My co-authored novel with Clive Cussler, The Eye Of Heaven, broke out in its first week at #2 on the New York Times ebook bestseller list, and #5 on the hardcover print list.
So I can scratch that off my bucket list.
Here are the pages of the September 21st bestseller lists. It charted on one of the combined charts, too. So an auspicious beginning, one could say.
It’s all a dizzy whirlwind on my end as I write away every day. Hitting the lists is fun and a neat way of earning bragging rights, but the truth is that it’s readers I care most about, so my interest in the lists is only to the extent that they represent reader habits. I’ve charted on the USA Today list, and now the Times, so from this point on I won’t be paying much attention to them.
What is kind of cool is that people have been sending me photos from airports around the country, where the book is on the shelves, so that part of my evil plan is playing out nicely. It’s a charge to see one’s book next to John Green and Nora Roberts. Whodda thunk?
Still, it’s not every day you hit the NY Times bestseller lists, so I’ll have a happy memory of Sept. 11, 2014, for the rest of my life. Now back to writing. Because the damn books don’t write themselves…
It’s no secret to readers of my blog that one of the keys to having a sustainable career as an indie is to regularly release new work. The market is a hungry monkey with a short memory, and if you won’t feed it, someone else will.
NEWS: R.E. Blake’s debut YA/NA romance, Less Than Nothing, gets a mega review from MBR.
BREAKING NEWS: I just hit the NY Times bestseller list at #5 with Eye of Heaven on hardcover print edition, and #2 on the ebook list, to be published Sept. 21. So I’ll be totally insufferable from here on out. As if I wasn’t already…
So here are some tips for writing more efficiently, which is to say, producing more, higher quality work in less time.
1) Turn off the internet. Do it. Your productivity will increase 30-40%. “But I need it for research.” No you don’t. Why? See tip 2.
2) Do your research before you write the frigging book. Don’t research as you go or you’ll never get any momentum. If you must, make notes of items that need research and do them after you’ve hit your daily word goal.
3) Have a daily word goal. Hit it no matter what. I wrote JET – Ops Files with three broken metacarpal bones in my hand. And I hit my word count, every stinking day, even working at a third of the speed I could two-handed. If I can do it one-handed, what’s your excuse? Oh, and “life happened” or “but I have too many other obligations” are not reasons. They’re excuses. Put simply, you either want to make this happen or you don’t. If you have a bunch of excuses for why it’s too hard, take up some other hobby that’s less demanding, because this ain’t for you. People who have excuses when they’re drowning wind up dead. People who will do anything to stay afloat usually make it. Decide which you are and then be it.
4) Don’t edit and revise until you’re done with first draft. If you insist on going back and editing the previous paragraph while in process, you’re wasting your time and breaking your momentum. If you feel you must edit as you go, set aside time AFTER YOU HAVE WRITTEN YOUR DAY’S WORD GOAL to then edit it. Otherwise you’re trying to run a marathon carrying an anvil. You won’t win.
5) Insert placeholders for shit you don’t know. Don’t agonize over the perfect character name, use XXX or YYY or ZZZ and come back to it after you’ve hit your word count for the day. Same with locations, same with models of cars or equipment or anything you’re unsure of. Come back to it. Just write the story. Hit the details later.
6) Outline the book with single sentence chapter headings that clue you on what the point of each chapter is. Stuff like “Chpt 1 – Martin discovers he’s actually dead. Chpt 2 – Martin goes to hospital to find out why.” And so on. If you know in advance what you want to accomplish with the chapter you’re a lot further along than staring at the page hoping something comes to you. You’ll cut your production time by 50% if you do this sort of rudimentary outline. To those who don’t outline, I’ve done it both ways, and I speak from experience, and with love: if you’re anything like me, if you don’t outline you’re just being lazy, because you don’t want to have to think the whole thing through in advance. Don’t be lazy. It’ll cost you more in the long run in lost productivity.
7) Sit down at the top of the year and pencil out a production schedule, and stick to it. When I mean stick to it, I mean stick to it like someone will blow your head off if you miss it. Like you’ll be fired from your job as a writer if you miss it. Just like real writers with real writing jobs in Hollywood are fired if they don’t have their work done on time. If you want to do this as a career, develop discipline. Hollywood writers deliver every day, every week, regardless of whether their rugrats are crying or they have a booboo or they just aren’t feeling it today. Because they have to or their asses get canned. View yourself the same way and hold yourself to the same standards. Put your big girl or boy pants on and step up. If you look at your WIP and go, “but I just don’t feel like it,” understand you’re saying, “I just don’t feel like doing this for a living, so I’ll go back to working at Pet Boys or whatever, because I don’t have what it takes to do this.”
