Tag Archives: editing

Rush to Preorder: Write at Your Own Risk…er…Pace, Part 3

Missed a part? Play catchup here.

“Rush to Preorder”

In August 2015, I gave my novel, The Computer Nerd, a preorder date for October 20, 2015, the day before Back to the Future Day. Then I started to write it, or add to its existing short story form, rather. I thought this was a good idea. I was on such a hot streak that I thought two months was plenty of time to produce a great title. I thought wrong.

I had just finished and uploaded the revised version of The Celebration of Johnny’s Yellow Rubber Ducky, a novelette that I’d written as a simple short story years earlier (and am currently in the process of revising again to include more story and less fable, but more on that another time), and because I was trying to keep my release momentum up to one new title a month, it was time to get my next e-book title in motion. I was planning on revising and releasing the short story version of The Computer Nerd, which was only about 6000 words and ended with the protagonist taking a chance on his wife not murdering him in his sleep by going to bed with her, but I decided rather quickly that the story was just a first act and really needed more. So, by the second week of August, I ditched my progress on Teenage American Dream, which was supposed to be my next title at the time, and went to work crafting a novel out of that single-act short story. By September 9, 2015, I finished the first draft of the complete novel, and I was happy with it.

I’d set the preorder date for October 20th, because I thought that would give me plenty of time to revise it and get enough beta readers to tell me how to make it better, even though setting a preorder for October 20th meant I’d actually have to have the whole thing done and uploaded by October 10th. But I couldn’t get the beta readers I wanted even though I asked. I got one reader and two advisors for certain moments in the story to cover my every question. Hardly enough feedback to tell whether the story truly worked, or if it was even any good. Had I given myself, say, six months, I might’ve gotten more feedback, or even given myself enough time away from the story that I could read it with greater objectivity and see for myself what works and what doesn’t. Had I given myself that kind of time, or even a year, I’d have been able to learn enough about editing for genre that I could clearly see what was off about the story and worked to fix it before anyone in the public eye would ever see it.

But I didn’t do that. I obsess over most of my stories, which is evidenced by the fact that I keep going back to stories I’ve written more than ten years ago to see if I can improve them, but I didn’t give myself time to obsess over The Computer Nerd. In fact, as I write this two years later, I still don’t know if my ideas for improvement are actually good enough to make it worth public attention even now. All I know is that my plans for its revision are better than what I actually published in October 2015, as a preorder, in an attempt to publish something new every month.

In Part 1 of this unintended series (I thought I would tell this story in one part, not three), I mentioned my plan to rerelease this story with new content and a new title. This is why the planned update for a “finished” novel that people have bought on Amazon or downloaded for free at Smashwords during promotion seasons. I rushed the current version without giving myself enough time to really let it sit with me. I rarely rush through anything without giving myself adequate time to meditate on its details and fix whatever doesn’t work. But the conventions of indie publishing pushed me in ways I wasn’t ready for, and I broke my own personal conventions (and convictions) to see how the story would perform in the marketplace. The result of that performance was poor to say the least. I had no sales at Smashwords or its affiliates, short of a couple hundred free downloads during my I-no-longer-care phase, which aren’t sales, and may not even be reads, and only a couple on Amazon, the first of which yielded a one-star review. The print book never sold. As of this writing, I have the only print copy in existence, and I don’t get far into reading it without cringing. It’s not bad, but I know I can do better.

I intend to do better.

And I wish to do so by giving it a new identity, hence its retitle to Gone from the Happy Place. I want to make sure that readers get the story they deserve and not the one I felt obligated to rush out the door. I still have logistical questions to answer, like whether or not I want to change the opening, or even scrap the original first scene (my gut says yes), but I also have to consider conventional rules for its genre and figure out how best to incorporate those ingredients that the current version lacks, like, say, adding a new character who complicates everybody’s relationship to each other by simply being in the same room as they (because she’s trying to arrest two of the three characters while stealing the third away as a romantic interest even though he’s married to one of the two she’s trying to arrest, and you get the idea…spoiler alert).

The end result of this tale is that each of my stories are now under scrutiny, and some, like Gutter Child, as much as I like their current versions, still need more to become competitive in the marketplace. I can’t save every story or turn them all into blockbusters. But I can still do my best to give each one a proper foot forward, and that’s why I no longer wish to rush anything I write, even those stories I need to rewrite. Gone from the Happy Place is “finished” already; at the same time, I haven’t actually begun the version that will earn its new name, and I won’t start it until I’m satisfied with my rewrites for The Celebration of Johnny’s Yellow Rubber Ducky, Shell Out, and whatever else needs my attention. And even when I do finish it, I won’t release it until I can get proper marketing in its fuel tank. I want to have a better launch for its next version.

