I get a lot of e-mails from fellow indie authors, mostly cursing me or telling me I’m a dark stain on the profession, but some discussing trends in the business, such as it is.
While I try to avoid making predictions, primarily because I’m usually wrong (or the clowns use the information against me in their ongoing persecution), it’s hard to be in this business, if it can be called that, and not try to divine the future.
NEWS: I was listed as one of the top 50 indie authors by IndieReaders.com for March. I wonder if I get a ribbon or something?
UPDATE: A great new book review of The Voynich Cypher.
So here are a few random ramblings, in no particular order.
Free is the new .99 on Amazon. Last year, .99 was the attention-getting gimmick some author used to propel themselves to all-too-brief stardom. This year, if you want to get noticed, at least in the first 100 days of the year, you gotta go free. It’s a very odd formula, but one you either adapt to, or die.
The rub is that the giddy sales high from free days is getting weaker and weaker, and doesn’t last. Books that were in the top 40 following their free days are now right back where they were before the bump they experienced. So free can buy you fleeting increased sales and visibility, but it’s a false God. The downside for readers is now obvious to me – there is so much content out there I can download free it’s shameful, but at the same time, there isn’t enough time in the day to read even a third of what I’ve downloaded. I’m just now getting to things I got in DECEMBER. I suspect that 99% of all books downloaded for free go unread. Don’t quote me on that, but it’s my gut feeling, at least if I’m anyone to judge reading behavior by.
The market is getting more cluttered. Everyone, from third graders to octogenarians, are writing “books” and publishing them. That means there are now millions of books out there, with all the authors making noise to get noticed. Not surprisingly, few of them do. Why? Because your chances are better of being struck by lightning than of making a living as a writer. Really. But nobody wants to hear that. That’s a big party pooper, and doesn’t play into the whole “The Indie Road” mantra that seems more akin to a religion for some than a business decision.
The content glut doesn’t really bother me much, just as the millions of blogs out there don’t really impact my enjoyment of writing this one. I write it, whether hundreds of people read it a day, or just a couple. Just as I am writing my books, just as I was when I sold 30 in a month. Because, as I said in a blog long ago (maybe six months ago, maybe eight), I write first because of love of the craft and a compulsion to do so, as well as to tell stories, and yes, out of ego that gets stroked when I get a few miserable sentences right. But I don’t write to be a commercial success, because I have no idea what will be commercially successful. Nobody does. If they did, they’d be writing it, and we’d all be reading their books in awe and wonder, not going, “Why is this crap selling?” Likewise, if the trad pub apparatus did, companies wouldn’t do six figure deals for duds. Lots and lots of them. The truth is that even the pros have no idea what will sell, so the notion that they only sign “the best” books is flawed. Scott Nicholson, a great writer, says something to the effect that “if the 100 best books of all time hit NY today, only 10 would get signed, and the other 90 would get rejected, because the industry didn’t have a slot for them that day.”
Having said all this, I had an idea that seemed like a good one. Of course, I can’t do it, because I’m busy writing. But check out the concept. Are you ready? Sitting down?
Consumer Reports for Indie books, including the equivalent of a Good Housekeeping seal of approval.
Maybe you have to submit your work with the contact info for your editor, so it can be verified as having actually been edited, and the name of your cover artist, so it’s clear that a pro team was used. That doesn’t mean the book will be good, but it increases the chance that it will be decent, at least, as in relatively free of typos and incoherent gibbering.
Why would this be good? Because in spite of all the hyperbole, most authors don’t use pro editors, and most don’t use pro cover artists, so their offerings range from mediocre to beyond terrible. That turns readers off to entire price points for books – “Oh, not another $2.99 screed filled with lousy writing, grammar and typos.” How many times have you read authors saying, after getting a host of terrible reviews on the editing or formatting, “Now I’m sending it off to a real editor, and it will be fixed within X period of time!” Really? Given that it’s near impossible to succeed, you wanted to wait until your readers, few as they might be, confirmed that un-edited work is, er, lacking, to say the least? That’s your plan? Let the readers tell you it’s sh#t, and then fix it? “This tastes like dung.” “Thank you for your patronage, sir. We will now be closing the restaurant while we hire a real chef to fix our recipe, which largely consists of dung at the moment. Bud don’t worry, in the meantime, we will still be offering our dung sandwiches for sale through the front dining room – we have a lot of them left. Please come back soon.”
Is it just me, or is that nuts?
I pay an editor – a Brit, who is a talented writer himself. I also pay a copy editor once he’s done, and then a proofreader. I do this because if I am going to charge for my work, whether it is one person reading, or 10,000 a month, they deserve the best I can do. Not the best I can do with no investment. Not the best I can do without taking the steps that are necessary to create a quality product. The best I can do. My reasoning when I started publishing was simple – if I am to be taken seriously, I need to pay to create quality. I want to be taken seriously. So whether I ever recoup my investment, I have to bite the bullet and do what it takes.
The point is that it would be nice if well-edited, professional books had a seal of approval that recognized that they had been put through at least cursory quality control. I would gladly pay to receive that seal. I don’t know, maybe $20 per book. Whatever. If it makes it easier for the readers to decide to try my work, it’s worth it. Then, it’s up to the writing. You can put all the lipstick on a pig you want, but in the end, it’s still an oinker with ruby red smackers.
I have a friend who has put out a bunch of books in the last year. I tried to get through two of them, and just couldn’t. The editing was non-existent, and it was obvious that he hadn’t even gone back to do a second draft or polish – he is just spitting out words and then uploading them as books. His philosophy is that once he makes money selling the books, he will have adequate funds to have them edited, and presumably, more desire to polish his work. That’s sort of like a business plan that says you’ll start a taxi company, and then buy gas for the cabs once you’ve done your first 100 trips, because then you’ll have that money. It ignores that cabs without fuel don’t get paid. Seems obvious to me, but that’s what he’s doing, and so far, guess what? Almost no sales. It is mind-boggling that someone would waste their time in this way. His stance is, “Hey, look at X, his work sucks, and he’s experienced success, so my work can suck too, and I can be successful.” That’s quite a model.
So that’s my thinking at present, and my rant. The world of indie publishing is rapidly changing, in terms of what promotions work, what social media has an effect, what pricing is optimal, etc. What doesn’t change is that badly edited and produced books don’t get a second chance. If you’re an author, look at yourself hard in the mirror, and ask yourself whether you made the investment, or figured you were somehow different and didn’t have to. I’d say most fall into that category. Which is partially why the odds are so long of being successful. At least, that’s my hunch.