I just got a pair of reviews for my latest Jack book, FUZZY NAVEL (July 8, 2008), and it got me thinking about something:
Reviews sell books.
I know this for a fact, because I buy books after reading reviews. It doesn't even matter if the book was given a thumbs up or thumbs down. I read reviews for content, not opinion, and reviews alert me to the existence of the types of books I normally buy.
If this works on me, I'm guessing it works on other people. As a counter example, I've never bought a book because I ate a piece of candy with the book cover image glued to the wrapper. Because of this, I don't pass out snacks to potential fans. But I do try to get reviews.
Unfortunately, getting reviewed is becoming harder and harder.
The first reason: Too much competition. There are 200,000 books being released every year, and too little space to review them in. The bestsellers get preferential treatment, leaving the rest of us midlisters to fight for scraps.
The second reason: Too few publications review books. As newspaper circulation dwindles, so does advertising by publishers, which reduces or eliminates the book review pages.
I haven't gotten a lot of print reviews. No big ones like the NYT, ET, or People, and not many by bigger newspapers. My big hometown paper, The Chicago Tribune, has never reviewed me, even though my books are set in Chicago. Though my other two Chicago papers, The Sun-Times and the Daily Herald, have reviewed me, but in both of those cases knowing the reviewer probably had something to do with it.
Genre mags have been good to me, and I've been reviewed in EQMM, The Strand, Mystery Scene, and Crimespree, but they've each missed a few titles.
The trade mags (Booklist, Kirkus, Library Journal, PW) have all reviewed me, but again they've missed a title here and there.
The Internet has been very kind. Lots of book review sites and blogs have mentioned my books, and Amazon.com reviewers continue to post their comments about my oeuvre.
How does a writer get reviews?
Usually a publicist, either in-house or independent, sends out galleys or ARCs to reviewers along with a brief letter and perhaps a press release. Reviewers can receive over a hundred books a week, even though they only have space in their column to review six books.
Sometimes an author will send books directly to reviewers, and this personal touch may improve their chances. But it's expensive, time consuming, and there is still no guarantee you'll be reviewed.
A good way to get reviewed is to already be a bestseller. Then reviewers will seek out the book, because they know their readers are anxious to hear it. But even then, some reviewers might pass on reviewing the latest Patricia Cornwell if given the chance, and might embrace a smaller author whose book they adored.
Since competition for print reviews is so stiff, many authors are concentrating on the Internet. The World Wide Web has the advantage of being Googleable forever, which can lead people to your book for years after it's been published. But most of the review sites are small, getting very few hits. While it may be great that you're reviewed on 100 blogs, you have to consider the cost-effectiveness of it. Sending out 100 ARCs will cost about $500 (double if you have to pay for your own ACRs), and you may only be reaching an audience of 50,000 people total. Two million people read the Tribune, and it only cost you $5 to send the ARC.
I've seen authors offer free copies of books to Amazon reviewers, which seems silly considering the very small number of books Amazon actually sells.
I've also seen authors give free books to bloggers, which is a somewhat better prospect, but even then you have to consider cost-effectiveness.
It's a dismal situation.
Writers and publishers spend big money on ads and fancy multimedia websites, with unspectacular results.
They spend big money on galleys and ARCs, even though the overwhelming majority of them don't lead to reviews.
More and more books are being released, with less and less print venues to review them in, and Interent reviews are probably not cost-effective to procure.
So what's the answer? Here are a few:
1. Buy reviews. I'm not talking about paying a reviewer. I'm talking about getting a more famous peer to review your book, then using that as the basis for print ads. If your publisher has an advertising budget, it's a much better use of their money if they run 200 words about your latest, reviewed by a known writer, than the standard book cover/author photo/blurb.
2. Schmooze. Reviewers are people. Meet them. Be nice to them. Chances are they'll remember you, and you'll have a better shot at being reviewed than the thousands of authors they don't know.
3. Give away ebooks. While mailing out review copies to people with small blogs probably isn't cost effective, you can email them a pdf file of your latest for free. You'll have to clear this with your publisher first. Remind them how much they spend on galleys.
4. Become a reviewer. Many of us have blogs and MySpace pages. There is also Shelfari, Twitter, GoodReads, Amazon, BN.com, and many others. Review your fellow authors in as many places as possible.
What are some other good places to post reviews? I want to hear them. By the end of the week I'd like to have a semi-comprehensive list of all the major places fans can review books. Then I'll repost this blog entry with the list at the bottom, to the service of all writerdom.
In the meantime, I humbly ask you to review my books in as many places as humanly possible.
Yes, I'm serious. Review my books. Right now.
Monday, May 19, 2008
Tuesday, May 13, 2008
Contests
If you're a fan of the Claire Fergusson/Russ Van Alstyne mysteries written by friend and literary dynamo Julia Spencer-Fleming (and you should be) she's giving away free books on her website.
If you aren't a fan yet, I'm giving you a chance to become a fan.
Go to www.juliaspencerfleming.com, read the excerpt for her latest novel I SHALL NOT WANT, and answer this question:
"What job does Hadley Knox swear she's going to take?"
Email your answer to Julia at julia@juliaspencerfleming.com. Five lucky folks will get free books. Tell her JA sent you...
I'm always harping about how writers need to improve their public speaking skills, and I just found out another friend of mine has written a book on the subject. USING STORIES AND HUMOR, by Joanna Slan, is all about grabbing your audience (figuratively.)
Post your most embarassing public speech story here, and the winner will get a free copy.
Last, but not least, I found an extra advance reading copy of FUZZY NAVEL hiding under my desk.
Send me a picture of you holding one of my books. The most creative pic gets the copy. Runner ups get something else for free--I have a few dozen magazines with my stories in them.
Now go have at it.
If you aren't a fan yet, I'm giving you a chance to become a fan.
Go to www.juliaspencerfleming.com, read the excerpt for her latest novel I SHALL NOT WANT, and answer this question:
"What job does Hadley Knox swear she's going to take?"
Email your answer to Julia at julia@juliaspencerfleming.com. Five lucky folks will get free books. Tell her JA sent you...
I'm always harping about how writers need to improve their public speaking skills, and I just found out another friend of mine has written a book on the subject. USING STORIES AND HUMOR, by Joanna Slan, is all about grabbing your audience (figuratively.)
Post your most embarassing public speech story here, and the winner will get a free copy.
Last, but not least, I found an extra advance reading copy of FUZZY NAVEL hiding under my desk.
Send me a picture of you holding one of my books. The most creative pic gets the copy. Runner ups get something else for free--I have a few dozen magazines with my stories in them.
Now go have at it.
Wednesday, May 07, 2008
Uncertainty
Writing isn't a career for the weak-hearted.
Besides the regular perks of self-employment, such as spending countless hours on your tax return, being without health insurance, and lack of regular paychecks, there is also what I consider to be the the most daunting aspect of all:
The fact that, at any moment, you won't have a career anymore.
Many things conspire to sabotage our livelihoods.
Signing with a bad or mediocre agent is like putting your all your money on a three-legged horse to place. Even good agents can be wrong sometimes, which is why they're unable to sell much of what they acquire.
Your editor can quit. Your publisher can change agendas. Other, similar books can tank, squashing plans for yours. Like all companies, publishing houses often have good employees and bad employees, and who winds up in charge of editing, promoting, and marketing your book is a crapshoot---especially since only 1 out of 5 books makes a profit anyway.
Bookstores may not buy your book sufficient quantities, or reorder stock when it sells. They can shelve it wrong, ignore coop placement, refuse to stock your backlist, and do a hundred other things that could hurt your potential sales.
The readers may not buy it. They may not like it. They may not know it even exists.
I've often said that you have to sell a book several times in order to actually earn a royalty. First, to an agent, then to an editor, then to the publisher, then to distributors, then to bookstores, then to the customer. Anywhere along the food chain, tragedy can occur.
No, this isn't a career for people who want or need security.
But the worst thing about being a professional writer has to be this:
Being between contracts.
It's true that your second book is harder to sell than your first. Numbers follow you. If your sales aren't strong, your career is pretty much over.
When you have a contract, and a guarantee of a book coming out and a check coming in, you breathe a little easier. That's real, concrete, something you can count on.
But then your contract ends. And, for those who haven't been in this position before, I have to lay down some bitter truth here: it can be weeks, or months, before you get another contract. Sometimes even years.
You'd think that a publisher who has been growing a writer for several books will want to immediately reassure the writer that there will be more books to come. This isn't the case. Deciding to offer a new contract depends on many things. Numbers, money, in-house enthusiasm, trends, backlist sales, critical response, the influx of new people and farewell to old people at the publisher, new imprints, closed lines, and so on.
Plus, since your publisher often has a first look option for your next book, there's no rush. You give them a manuscript or outline, and they can take up to three months to make an offer.
This waiting time is hell.
If you're a guy, it's like having to propose to your spouse all over again every few years. And ladies, it isn't romantic. It's nerve-wracking. The possibility of being told no can terrify the stoutest heart.
So, when you're between contracts, how should you deal with it? After so much booze, so much fingernail chewing, so many phone calls and emails to peers who assure you that of course you'll get an offer, what can you do to keep your spirits up?
Here are some answers:
Write. The best way to cope with the anxiety of being without any visable means of support is to get another iron in the fire. The more projects you have completed, the better your chances at selling one of them. While you're waiting to get a contract for one book, write another book. Or a screenplay. Or some short stories.
