John Locke Paid For Book Reviews

I was surprised when I read that John Locke paid for book reviews. I was even more surprised that he required the reviewers to be honest; if the reviewer wanted to give his book a 1 star review, that was fine.

But why would someone pay for a one star review? A one star review screams at readers: don't buy this book, you won't like it! Here's what Mr. Locke had to say:

“My first marketing goal was to get five five-star reviews,” he [John Locke] writes. “That’s it. But you know what? It took me almost two months!” In the first nine months of his publishing career, he sold only a few thousand e-books. Then, in December 2010, he suddenly caught on and sold 15,000 e-books.

One thing that made a difference is not mentioned in “How I Sold One Million E-Books.” That October, Mr. Locke commissioned Mr. Rutherford to order reviews for him, becoming one of the fledging service’s best customers. “I will start with 50 for $1,000, and if it works and if you feel you have enough readers available, I would be glad to order many more,” he wrote in an Oct. 13 e-mail to Mr. Rutherford. “I’m ready to roll.”

Mr. Locke was secure enough in his talents to say that he did not care what the reviews said. “If someone doesn’t like my book,” he instructed, “they should feel free to say so.” He also asked that the reviewers make their book purchases directly from Amazon, which would then show up as an “Amazon verified purchase” and increase the review’s credibility.

In a phone interview from his office in Louisville, Ky., Mr. Locke confirmed the transaction. “I wouldn’t hesitate to buy reviews from people that were honest,” he said. Even before using GettingBookReviews.com, he experimented with buying attention through reviews. “I reached out every way I knew to people to try to get them to read my books.”

Many of the 300 reviews he bought through GettingBookReviews were highly favorable, although it’s impossible to say whether this was because the reviewers genuinely liked the books, or because of their well-developed tendency toward approval, or some combination of the two.

Mr. Locke is unwilling to say that paying for reviews made a big difference. “Reviews are the smallest piece of being successful,” he said. “But it’s a lot easier to buy them than cultivating an audience.”

John Locke commissioned reviews on October 13th and his book sales took off in December. I imagine it would probably take about a month for the reviews to start coming through, so those paid reviews could have been an important factor in his December success. Of course, that Christmas was coming up wouldn't have hurt.

That John Locke paid for reviews is just one part of an article about Todd Rutherford and his book review site: gettingbookreviews.com.

The tale of GettingBookReviews.com, which commissioned 4,531 reviews in its brief existence, is a story of a vast but hidden corner of the Internet [...].

.  .  .  .

In the fall of 2010, Mr. Rutherford started a Web site, GettingBookReviews.com. At first, he advertised that he would review a book for $99. But some clients wanted a chorus proclaiming their excellence. So, for $499, Mr. Rutherford would do 20 online reviews. A few people needed a whole orchestra. For $999, he would do 50. 

There were immediate complaints in online forums that the service was violating the sacred arm’s-length relationship between reviewer and author. But there were also orders, a lot of them. Before he knew it, he was taking in $28,000 a month.

.  .  .  .

How little, [Todd Rutherford] wondered, could he pay freelance reviewers and still satisfy the authors? He figured on $15. He advertised on Craigslist and received 75 responses within 24 hours. 

Potential reviewers were told that if they felt they could not give a book a five-star review, they should say so and would still be paid half their fee, Mr. Rutherford said. As you might guess, this hardly ever happened. 

Amazon and other e-commerce sites have policies against paying for reviews. But Mr. Rutherford did not spend much time worrying about that. “I was just a pure capitalist,” he said. Amazon declined to comment. 

Mr. Rutherford’s busiest reviewer was Brittany Walters-Bearden, now 24, a freelancer who had just returned to the United States from a stint in South Africa. She had recently married a former professional wrestler, and the newlyweds had run out of money and were living in a hotel in Las Vegas when she saw the job posting. 

Ms. Walters-Bearden had the energy of youth and an upbeat attitude. “A lot of the books were trying to prove creationism,” she said. “I was like, I don’t know where I stand, but they make a solid case.” 