8) Demand more out of yourself than anyone else expects. Push the bar every day. Find greatness within yourself and force it to become your norm. If you don’t, nobody else will. Understand that most people will never do this. They’ll never be great at anything. That’s not you. If you’re going to add to the millions of books clogging Amazon, do it because you’re producing top level product, not because you want to be one of the other million mediocre screeds that nobody will ever buy or read. Aspire to more than that, even if the odds say you won’t succeed. At the end of all this you’re dead, and what you do between now and then is what will give your life meaning. Make sure it’s something you will go “That was awesome” about when you’re taking your last breaths.
9) Don’t tell crappy stories. Demand that your stories set a new bar for yourself every time. Every. Single. Time. Go big or go home.
10) The power of questions: Ask yourself, “How can I make this the best chapter I have ever written, and be excited and have fun doing it?” before you sit down to write. Asking yourself questions that empower you determines your perception of what you do, and will affect how you do it. Ask good questions. “How can I turn out the best book I’ve ever written and do it in less time than I dreamed possible while enjoying the process” gets you a different answer than “Why can’t I keep up with those other authors” or “What am I thinking, even trying this?” If you believe you can, you’re right. If you believe you can’t, you’re right. If you believe, “I’ll find a way,” you’ll have a different career than “This will never work.”
11) Up your game every time you write. It’s like any other craft. You are either stagnating or you’re improving. View every chance to write as a chance to improve and grow. Thousands of incremental forward steps will land you in a far different place at the end of a few years than sitting down and churning out the same ol’ each time.
12) Set reasonable goals. If you only have an hour a day to write, figure out how to generate 700-1000 decent words a day, and do it, every single day, no exceptions. If you do, you will generate 300+K per year. That’s three-four novels a year. If you can’t even manage an hour a day, stop reading my blog and watch some TV instead, because this isn’t your calling, and you’re not even close to serious enough to do anything but waste everyone’s time. Sorry. But it’s true. Don’t try to compete with people who are serious about it and expect anything but heartbreak. Just accept that this is an occasional hobby and do it as such. For the record, hobbies don’t pay. You pay to have them.
These dozen tips will help you create quality work faster. If you pick and choose which tips resonate with you and leave the rest, your effectiveness will drop with each tip left by the wayside. It’s a cumulative thing. Like getting ready for a road trip, you can skip putting gas in the car or ensuring you have air in your tires or packing food and water or bothering to look at a map or ensuring you have money in your pocket, but each step you skip will ultimately reduce your odds of successful travel. This blog is for those who want to be successful travelers.
Now go forth and multiply, and never forget to buy my crap.
My goal when telling a story is to immerse my reader into whatever is going on so they feel they’re right in the middle of it. This means that they need to experience at a number of different levels. Ideally, I’ll engage all of their senses rather than focusing exclusively on the story.
You could call that approach to writing experiential. I find that asking myself a number of questions before starting a scene really helps. Those questions are, after asking, “what’s the point?” as outlined in my prior post: What’s the environment like? Hot? Cold? Humid? Dry? What does it smell like? What sounds can be heard? How does it feel (if in a jungle, the ground will feel different than a desert, as will the plants or whatnot, and so on)? What do the surroundings look like? How much light? What kind? And on and on. A good checklist before each chapter might be: Time of day? Weather? Surroundings? Sounds? Tactile sensations? Smells? Tastes (I’ll usually try to impart some character state-of-mind using taste or something associated – a dry swallow, a lump in the throat, the flavor of metal or sour bile or acid, etc.)? Once you understand these elements in the scene, you can integrate the information seamlessly into your story. If you haven’t thought about them, you can’t.
If you can impart this information to the reader in a way that isn’t an info dump, it will help you put the reader in the thick of it. Even writing something like romance I try to do this. Especially in sex scenes, where the whole experiential thing really carries the mood, employing all the senses to immerse the reader is essential.
That’s not to say you want to write page after page of description. Often a well placed word here and there will get it across. Just as you don’t need to belabor how a character is feeling, which we’ll get to in the next bit (you can convey that they’re nervous by putting a quaver in their voice, or a stammer, or a hesitation, have their eyes dart to something, have them shift or fidget – just about anything besides “he said nervously” or “he was nervous”).