My latest book was on submission for almost six months before it sold. In the meantime I wrote another book and a screenplay--which are now on submission. I'm currently working on three other projects. Writer's write. They don't wait around with their fingers crossed.
Believe. I'm not big on faith. I prefer cold, hard, provable facts, and think hoping and wishing for things have as much use as guilt and worry--in other words, no use at all.
But having confidence in my work, and knowing that if this current project doesn't sell, the next one will, is how I'm able to sleep at night when I'm between contracts. I believe I'll succeed. Without resorting to mantras, daily affirmations, or self-pep talks, you can also believe you'll succeed by remembering the following:
Besides the regular perks of self-employment, such as spending countless hours on your tax return, being without health insurance, and lack of regular paychecks, there is also what I consider to be the the most daunting aspect of all:
The fact that, at any moment, you won't have a career anymore.
Many things conspire to sabotage our livelihoods.
Signing with a bad or mediocre agent is like putting your all your money on a three-legged horse to place. Even good agents can be wrong sometimes, which is why they're unable to sell much of what they acquire.
Your editor can quit. Your publisher can change agendas. Other, similar books can tank, squashing plans for yours. Like all companies, publishing houses often have good employees and bad employees, and who winds up in charge of editing, promoting, and marketing your book is a crapshoot---especially since only 1 out of 5 books makes a profit anyway.
Bookstores may not buy your book sufficient quantities, or reorder stock when it sells. They can shelve it wrong, ignore coop placement, refuse to stock your backlist, and do a hundred other things that could hurt your potential sales.
The readers may not buy it. They may not like it. They may not know it even exists.
I've often said that you have to sell a book several times in order to actually earn a royalty. First, to an agent, then to an editor, then to the publisher, then to distributors, then to bookstores, then to the customer. Anywhere along the food chain, tragedy can occur.
No, this isn't a career for people who want or need security.
But the worst thing about being a professional writer has to be this:
Being between contracts.
It's true that your second book is harder to sell than your first. Numbers follow you. If your sales aren't strong, your career is pretty much over.
When you have a contract, and a guarantee of a book coming out and a check coming in, you breathe a little easier. That's real, concrete, something you can count on.
But then your contract ends. And, for those who haven't been in this position before, I have to lay down some bitter truth here: it can be weeks, or months, before you get another contract. Sometimes even years.
You'd think that a publisher who has been growing a writer for several books will want to immediately reassure the writer that there will be more books to come. This isn't the case. Deciding to offer a new contract depends on many things. Numbers, money, in-house enthusiasm, trends, backlist sales, critical response, the influx of new people and farewell to old people at the publisher, new imprints, closed lines, and so on.
Plus, since your publisher often has a first look option for your next book, there's no rush. You give them a manuscript or outline, and they can take up to three months to make an offer.
This waiting time is hell.
If you're a guy, it's like having to propose to your spouse all over again every few years. And ladies, it isn't romantic. It's nerve-wracking. The possibility of being told no can terrify the stoutest heart.
So, when you're between contracts, how should you deal with it? After so much booze, so much fingernail chewing, so many phone calls and emails to peers who assure you that of course you'll get an offer, what can you do to keep your spirits up?
Here are some answers:
Write. The best way to cope with the anxiety of being without any visable means of support is to get another iron in the fire. The more projects you have completed, the better your chances at selling one of them. While you're waiting to get a contract for one book, write another book. Or a screenplay. Or some short stories.
My latest book was on submission for almost six months before it sold. In the meantime I wrote another book and a screenplay--which are now on submission. I'm currently working on three other projects. Writer's write. They don't wait around with their fingers crossed.
Believe. I'm not big on faith. I prefer cold, hard, provable facts, and think hoping and wishing for things have as much use as guilt and worry--in other words, no use at all.
But having confidence in my work, and knowing that if this current project doesn't sell, the next one will, is how I'm able to sleep at night when I'm between contracts. I believe I'll succeed. Without resorting to mantras, daily affirmations, or self-pep talks, you can also believe you'll succeed by remembering the following:
- You've got talent.
- You're constantly honing your craft.
- You're smart.
- You're dedicated.
- You work hard.
- You keep writing.
- You won't ever give up.
Actually, that does sound like a self-pep talk. But so what? You need to believe in all of these things if you truly want to be successful.
Success isn't about accepting "no." It's about searching until you find a "yes."
Think. This one is the hardest. While writers tend to be overly introspective, they aren't normally self-critical. After all, in order to have confidence and believe in ourselves, we have to trust our writing, our goals, our business plans.
But we should only trust those things after they've been proven.
I posit--and I'm 99% right--that your worst enemy in this business isn't your agent, your editor, or the publishing industry as a whole.
It's you.
If you're not being offered contracts, if your career is flagging, if you've been rejected a gazillion times and don't understand why, it's because you aren't looking hard enough at what you're doing wrong. Because, believe me, you're doing something wrong.
Yes, publishing comes down to luck. But odds play a part in luck. And if you understand odds and stack them in your favor when you can, you eventually have to win something.
If you're doing more losing than winning, you need to figure out why. It's not the casino's fault--their odds are set. It's your fault, because you're a shitty gambler.
Here are some things to consider:
- Check the writing. It might not be as sharp as you think it is. Get other people's opinions and demand criticism, not praise. Figure out what you're doing wrong. Examine the lock before you make the key, study the markets, understand the genre you're writing in, and figure out your place in the machine.
- Evaluate your professional relationships. If your agent isn't working for you, dump her. If your publishing house isn't behind you, leave them. Don't settle for scraps, because then scraps are all you'll get.
- Examine your goals. Are these attainable goals (I'll send out 50 queries, finish the book, and rewrite the outline) or goals that are beyond your control (I'll get an agent, become a bestseller)? Unrealistic goals not only cause disappointment, but your structure for reaching them is invariably flawed.
- Look at yourself. No one thinks they're difficult, negative, stubborn, or demanding. Yet, at times, all of us are all of these things. Projecting them professionally is the kiss of death. Observe and understand the effect you have on others. If someone insults you, even constructively, assume that a hundred other people think the same thing but don't have the guts to tell you.
Like everything in life, the more you have control over (your craft, your drive, your attitude, your relationships) the less uncertainty you'll encounter.
There will still be uncertainty, because success still requires luck. But empowering yourself with knowledge, awareness, confidence, and good old-fashioned hard work is a lot more productive than holding your breath and hoping.
Now uncross your damn fingers and get proactive.
Friday, May 02, 2008
Peers and the Healthy Writer
I've been doing a lot of travelling lately, giving my standard inspirational talk to newbies (if you've seen my tattoos, you know the talk I mean) and a topic that keeps coming up is the importance of peers to today's writer.
Peers are both the most and least important people in your career. It all depends on what you use them for.
Here's a quickie rundown of everything peery.
Herding Instinct. If you're a newbie writer who lives a Unibomberish existence off the grid, you aren't reading this. For the rest of us, seeking out like-minded folks is part of our genetic code.
Since writing is a solitary profession, meeting other writers--both online and in real life--is a way to reassure ourselves that we're normal after all. Most writers have the same concerns, problems, and fears. Depending on your experience, there's always more to learn and tales to share.
This is good. Networking offers opportunities to question, evaluate, test, and explore the reasons we work the way we work. We all can learn a great deal from each other, and Internet forums, blogs, bulletin boards, groups, and discussions, along with writing conventions and conferences, book fairs, and literary festivals, are the perfect way to do this.
You obviously read this blog, but do you contribute to it? Do you ask questions, offer advice, and communicate? Communication is a two way street, and you learn more from give and take than you do simply lurking and watching.
Critiquing. While trading insider secrets is a great reason to hang out with other writers, the best way to use your peers is as readers. If you haven't ever joined a writer's group, you should consider it. If you're already published, offer to trade manuscripts with your peers before your agent or editor has a look. I do this with many different authors, and I always learn a lot.
While it's always nice to be praised, it's much better to seek problems with your work, so those can be fixed before the book reaches the street and the hate email starts pouring in.
Critiquing goes both ways, and you can also learn from reading a peer's manuscript and articulating what can be made stronger, and possibly how.
Approval. While I endorse forging some ties with a few close writing friends, for the most part you don't need to worry about the acceptance of your peers. While a certain percentage of them--especially if you do a lot of appearances--will buy your books if they like what you have to say, the fact is that your peers aren't your main audience.
Worrying about who is saying what about whom, feeling snubbed because you never got that nomination or award, and wondering why those cliques of popular authors never seem to include you--that's all wasted effort on your part.
You don't need to be accepted by the writing community, the genre community, the awards committee, your local writing organization, or any other group of individual in order to be happy or successful.
The opinion of your peers, as a group, simply doesn't matter.
High school was a long time ago. If you like yourself, and have at least one person in the world who also likes you, that's all you'll ever need.
Blurbing. Try to blurb everyone you can. When asking for blurbs, don't be aggressive, or disappointed if it doesn't work out. That's all that needs to be said on the subject.
For an alternate viewpoint of this, check out Barry Eisler's blog post over at MJ Rose's Buzz, Balls, and Hype:
http://mjroseblog.typepad.com/buzz_balls_hype/2006/09/blurbersion.html
Commiseration. Hanging out with writers, talking the talk, is always helpful. But sometimes you need something deeper. Things happen in the career, both good and bad, and often we don't know how to react to them. Sometimes we need a peer to offer their perspective. Sometimes we just need someone to bitch to.