For a 50-word review, she said she could find “enough information on the Internet so that I didn’t need to read anything, really.” For a 300-word review, she said, “I spent about 15 minutes reading the book.” She wrote three of each every week as well as press releases. In a few months, she earned $12,500. 

“There were books I wished I could have gone back and actually read,” she said. “But I had to produce 70 pieces of content a week to pay my bills.”

In case anyone is thinking, "There should be a law against this!" let me assure you there is.

The Federal Trade Commission has issued guidelines stating that all online endorsements need to make clear when there is a financial relationship, but enforcement has been minimal and there has been a lot of confusion in the blogosphere over how this affects traditional book reviews. 

Todd Rutherford's company has been shut down and he now sells recreational vehicles. If you would like to read David Streitfeld's article about Tod Rutherford, click here: The Best Book Reviews Money Can Buy.

Book review sites for indie books are desperately needed, but paying for reviews is not the way to go about it.

Other articles you might like:
- Picking Up The Threads: Getting Back Into Your Story
- Hugh Howey, Bestselling Author Of Wool, On The Key To Writing Success
- Creativity: Use It Or Lose It

Photo credit: brewbooks

Creativity: Use It Or Lose It

I have a theory. I think that the more one writes, the more one can write.

Generally, I think the more tasks one does which require creativity the more such tasks one can complete. Clear as mud? For instance, let's say a writer has a hobby; she finds it relaxing to make dolls, or bind journals, or paint, or do fridge poetry, or write a thousand words of glorious nonsense that, like a sandpainting, exist only for a moment and then is gone, sealed away forever. Those actions require creativity and I think creativity works something like muscles do: use it or lose it. The more we use our creativity the more we are able to use it.

Aisha Sultan seems to agree with me. She writes:

If you ask a kindergartner to tell you a story, chances are you'll hear a nonsensical and fabulous tale. If you put a chocolate chip cookie on a counter and forbid the child from using a chair to reach it, chances are she'll find a few alternate routes to that cookie.

Children are born inherently creative. They act on it unselfconsciously when they are young, willing to dance, draw or create at a moment's notice. We all begin with enormous creative capacity, but how does our willingness to act on it diminish as we grow older?

I confronted this question when I participated in my first fiction writing workshop last year. The instructor gave us a series of prompts, and each time, I stared at a blank screen with unmitigated fear.

I was convinced that my fiction would be poorly disguised autobiography. And that it would be terrible. And that others would see just how terrible it was. So terrible that it wasn't worth making a fool of myself.

I envied how easily my children could slip into pretend stories, where make-believe dialogue didn't sound contrived or wooden, and plot was just a four-letter word.

. . . .

We unlearn creativity, according to Josh Linkner [...]. "Instead of growing into our creativity, we grow out of it," he said.

Fear is the main culprit, he says. We are conditioned through years of schooling to strive for the "right" answer.

. . . .

"People learn from an early age to get in line," he said. So, we judge others and judge ourselves when we make a mistake or - heaven forbid - fail. We talk ourselves out of creativity and hold ourselves back from big ideas.

. . . .

My own children were encouraging during my creative-writing fits.

"Just try again," they would say.

So, I did. And it was never as terrible as I imagined it would be before I began.

You can read the rest of Aisha's article here: How we grow out of our creativity. Thanks to Passive Guy over at The Passive Voice Blog for posting a link to Aisha Sultan's article.

What do you think? Have you found that the more creative tasks you complete the more you can complete?

Other articles you might like:
- Seth Godin on Creativity, Childhood and Heroes
- Amanda Hocking's Unusual Writing Schedule
- Ripley Patton: The Self-Validated Writer

Photo credit: h.koppdelaney

Are You Writing The Right Book? 5 Ways To Find Out

Ever heard of a book-writing coach? Neither had I. But if Lisa Tener is representative, I want one! Here are 5 ways to make sure you're writing the right book (I'm paraphrasing):

1) What is your vision for this book?
Lisa Tener writes:

a) What will this book do for your life, your work (or business), your lifestyle?;
b) How will this book affect your readers? What will their lives be like before and after reading it?; and
c) Imagine how your book will affect the larger world -- it will. In the earlier example, you may end up focusing solely on the Internet and protecting children, rather than all computer issues. If you can't state your vision in one sentence, it's not a workable vision.