Viewing the senses as elements you drop hints about or leave clues about for the reader to catch is a good way of doing it, and requires a delicate touch. Too often for my tastes, novice authors either employ prose that’s overly sparse (like the journalistic style praised by ex-journalists like Mark Twain and Hemingway) and leave far too much out for my liking, or go florid in an attempt to get across a sense of the environment. If you want to read brilliant examples of how to write atmospherics well, read anything by James Lee Burke. To my ear, his descriptions beat the snot out of any other living writer, although there are a few that come close.
So aside from “what’s the point?” which is the question you should begin every writing session with (not, what’s the point of writing, rather, what point does this next bit serve – what’s its objective?), ask yourself how the scene is set – what it looks like, what it smells like, how it feels, what it sounds like, etc. Because if you don’t know and haven’t provided the clues, your reader sure as hell doesn’t know, and their experience will suffer accordingly.
I had a discussion with an author the other day that I thought the writers who follow my blog might find interesting. We were talking about his latest WIP, and what I believed could be improved.
About a third of the way through the discussion, I gave him one of my secrets for writing a compelling novel. The secret is asking a simple question: What’s the point?
If you do that before outlining, or writing each chapter, you’ll wind up with a much more interesting book. Alternatively, for you pansters, when you go back on your first editing run, you should view each chapter with skepticism, asking, “what’s the point?”
If there’s no compelling reason for a chapter to be there, if it’s just blah blah, it should be cut. Period. Doesn’t matter that you wrote it, that it’s filled with your precious prose. There has to be a point to every chapter (we can actually take that to each paragraph, as well as to the overall book theme, but you get the idea).
Now, lest you misread me, I’m not saying that every chapter has to advance a major plot element forward. It’s that you need to understand why you’re writing it. Is it to tell the reader more about a character? To put the character in jeopardy? To foreshadow something that will be relevant later? To have something happen that’s essential to the story? Do you need an action beat?
If you find yourself looking at a chapter and the answer is, to increase the word count, or because I need something between this last bit and the next, don’t write it. Figure out the reason that this next chapter cries out to be in your book, and ensure you achieved your objective by the last word of it.
If you take this approach seriously, you might find your books getting shorter. That’s okay. It’s better to have a shorter, punchier book than a fat, bloated screed filled with meaningless meandering. Think as a reader. You really want to read ten pages describing the woods next to the house the protag’s just arrived at? No. There’s no point to it. So axe it.
Don’t get me wrong. You can have an objective like, “I want a rhythmic beat here so the reader can catch his breath.” But it would be better to combine that with, “and I want to show the reader something important about the character while I do it.”
So that’s my quick craft tip for the day. Ask yourself what’s the point. That will ensure that your chapters are mission driven by a clear objective.
Believe me, your reader and your editor will be glad you did.
Howey, that is. Superstar indie author of Wool. And genuinely, all-around nice guy.
We spent last evening talking about everything and everything on Authors On The Air radio, with Pam Stack.
We covered a lot of ground. Everything from self-evaluation as writers, to our vastly different approaches to generating content, to our philosophies of writing, to what all this Hachette/Amazon fuss is about, to traditional publishing, to writing romance, to the therapeutic value of tequila, to…well, just about everything.
Perhaps what was most interesting to me was how natural the discussion was, how brutally honest at times, and how easy it was to tackle a host of subjects. Callers chimed in, I got disconnected twice due to God’s wrath (okay, a passing hurricane, which sort of qualifies), and as always, I was mixed most of the time so that I sounded like an old woman screaming from the bottom of a well. Not that there’s anything wrong with that.
It was interesting to me that he sees a big difference between genres in terms of the nurturing and support offered by established names, or trad pubbed authors to their self-pubbed brethren. My take is that the reason romance is more supportive vs., say, sci fi, is because sci fi is male dominated, and male dominated markets tend to be snake pits because, well, it’s all dudes swinging their dicks around being hyper-competitive and territorial. That’s my theory, anyway. Could be I’m wrong, but I don’t think so. Males tend to engage in a lot of zero sum thinking, which is why men fight and kill each other versus building bridges. A generality, but one I’ve found holds true.
We agreed to disagree on Amazon’s long term business strategy, but were unanimous that everyone should buy my crap.
There we have it. That’s the summary. If you have some extra time, worth a listen.
Oh, and my co-authored tome with Clive Cussler is selling briskly. Thank heavens and Amazon!
My co-authored debut with legendary grand master of adventure Clive Cussler, The Eye of Heaven, is live, and selling like dollar meals at McDs (or like they used to when a dollar bought anything but a stick of gum).
I of course attribute this to my name on the cover, although clearly someone at the publisher got the font size and color confused. But no matter, in this day of internet magic, word has apparently spread of the literary merit of my unique prose stylings, hence the rush of excitement.