This is where the line between peer and friend begins to blur. Try to keep them separate.
A peer is a fellow writer.
A friend is a favored companion.
All peers are not friends, and all friends are not peers.
If you can land one who is both, cherish that relationship, because you can benefit greatly from it. Just remember to put back in what you take out.
And remember to never air dirty laundry, yours or anyone else's.
Advice. As you move up in the writing world, more and more people will ask you for your advice because they want to get where you're at.
Offer that advice, but always make sure they know that your way isn't the only way, and that just because you're a so-called expert doesn't mean you know everything.
And make sure, when you hear expert advice, you remember that as well.
There are few universal truths in writing. Learn what you can, test things for yourself, and discard what doesn't work.
Support. We need to help each other, not hurt each other.
That involves two basic principles.
1. Not thinking or acting like you're better than anyone else, and never publicly criticizing other authors.
2. Being friendly, accessible, and professional.
Treat other writers like you want to be treated, no matter their experience level, or how incredibly obnoxious, small-minded, or oblivious they are.
Being right is not an excuse for being mean. Being successful is not an excuse for being self-important. Being honest is not an invitation to getting attacked.
Help others and keep the negativity private.
That said, I've officially declared tomorrow, May 3 ,to be "Hug Another Author Day."
Tag, you're it. Spread the word. Virtual hugs are okay too.
And, as always, thanks for reading. Hugs to all you folks. :)
Peers are both the most and least important people in your career. It all depends on what you use them for.
Here's a quickie rundown of everything peery.
Herding Instinct. If you're a newbie writer who lives a Unibomberish existence off the grid, you aren't reading this. For the rest of us, seeking out like-minded folks is part of our genetic code.
Since writing is a solitary profession, meeting other writers--both online and in real life--is a way to reassure ourselves that we're normal after all. Most writers have the same concerns, problems, and fears. Depending on your experience, there's always more to learn and tales to share.
This is good. Networking offers opportunities to question, evaluate, test, and explore the reasons we work the way we work. We all can learn a great deal from each other, and Internet forums, blogs, bulletin boards, groups, and discussions, along with writing conventions and conferences, book fairs, and literary festivals, are the perfect way to do this.
You obviously read this blog, but do you contribute to it? Do you ask questions, offer advice, and communicate? Communication is a two way street, and you learn more from give and take than you do simply lurking and watching.
Critiquing. While trading insider secrets is a great reason to hang out with other writers, the best way to use your peers is as readers. If you haven't ever joined a writer's group, you should consider it. If you're already published, offer to trade manuscripts with your peers before your agent or editor has a look. I do this with many different authors, and I always learn a lot.
While it's always nice to be praised, it's much better to seek problems with your work, so those can be fixed before the book reaches the street and the hate email starts pouring in.
Critiquing goes both ways, and you can also learn from reading a peer's manuscript and articulating what can be made stronger, and possibly how.
Approval. While I endorse forging some ties with a few close writing friends, for the most part you don't need to worry about the acceptance of your peers. While a certain percentage of them--especially if you do a lot of appearances--will buy your books if they like what you have to say, the fact is that your peers aren't your main audience.
Worrying about who is saying what about whom, feeling snubbed because you never got that nomination or award, and wondering why those cliques of popular authors never seem to include you--that's all wasted effort on your part.
You don't need to be accepted by the writing community, the genre community, the awards committee, your local writing organization, or any other group of individual in order to be happy or successful.
The opinion of your peers, as a group, simply doesn't matter.
High school was a long time ago. If you like yourself, and have at least one person in the world who also likes you, that's all you'll ever need.
Blurbing. Try to blurb everyone you can. When asking for blurbs, don't be aggressive, or disappointed if it doesn't work out. That's all that needs to be said on the subject.
For an alternate viewpoint of this, check out Barry Eisler's blog post over at MJ Rose's Buzz, Balls, and Hype:
http://mjroseblog.typepad.com/buzz_balls_hype/2006/09/blurbersion.html
Commiseration. Hanging out with writers, talking the talk, is always helpful. But sometimes you need something deeper. Things happen in the career, both good and bad, and often we don't know how to react to them. Sometimes we need a peer to offer their perspective. Sometimes we just need someone to bitch to.
This is where the line between peer and friend begins to blur. Try to keep them separate.
A peer is a fellow writer.
A friend is a favored companion.
All peers are not friends, and all friends are not peers.
If you can land one who is both, cherish that relationship, because you can benefit greatly from it. Just remember to put back in what you take out.
And remember to never air dirty laundry, yours or anyone else's.
Advice. As you move up in the writing world, more and more people will ask you for your advice because they want to get where you're at.
Offer that advice, but always make sure they know that your way isn't the only way, and that just because you're a so-called expert doesn't mean you know everything.
And make sure, when you hear expert advice, you remember that as well.
There are few universal truths in writing. Learn what you can, test things for yourself, and discard what doesn't work.
Support. We need to help each other, not hurt each other.
That involves two basic principles.
1. Not thinking or acting like you're better than anyone else, and never publicly criticizing other authors.
2. Being friendly, accessible, and professional.
Treat other writers like you want to be treated, no matter their experience level, or how incredibly obnoxious, small-minded, or oblivious they are.
Being right is not an excuse for being mean. Being successful is not an excuse for being self-important. Being honest is not an invitation to getting attacked.
Help others and keep the negativity private.
That said, I've officially declared tomorrow, May 3 ,to be "Hug Another Author Day."
Tag, you're it. Spread the word. Virtual hugs are okay too.
And, as always, thanks for reading. Hugs to all you folks. :)
Sunday, April 27, 2008
Why I Self-Promote
I think that many authors get discouraged because they work their butts off self-promoting, and don't see immediate benefits. How could they? The hardest working author in the world could maybe handsell ten thousand copies of a book in a year. That's an impressive number, but ultimately insignificant if he has 500k books in print.
When I say, "You should self promote," some authors immediately go into defensive mode. Their arguements usually come down to:
"It's the publisher's job to sell books, not mine."
Or
"You can be successful without self-promoting."
Or
"I'd rather focus on writing a good book."
Or
"Prove to me that self-promotion makes you successful."
Or
"I tried and it didn't work."
Or a combination of the above. Justification for our actions (or non actions) is essential for our self-esteem.
But that justification should be well thought out. All options should be carefully considered before a path is chosen. And that path should be subject to change, as more evidence comes into play.
I've spent a good deal of time contemplating the publishing business. Along with contemplating, I've experimented. I made some observations, and drew some conclusions, based on my experience (which I tried to make as broad as possible.)
I've found that:
1. Publishing, as a business model, is a poor one.
2. No one in publishing really knows what they're doing, because you can't learn from unreproduceable phenomenon.
3. Taste is subjective. A "good" book means different things to different people.
4. People would rather defend their actions than analyze them.
5. Luck plays an overwhelming part in success. This is scary, because it is beyond our control. So most publishers, and authors, would rather erroneously attribute success to their hard work and efforts, talent, and business savvy.
6. There are no guarantees, except for one: The more you self promote, the more books you'll sell, and the more you'll increase your luck.
So, what can an author do to better their career?
1. I can't change the publishing world, even though it's broken. That's beyond my control.
2. I can't learn from unreproduceable phenomenon any more than my publisher can, and I don't have the resources to run controlled tests, surveys, focus groups, and scientifically analyze the system to learn what works and what doesn't. It's beyond my control.
3. I can write the best book I can, but that's no guarantee of anything. Many good books fail. A lot of crap sells really well. Taste is subjective, and there is no objective scale that can rate books based on their merit.
4. I can learn from my actions and be open to new ideas, but can't expect anyone else to have that same attitude.
5. I can recognize that success comes down to luck, as scary as that is.
6. I can do what I can to improve my luck. That means writing good books (which is subjective) and spreading the word about my books, which is objective.
So basically, what I've learned in the past five years is that the only real control an author has is how many books they can sell by self-promotion. That's the only way we can empower ourselves.
Beware a sense of entitlement. Beware believing that hard work and/or talent is more important than luck. Beware believing that your success or failure is a direct result of anything you've done. These beliefs don't lead to anything healthy.
There's no fairness. No dues that must be paid. No deserving success.
There's only getting lucky, and what you can do to maximize your luck.
That's why I spend so much time self-promoting.
When I say, "You should self promote," some authors immediately go into defensive mode. Their arguements usually come down to:
"It's the publisher's job to sell books, not mine."
Or
"You can be successful without self-promoting."
Or
"I'd rather focus on writing a good book."
Or
"Prove to me that self-promotion makes you successful."
Or
"I tried and it didn't work."
Or a combination of the above. Justification for our actions (or non actions) is essential for our self-esteem.
But that justification should be well thought out. All options should be carefully considered before a path is chosen. And that path should be subject to change, as more evidence comes into play.
I've spent a good deal of time contemplating the publishing business. Along with contemplating, I've experimented. I made some observations, and drew some conclusions, based on my experience (which I tried to make as broad as possible.)
I've found that:
1. Publishing, as a business model, is a poor one.
2. No one in publishing really knows what they're doing, because you can't learn from unreproduceable phenomenon.
3. Taste is subjective. A "good" book means different things to different people.
4. People would rather defend their actions than analyze them.
5. Luck plays an overwhelming part in success. This is scary, because it is beyond our control. So most publishers, and authors, would rather erroneously attribute success to their hard work and efforts, talent, and business savvy.