So, if you’re wondering why my publishing pace has suddenly slowed to a crawl, or why I’ve produced nothing commercially since May 2016, that’s why. I believe in quality over speed. I ignored it in 2015. I won’t do that again. It’s the same reason I don’t blog all of the time. I’d rather spend my writing on novels than on lectures.

But thanks for reading this all the same! Please come back. Next time I’ll write about…er…stuff, I guess. You won’t want to miss it!

Note: You can find links to most of the books mentioned in this series as thumbnail images to the right. If you’re reading this on your phone, you can find the links at the top. Alternatively, you can wait until I release the revisions and just subscribe to this blog for updates instead.

Please be sure to subscribe to Drinking Café Latte at 1pm to receive alerts when new posts go live. The handy blue subscription button is located at the bottom of this page.

Cover image by Pixabay

The Experts Aren’t Always Right: Write at Your Own Risk…er…Pace, Part 2

Missed Part One? Play catchup here.

“The Experts Aren’t Always Right”

As an independent author, when it comes to writing and selling books, I have to take matters into my own hands. As much as I would love to have someone else handle my marketing, cover design, copywriting, actual writing, etc., I don’t have that luxury. If I want people to read my stories, I have to get the word out on my own, or convince others to help me by convincing them that what I have to share is worth reading. And to convince them to read my work, I have to market to them, which means, ultimately, the cycle is unavoidable, and I’m responsible for getting the word out regardless, help or not. If it’s near impossible to get any reader interested in reading my work, then it’s even more nearly impossible to get them to market for me. If I don’t do it myself, it won’t get done, and the book will undoubtedly flop.

But even if I do get readers, and even if I can convince a few of them to help me get even more readers, it doesn’t mean my career is set and ready to launch. I also have to figure out how to get and retain fans, which is even more nearly impossible than the even more nearly impossible task of getting a support system to help me find those fans.

But nearly impossible isn’t the same as impossible. Fortunately, impossible is a dead adjective in independent publishing. Okay, more like an animated corpse that seems lifelike. But it’s still dead.

Through traditional publishing, authors have a chance to get their books displayed on a shelf at a bookstore, and by proxy, open an avenue for exposure that indie authors often don’t have. This doesn’t necessarily improve the author’s chances at discovery, as any book that’s displayed with the spine out is no more likely to get discovered than a specific crack in a sidewalk in the heart of a beautiful park would get discovered. But even shy people can discover that crack in a sidewalk if the alternative is to make eye contact with other people, so at least it’s an extra opportunity.

For an independent author, that chance for discovery is almost entirely limited to marketing, whether via e-mail, or word-of-mouth, or blast system like Bookbub or Instafreebie, which tends to succeed only when the author already has a following or fat marketing account and strong copywriting and cover design, and getting a sale through that market or discovery is dependent on whether or not the moon passes by the sun at the precise time a chicken crows while a dog pees on its head, which is, to say, not easy.

And that’s just for one book. What happens when the independent author writes another one? How many times does the moon eclipse the sun? (At the time of this writing, the total eclipse is scheduled to begin in Oregon and proceed through the heart of the United States and into South Carolina in a few hours, so, timely! But by the time this goes live, it’ll be long gone, so ha ha, you gotta wait another 18 months for the next one! But I digress.)

Because it can be difficult to build an audience, and even more difficult to retain one, independent authors are often encouraged to write books quickly (one every month or two) to earn enough income to write full-time. And this is assuming they have at least 3000 e-mail list subscribers who are ready and willing to buy every book the independent author writes, or tens of thousands of subscribers that can balance the odds enough to glean about 3000 loyal readers from the list. With the average $2.99 e-book earning its author 70% of its sales, 3000 loyal readers can earn him over $6000 a book. And that’s great…if he can pop out a new book every couple of months on average.

Traditional authors can’t do that because the industry takes about 18 months to contract and release a book via publisher (the length of time you’ll have to wait for the next total eclipse to happen after today, August 21, 2017, aka the day I’m writing this post, not necessarily the day I’m posting it). But independent authors can release books as quickly as they can write them, which is awesome for anyone who writes quickly and cleanly and doesn’t mind ignoring his loved ones most days.

The key idea here being how quickly one can write, edit, market, and release a full-length book of about 200 or more pages (50,000 words or more) and still be good enough to keep the reader coming back for more. Is one-to-two months for each book really long enough?