Seriously, though, I love the opening of this book. Towering waves, a storm so brutal it’s palpable…exactly the sort of beginning I always admired when I was reading the genre oh so many years ago. I’m proud of how our effort turned out, and I hope that readers enjoy it – every chapter sought to raise the bar while hopefully increasing readers’ pulses.
So what’s next, you ask? Well, we’re working on another Fargo novel and enjoying the process, so I think we can expect to see one more Russell Blake/Clive Cussler collaboration, in, oh, about a year.
Those who are new to my work would be well advised to read The Voynich Cypher, for a racing treasure hunt in the mold of Umberto Eco’s Foucault’s Pendulum, or if you want breakneck action, JET, which is my bestselling series. JET is unapologetically over-the-top fun, described as a female Bourne on steroids. The first book in the series, the prequel, JET – Ops Files, is free, and as good a place to start as any. Give it a shot, and if you like it, rest assured there are seven more volumes available, with number 8 releasing in December.
In the shameless self-promotion department, I was also just informed that JET has made it to the finals of the Kindle Book Review’s annual awards contest, with winners announced Oct. 1! Just finishing as a finalist is more than enough for me, unless of course winning comes with a huge check or a hottie in a lambo, in which case, get outta my way cause I’m a gonna take you out.
Here’s the badge I got. I intend to lord it over my enemies as I dance on their cold graves in my boots, chortling at their misery. And my critics, who are clearly bitter, angry malcontents deserving of nothing but mockery.
In other news, I’ll be interviewing Hugh Howey on Authors On The Air radio on Sept. 4th at 8 pm EST, and we’ll be talking about a host of subjects, all of which will be a complete surprise to both of us since we’ve done no preparation. If you want to hear two bestselling indies winging it and shooting the breeze, tune in. And if you have any questions for Hugh, leave them in the comments. With any luck at all that will provide the basis of the show. Otherwise, it’s likely to degrade into arguments about boats and the cost of beer, and nobody needs to listen to that for an hour. You’ve been warned. This is on you if that’s what happens.
On Thursday, September 4th, at 8pm EST, legendary bestselling author Hugh Howey and I will have an impromptu live chat on Authors On The Air radio. This will be the literary equivalent of a cage fight, no rules, no referee, no limitations on the amount of popcorn consumed. If you don’t tune in, a puppy will…well, you don’t want to know.
Those of you who follow my utterings have no doubt heard me on Pam Stack’s show, which usually quickly deteriorates into name calling, abuse, vulgarity, and profanity that would make a drunk sailor blush.
Why Hugh, who sells more books than Elvis or the Beatles, would sully his otherwise pristine reputation by agreeing to this abuse is beyond me. I’m guessing he lost a bet. Or was drunk. Or both.
Be that as it may, this presents a marvelous opportunity to ask the man anything you like, either calling in, or by leaving the questions you’d most like answered by him in the comments section of this blog. Don’t bother leaving questions for me because I’ll just ignore the uncomfortable ones (which are most, knowing you lot), but Hugh’s way too polite, which is probably why he can buy and sell me like a used Yugo.
So what would you like to know? Whose shirts he wears? Whether he’s jealous he didn’t write JET? What his favorite color is? What’s next in his career? Ask away. No guarantees he’ll answer, but this is your best shot.
In the meantime, clock’s ticking down on my first co-authored novel with Clive Cussler, The Eye Of Heaven, going live on Tuesday. And I’m busy writing away with him on the next installment, so the first one can’t be too terrible. Don’t be a cheapskate – spring the bucks to buy it and find out.
Because, as we all know, the bar tabs don’t pay themselves…
See y’all on Thursday.
About once a day I get an email from an author saying something to the effect of, “I wrote the best book ever, I put my heart and soul into it, but now that I pushed publish I can’t get it any attention!”
My response: “Life is fundamentally unfair and nobody gives two shits about you, your book, or anything you think or do. You’re welcome. Leave a dollar on the way out.”
If that seems harsh, because, gosh darn it, we spend so much time agonizing over the incredible weight of just being us, remember that everyone else thinks that all this is their movie, and you only exist to the extent that you flicker on their dim screen, which is to say, not at all.
Sorry. That’s how it is.
“But Russell,” you mewl, “I’m earnest and honest and true!”