For fiction writers you might ask what sort of emotional impact you want your book to have on your readers. Storytellers always want to evoke emotion in their audience, but there are many different emotions. Do you want them angry about an injustice? Sad about the death of a great love? Happy that the star-crossed lovers found love at last?

2) Who are your core readers?
Lisa Tener writes:

[P]icture a dartboard. The bull's eye is your core reader. That's the person you imagine when you're writing your title, your outline, your bio and every word in-between. Write with this core audience in mind and your book will be conversational (versus self-conscious), compelling (versus boring), and accessible (versus scattered) -- and it will have a lot more impact.

A number of writers say they keep a notion of an 'ideal reader' at the back of their minds as they write. Personally I do find this sometimes helps tell a story; I think it's psychological. It's easier to tell a story to an audience, even if it's an audience of one! Often ones ideal reader isn't imaginary, so if you write romances and your ideal reader is a voracious reader of romance, this will help keep you writing a romance (versus, say, a tale of urban fantasy with romantic elements).

3) Determine the theme
The theme of a story is generally something you read between the lines. For instance in the movie Shrek I'd say the main theme was about learning to let people in, learning to be vulnerable so that one can make real connections with others. I'm sure there's a better way of saying that! Perhaps one could say the theme for Snow White was that true love would be victorious in the end. Knowing the theme of your story from the beginning will help keep you from getting sidetracked.

4) Determine the scope
Fiction writers spin tales about entire imaginary civilizations so the question of where to start and stop a book can be difficult. As one writes one finds out more about ones characters as well as the social/political/physical world(s) they inhabit. It is often difficult to know where to draw the finish line, especially if one is starting what could be a series. If you're writing a high fantasy novel this could be fine--I've used my Lord of the Rings volumes as a paperweight more than once!--but readers of, for instance, urban fantasy are used to shorter reads, so a longer book could be a problem.

5) Have an outline
I know it's often said there are two kinds of writers: pantsers and plotters. Pantsers are those who, like Stephen King, forgo outlining in favor of a more organic approach. King views stories as real things that exist (more or less) independently of the writer, and that the writer must discover like a paleontologist would uncover the fossilized bones of an ancient creature. Plotters, on the other hand, outline in great and glorious detail before they start writing (or shortly thereafter).

Personally, I think most folks are some combination of panter and plotter. A lot of writers I've talked with have told me they make some sort of outline but then they feel free to ignore it. Or not. I think whether one outlines is personal and I'd hate to say that a writer has to outline, because I don't think that's true. I do think--and Stephen King said this in On Writing--that it does help save the writer from getting halfway through a book and then abandoning the effort because he or she's not sure where the story is going.

You can read Lisa Tener's entire article here: Write the Right Book.

Other articles you might be interested in:
- The End Of The Professional Writer?
- Indie Writers: 10 Things Not To Do
- How To Be A Writer

Thanks to The Passive Voice Blog for mentioning Lisa Tener's article.

Photo credit: library_mistress

Scams Aimed At Writers

Guest post on duolit by Lila: 

Most authors want to make a profit on their books. Unfortunately, some people don’t care about books and simply want to make a profit from the authors. Here are five of the most common scams.

Scam 1: The Agent's Reading Fee
Lila writes:

What They’re Not Telling You:

When you send your manuscript, you’ll need to include a small reading fee. And is this your first draft? It’s going to need lots of editing. She’ll recommend one of her “professional connections” to edit your novel for only a few hundred (or thousand!) dollars. The promises will keep getting bigger as your bank account gets smaller. Every week, there will be some new service absolutely crucial to preparing your manuscript for submission to the Big Six publishers. In the best-case scenario, these people might do some decent work. More likely, they will lead you on a merry chase and disappear once the check clears.

Question Toolbox:

• Is she looking to make money with you, or first take money from you?
• Does she allow you to pick your services and providers, or does she force hers upon you? For example, can you pick your own editor, or does she demand you use the recommended editor if you want to keep her as an agent?
• If she’s an in-demand agent powerhouse, how does she have time to accept online submissions from strangers?

