled "difficult directors" and came across this article: Top 10 Craziest Directors. It's quite entertaining.

For instance, did you know that Akira Kurosawa, one of the most influential artists of the 20th century (Seven Samurai, Rashomon, Ikiru, The Hidden Fortress),

... was known as a stern taskmaster and a devoted perfectionist. His nickname was “Tenno,” which is Japanese for “Emperor,” reflecting his dictatorial control and command over his projects. There are many stories about the lengths that Kurosawa would go to in order to get the perfect shot. For a scene in Rashomon where there was a great rainstorm, he had water mixed with ink sprayed from fire trucks onto the set so that it would show up on the camera lenses. In Throne of Blood (1957), a Japanese retelling of Shakespeare’s Macbeth, Kurosawa didn’t use fake arrows when the main character is executed by a firing squad of archers. He literally had professional archers fire at the main character as he ran around trying to dodge them. At any moment he could have easily been killed [emphasis mine].

Really!!?? Firing real arrows at actors during a scene to increase authenticity. The insurance company must have had kittens, not to mention the actors.

Oh, and here's a tidbit about Orson Welles and Citizen Kane:

[H]e [William Randolph Hearst] almost succeeded in completely suppressing the film [Citizen Kane]. It is said that if it wasn’t for Hearst, Citizen Kane probably would have won all eight of its Academy Award nominations, including Best Film, Best Director, and Best Actor. Instead, Hearst’s opposition was successful enough that it basically established Welles as an enfant terrible, making it almost impossible for him to get his films financed within the United States.

In any case, Top 10 Craziest Directors, is definitely educational and entertaining. 

Okay, enough procrastinating, back to it. #amwriting

Cheers.

Photo credit: Top 10 Craziest Directors

Hugh Howey Writes About The Phenomenal Success Of Wool

Everywhere I turn I read about the phenomenal success of Wool, an indie published series which has garnered unprecedented sales in the very short time since its release. Wool has been picked up by Random House in the UK and Ridley Scott (Alien, Blade Runner, Gladiator) will be directing an upcoming blockbuster movie made by 20th Century Fox.

I don't know about you, but even when I'm daydreaming about hitting it big, I don't dream about hitting it this big. In a recent article for PW, Hugh Howey writes about his amazing success.

[A]n actual deal seemed a long way off, a fanciful dream. Who was I? A few months ago, I worked part time in the university bookstore, dusting the shelves and tackling shoplifters to pay the bills. How could someone like that, who spent his mornings and lunch breaks pecking away at his keyboard ever get mentioned in a press release along the likes of Scott and Zaillian?

Word of mouth, is how. Which is also the reason I've been able to quit that day job and write full-time. And it's why the film rights for that little story I wrote now lie in the hands of Hollywood giants.

Now, this is still new enough to me to leave me in a daze simply from typing the words, but it gets even better: The same book--self-published, mind you--has been picked up by Random House in the UK for a major hardback release. And while domestic publishers have made offers that would have had me swooning mere months ago, I have chosen to remain independent here in the States.

. . . .

My inbox lately has become sprinkled with missives from other independent writers asking me for any advice I might have. So I tell them what you have taught me: Please the reader. Write your best works for them; make those works affordable; interact with your fans; and take their feedback to heart. Without a single dime spent in advertising, a short story I wrote and didn't even work to promote climbed to the top of the Amazon charts. It drew the attention of Hollywood. It landed me an agent and half a dozen foreign book deals. All because of word of mouth. Because I happened to please you, and you told someone else, and they spread the word further.

The first WOOL story came out in July of last year. At just over 12,000 words, it qualified as a novelette, and not much more. I forgot about the story until it began garnering a slew of positive reviews that could muster only a single complaint among them: Where was the rest? They wanted more.

So I began writing more. I released the rest of the story in installments, something I'd always wanted to try, and I enjoyed the quick turnaround and the immediate feedback from readers. The entries grew as the series went along, until the fifth and final WOOL story was the length of a short novel. Once the tale was complete, I collected the five books into an Omnibus, which was when it began to really take off.

Read more here: How My Self-Published Book 'Wool' Became A Hot Movie Property

Further Reading:
- Wool: Indie bestseller to be made into blockbuster movie
- Ridley Scott’s Next Project Is Wool
- 20th Century Fox Takes Wool

Books:
- Wool

"Hugh Howey Writes About The Phenomenal Success Of Wool," copyright© 2012 by Karen Woodward.