6. There are no guarantees, except for one: The more you self promote, the more books you'll sell, and the more you'll increase your luck.
So, what can an author do to better their career?
1. I can't change the publishing world, even though it's broken. That's beyond my control.
2. I can't learn from unreproduceable phenomenon any more than my publisher can, and I don't have the resources to run controlled tests, surveys, focus groups, and scientifically analyze the system to learn what works and what doesn't. It's beyond my control.
3. I can write the best book I can, but that's no guarantee of anything. Many good books fail. A lot of crap sells really well. Taste is subjective, and there is no objective scale that can rate books based on their merit.
4. I can learn from my actions and be open to new ideas, but can't expect anyone else to have that same attitude.
5. I can recognize that success comes down to luck, as scary as that is.
6. I can do what I can to improve my luck. That means writing good books (which is subjective) and spreading the word about my books, which is objective.
So basically, what I've learned in the past five years is that the only real control an author has is how many books they can sell by self-promotion. That's the only way we can empower ourselves.
Beware a sense of entitlement. Beware believing that hard work and/or talent is more important than luck. Beware believing that your success or failure is a direct result of anything you've done. These beliefs don't lead to anything healthy.
There's no fairness. No dues that must be paid. No deserving success.
There's only getting lucky, and what you can do to maximize your luck.
That's why I spend so much time self-promoting.
Saturday, April 19, 2008
For Those About To Give Up...
Meanwhile, in the NFL....
Coach: OK, guys. The first half was a little rough.
Player #1: Rough?!? We're getting creamed 78 to 3!
Coach: I understand that.
Player #2: The other team is killing us, coach! We're being humiliated!
Coach: I know. That's because they have a better owner, who spent more money on getting better players. It's hard to hear, but it's true. They also have a better coaching staff. It's all about the benjamins.
Player #3: So what do we do? How do we win?
Coach: We're not going to win. It's not within our power.
Player #1: Huh?
Coach: There's nothing any of us can do to win. It's up to the owner. He didn't come through with the cheddar, so we might as well give up.
Player #2: Isn't there anything we can do?
Coach: Nope.
Player #3: What about trying harder?
Coach: Won't work. We don't have the support of the owner. Without that influx of money and talent, we're all just spinning our wheels.
Player #1: But I'm a great player! I was on the all star team!
Player #2: I was a first round draft pick!
Player #3: I won awards!
Coach: It's not enough.
Player #2: What about heart? Effort?
Coach: None of that matters.
Player #1: This is a pretty shitty halftime speech, coach.
Coach: Why? it should be liberating. Once you know that you can't win, that success isn't possible, you can absolve yourself of blame.
Player #3: But we want to win.
Coach: Too bad. There's simply nothing you can do.
Player #2: We can refuse to give up. We can analyze what we've done before, and adjust our tactics. We can brainstorm new plans. We can keep trying our best.
Coach: Won't matter. You're doomed to fail. Only the owners can decide who wins. You don't have the power. Think of all the football players who play the game. Only a few are winners. We can't all be winners. You should accept that. In fact, if I were you, I wouldn't even finish this game. I know I'm not going back out there. What's the point?
Player #1: Well, when you put it that way, it sort of makes sense.
Player #3: Yeah. I mean, if we don't have any control anyway, why should we bother trying?
Coach: Now you're getting it. Forgive yourself this humiliating defeat. It isn't your fault. It's the owner's fault. Now who wants to go out and get ice cream?
Player #2: But we still have a game to finish!
Coach: There's no point. Nothing you do matters.
Player #2: But we can still try! We can still play our best!
Player #3: I'm getting Rocky Road.
Player #1: And a waffle cone. I love waffle cones.
Player #2: Guys! Come back! It's your names on the backs of those jerseys! This is your career! You're responsible for your success, not the owners! Guys...?
Announcer: Remember kids, success isn't up to you. Nothing you do to help your life matters, so you might as well give up now. Trying is for the ignorant. So just cross your fingers, and hope the money people get behind you.
This has been a public service message by PWUEIHW (People Who Use Excuses Instead of Hard Work.)
------------------------------------
There will be people in life who tell you you're not going to make it.
And there will be times in life where you think your efforts are in vain.
Once you start making excuses rather than trying your best, you've lost.
You may not be able to guarantee the outcome.
But you can guarantee your best effort.
Now go get 'em, tiger.
Coach: OK, guys. The first half was a little rough.
Player #1: Rough?!? We're getting creamed 78 to 3!
Coach: I understand that.
Player #2: The other team is killing us, coach! We're being humiliated!
Coach: I know. That's because they have a better owner, who spent more money on getting better players. It's hard to hear, but it's true. They also have a better coaching staff. It's all about the benjamins.
Player #3: So what do we do? How do we win?
Coach: We're not going to win. It's not within our power.
Player #1: Huh?
Coach: There's nothing any of us can do to win. It's up to the owner. He didn't come through with the cheddar, so we might as well give up.
Player #2: Isn't there anything we can do?
Coach: Nope.
Player #3: What about trying harder?
Coach: Won't work. We don't have the support of the owner. Without that influx of money and talent, we're all just spinning our wheels.
Player #1: But I'm a great player! I was on the all star team!
Player #2: I was a first round draft pick!
Player #3: I won awards!
Coach: It's not enough.
Player #2: What about heart? Effort?
Coach: None of that matters.
Player #1: This is a pretty shitty halftime speech, coach.
Coach: Why? it should be liberating. Once you know that you can't win, that success isn't possible, you can absolve yourself of blame.
Player #3: But we want to win.
Coach: Too bad. There's simply nothing you can do.
Player #2: We can refuse to give up. We can analyze what we've done before, and adjust our tactics. We can brainstorm new plans. We can keep trying our best.
Coach: Won't matter. You're doomed to fail. Only the owners can decide who wins. You don't have the power. Think of all the football players who play the game. Only a few are winners. We can't all be winners. You should accept that. In fact, if I were you, I wouldn't even finish this game. I know I'm not going back out there. What's the point?
Player #1: Well, when you put it that way, it sort of makes sense.
Player #3: Yeah. I mean, if we don't have any control anyway, why should we bother trying?
Coach: Now you're getting it. Forgive yourself this humiliating defeat. It isn't your fault. It's the owner's fault. Now who wants to go out and get ice cream?
Player #2: But we still have a game to finish!
Coach: There's no point. Nothing you do matters.
Player #2: But we can still try! We can still play our best!
Player #3: I'm getting Rocky Road.
Player #1: And a waffle cone. I love waffle cones.
Player #2: Guys! Come back! It's your names on the backs of those jerseys! This is your career! You're responsible for your success, not the owners! Guys...?
Announcer: Remember kids, success isn't up to you. Nothing you do to help your life matters, so you might as well give up now. Trying is for the ignorant. So just cross your fingers, and hope the money people get behind you.
This has been a public service message by PWUEIHW (People Who Use Excuses Instead of Hard Work.)
------------------------------------
There will be people in life who tell you you're not going to make it.
And there will be times in life where you think your efforts are in vain.
Once you start making excuses rather than trying your best, you've lost.
You may not be able to guarantee the outcome.
But you can guarantee your best effort.
Now go get 'em, tiger.
Tuesday, April 08, 2008
Writing Organizations: Should I?
I recently had a talk with an author friend who was saddened that a writing organization she has belonged to for many years has changed its acceptance guidelines and now doesn't regard her as an active member because her print runs are too small.
My advice to her was two simple words:
Fuck 'em.
Personally, I've never been a proponent of writing organizations. And at the risk of alienating myself from my peers, I'm going to list some reasons why I think you don't need them.
First, let me say that I've belonged to just about all the major genre organizations at one point or another. And they aren't entirely without benefit.
Awards.
You can be allowed to nominate books for awards, and in some cases vote for them.
Promotion.
Your books are mentioned in their promotional material, in print or online.
Meetings.
You get invited to meetings, which allow you to mingle with peers, and banquets, which allow you to mingle with peers while wearing nice clothing. Often these meeting have interesting speakers, and sometimes (more importantly) liquor.
Publications.
You have chances to appear in organization-sponsored anthologies.
Conferences.
You're allowed to participate in conferences and conventions that the organizations sponsor.
Good Will.
The organization often claims to help raise awareness of the genre you're writing in, and may contribute to worthy causes.
Now, readers of this blog already know my feelings about awards. To reiterate: They ain't important. Not a single one.
Sure, they make the writer feel good. And they can get your publisher excited. They might even result in extra sales and interest in your books.
But I have a hypothesis, which I won't confirm because it will take too much time to do so and I'm a lazy bastard. If you take all the bestselling books of 2007, and compare them to all the award-winning books of 2007, there won't be a lot of overlap.
Someone prove me wrong, and then effectively argue that the awards fueled the bestsellerdom.
Besides, this point may be moot, because in the case of many awards, you don't have to be a member of the organization that offers it in order to be nominated.
As for promo material, I think this has a certain amount of worth. Having your latest release mentioned in a widely circulated newsletter certainly can't hurt. Sure, you'll probably be buried among the dozens, or hundreds, of other releases also mentioned in that newsletter. But every little bit helps.
Whether this little bit justifies the steep (and still escalating) yearly costs of being part of a writing organization remains to be seen.