Well, yes, perhaps you are. But that’s like being the best dressed guy at the bar at 2 am, and there’s only one girl left and she’s waiting for the bartender to get off work. Meaning, you’re hosed. It happens. That’s how life works. You can be special and different and gifted and good, but the meathead muscle builder who packs groceries for a living and lives in his mother’s garage walked out with the hottie at around nine and now all that’s left are five hundred candidates, none of whom have a shot because there are simply no takers, other than each other, and nobody’s got enough to buy that last drink because they’re also all broke.
That’s traditional publishing in a nutshell. One slot, five hundred thousand wannabes. And it’s also self-publishing. A million books, and your epic is just one of them, interchangeable to the masses with Snooki’s, only they have no idea who the F you are because you weren’t on a reality show or had big enough implants.
You want an easy gig? Go be a nuclear physicist. This shit is hard, and you have to be out of your mind to believe you can make it barring a ton of work, incredible luck, and the stamina of Hercules.
I know. Nobody wants to hear that. They want to hear magical thinking about just keep writing and you’ll eventually make it. Uh huh. You and the other million people who are all doing precisely the same thing. It’s akin to the pitch MLMs give their new initiates, wherein they too can own the 200 foot yacht they get to go on as a reward once a year. No, sweetie, you don’t get to do any of that. Not unless you’re first, top of the pyramid, and have exceptional self-promotion skills and the momentum of a landslide.
Which should be your first clue. If you want to make it in this business? Be an exception. Meaning carve out your niche and make yourself relevant to readers. How? Beats me. I only know what I did, and that’s about as useful as saying, “write an amazing serial that catches everyone’s imagination at just the right point in history.” Or maybe, “write BDSM fan fiction of Twilight and start a whole new genre!” Or maybe, “sparkly vampires, f#ckwad, sparkly vampires. Now do it.”
None of that helps you. None of it matters to you. All you’re left with is you, your words, and your ability to matter to people, to reach them, to make them care.
How can you get your book visibility? I have no idea. Wish I did. I’d be conning you out of a fortune in “how to” books and seminars and in-person weekend retreats to learn my platinum-level, inner circle, guaranteed hot-off-the-presses gold rush tips. I can’t do that. It’s like, imagine there are a million people, all of whom decided that after two nights of drunk karaoke they were going to be pro singers, because Mick Jagger can’t really sing but he gets paid a fortune and they’re at least as good as he is. Sound delusional? Replace pro singers with authors, and Mick Jagger with whoever your favorite hack writer-turned-superstar is, and there you go.
How can you write a bestseller? One word at a time.
See? I’m just no fun.
I’m sorry there’s no secret formula that I know of to hit indie success. But other than extremely hard work and marathon hours, I haven’t seen any – and that presumes you can actually write. I know that’s not what everyone wants to hear because it’s kind of depressing, just like we don’t want to hear that at the end of this we’re worm food. People will pay a lot of money to hear that’s not it at all, and there’s much more awaiting you on the other side, like trailer parks filled with virgins or whatever the flavor du jour is (but nobody every has the answer to what to the virgins get out of the deal – or is it just paradise for guys? Which would suck for roughly 50% of the planet, but never mind, seems to be selling well). I’m sorry I don’t have any bromides for you to swallow, no anodyne aphorisms to sell.
BTW, my NA series is da bomb. That’s all I’m going to say. If you wait too long to see what I’m talking about you’ll feel like a complete ass hat. Trust me. It’s exciting. Really. And I’m not just saying that. Although clearly it’s me saying that. Never mind. F you, hatahs. Word.
That, and if you don’t watch this, you’ll die of brain ebola while clowns boogarize you and your family. Don’t chance it. They’re everywhere, like Satan living silently in your heart, waiting for the right moment to take control.
Well, after the July kerfuffle wherein Amazon paid all borrows through the KU program whether opened and read to 10% or not, things have settled down to normal now, and borrows have predictably slowed (they’re paying and listing only those read at least 10% now, as originally intended).
The good news is that, based on all the conversations I’ve had, the percentage of books read to at least 10% appears to be north of 90% of KU borrows. That’s all kinds of awesome, because frankly, curmudgeon that I am, I would have expected more like 25% or so.
So it looks like the economics of KU are positive for those who do short stories, or whose books sell for $2.99 or less.
For those whose books sell for more, a borrow pays less than a sale. Now, it’s quite possible that those who are borrowing would have never shelled out the $3.99 or more for those books, so one could say it’s found money, and that further, by having a KU borrower read one of your books for that “free-to-me” price you’ve gained a reader, but I hesitate to say that.
I’ll give you an example. Between my two bundles this year, I sold over 200K units. That is a shitload of units.