Auxiliary Rights: To Keep or Not To Keep?

In her Thursday blog post Kris Rusch talks about when to be DIY and when not to be. If I've retained the audio writes to my book, I could record an audio version of it myself or I could hire someone to do it for me, perhaps through a place like audible.com (I would either pay the voice artist a flat fee or a percentage of whatever royalties I make on the audiobook).

Here is the checklist Kris Rusch uses to decide whether to seek help with an auxiliary rights project or whether to go it alone:

A. What are the contract terms?

B. When does the license expire?

C. When will I realistically get to this project?

D. Can this company do things that I cannot do?

E. Is this company asking too much in rights, limitations of my ability to write, or in lost revenue to negate the benefits of doing business with this company?

F. Is there a way out of the deal if the company does not keep up its side of the bargain? (So many publishing contracts are one-sided and only favor the publisher.)

G. Will I regret this decision in the morning? (In other words, don’t get pressured into accepting; any time anyone pressures you, you should walk away.)

H. Who does this deal benefit the most? Me? My agent? The publisher? If the answer is the agent or the publisher, then run. If the answer is two-fold—it benefits me and the publisher equally—then the deal is fine. (Not three-fold; remember, agents work for you, and should get paid from your end of the deal. They should never make more money on a deal than you do—although that often happens in both foreign rights deals and in Hollywood deals.)

If you like the offer and it benefits you for where you are right now, then take the deal. If you feel any qualms, do not, and wait for the time when you can do whatever it is yourself—or wait until you get a better offer.
The Business Rusch: Time and the Writer

Making an audio book is something I've been interested in for a while; it would be great to attend Kris and Dean's Audio Workshop in November. Kris used to train radio announcers how to read and speak and they'll also cover the technical aspects of recording. For more information, click here: Kris Rusch and Dean Wesley Smith, Workshops. You'll have to scroll down the page a bit.

Related Reading:
- Milton Bagby talks about recording an audiobook

Photo credit: AVS Audio Editor

"Auxiliary Rights: To Keep or Not To Keep?" copyright© 2012 by Karen Woodward.

Short Story: A Night In The Country, Part 3

This post has been removed.

Michael J. Sullivan On The Dark Art Of Naming

For myself, there is nothing quite so agonizing as trying to name my characters. I think this is partly due to my conviction that I must give each of them a name which will illuminate some particular aspect of their personality. Whenever I re-read the Harry Potter books, I'm struck by how good Rowling was at this.

I love reading about how other writers do things, especially things I find difficult. This morning I came across a post in which Michael J. Sullivan shares how he creates name.

I collect names.

Much like a butterfly hunter, or perhaps more accurately, a bird watcher—whenever I spot a name I like, I pin it into a list I keep. Street signs are a great source of fun names. There are three streets near me called, Niblick, Mashie, and Follin. I just couldn’t resist thinking how these just sound like goblin names. Turns out they are golf terms—old names for clubs, I believe.

I also own a very old encyclopedia of proper names, which long ago I went through A-Z looking for any names I didn’t recognize that I thought were cool. This is how I came across Dahlgren, and Persepolis, which I changed to Percepliquis, because I thought it sounded better. I did this decades ago and forgot about it. Now when I see a name of something from my series in the real world I think—wow, someone named a city after my novels! At this point I’ve lost track what words I made up, which I modified and which I stole, but I keep a list—three lists actually, and they are: Male Names, Female Names, Names of Places and Things. This is where I dump all my gathered words. Then as I am writing and a character is spontaneously made, as sometimes happens, I just run down the list until I find a name that suits the character.

How do I do that?

Ah, now this is a trickier question ...

Read the rest of Michael Sullivan's enlightening post here: Names


"Michael J. Sullivan On The Dark Art Of Naming," copyright© 2012 by Karen Woodward.

Elizabeth S. Craig's Tips For Developing A Story Idea

Ask yourself ...

What works best for your genra?
First of all, we have to know our genre. We should be a fan of our genre and read a lot of it. What story elements satisfy us most when we read our favorite genre? Do we like more action, more humor, really strong characters, flawed main characters, lots of internal conflict?

What do our readers like? 
This is where I read over my Word file where I’ve compiled both complaints and compliments for my past books. I provide more of what was successful (particular characters, particular situations, etc.) and less of what readers disliked or complained about in reviews.