To read about the other four scams read Lila's entire article here: Five Common Writer Scams — Explained!

These days we need warnings about fraudsters. Lila has put together a great post I think ever writer should read.

Thanks to The Passive Voice Blog for mentioning Lila's article.

Photo credit: mark i geo

The End Of The Professional Writer?

An article in The Globe And Mail recently proclaimed the end of the professional writer. Professional writers, it was said, are going the way of the dodo and the buggy whip maker. (There Will Be No More Professional Writers in The Future)

Kris Rusch disagrees. She writes:

"... [Ewan Morrison] predicts, “There will be no more professional writers in the future.”

Here’s the thing: Viewed from a certain perspective, Morrison is absolutely right. A decade or two down the road, the model that we once called “professional” for writers will disappear.

That model depended on writers writing on spec until they sell something. Those writers need a day job to support themselves. Those writers once they sell something then hire an employee with no legal training who negotiates their contract. Then that same employee, who usually has no literary training, vets all of the writer’s future works.

For this single sale, the writers will get an interest-free loan that they do not have to pay back if their book fails to sell well. If the book does sell well, then that interest-free loan will be paid off and the writer will receive a percentage of the book’s cover price (in theory) for each copy sold. Of course, cover price might be subject to discounting (at which case the percentage paid to the writer goes down) and the definition of sold might include free copies given away in hopes of goosing remaining sales, but hey, who is counting?

Wait. The answer to that is no one. Because accounting programs at most traditional publishers are so behind the times that they can’t handle e-book royalties in any sane way.

.  .  .  .

Morrison is right when he calls traditional publishing a feudal economic system. What he fails to see is that it has always been one. And that the economics are simply getting  more rigid as time goes on. The writers are getting less of the pie than they did before, and seem to have no way to combat that.

Except through the very thing he bemoans—digital publishing. Rather than embracing the revolution, he criticizes it [...].

He finds himself faced with a hell of a dilemma—one that most traditionally published writers face. Should they get a day job in which someone else now pays for their time? Should they keep writing and hope that things will improve? Or should they learn how to run a small business and actually control their finances—and their careers—for the first time in their lives?

.  .  .  .

The true professional writers will publish indie. You have to be professional to survive in a market that requires business savvy as well as creativity.

.  .  .  .

Yes, Morrison is right. The past sixty years of publishing have become an era that is no more.

And that’s a very, very, very good thing.

Read more of Kris Rusch's article here: The Business Rusch: The End of the Unprofessional Writer

Other articles you might enjoy:
- Kristen Lamb: 5 Rules For Using Twitter Successfully
- 8 Ways To Become A Better Writer

Photo credit: Unknown

Dean Wesley Smith: Why I Self Publish

Dean Wesley Smith, in an article written for Kirkus reviews, talks about how he became an indie author:

After 100-plus novels through the system, I had decided to pretty much move on. I would finish the last few contracts I had and just fade away, write some short fiction, go play some poker.

Then my wife Kristine walked into my writing office on a fine day in May 2010, laughing. She told me about a $12 payment she had just received from Amazon for two short stories.

The previous fall I had tested the new electronic book world of Amazon with a couple of her short stories and a couple of mine. And then promptly forgot about them.

As Kris stood in my office door laughing about the $12, not in a bad way, but in an astounded way that those two stories had made 12 bucks in one month, I understood finally the new world we had just entered for writers.

For the first time, writers had an option other than traditional publishers, a viable option to reach readers directly, a viable option to make a living with their fiction.

Read the rest of Dean's article here: Dean Wesley Smith: The Self-Publishing Bestseller on ‘How I Did It’

I'm fascinated by tales of why authors start to self publish. Although each person's circumstances are unique each story has the same refrain: a writer wanted an alternative to traditional publishing and they liked having more control over their work.

Other articles you might be interested in:
- Spice Up Your Writing: The Passive Voice & Eliminating Passive Verbs
- 8 Ways To Become A Better Writer

Kristen Lamb: 5 Rules For Using Twitter Successfully

Kristen Lamb gives great advice, especially when it comes to the no-man's land of social media, particularly Twitter and Twitter hash tags.