Being invited to meetings, or parties, is a great way to meet peers. Especially if you're a newbie. But you don't need to be a member of anything to meet peers. You only need to attend book fairs, conventions, and conferences, and you'll meet plenty of peers. Along with fans and booksellers, who are more important to your career than your peers are.
You get invited to submit to anthologies. Okay, this is a biggie. A real biggie. But I've been a member of many organizations, and have only been in one antho because of my membership. I've been in around twenty other anthos, no membership necessary. There are plenty of collections that don't require membership.
Many organizations host conventions. I think this is great. While attending conventions holds limited appeal after you've already done several, it's still the best way to introduce yourself and your work to the public, and a great place to shoot the shit with your peers. But even if you belong to the organization holding the event, you still have to pay to get into the event. And guess what? You can go to the event even if you aren't a member of the organization. So where's the real benefit?
As for raising awareness about the genre, I've had the unique opportunity to meet a few thousand booksellers. Some of them know about awards and writing organizations. Most of them don't. Ditto the fans.
The diehard fans who attend conferences do know about the awards, and a few of them care about them deeply. But I'll conservatively estimate the number of mystery, thriller, and horror fans who attend conventions to be less than 10,000 people total.
If your book only sells 10,000 copies, you won't be in this business very long. And chances are high you're not even going to sell to 1/100 of those folks.
The majority of the book buyers don't know, or care, what organization you belong to, because these organizations aren't raising the awareness of the average book buyer. They're preaching to the choir.
If I've missed any benefits to joining an organization, I'd love to hear them and be proven wrong. But now that we've gone through what I see are the positives let's talk about some negatives.
Volunteering.
Boy, can you get screwed volunteering.
The time you spend judging award submissions, organizing a conference, or sitting on a board, can be substantial---taking away from time where you could be writing or promoting. It's also exhaustive, stressful, and never appreciated. No good deed goes unpunished, and devoting your free time to helping an organization that you joined because you wanted it to help you is one of Dante's inner circles of hell.
Lack of Representation.
By a show of hands, how many of you have ever joined an organization and gotten EXACTLY NOTHING for your dues? Where did your money go? How did being a member benefit you? What exactly did the organization do for you that you couldn't have done for yourself?
Professionalitis.
This is when, because you consider yourself a professional writer, you must cloak yourself in the trappings of professionalism, one of which is joining an organization that reinforces the fact that you're a professional.
Bullshit. A union is one thing. But as far as I'm concerned, the only single criteria needed to prove you're a writing professional is if you've gotten paid for your writing.
Groups, clubs, cliques, and gatherings of like-minded folks are part of human nature. As is excluding other folks. Us and them is genetic. We all want to be us rather than them.
But here's a better idea. Be you. Because it's your books, your career, and if your feelings about either are dictated by the approval of your peers, you need to seek some therapy. Which brings us to:
Peer Pressure.
I've had some writing organizations give me the hard sell. A really hard sell, that becomes embarrassing and uncomfortable. Talking candidly with many of my peers, they continue to renew their memberships because they feel pressured into it, are worried about being though less of, and figure a few hundred bucks a year is worth not having to deal with the hassle of actually standing up and saying, "Wait a second, you're not doing shit for me."
Of course, if you do say that, don't be surprised if that organization offers you a volunteer position so you can help to change the very thing you're complaining about.
Conclusion.
If this blog post angered you, it's probably because you're a member of an organization that you feel has helped you. That's awesome. I'd love to hear from you.
Just don't be shocked if I reply and explain how you could have gotten the same benefits on your own.
I've done a lot of self-promotion, to varying degrees of success. In JA's World, joining a writing organization shouldn't be at the top of any writer's Must Do List.
Maybe it can't hurt. Maybe it can even help. But I think that rising dues, increasingly exclusionary practices, and very little return on investment for the average member has taken what was once a good idea: helping like-minded people succeed in a hard business, and turned it into organizations that exist solely to be self-sustaining rather than beneficial.
Of course, I'm also an opinionated jerk.
The Alternative.
Naturally, I have an idea for a writing organization I'd like to see. Let's call it WWJAD. Here are the rules, and what the organization does for you.
1. You must have written and published a book. If you have, you can join.
2. Your $100 a year dues invites you to attend WWJAD Con. You do not have to pay extra admission to get in. And at the con, you get 15 minutes of time to speak to everyone in attendance. No competition. There's one mike in the convention room, and that's the only program going.
3. WWJAD Con has a printed program book, which contains your bio, and a page about your work that you write. Could be an ad. Could be an excerpt. But it is only a page.
4. WWJAD Con is a three day event held at a cheap hotel. Admission is free to all attendees, but, like a carnival, they can buy tickets for $1 each. This fee goes toward paying for the hotel space, program book, and the poor bastards who are helping to run the con. No volunteers. If you work the front door, you get paid for your time.
5. During WWJAD Con, all authors have table space for their books. They give their book, for free, to anyone who gives them a ticket. How long you spend at the table depends on how many books you have to give away. Can this be expensive? Sure. But the best advertisement for your writing is your writing.
6. The WWJAD Award will be given at the end of the conference. Whoever has the most tickets wins the prize. Just like Chuck E. Cheese. Awards are popularity contests anyway, so why not be honest about it?
What's the Point?
The purpose of belonging to WWJAD is to give you an opportunity to mingle with peers, speak in front of an interested crowd, meet fans, possibly win an award, appear in a program, and give away as many copies of your books as you can afford to.
In other words, most of the pluses and none of the minuses of every other writing organization.
Dues, and $1 ticket sales, go toward running and advertising the event, and maintaining the WWJAD website.
Oh, and if you miss the event, your dues get refunded. And depending on the number of members, this could be held in different areas at different times of the year, to minimize travel costs and maximize fan attendance.
I'd join. Would you?
My advice to her was two simple words:
Fuck 'em.
Personally, I've never been a proponent of writing organizations. And at the risk of alienating myself from my peers, I'm going to list some reasons why I think you don't need them.
First, let me say that I've belonged to just about all the major genre organizations at one point or another. And they aren't entirely without benefit.
Awards.
You can be allowed to nominate books for awards, and in some cases vote for them.
Promotion.
Your books are mentioned in their promotional material, in print or online.
Meetings.
You get invited to meetings, which allow you to mingle with peers, and banquets, which allow you to mingle with peers while wearing nice clothing. Often these meeting have interesting speakers, and sometimes (more importantly) liquor.
Publications.
You have chances to appear in organization-sponsored anthologies.
Conferences.
You're allowed to participate in conferences and conventions that the organizations sponsor.
Good Will.
The organization often claims to help raise awareness of the genre you're writing in, and may contribute to worthy causes.
Now, readers of this blog already know my feelings about awards. To reiterate: They ain't important. Not a single one.
Sure, they make the writer feel good. And they can get your publisher excited. They might even result in extra sales and interest in your books.
But I have a hypothesis, which I won't confirm because it will take too much time to do so and I'm a lazy bastard. If you take all the bestselling books of 2007, and compare them to all the award-winning books of 2007, there won't be a lot of overlap.
Someone prove me wrong, and then effectively argue that the awards fueled the bestsellerdom.
Besides, this point may be moot, because in the case of many awards, you don't have to be a member of the organization that offers it in order to be nominated.
As for promo material, I think this has a certain amount of worth. Having your latest release mentioned in a widely circulated newsletter certainly can't hurt. Sure, you'll probably be buried among the dozens, or hundreds, of other releases also mentioned in that newsletter. But every little bit helps.
Whether this little bit justifies the steep (and still escalating) yearly costs of being part of a writing organization remains to be seen.
Being invited to meetings, or parties, is a great way to meet peers. Especially if you're a newbie. But you don't need to be a member of anything to meet peers. You only need to attend book fairs, conventions, and conferences, and you'll meet plenty of peers. Along with fans and booksellers, who are more important to your career than your peers are.
You get invited to submit to anthologies. Okay, this is a biggie. A real biggie. But I've been a member of many organizations, and have only been in one antho because of my membership. I've been in around twenty other anthos, no membership necessary. There are plenty of collections that don't require membership.
Many organizations host conventions. I think this is great. While attending conventions holds limited appeal after you've already done several, it's still the best way to introduce yourself and your work to the public, and a great place to shoot the shit with your peers. But even if you belong to the organization holding the event, you still have to pay to get into the event. And guess what? You can go to the event even if you aren't a member of the organization. So where's the real benefit?
As for raising awareness about the genre, I've had the unique opportunity to meet a few thousand booksellers. Some of them know about awards and writing organizations. Most of them don't. Ditto the fans.
The diehard fans who attend conferences do know about the awards, and a few of them care about them deeply. But I'll conservatively estimate the number of mystery, thriller, and horror fans who attend conventions to be less than 10,000 people total.
If your book only sells 10,000 copies, you won't be in this business very long. And chances are high you're not even going to sell to 1/100 of those folks.
The majority of the book buyers don't know, or care, what organization you belong to, because these organizations aren't raising the awareness of the average book buyer. They're preaching to the choir.
If I've missed any benefits to joining an organization, I'd love to hear them and be proven wrong. But now that we've gone through what I see are the positives let's talk about some negatives.
Volunteering.
Boy, can you get screwed volunteering.
The time you spend judging award submissions, organizing a conference, or sitting on a board, can be substantial---taking away from time where you could be writing or promoting. It's also exhaustive, stressful, and never appreciated. No good deed goes unpunished, and devoting your free time to helping an organization that you joined because you wanted it to help you is one of Dante's inner circles of hell.