I guess it could be. Ian Fleming wrote the James Bond novels in the summers he spent at Goldeneye, his home in the Caribbean (Jamaica, I believe), and spent the rest of the year working as a real spy, leaving his publishers to take care of the rest. That’s about two months per book for his part. I don’t know if he had to do anything more than just write the books. But even still, at that rate, he produced just one book a year. You could say he spent the other ten months researching.

I’d argue that producing a new book every one or two months is beneficial for keeping readers’ attention, but it may also be too much for those who feel oversaturated by reading books only from a particular author who, for some reason, is more prolific than even James Patterson or Stephen King. Ian Fleming had a dedicated readership, and even though it took him just two months to write each novel, it took about a year for his readers to get each one. In spite of the gap between stories, they came back anyway. They had other authors they could read in the meantime.

Indie authors don’t have to wait a year to get a book they’ve spent two months writing into their readers’ hands. But is that a good thing? I have authors I’m subscribed to that I still haven’t read because I simply can’t keep up with their pacing. It seems like every time I think about starting one of their freebies, they’re pitching me a new book. I’m not ready for it yet! Of course, it’s not their fault I’m not ready for it yet. I’ve just got so much else to read. Maybe a year between releases isn’t so bad. But, for the indie author, a year between releases is the same as starving. Seems like neither party really wins here.

I don’t know how involved Ian Fleming got with his books after he submitted them to the publisher, and it may be that two months dedicated to his author career was plenty, but independent authors don’t have the luxury to stop at the writing process or spend two months a year on a single book. They have to maintain the editing process, as well, and that can cost time and money. If an editor charges between $1000 and $2000, for example, then that reduces the author’s $6000 in sales profit to just $4000. And that’s not including cover design costs ($300 on average), marketing services (conditional, but probably more than $100 and upwards to about $600), and any subscriptions to web hosting or e-mail list providers ($100 a month or more), and now the author is down to earning an ROI of about $3000 or less for his book, and that’s assuming he’s grossing $6000, and if it took him two months to produce that book from zero to hero, then he’s earning about $1500 a month as an author, which is about what I make tutoring college students how to write.

It’s not a lot when you crunch the numbers. And it takes a long frickin’ time to get enough subscribers and fans to produce those kinds of numbers in the first place.

Now, these are estimated costs based on research and not based on experience. In contrast, based on experience, each book earns about $3 a year. This is without a mailing list, or marketing system, or editing service, and so on. This is based simply on writing and uploading a book to Amazon or Smashwords and crossing my fingers (what all writers wish they could do successfully) and seeing what happens. This is based on zero reviews, or a three-star average thanks to a one-star review cancelling out a five-star review, and, while I’m at it, wishing upon a star.

And that three-star average is based on cranking out a book in two months without editing, marketing, or having any real beta reading support, save for a single reader who says the book is “pretty good,” which isn’t the same as saying the book is “freaking amazing.”

It’s also based on beating a preorder deadline on the advice of experts who say preorders increase first-day sales and that preorders should be given to all books. No, I’m gonna have to disagree here. Preorders are yet another marketing stage for increasing exposure on a title that needs marketing to get that exposure, but it’s only helpful if the author produces a book that readers would actually want to read, which usually requires something called quality, which is hard to achieve on two months’ worth of writing, marketing, etc. I’ll cover that in more detail tomorrow.

But everything about writing and publishing independently comes down to costs, both in money and time, and neither produces guarantees for success, even though more of each increases the odds.

Now, there are things in my life I wish I could reset like a videogame, most of them having to do with career choices or women, but I don’t regret giving independent publishing a chance. What I do regret is rushing through my titles in order to match the speed that some authors claim they need to produce their own success. It’s that regret that has led me to the decision to otherwise disown the current version of my novel, The Computer Nerd, and seek to revise and release the story under a new title, and to do so at the pace I need to make it worth buying and reading. This isn’t to say that it’s bad in its current form, mind you. But it is to say that it needs better.

More on that tomorrow.

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Cover image by Pixabay

Why It’s Okay to Write for Fun

“Introduction”

I’ve been admittedly quiet here on Drinking Café Latte at 1pm for the last few months, thanks to the swell of commitments that have overwhelmed me lately. Notably, I’ve been reexamining my fiction priorities, learning how to better market my books, figuring out whether I should better market them, deciding if I can even pay for marketing, and still juggling a host of matters outside of my writing goals, like exercising, suffering through the recent political climate, studying new avenues of professional focus, eating better, and not shutting the people I care about out of my life in the process.