As many of you know, Kristen started the group #MyWANA as a kind of water cooler area for writers to hangout in and get to know one another. If you haven't dropped by yet, what are you waiting for? It's a wonderful virtual community that, now, is relatively spam free although, as Kristen shares in her most recent article, that has not always been the case.

What do we need to know about social media to be successful? Kristen says that the same social rules we learnt in Kindergarden still apply: be considerate.

Kristen's rules for social media success:

"RULE #1 Listening is as Important as Talking—We don’t need to tweet all the time, every hour to be heard."
Tweeting 24 times a day is too much! Of course whether you flood someones twitter account depends on how any people they follow, I try to not send more than 6 general tweets a day.

"RULE #2 You Will Be Graded on Attendance and Participation—NO AUTOMATION, PERIOD"
Kristen writes:

Recently on #MyWANA we had a link-spammer who would not stop spamming #MyWANA. I tweeted nicely and asked her to stop. So did at least a dozen other people. When nice didn’t work, we tried not-nice and tweeted “WHY ARE YOU SPAMMING #MyWANA? STOP!” I even blogged, then blogged AGAIN to make the mission and rules of #MyWANA clear and to gently discourage her behavior.

Still, she kept posting links…and more links…and, yes, even MORE links.

We finally blocked and reported her so much that Twitter shut down her account. What did she do? She opened a new one (or unlocked the reported account) and started link-spamming #MyWANA AGAIN, no matter how many times we told her that #MyWANA was for community.

Why didn’t she listen? Likely because she’d set up automation. Because she wasn’t present, she couldn’t see the fierce hatred we all had for her. Every time we saw her name, we saw red.

When I awoke yesterday to an entire column of tweets from this woman on #MyWANA, I took the fight to Facebook. This got her attention. She apologized and said she was only trying to help writers, that she had a good intentions, and I believe her but:

Good intentions + horrible manners = ticked off followers

"RULE #3 Each of Us Gets One Turn—We only need one identity on Twitter…really."
If you're a writer and you DO have more than one Twitter account, think about the trade-off you're making. The time spent in setting up and maintaining a second account versus time spent writing.

"RULE #4 Play Well with Others—Follow any #s we regularly use and pay attention to the Mentions column."
Excellent advice! And a great way to find useful articles.

"RULE #5 Remember the Golden Rule—Tweet Unto Others as You Would Have Them Tweet Unto You"
That says it all.

Read Kristen Lamb's entire article here: All We Needed To Know About Social Media Success, We Learned in Kindergarten.

Happy tweeting!

Other articles you might enjoy:
- 19 Ways To Grow Your Twitter Following
- 50 Shades Of Alice In Wonderland: Another Indie Success Story
- Kristen Lamb: Don't Let Trolls Make You Crazy

8 Ways To Become A Better Writer

I love Dean Wesley Smith's articles, especially his advice to writers. Here's Dean's most recent advice to new authors, paraphrased.

1) Never stop writing, and never stop having fun.

2) Don't limit yourself: try both indie and traditional publishing.

3) You don't need an agent. Send your manuscript directly to the editor, even if the editor says she doesn't accept unagented material.

4) Hire an IP lawyer if you receive an offer from a publisher. An IP lawyer can explain the contract to you, tell you if there are any 'gottya' clauses, and help you negotiate with the publisher.

5) Be professional. When you  publish your own work yourself, make sure you're dong a professional job. (Indie Writers: 10 Things Not To Do)

6) Follow Heinlein's Rules of Writing. Figure out ways to give yourself more time to write. (How To Be A Writer)

7) Educate yourself. Learn as much as you can about writing and publishing. This takes time. Reading the following blogs helps:
- A Newbie's Guide to Publishing
- Dean Wesley Smith
- Kris Rusch
- The Passive Voice Blog
- Mystery Writing Is Murder (Elizabeth Craig also tweets links to great articles on writing)

8) Don't be discouraged. For most writers it will take years to learn how to be a good storyteller. Don't be impatient and don't ever give up.