Lack of Representation.
By a show of hands, how many of you have ever joined an organization and gotten EXACTLY NOTHING for your dues? Where did your money go? How did being a member benefit you? What exactly did the organization do for you that you couldn't have done for yourself?
Professionalitis.
This is when, because you consider yourself a professional writer, you must cloak yourself in the trappings of professionalism, one of which is joining an organization that reinforces the fact that you're a professional.
Bullshit. A union is one thing. But as far as I'm concerned, the only single criteria needed to prove you're a writing professional is if you've gotten paid for your writing.
Groups, clubs, cliques, and gatherings of like-minded folks are part of human nature. As is excluding other folks. Us and them is genetic. We all want to be us rather than them.
But here's a better idea. Be you. Because it's your books, your career, and if your feelings about either are dictated by the approval of your peers, you need to seek some therapy. Which brings us to:
Peer Pressure.
I've had some writing organizations give me the hard sell. A really hard sell, that becomes embarrassing and uncomfortable. Talking candidly with many of my peers, they continue to renew their memberships because they feel pressured into it, are worried about being though less of, and figure a few hundred bucks a year is worth not having to deal with the hassle of actually standing up and saying, "Wait a second, you're not doing shit for me."
Of course, if you do say that, don't be surprised if that organization offers you a volunteer position so you can help to change the very thing you're complaining about.
Conclusion.
If this blog post angered you, it's probably because you're a member of an organization that you feel has helped you. That's awesome. I'd love to hear from you.
Just don't be shocked if I reply and explain how you could have gotten the same benefits on your own.
I've done a lot of self-promotion, to varying degrees of success. In JA's World, joining a writing organization shouldn't be at the top of any writer's Must Do List.
Maybe it can't hurt. Maybe it can even help. But I think that rising dues, increasingly exclusionary practices, and very little return on investment for the average member has taken what was once a good idea: helping like-minded people succeed in a hard business, and turned it into organizations that exist solely to be self-sustaining rather than beneficial.
Of course, I'm also an opinionated jerk.
The Alternative.
Naturally, I have an idea for a writing organization I'd like to see. Let's call it WWJAD. Here are the rules, and what the organization does for you.
1. You must have written and published a book. If you have, you can join.
2. Your $100 a year dues invites you to attend WWJAD Con. You do not have to pay extra admission to get in. And at the con, you get 15 minutes of time to speak to everyone in attendance. No competition. There's one mike in the convention room, and that's the only program going.
3. WWJAD Con has a printed program book, which contains your bio, and a page about your work that you write. Could be an ad. Could be an excerpt. But it is only a page.
4. WWJAD Con is a three day event held at a cheap hotel. Admission is free to all attendees, but, like a carnival, they can buy tickets for $1 each. This fee goes toward paying for the hotel space, program book, and the poor bastards who are helping to run the con. No volunteers. If you work the front door, you get paid for your time.
5. During WWJAD Con, all authors have table space for their books. They give their book, for free, to anyone who gives them a ticket. How long you spend at the table depends on how many books you have to give away. Can this be expensive? Sure. But the best advertisement for your writing is your writing.
6. The WWJAD Award will be given at the end of the conference. Whoever has the most tickets wins the prize. Just like Chuck E. Cheese. Awards are popularity contests anyway, so why not be honest about it?
What's the Point?
The purpose of belonging to WWJAD is to give you an opportunity to mingle with peers, speak in front of an interested crowd, meet fans, possibly win an award, appear in a program, and give away as many copies of your books as you can afford to.
In other words, most of the pluses and none of the minuses of every other writing organization.
Dues, and $1 ticket sales, go toward running and advertising the event, and maintaining the WWJAD website.
Oh, and if you miss the event, your dues get refunded. And depending on the number of members, this could be held in different areas at different times of the year, to minimize travel costs and maximize fan attendance.
I'd join. Would you?
Tuesday, April 01, 2008
Free Books For Fans
I just finished writing Jack Daniels #6 (Cherry Bomb, coming July '09 from Hyperion) so now it's time to get back into promotion mode.
To kick things off, I've got a lot of free stuff to give away.
If you want one of these free books, email me. But there's a catch.
If I send you something free, you have to review it somewhere.
Your blog. MySpace.com. Amazon.com. BN.com. Facebook.com. Goodreads.com. Or any other public internet forum.
Fair enough? Okay, here's what I've got for you:
FUZZY NAVEL ADVANCE READING COPIES
This is Jack's fifth adventure, coming out July 2008. It all takes place in an eight hour period. While Jack works a high-profile sniper case, someone from her past returns to kill her and everyone she cares about. The two stories converge in a knock-down, drag-out, free-for-all, which was a lot of fun for me to write.
I have ten copies. If you want one, and you love to plaster your reviews all over the Internet, drop me a line.
LIKE A CHINESE TATTOO
This is an anthology featuring Cullen Bunn, Rick R. Reed, David Thomas Lord, and me. My blurb on the back says, "JA Konrath's prose ranges from careless to wretched" - Kirkus.
I contributed three horror stories, one of which is a lengthy Harry McGlade novella.
Harry, as you may know, is a supporting character in the Jack books. He takes center stage here, with predictably gratuitous results.
This is one of the funniest, and most disgusting, things I've ever written.
If you love your horror books gross and laugh out loud, email me and tell me why I should give it to you. I only have one copy.
The rest of you should get your copies here:
https://www.horror-mall.com/LIKE-A-CHINESE-TATTOO-by-Cullen-Bunn-David-Thomas-Lord-JA-Konrath-Rick-R.-Reed-p-17713.html
The first edition printing is less than 300 copies, so act fast.
While you're at Horror Mall, you should also pick up my other Harry McGlade novella, SUCKERS, co-written with Jeff Strand. This is a signed, 100 page, limited edition hardcover. It's also gory, and funny, and very collectible. Buy yours here:
https://www.horror-mall.com/SUCKERS-by-J.A.-Konrath-and-Jeff-Strand-p-17711.html
DIRTY MARTINI
Want a free copy of the fourth Jack Daniels thriller?
If you buy a copy of the sci-fi horror anthology GRATIA PLACENTI, which featured my revolting little alien story THEM'S GOOD EATS, then you get a hardcover for free. First come, first serve. Go here for details:
http://apexdigest.livejournal.com/97381.html
WHISKEY SOUR
WHISKEY SOUR is available as a free download here:
http://www.jakonrath.com/WhiskeySourFree.pdf
Do you want more free Jack Daniels, along with other short stories?
I've got 55 short stories available for free on my website. They're in a collection called 55 PROOF, which features 13 Jack Daniels shorts and tie-ins, plus 42 other crime, horror, and humor stories.
I also have three full novels available as free downloads.
ORIGIN is a technothriller about a secret government compound where they're holding Satan. Mayhem ensues.
THE LIST is a cop thriller with a twist--the heroes and villains are modern day clones of famous historical figures. Mayhem ensues.
DISTURB is a horrific medical thriller, about a drug that replaces a full night of sleep. Mayhem ensues.
All of the above books are available for free here:
http://www.jakonrath.com/ebooks.html
Does James Patterson give you free stuff? Does Dean Koontz? Stephen King? Dan Brown?
I'm sure they do. But I love you more than they do.
SIGNED STUFF
I get several requests per week from people who want to know where they can buy signed copies of JA Konrath books.
I encourage you to seek me out at a signing event, which are posted on my website. The next one will be on April 5th at Barnes & Noble, 13 W. Rand Road, Arlington Heights, IL, from Noon until 3pm. I'd love to see you there.
If you can't make it, you can order signed copies of all of my books (including the ones mentioned above that are free downloads) here:
http://www.jakonrath.com/extrastore.html
As always, thanks for reading.
To kick things off, I've got a lot of free stuff to give away.
If you want one of these free books, email me. But there's a catch.
If I send you something free, you have to review it somewhere.
Your blog. MySpace.com. Amazon.com. BN.com. Facebook.com. Goodreads.com. Or any other public internet forum.
Fair enough? Okay, here's what I've got for you:
FUZZY NAVEL ADVANCE READING COPIES
This is Jack's fifth adventure, coming out July 2008. It all takes place in an eight hour period. While Jack works a high-profile sniper case, someone from her past returns to kill her and everyone she cares about. The two stories converge in a knock-down, drag-out, free-for-all, which was a lot of fun for me to write.
I have ten copies. If you want one, and you love to plaster your reviews all over the Internet, drop me a line.
LIKE A CHINESE TATTOO
This is an anthology featuring Cullen Bunn, Rick R. Reed, David Thomas Lord, and me. My blurb on the back says, "JA Konrath's prose ranges from careless to wretched" - Kirkus.
I contributed three horror stories, one of which is a lengthy Harry McGlade novella.
Harry, as you may know, is a supporting character in the Jack books. He takes center stage here, with predictably gratuitous results.
This is one of the funniest, and most disgusting, things I've ever written.
If you love your horror books gross and laugh out loud, email me and tell me why I should give it to you. I only have one copy.
The rest of you should get your copies here:
https://www.horror-mall.com/LIKE-A-CHINESE-TATTOO-by-Cullen-Bunn-David-Thomas-Lord-JA-Konrath-Rick-R.-Reed-p-17713.html
The first edition printing is less than 300 copies, so act fast.