But the strange thing is I haven’t seen a big surge in readership. I’ve seen some, but not nearly what you’d expect from shifting those sorts of numbers.
Now, there are several possible explanations. First is that my writing blows goats, and once exposed to my florid, overwritten dross, readers justifiably throw up their hands in disgust (or throw up on their hands, but why quibble?).
Second is that nobody read any of the books in the bundle.
But the third is the one that makes the most sense to me based on the also-boughts: Bundle readers buy bundles, because they’re a specific type of reader for whom quantity at a nominal price is the most important differentiator. Much like those that hoard free units (where the vast majority confine their reading to other free books, except on very rare occasions). With bundle readers, they buy more bundles – that’s what the also-boughts tell us. They’re bundle buyers, not individual book buyers, at least based on the also-boughts, and input from other authors bears that out. They may well appreciate your fine work, but they aren’t about to shell out $5 for it when there are thousands of books to be had at .99 for a dozen or whatnot.
This is a kind of market segmentation retailers understand. There are coupon buyers, and there are those who could give a crap about coupons. Certain types of coupon buyers will only or mostly buy things that are discounted substantially, usually with a coupon. They’re not the target for brands that boast quality as their differentiator. Coupon buyers care about quality, of course, but what they care about most is that they’re getting the product at a deep discount via the coupon. I don’t have to argue that this is so – it’s well understood in retail.
My suspicion is that KU borrowers might fall into the library model: folks who may well appreciate quality, but who won’t buy books when there are thousands they can read for their $10 a month. If that’s the case, those borrows may well not manifest as a deluge of additional purchases. They’ll manifest as a lot of borrows, and that’s it, because the reader will move on to the next borrowed book, not buy one of yours.
I can’t be sure, but we’ll know soon enough.
If I’m right, that still doesn’t mean KU isn’t a good deal for authors. It just means that as with everything, it’s important to have realistic expectations.
I have friends reporting that they’re seeing borrows accounting for 40% or more of their mix now. But if their mix is normally $4 or $5 books, they’re going to be bummed at the end of the month, when it turns out that 40% unit increase translates into a 20% or so dollar increase, which may be offset by sales cannibalized by the borrows (why anyone believes that borrows have no cannibalizing effect on sales is beyond me – I won’t buy a book for $5 if I can borrow it for free – duh). So the net may not be as big a bump as everyone thinks, when measured in dollars, not in widgets shifted. I tend to measure my earnings in only one way: net at the end of the month. How it comes in isn’t that important to me as the total amount, and whether it’s shrinking or growing.
But why, one might ask, would Amazon set up a program to attract library-model readers, as opposed to making more sales?
Simple. Amazon is an everything store. I buy most everything I can from them. They’re always the cheapest, they’re the most reliable, they have everything, and they have excellent customer service in terms of returns.
When you’re in the everything store business, it’s a numbers game. You need as many customers as possible to come into your funnel so you can entice them to buy other things once they’re there. So you have two challenges – how to get them there in the first place, and how to keep them there, buying crap, once you have them.
KU is yet another way of building loyalty and getting them there in the first place.
I get it. I completely understand why it makes sense for Amazon, and I’m delighted that it makes sense for some authors. Truth be told I’m a little jealous. I wish I had some 10-20K word stories lying around that I could put an awesome cover on and get $1.80 per download for. “Mauled by the Mastiff.” “Branded by the Bull.” “Taken by the Tapir.” My shapeshifting erotic career could soar into overdrive.
I’m curious. What are you seeing? I have about a third of my titles in Select. So I win either way. That’s why I diversify. Better some of everything than all or nothing. If I was all out of Select, I’d miss any windfall from KU. If was all in, I’d miss sales from other channels and building my brand on those platforms. I like win-wins. The way I’m using KU appears to be one, to me.
On another note, I was alerted to a troubling trend, namely overt plagiarism by certain authors who seem to believe that changing the names of the characters in an erotic shapeshifter story and then uploading it as their own is a good idea. Beats the crap out of writing it yourself, I suppose. There are even ads on O-Desk seeking people at $10 a pop to change the names and genders of characters in works so the “authors” can then make some quick bucks selling it as their own.
Now, while I’m certainly not one to begrudge other no-talent hacks from making a dime, come on, people. What kind of lowlife BS is this? If you’re too lazy or stupid to write “Boogerized by the Boogieman” yourself, you’re not cut out to be an author. Changing the names and taking other peoples’ prose and representing it as your own for profit is stealing, plain and simple, and should be vilified by authors and readers alike. I’d like to see these shitgrubs driven from the land, because this business is hard enough to make money at without predators stealing your work and selling it as their own. If you know of anyone doing this, complain to Amazon, and let the rightful authors know what’s up. I’d throw some serious cash at bankrolling my attorney to core them a new one if it ever happens to me, and I’d take every penny they made, plus attorneys fees, just on principle.