Is this a big enough idea that you can develop it for at least 75,000 words? 
Can this idea carry a full-length plot?

Is the plot too derivative? 
If it’s too much like a hundred other books in your genre, what fresh take can you give it? Can you provide your character with a unique voice? Think of some fresh spin on the old plot? 

How much trouble/tension/conflict can your story engender? 
Can you think of ways to add more? Will there be enough natural conflict to keep a fast pace?
Specific to mysteries:
For me it all starts with the victim—they’re the catalyst for everything. Why would someone want to kill this person?

Why would my sleuth (I’ve got an amateur, so this is an important question for me that wouldn’t be if you’re writing a police procedural or private eye story) get involved in this murder?

Who are the suspects? 
This question ties in very closely to the victim question since these are the characters who wanted to kill the victim. But this is where I decide if they’re male or female and how they all knew the victim.

What do these people have to hide? 
What are they trying to cover up?

What different kinds of motives could these suspects have? Again, this one ties into the victim question, but I actually list the motives out. My editors aren’t real crazy about having three different people who all wanted to seek revenge on the victim, for instance. Better to have a variety of motives: personal gain, jealousy, ambition, revenge, rage, etc. 

How is the victim going to die? 
Who discovers the body? Who seems to have an alibi? Motive/means/opportunity.

Who is my second victim? 
How does this change the investigation?

Who did it? 
(And I do change this a lot. But for the purpose of handing in a proposal, I name a killer in the outline. Sometimes I’m asked to change the murderer…I changed it by editor request for the book I just finished May 1.)

And really, that’s all I need to know for this proposal/outline. And it’s all I need to know to write the book.

I always like getting writing tips from my favorite authors. Read her entire article here: Developing a Story Idea

More on Amazon Select: Is exclusivity worth it?

I know I've written quite a bit about Amazon Select recently, but I've been looking for good information on it for some time, information from other indie authors, and it seems to be coming in a flood.

Today Joe Konrath had this to say about Amazon Select:

I've lost some of my faith in the Kindle Select program since it originated, and as a result I've opted my titles out. Select requires exclusivity, and I found I was making more money via Smashwords, Kobo, B&N, Overdrive, Sony, and Apple than I was through Select lends.

The other advantage of Select--being able to make your ebook free--used to result in a nice bounce from the free list to the paid list. Lately, the bounce isn't nearly as dramatic.

Two weeks ago Ann Voss Peterson made her thriller ebook Pushed Too Far free for a week. She gave away 70,000 copies--which is impressive, even beating many of the giveaways Blake Crouch and I had done (giveaways that got us in the Top 100 paid list and made us lots of money.)

Ann never hit the Top 100 paid. She's currently at #158. This is great, and she's thrilled, but she's only allowed to do this once every 90 days, and I don't believe the benefit corresponds to the loss of income from the other retailers.

If you do decide to make your ebook free, go all in. Use the 5 full days allotted, contact as many websites as you can find who announce freebies, and enlist everyone you know to help you spread the word.

Read the rest of Joe's comments here: Guest Post by Robert Gregory Browne, in the "Joe sez" section. He follows these remarks with fabulous advice for indie authors.

I'm paraphrasing.

- Get as many books as you can up for sale as quickly as you can. Your writing is the best advertising you could have.

- Don't be afraid to experiment. Experiment with pricing, covers, promotions, and share your knowledge with your peers.

- Bundle. For example, sell your short stories as stand-alones, then group them into an anthology and sell that. Do the same with your books, especially books in a series. "This increases shelf space without writing more."

- Forget about advertizing and marketing. It's not worth it.

- Keep your fingers on the pulse of the industry. Joe recommends subscribing to:

Publishers Lunch
PW Daily
Passive Guy
Kris Rusch
Dean Wesley Smith
David Gaughran
Bob Mayer
Mike Stackpole
Mike Shatzkin

- As Neil Gaiman recently said, "Walk toward your mountain." In other words, figure out what you want to do and do it. Of every decision ask yourself: does this take me closer to, or father away from, what I want to do. Then, and this is the tough part, believe in yourself and ignore those who ridicule you.

- As Joe put it, "The world needs heroes. Be one." Pass along what you've learnt and encourage others the way you would have liked to have been encouraged when you were where they are.