While you're at Horror Mall, you should also pick up my other Harry McGlade novella, SUCKERS, co-written with Jeff Strand. This is a signed, 100 page, limited edition hardcover. It's also gory, and funny, and very collectible. Buy yours here:
https://www.horror-mall.com/SUCKERS-by-J.A.-Konrath-and-Jeff-Strand-p-17711.html
DIRTY MARTINI
Want a free copy of the fourth Jack Daniels thriller?
If you buy a copy of the sci-fi horror anthology GRATIA PLACENTI, which featured my revolting little alien story THEM'S GOOD EATS, then you get a hardcover for free. First come, first serve. Go here for details:
http://apexdigest.livejournal.com/97381.html
WHISKEY SOUR
The first Jack Daniels adventure. If you can read Italian, I have 7 copies available in oversized trade paperback of the Italian edition by Alacran Edizioni. Email me if you, or someone you know, knows Italian.
If you can't read Italian, you can still get Whiskey Sour for free. It's available as a free pdf download for reading on your computer, Sony E-reader, Amazon Kindle, cell phone, iPod, etc.WHISKEY SOUR is available as a free download here:
http://www.jakonrath.com/WhiskeySourFree.pdf
Do you want more free Jack Daniels, along with other short stories?
I've got 55 short stories available for free on my website. They're in a collection called 55 PROOF, which features 13 Jack Daniels shorts and tie-ins, plus 42 other crime, horror, and humor stories.
I also have three full novels available as free downloads.
ORIGIN is a technothriller about a secret government compound where they're holding Satan. Mayhem ensues.
THE LIST is a cop thriller with a twist--the heroes and villains are modern day clones of famous historical figures. Mayhem ensues.
DISTURB is a horrific medical thriller, about a drug that replaces a full night of sleep. Mayhem ensues.
All of the above books are available for free here:
http://www.jakonrath.com/ebooks.html
Does James Patterson give you free stuff? Does Dean Koontz? Stephen King? Dan Brown?
I'm sure they do. But I love you more than they do.
SIGNED STUFF
I get several requests per week from people who want to know where they can buy signed copies of JA Konrath books.
I encourage you to seek me out at a signing event, which are posted on my website. The next one will be on April 5th at Barnes & Noble, 13 W. Rand Road, Arlington Heights, IL, from Noon until 3pm. I'd love to see you there.
If you can't make it, you can order signed copies of all of my books (including the ones mentioned above that are free downloads) here:
http://www.jakonrath.com/extrastore.html
As always, thanks for reading.
Saturday, March 29, 2008
MONEY With A Capital M-O-N-E-Y
Let's talk about getting paid.
As writers, we're often so grateful that someone would actually want to publish our words that we may devalue them. Hell, sometimes we pay others to publish us.
This mentality won't help you make a living.
But the problem is that so little is written about money, we really have no idea how much we're worth.
Unlike other professions, where salaries often stay within a certain range, a novelist can earn anywhere from some contributors copies to tens of millions of dollars a book.
So what are your words worth?
If you're writing poetry, they're worth pretty much nothing. Sorry poets.
If you're a short story writer, they're worth between 2 cents and 20 cents a word. There are exceptions, of course, but the most I've even been paid for a short story is $1500, and they mostly pay in the low hundreds.
If you're a freelance article writer, the price can go up a bit. But you have to publish a lot of articles to make a living, and finding places to buy your articles is actually more work than writing them.
Now if you're a novelist, I've heard the average advance is still $5000. A tiny amount for something you spent a year of your life on. And this average includes all of the huge bestsellers making big bucks, so you have to assume there are tens of thousand of writers out there making much less than $5000 a novel.
I've talked money with a few close writing friends, and I've learned something pretty shocking; there's no rhyme, reason, or sense as to who gets paid what and why.
First of all, we need to dispel any bullshit about "talent" and "hard work." We're all talented. We all work hard. That's how we got published in the first place.
Next, we need to shatter the time-honored myths about "deserving success."
Here's your wake-up call, Mr. or Ms. Entitlement. I've gotten over 500 rejections. I wrote 1,000,000 words before earning a dime. In the last four years I've travelled to over 35 states, visited over a thousand bookstores, attended over a hundred book events. I've mailed out over 7000 letters to libraries and bookstores. I've signed over 10,000 books, and 30,000 drink coasters. I have 13,000 MySpace Friends, and my blog and website combine for more than half a million unique hits a year.
I still do not deserve success. And neither do you.
There is no arbitrary power controlling fairness in the universe, making sure everyone gets their due. There is only luck.
Those writers who make more money simply got lucky.
I have peers who earn 20 times what I make, even though our sales numbers are pretty close. I have friends with over a million books in print, who make less than half of what I make.
It's not fair. It never will be.
Now that we've got that established, let's talk about what we can do to get more.
1. Be Confident. You must have faith in your writing, and your efforts. Being cocky, or feeling entitled, won't work. But knowing your strengths, and your platform, and being able to show that to a room full of editors will go a long way to getting a better contract.
2. Ask For More. Waiting for someone to notice your genius and get behind your books is a fools game. The only way to get more is to ask for more.
3. Change. Often the only way to get a big bump up in net worth is to change something. Genres. Houses. Agents. Working with new people means new excitement, new enthusiasm, new expectations. This translates into more money.
4. Be Willing to Walk Away. This is something that VERY few writers can do. We accept offers, don't negotiate hard, and perhaps devalue our writing because of it. This is a self-fulfilling prophecy. A house that pays less will have less of a marketing budget, which means the book will sell fewer copies.
5. Earn Out Your Advance. It's your name on the book. It's your responsibility to sell it. I've heard agents say that if a book earns out, the advance wasn't high enough. I think the opposite is true. if your advance is so large that you'll never earn out, it's going to be very difficult to sell your next book.
Can you earn out your advance through your efforts? Maybe not. But I'm pretty sure my efforts contributed to my earning out. While you don't have to be as psychotic about promotion as I've been, every single book you sell goes toward your advance, and toward your future sales when that person becomes a lifelong fan. The more you do, the more you'll sell.
6. Take Control. So much is beyond your control in this business. But a lot of things are within your control. You do not have to wait for your agent or your publisher to tell you what to do. You can't fight the power by reacting.
You're the boss in the agent/author relationship. Your agent is probably savvier than you are, and knows more about the business. That's not an excuse to stay ignorant. You should learn as much about this business as possible. Trends. Gossip. How it works. Who is buying what.
If your publisher doesn't tour you, doesn't put down money for coop, doesn't have a wide distribution, that doesn't mean you can't fill in a lot of these divots yourself.
No, you can't personally sell 100,000 books. But you can personally sell 10,000. And that's not small potatoes.
7. Know Your Worth. This is a hard one to figure out, because comparing yourself with other authors does zero good. But you can't enter any sort of contract negotiation without having a number in mind. If you accept any old number, that's like dogs begging for scraps.
The dog that is content begging for scraps will never get the whole steak.
You need to go for the steak. That means placing a value on your work, and sticking to it.
"But JA," you say, "What if I don't get that number I have in mind? Isn't this more bad advice, like telling authors not to use SASEs and recommending they give exclusive submissions to a bunch of agents at once?"
If you can live with what you're being offered, that's fine. But then you've lost your License to Bitch. You can't complain about your shitty deal if you didn't have the stones to ask for more.
Also, SASEs and exclusive submissions suck.
"But JA," you insist, "You say this is all about luck. What if I do everything right, and I still can't earn enough money writing to support myself because I haven't gotten lucky yet?"
It sounds like you think you deserve this career. I've already stated my thoughts on that. The world doesn't owe you. And may not get out what you put in. Quit writing and buy stock in Kleenex, so at least you'll recoup some of your money during your life-long pity party.
"But JA," you say, "With everything you've said and done, with all your hard work, you still haven't gotten lucky. Why should I listen to you? You're not a millionaire bestseller."
Yet.
I'm not going to become rich because I deserve it.
I'm going to become rich because nothing is going to stop me.
What are you going to let stop you?
As writers, we're often so grateful that someone would actually want to publish our words that we may devalue them. Hell, sometimes we pay others to publish us.
This mentality won't help you make a living.
But the problem is that so little is written about money, we really have no idea how much we're worth.
Unlike other professions, where salaries often stay within a certain range, a novelist can earn anywhere from some contributors copies to tens of millions of dollars a book.
So what are your words worth?
If you're writing poetry, they're worth pretty much nothing. Sorry poets.
If you're a short story writer, they're worth between 2 cents and 20 cents a word. There are exceptions, of course, but the most I've even been paid for a short story is $1500, and they mostly pay in the low hundreds.
If you're a freelance article writer, the price can go up a bit. But you have to publish a lot of articles to make a living, and finding places to buy your articles is actually more work than writing them.
Now if you're a novelist, I've heard the average advance is still $5000. A tiny amount for something you spent a year of your life on. And this average includes all of the huge bestsellers making big bucks, so you have to assume there are tens of thousand of writers out there making much less than $5000 a novel.
I've talked money with a few close writing friends, and I've learned something pretty shocking; there's no rhyme, reason, or sense as to who gets paid what and why.
First of all, we need to dispel any bullshit about "talent" and "hard work." We're all talented. We all work hard. That's how we got published in the first place.
Next, we need to shatter the time-honored myths about "deserving success."