* UPDATE * One of the worst offenders, Clarissa Black, just had all of her books yanked from Amazon. Apparently they were mostly plagiarized from successful authors’ works, with the names changed and a word here and there altered. I seriously hope that they don’t pay her, and further hope that those who were plagiarized sue her for any profits she earned.
While we’re on the subject of no-talent hacks, R.E. Blake’s YA/NA literary career is getting off to a promising start with an increasing number of delighted reviews from my ARC program to qualified bloggers on Goodreads. I have a good feeling about how Less Than Nothing and its sequel, More Than Anything, will fare. My fingers are crossed. Melissa Foster and Toby Neal have so far piped in with gracious blurbs for LTN, and I’m hoping that more will follow from some respectable names. Guess we’ll see.
Just another day in Funville. Now back to the WIP. Because there’s always a WIP. Always…
Anyone that knows me professionally has probably read my “How To Sell Loads Of Books” blog, which offers indie authors a template of sorts for making it in an extremely tough business.
That blog has been viewed more than any other blog I’ve written. I get at least one email a week from an author who has applied all the counsel in it consistently and is making respectable money now after flailing for months, or years.
I was asked the other day why I still keep to the schedule I do. Why, with 30 books out, co-authoring with Clive Cussler, I push myself to write 8 or 9 novels a year, some of which aren’t plagiarized or completely derivative of whatever’s hot at the moment.
The reason, in a nutshell, is I love getting it right, and almost more importantly, getting it right my way, on my own terms.
The reason I write so much is because I’m always trying to get it a little more right. Evoke emotion a little more powerfully. Paint a scene with a little more skill. Tell a story a little better.
One could look at me, as The Wall Street Journal did in January, and think that the story is, “Wow, the man’s written 25 books in 30 months.” No disrespect to the WSJ, but that’s not the story. The story, in my mind, is that I’ve been able to establish Russell Blake as a viable brand in action/adventure, a quality storyteller in that extremely competitive genre, and do it my way. That I’ve got tens of thousands of readers who enjoy my work in a genre I keep hearing is almost impossible to break into, much less break into big, and where sales are down for all but the very biggest names.
You wouldn’t know it to see my sales. If this is a down market genre, God bless the gasping wreckage of Men’s Fiction. It’s provided handsomely for me so far, and appears to be willing to do so for the foreseeable future.
The real story is that authors don’t require anyone to vindicate their skill or their plan other than readers. You don’t need to win the lottery. You can control your destiny to a large extent through sheer force of will, extremely hard work, and a constant drive to best your very best work every time you sit down to write.
Does that mean you’re guaranteed to sell? No. Of course not. If you’re writing because you hope to make money at it, perhaps view it as a better way of doing so than your day job, you’re doing it for the wrong reasons, IMO. If you write because you have a burning desire to tell your story better than it could ever be told by anyone else, that’s why you should write. If you have that desire, and you apply yourself, pay attention to what works and what doesn’t, constantly strive to improve your craft – not the craft of formal structure that arbiters of quality find so important, but the craft of telling a story in as compelling and entertaining a manner as possible – you will create a legacy of worthwhile work. The more worthwhile work you create, the better the odds are that someone reads it, likes it, and tells a friend. You win readers one at a time, and if they love what you do, they will stick with you for an entire career.
You’re not trying to make a sale. You’re trying to earn your readers’ trust by telling your stories as well as it’s possible to tell them, and if you’re like me, do it on your own terms. What does that mean? It means that you accept full responsibility for every aspect of the product, and that you are constantly reexamining your work, asking yourself if that’s truly the very best you can do, with no compromises, shortcuts, excuses, or concessions. It means that you will move mountains to find your audience, and you will reward them with an experience they can’t get elsewhere. It means you will be relevant to them.
If you can do that you’ll eventually make plenty of money. Doesn’t matter what you’re doing, actually. Any business, any occupation, if you do it because it’s absolutely what you must do, no matter what, and you’ll do whatever it takes to make it, money will find you – at least that’s been my fortunate experience. To many, your success will look a lot like luck. Many of the lucky authors I know have been working for years, doing this in the manner I’ve described, and the world finally caught on to their good thing. They appear to have come out of nowhere or won the lottery. But they all work extremely hard, are exacting in their demands on themselves, constantly try to better their efforts, and do so exactly the same way, whether they are selling next to nothing, or are bestsellers.