To Dean's list I'd add this: Don't be shy about experimenting. If you are indie published and one of your titles isn't selling as much as you'd like--or even if it is!--experiment with different covers, different prices, different marketing strategies, but all the while keeping in mind that the best way to market your work is to publish a new book.

Other articles you might like:
- Pixar: 22 Ways To Tell A Great Story
- Penelope Trunk Discusses Time Management
- Fifty Shades of Grey - Oh My!

Photo credit: Ben Fredericson

Picking Up The Threads: Getting Back Into Your Story

From the blog of Elizabeth S. Craig:

Jumping back into your story:

Consider limited Re-reading: The worst part is losing the story thread. I’ll usually read the last couple of pages and just forge ahead. If I poke around too long in past pages, I start getting my editor hat on. For me, that kills the creative process. But every writer is different. And this is harder to do if you’re way behind.

Timer: I’ll write as quickly as I can for 10 minutes. I won’t worry about if it’s something that’s going to need to be cut later. The important thing is making process on the story…mentally, that’s important. The next day, the writing will be more focused.

Lists: At the very least, sit down and make a list for options for your next scene, options for your character’s development, options for the next big conflict. Get your mind back into the story again.

Silence your inner critic: It’s not doing us any good.

Don’t try to catch up: It’s not fun to meet your daily goal and then write more than that to satisfy your catch-up goal. If I’m not close to a deadline (and right now I’m not), then I’m going to forget about those 8 or 9 pages I’m behind on. Each day is an opportunity to meet that day’s goal.

The important thing is to pick up your story again. It might be that the only way of doing that means taking a small notebook on the go to jot down story notes. I’m doing that today when I take my kids to their dentist appointment. Just figure out a way to fit it in.

"Silence your inner critic: It's not doing you any good." Truer words were never written! Another great article by Elizabeth Craig: Jump Back Into Your Story.

Other articles you might enjoy:
- How To Be A Writer
- 8 Ways To Become A Better Writer

Photo credit: LifeSupercharger

Plot Without Conflict

Plot without conflict. Impossible? Not necessarily.

In the West, plot is commonly thought to revolve around conflict: a confrontation between two or more elements, in which one ultimately dominates the other. The standard three- and five-act plot structures—which permeate Western media—have conflict written into their very foundations. A “problem” appears near the end of the first act; and, in the second act, the conflict generated by this problem takes center stage. Conflict is used to create reader involvement even by many post-modern writers, whose work otherwise defies traditional structure.

The necessity of conflict is preached as a kind of dogma by contemporary writers’ workshops and Internet “guides” to writing. A plot without conflict is considered dull; some even go so far as to call it impossible. This has influenced not only fiction, but writing in general—arguably even philosophy. Yet, is there any truth to this belief? Does plot necessarily hinge on conflict? No. Such claims are a product of the West’s insularity. For countless centuries, Chinese and Japanese writers have used a plot structure that does not have conflict “built in”, so to speak. Rather, it relies on exposition and contrast to generate interest. This structure is known as kishōtenketsu.

Kishōtenketsu contains four acts: introduction, development, twist and reconciliation. The basics of the story—characters, setting, etc.—are established in the first act and developed in the second. No major changes occur until the third act, in which a new, often surprising element is introduced. The third act is the core of the plot, and it may be thought of as a kind of structural non sequitur. The fourth act draws a conclusion from the contrast between the first two “straight” acts and the disconnected third, thereby reconciling them into a coherent whole. Kishōtenketsu is probably best known to Westerners as the structure of Japanese yonkoma (four-panel) manga; and, with this in mind, our artist has kindly provided a simple comic to illustrate the concept.

See the comic and read the rest of this thought-provoking article here: The significance of plot without conflict. Thanks to C.G. Cameron for the link.

I had heard something about this--creating plot without conflict--but never had described in any detail. Lovely idea. I would like to read a short story based on kishōtenketsu.

Other articles you might be interested in:
- Helping Writers De-Stress: Meditation Apps
- Spice Up Your Writing: The Passive Voice & Elimiating Passive Verbs

Photo credit: davidppatriot