Here's your wake-up call, Mr. or Ms. Entitlement. I've gotten over 500 rejections. I wrote 1,000,000 words before earning a dime. In the last four years I've travelled to over 35 states, visited over a thousand bookstores, attended over a hundred book events. I've mailed out over 7000 letters to libraries and bookstores. I've signed over 10,000 books, and 30,000 drink coasters. I have 13,000 MySpace Friends, and my blog and website combine for more than half a million unique hits a year.
I still do not deserve success. And neither do you.
There is no arbitrary power controlling fairness in the universe, making sure everyone gets their due. There is only luck.
Those writers who make more money simply got lucky.
I have peers who earn 20 times what I make, even though our sales numbers are pretty close. I have friends with over a million books in print, who make less than half of what I make.
It's not fair. It never will be.
Now that we've got that established, let's talk about what we can do to get more.
1. Be Confident. You must have faith in your writing, and your efforts. Being cocky, or feeling entitled, won't work. But knowing your strengths, and your platform, and being able to show that to a room full of editors will go a long way to getting a better contract.
2. Ask For More. Waiting for someone to notice your genius and get behind your books is a fools game. The only way to get more is to ask for more.
3. Change. Often the only way to get a big bump up in net worth is to change something. Genres. Houses. Agents. Working with new people means new excitement, new enthusiasm, new expectations. This translates into more money.
4. Be Willing to Walk Away. This is something that VERY few writers can do. We accept offers, don't negotiate hard, and perhaps devalue our writing because of it. This is a self-fulfilling prophecy. A house that pays less will have less of a marketing budget, which means the book will sell fewer copies.
5. Earn Out Your Advance. It's your name on the book. It's your responsibility to sell it. I've heard agents say that if a book earns out, the advance wasn't high enough. I think the opposite is true. if your advance is so large that you'll never earn out, it's going to be very difficult to sell your next book.
Can you earn out your advance through your efforts? Maybe not. But I'm pretty sure my efforts contributed to my earning out. While you don't have to be as psychotic about promotion as I've been, every single book you sell goes toward your advance, and toward your future sales when that person becomes a lifelong fan. The more you do, the more you'll sell.
6. Take Control. So much is beyond your control in this business. But a lot of things are within your control. You do not have to wait for your agent or your publisher to tell you what to do. You can't fight the power by reacting.
You're the boss in the agent/author relationship. Your agent is probably savvier than you are, and knows more about the business. That's not an excuse to stay ignorant. You should learn as much about this business as possible. Trends. Gossip. How it works. Who is buying what.
If your publisher doesn't tour you, doesn't put down money for coop, doesn't have a wide distribution, that doesn't mean you can't fill in a lot of these divots yourself.
No, you can't personally sell 100,000 books. But you can personally sell 10,000. And that's not small potatoes.
7. Know Your Worth. This is a hard one to figure out, because comparing yourself with other authors does zero good. But you can't enter any sort of contract negotiation without having a number in mind. If you accept any old number, that's like dogs begging for scraps.
The dog that is content begging for scraps will never get the whole steak.
You need to go for the steak. That means placing a value on your work, and sticking to it.
"But JA," you say, "What if I don't get that number I have in mind? Isn't this more bad advice, like telling authors not to use SASEs and recommending they give exclusive submissions to a bunch of agents at once?"
If you can live with what you're being offered, that's fine. But then you've lost your License to Bitch. You can't complain about your shitty deal if you didn't have the stones to ask for more.
Also, SASEs and exclusive submissions suck.
"But JA," you insist, "You say this is all about luck. What if I do everything right, and I still can't earn enough money writing to support myself because I haven't gotten lucky yet?"
It sounds like you think you deserve this career. I've already stated my thoughts on that. The world doesn't owe you. And may not get out what you put in. Quit writing and buy stock in Kleenex, so at least you'll recoup some of your money during your life-long pity party.
"But JA," you say, "With everything you've said and done, with all your hard work, you still haven't gotten lucky. Why should I listen to you? You're not a millionaire bestseller."
Yet.
I'm not going to become rich because I deserve it.
I'm going to become rich because nothing is going to stop me.
What are you going to let stop you?
Friday, March 21, 2008
Your Daily Inspiration Booster Shot
A Newbie's Guide To Publishing is now three years old.
That's a long time to be blogging. And reading some of my older posts (over 300 of them) I've found that many of the things I've said are still relevant.
So here's a list of some Joe Konrath quotes. If any of them resonate with you, please tell the folks at Bartlett's...
---------------------
There's a word for a writer who never gives up... published
Before you make the key, study the lock.
People would rather defend their beliefs than question them.
It's about what you have to offer, not what you have to sell.
You have a better chance of getting struck by lightning than landing a publishing deal. But understanding the market and working to improve your craft can have the same effect as climbing a tree in a thunderstorm, carrying a long iron rod.
No one is entitled to anything.
What are the last ten books you bought, and what made you buy them? Use those techniques to sell your books to other people. Do what works on you.
Hard work trumps talent. Persistence trumps inspiration. Humility trumps ego.
Praise is like candy. We love it, but it isn't good for us. You can only improve by being told what's wrong.
Your book is your child. You can't recognize its shortcomings, any more than a proud parent thinks their child is dumb and ugly.
The experts don't know everything, and they might not know what's right for you.
Fate is a future you didn't try hard enough to change.
Anyone looking for you can find you. Get them to find you by looking for something else.
Life gives you wonderful opportunites to conquer fears, learn skills, and master techniques. "I can't" shouldn't be synonymous with "I don't want to."
People seek out two things: information and entertainment. Offer them freely, and they'll find you.
The Internet isn't temporary. What you post today can lead people to you decades from now.
Writing is a profession. Act professional.
Always follow the advice of an editor, even if you don't agree, because then your book becomes our book. A editor will fight harder to champion our book.
No one said it would be fair, fun, or easy. But it is worthwhile.
Publishing is a tough industry. Celebrate success whenever you can, because there will be many failures.
We're all in the same boat. Start rowing.
If you can quit, quit. If you can't quit, stop complaining---this is what you chose.
Don't compare yourself to other writers. Nothing good can come of it.
There are a lot of things that happen beyond your control. Your goals should be within your control.
Just because something is publishable doesn't mean it will get published.
Write when you can. Finish what your start. Edit what you finish. Submit what you've edited. Repeat.
The most successful people on the planet have one thing in common: nothing can stop them. Don't expect to reach your goals without sacrificing things that are important to you. You can't be both happy and ambitious.
Being your own best advocate is about understanding how people react to you.
Fake confidence, and real confidence follows.
Maybe you can't win. But you sure can try.
It's your name on your book cover. It's your responsibility to sell your book. If it flops, your publisher will still be in business, but you won't.
Always have two hands reaching out. One, for your next goal. The other, to help people get to where you're at.
If you can't be smart or funny, be brief.
There's a word for a published writer who never gives up... me.
That's a long time to be blogging. And reading some of my older posts (over 300 of them) I've found that many of the things I've said are still relevant.
So here's a list of some Joe Konrath quotes. If any of them resonate with you, please tell the folks at Bartlett's...
---------------------
There's a word for a writer who never gives up... published
Before you make the key, study the lock.
People would rather defend their beliefs than question them.
It's about what you have to offer, not what you have to sell.
You have a better chance of getting struck by lightning than landing a publishing deal. But understanding the market and working to improve your craft can have the same effect as climbing a tree in a thunderstorm, carrying a long iron rod.
No one is entitled to anything.
What are the last ten books you bought, and what made you buy them? Use those techniques to sell your books to other people. Do what works on you.
Hard work trumps talent. Persistence trumps inspiration. Humility trumps ego.
Praise is like candy. We love it, but it isn't good for us. You can only improve by being told what's wrong.
Your book is your child. You can't recognize its shortcomings, any more than a proud parent thinks their child is dumb and ugly.
The experts don't know everything, and they might not know what's right for you.
Fate is a future you didn't try hard enough to change.
Anyone looking for you can find you. Get them to find you by looking for something else.
Life gives you wonderful opportunites to conquer fears, learn skills, and master techniques. "I can't" shouldn't be synonymous with "I don't want to."
People seek out two things: information and entertainment. Offer them freely, and they'll find you.
The Internet isn't temporary. What you post today can lead people to you decades from now.
Writing is a profession. Act professional.
Always follow the advice of an editor, even if you don't agree, because then your book becomes our book. A editor will fight harder to champion our book.
No one said it would be fair, fun, or easy. But it is worthwhile.
Publishing is a tough industry. Celebrate success whenever you can, because there will be many failures.
We're all in the same boat. Start rowing.
If you can quit, quit. If you can't quit, stop complaining---this is what you chose.
Don't compare yourself to other writers. Nothing good can come of it.
There are a lot of things that happen beyond your control. Your goals should be within your control.
Just because something is publishable doesn't mean it will get published.
Write when you can. Finish what your start. Edit what you finish. Submit what you've edited. Repeat.
The most successful people on the planet have one thing in common: nothing can stop them. Don't expect to reach your goals without sacrificing things that are important to you. You can't be both happy and ambitious.
Being your own best advocate is about understanding how people react to you.
Fake confidence, and real confidence follows.
Maybe you can't win. But you sure can try.
It's your name on your book cover. It's your responsibility to sell your book. If it flops, your publisher will still be in business, but you won't.
Always have two hands reaching out. One, for your next goal. The other, to help people get to where you're at.
If you can't be smart or funny, be brief.
There's a word for a published writer who never gives up... me.
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