That's it! Reading the list over, it seems like I could title it, "Joe's Commandments for the indie writer".

Before I end this article, I want to give you a link to an article on KDP Select by the above mentioned David Gaughran. It explains, among other things, the nuts and bolts of KDP select and why Amazon's bestseller lists are so important to indie authors. Read it here: Amazon & The Importance of Popularity

Related Articles:
Changes in Amazon's Algorithm: An Update
Amazon's Ranking Algorithm Has Changed: what this means for indie authors
Self Publishing on Amazon: Kindle Direct Publishing


"More on Amazon Select: Is exclusivity worth it?," copyright© 2012 by Karen Woodward.

Changes in Amazon's Algorithm: An Update

For a while I've been wondering if Amazon Select is worth enrolling ones books in considering the exclusivity clause. Recently the matter became even more complicated by Amazon changing their ranking algorithm, a change that directly and, in many cases drastically, affected book sales.

Before Amazon changed their algorithm a free download counted the same as a paid download in terms of the effect it had on how ones book was ranked. After the change, it looked as though a free download counted for a fraction of what a paid download did.

Since many indie authors rely on periodic giveaways to boost their book's rank, and therefore hopefully keep the book toward the top of Amazon's bestseller lists, this was a big deal. Edward Robertson has posted an invaluable series of articles on the changes Amazon has made to their algorithm and in my earlier article I promised to keep readers up to date. Well, here's the latest.

Robertson, in an attempt to figure out the full impact of the changes to Amazon's ranking algorithm, made his book, Breakers, free for a few days and his results were startling. Over the period of a few days nearly 26,000 copies of his book were downloaded, 173 were sold and 93 copies were borrowed. Here's the big news, though. At the end of that period his books ranking had dramatically increased. (See Robertson's post -- How Much Juice Is Left In Select? -- for full details.)


He writes:

[W]hat does this mean long-term? I don't know. I'm trying not to know just yet, because I don't want to get my hopes up. But prior to this free run, Breakers was #121 on the Technothrillers popularity list and worse than #500 on Science Fiction > Adventure. On day three of its run, it improved to #10 Technothriller and #27 Sci-Fi > Adventure. Right now, it's #8 and #24. I'm guessing sales will slow down after an initial rush, but hold, driven by the pop lists, at a decent clip, for an unknown length of time. If that happens, I will be a very happy Ed.

I can imagine, I would be ecstatic! If Robertson's experience with Breakers is any indication the news for indie writers isn't bleak, it's quite the opposite. As Robertson writes, though, it's too early to draw sweeping conclusions.

Stay tuned!

Related Articles:
Amazon's Ranking Algorithm Has Changed: what this means for indie authors
An Indie Writer Shares His Experience With KDP Select
Self Publishing on Amazon: Kindle Direct Publishing


"Changes in Amazon's Algorithm: An Update," copyright© 2012 by Karen Woodward.

Fifty Shades of Grey - Oh My!

I'm not quite finished the Fifty Shades series by author E.L. James but I've read enough to be surprised by the fuss over the trilogy, especially the first book, Fifty Shades of Grey. Which isn't to say I don't think they're wonderful books.

Here's what I'm talking about. I found this paragraph in the Wikipedia entry for Fifty Shades of Grey:

By the release of the final volume in January 2012, news networks in the United States had begun to report on the Fifty Shades trilogy as an example of viral marketing and of the rise in popularity of female erotica, attributing its success to the discreet nature of e-reading devices.

I feel I must have been living under a rock for the past few months, but the first I heard of Fifty Shades was when I did by blog post for the indie bestseller Wool and that book was compared to Fifty Shades of Grey in its sudden and astonishing popularity. Since nothing else was said about Fifty Shades the description aroused my curiosity. When I walked into Chapters the next day I had forgotten all about the book, but when I saw it perched at the top of the bestsellers bookshelf, I picked it up and began reading.

And I read, and read, and read. By the time my friend came back from his clothes shopping I was 20 pages in and thoroughly hooked. What attracted me wasn't salacious curiosity about the hinted at peek into the world of DBSM, it was good writing and the promise of a sweet love story.

At the moment I'm a third of the way through James' last book, Fifty Shades Freed, and would describe the series as being more about the redemptive power of love than anything else.

In a sense, Fifty Shades is an urban fairy tale.