They do it because it’s important to them. In a way, they’re extremely selfish people, because they’re fulfilling their inner desire to matter through their chosen medium: the written word. Some make a lot of money, others very little. But they all do it with single-minded intensity because that’s just how they are, and this is just what they do.
Audiences can tell if you’re full of shit. Over time they can sense it. I don’t believe you can fake what I’m describing. I know plenty who try, but there’s always something just a little off about their effort. Sometimes they can fool the audience, but over the years it unravels. Because it’s hard to sustain a lie indefinitely. It requires energy that eventually sputters out. And then the audience is left with whatever is beneath the lie. And they don’t respond kindly.
Audiences are fickle and have short attention spans, but most importantly, audiences tend to buy entertainers who mean it. Maybe not the most talented. Not even the most skilled. Many a singer who’s a marginal talent goes big and stays big with a mediocre instrument and limited range – I cant think of more than a few pop icons who fit that bill. Many authors who go big and stay that way are described as plodding or untalented by the critics with more refined, elite tastes, who purport to know good from bad. That’s why the best work is not the most popular, and the most popular is often not the best, in their view.
My point is simple: If you want to be a bestselling author, write lots of books that matter to your audience, and never let them down. Promote so your audience knows that you have what they’re searching for. Deliver for them. Mean it. Tell that story the best it’s ever been told, and wake up every day trying to get it a little more right, a little better, and you’ll never run out of motivation. For me, the drive to be a successful author is simply the drive to matter.
It’s not what you do that’s important, it’s why you do it that counts. At the end of this we’re all worm food. Nobody gets out of it alive. And none of us knows how long we have. That’s the big lie – we imagine we always still have time, which is perhaps why we’re surprised when our time runs out. If you’re writing because you want success and all that comes with it, money, recognition, notoriety, admiration, whatever, you’re writing for the wrong reasons. If that’s your motivator you’ll be let down. You’ve chosen a business that’s extremely difficult to make it in, where the odds are beyond terrible. If you’re doing this because you believe you’re a special snowflake who will get all those things on account of you’re just you, probably not.
This is very different from the practical advice I offer in my “How To Sell Loads Of Books” blog. That’s more concerned with tactics and strategies for bookselling, tips on how to be a producer of goods people want to buy, on how to operate your publishing company in a businesslike fashion and approach both the publishing and the writing side with discipline. It’s the how to part of the equation. Important, but very different from what I’m talking about in this blog.
As an example, if you help people because you want to appear helpful or compassionate or generous or whatnot, because you hope that you’ll be noticed as such, and will gain some sort of advantage (be it thought of as a good person, or perhaps inspire folks to support you, or have people like you), that’s not the same as helping people because you feel driven to help.
Writing because you hope for the trappings of success is very different than writing because you want to matter to someone – your audience. And the way you matter to your audience is by telling your stories in a way that nobody else can or would. That takes work. A lot of it.
In my experience, if you keep your reader at the forefront of every decision you make, you’re way ahead of those who start their decision making process by trying to figure out what they can easily do, or what they can afford.
That’s all I have today. It just occurred to me as I looked back at my career over the last 38 months, and at my schedule for the next 12. There’s no frigging way I would work nearly this hard for anybody but myself, which means for my readers. For the people for whom I actually matter. Those who get it. My readers. For them, I’ll move the earth.
In closing, I’m reminded of one of my favorite authors, James Lee Burke, whose novel was rejected by every big brain in publishing, 110 times, for 13 years, all of whom were unified in their belief that his work was unfit for publication. When a small university press finally picked it up and printed it the novel was nominated for a Pulitzer. Point being that all the experts, all the cognoscenti, got it completely wrong. They had gold in their hands and for whatever reason, they passed. Readers had a completely different take than the experts and critics – none of whom had ever written a bestseller themselves, but all of whom were convinced they knew one when they saw it, and knew what it took to be one. Turns out, not so much. But JLB wasn’t writing for them. He was writing for his readers. Thank God he did.
So what’s the takeaway?
Readers matter more than anyone if you want to be a successful author. And you’ve got to do it because you’re driven to do it, if you want to make it for the long haul. If you’re not driven to do it, do everyone a favor and find something easier to pursue. Really. Because it won’t end well, and you’ll feel like you’ve wasted a lot of time, rather than invested it wisely in something you’d pay to do.
For those wondering how my NA/YA/Romance mashup is going, here’s the cinematic trailer for Less Than Nothing, releasing Oct. 7.