Being of a certain age I have come to the opinion that people do not change drastically. Someone with issues on the scale of Christian Grey is not likely to transform themselves because of the power of love. (And, yes, I do glare and youngsters and sporadically growl "Humbug!" during Xmas.) But it's a nice thought.

I gather that James' prose has been criticized, but I wonder what they are comparing it to. Margaret Atwood? Neil Gaiman? Stephen King? Not many writers could stand up to that sort of scrutiny. Personally I thought she did fine, but I'm comparing her with writers like Charlaine Harris (The Southern Vampire Series, True Blood), Laurell K. Hamilton (Anita Blake Series) and even Kim Harrison (The Hollows Series).

 Please let me be clear, I love Charlaine Harris's and Kim Harrison's books, and I adored the first four or so books in Laurrell Hamilton's Anita Blake series. (As an aside I'd like to mention that each of these authors have written steamy sex scenes but I saw no criticisms similar to those leveled at James. But then, to be fair, the scenes to which I refer didn't involve BDSM, just vampires -- I write that tongue in cheek).

Here are excerpts of the non-steamy variety from all four authors, see what you think:

First excerpt:

I'd been waiting for the vampire for years when he walked into the bar.

Ever since vampires came out of the coffin (as they laughingly put it) two years ago, I'd hoped one would come to Bon Temps. We had all the other minorities in our little town--why not the newest, the legally recognized undead? But rural northern Louisiana wasn't too tempting to vampires, apparently; on the other hand, New Orleans was a real center for them--the whole Anne Rice thing, right?

Second Excerpt:

I stood in the shadows of a deserted shop front across from The Blood and Brew Pub, trying not to be obvious as I tugged my black leather pants back up where they belonged. This is pathetic, I thought, eyeing the rain-emptied street. I was way too good for this.

Apprehending unlicensed and black-art witches was my usual line of work, as it takes a witch to catch a witch. But the streets were quieter than usual this week. Everyone who could make it was at the West Coast for our yearly convention, leaving me with this gem of a run. A simple snag and drag. It was just the luck of the Turn that had put me here in the dark and rain.

Third Excerpt:

Willie McCoy had been a jerk before he died. His being dead didn’t change that. He sat across from me, wearing a loud plaid sport jacket. The polyester pants were primary Crayola green. His short, black hair was slicked back from a thin, triangular face. He had always reminded me of a bit player in a gangster movie. The kind that sells information, runs errands, and is expendable.

Of course now that Willie was a vampire, the expendable part didn’t count anymore. But he was still selling information and running errands. No, death hadn’t changed him much. But just in case, I avoided looking directly into his eyes. It was standard policy for dealing with vampires. He was a slime bucket, but now he was an undead slime bucket. It was a new category for me.

Fourth Excerpt:

I scowl with frustration at myself in the mirror. Damn my hair--it just won't behave, and damn Katherine Kavanagh for being ill and subjecting me to this ordeal. I should be studying for my final exams, which are next week, yet here I am trying to brush my hair into submission. I just not sleep with it wet. I must not sleep with it wet. Reciting this mantra several times, I attempt, once more, to bring it under control with the brush. I roll my eyes in exasperation and gaze at the pale, brown-haired girl with blue eyes too big for her face staring back at me, and give up. My only option is to restrain my wayward hair in a ponytail and hope that I look semi-presentable.

Excerpt One: "Dead Until Dark," by Charlaine Harris
Excerpt Two: "Dead Witch Walking," by Kim Harrison
Excerpt Three: "Guilty Pleasures," by Laurell K. Hamilton
Excerpt Four: "Fifty Shades of Grey," by E.L. James

Yes, all right, James' excerpt -- and, by the way, these were all the first paragraphs of the first book in their respective series -- was about boys and girls living in this world, a world not populated by dark, brooding, sexy and forbidden supernatural creatures, but since her book did start off as fan fiction for the Twilight Series I thought it was appropriate. In any case, I don't read many romance books, so I used what I had in my bookshelf.

If you haven't read Fifty Shades of Grey I'd recommend giving the first few pages a try.

Whatever is currently on your nightstand, happy reading!

You might also be interested in:
- 19 Ways To Grow Your Twitter Following.
- How To Sell 100 Books Per Day: 6 Things You Need To Do
- Writers: In Order To Win We Must Embrace Failure

"Fifty Shades of Grey - Oh My!" copyright© 2012 by Karen Woodward.