It’s been a difficult balance, but one I’ve been attempting to keep steady nonetheless.

This blog is one of the things I keep on the back of my mind constantly, but figuring out what my plan is for its future is one that stays in constant flux. Posting the occasional Friday Update is important for establishing a connection with anyone who cares about my writing, but with my writing life caught up in learning how to better edit for genre and marketing and not so much actual production, I find that I don’t have much to say on Fridays at the moment, so I don’t say anything. For those who want to know more, and more often, I can see how this lack of consistency might be frustrating.

Frankly, I’m frustrated by it, too. I feel like I’ve got too many goals to reach in too short amount of time to make significant progress on any of it.

Part of this frustration comes down to this war of requirement I have between writing because I want to versus writing because I have to. Sometimes I think the answer is neither. Often times it applies to both. Keeping up with my blog is part of that war of requirement. Once upon a time I wrote only because I wanted to, because it was fun. Now I write because it’s fun, but also to build an audience. When the writing isn’t fun (and there are times when writing is the last thing I want to do today), building the audience becomes my only motivation, and when that’s not happening, either, I wonder if it’s better if I just pop in a movie and ignore the rest of the day.

I’ve been watching a series of videos this month from established authors, publishers, marketers, etc. as part of the Publishers Success Summit, hosted by Eric Van Der Hope, and I can’t help but think they all have the same message, even if they deliver it through different channels and by different specific measures: essentially, they all say to build a platform, treat your writing like a business, and so on. And given what I’ve experienced since the first day I uploaded Shell Out to Smashwords back on May 29, 2015, I can say that what they preach is truth. Marketing is important if the readers are to come. I haven’t been doing much of that, and the results show. I’m still widely unknown and unread, and I’m constantly worried that I’ve overspent my budget every time I eat out.

But a couple of weeks ago, as I was walking to the beach, I started thinking, well, not all writing has to be business-minded. Sometimes it can really be just for fun. But how do we get ourselves to a point where we can accept that idea and still prepare for the possibility of writing for an audience, business, or fan base someday?

Well, that’s the question I want to explore over the next few weeks in my new short series, Why It’s Okay to Write for Fun, right here at Drinking Café Latte at 1pm.

Tomorrow at 1pm, the first part, “The Importance of Literature,” will go live, so be sure to come back then, and every Thursday at 1pm for the next few weeks (I’m not sure how many parts this will contain as of yet, but I can guarantee at least five), to explore with me the advantages of writing for fun when a business mindset has yet to form, even if one may form eventually.

It should be fun, and please be sure to make comments and encourage discussion as you see fit.

Handy Table of Contents for Each Released Part:

Part 1: “The Importance of Literature” (Posted December 22, 2016)

Part 2: “The Importance of Experimentation and Ignoring Fear” (Posted December 29, 2016)

Part 3: “The Importance of Imperfection” (Posted January 5, 2017)

Part 4: “The Importance of Managing Fun” (Posted January 12, 2017)

Part 5: “The Importance of Balancing Priorities and Knowing Audience” (Posted January 19, 2017)

Part 6: “The Importance of Learning from Our Past” (Posted January 26, 2017)

Part 7: “The Importance of Knowing the Rules of Writing and Storytelling” (Posted February 2, 2017)

Part 8: “The Importance of Finding Useful Education and Resources” (Posted February 9, 2017)

End-of-the Month Roundup: August 2016

My Friday Updates started off with a bang, and then they tapered off, and most of August has been without. “Why?” you may ask. Well, the simple reason is that I haven’t had much to talk about in August.

But, I suppose that’s not entirely true. I have actually done a lot of work, but not on my writing. I’ve been spending much of August studying, marketing in particular, but also editing. It’s the editing I’ve been learning that’s stalled my free-flow of writing. In short, I want to get my stories right, and to do so, I have to better understand the genres they fit in.

I’ve always had a problem with genre classification. I get the general genres like action and drama. But I’ve never been taught the conventions of these global genres, nor the conventions or obligatory scenes of their more defined parts (like action adventure, for example). Thanks to The Story Grid, I’ve been learning more about the genre types, and to some extent the conventions that make them work. More importantly, I’ve been giving more thought to what defines certain stories within their chosen genres, including my own stories. Especially my own stories.

I’ve been wanting to write an update to The Computer Nerd for a while, but I’ve been holding off because I want to attempt to run it through the grid (as outlined at The Story Grid website), and I want to be sure I fully understand how the grid works, and in turn figure out what I still need to do to make The Computer Nerd work. I also want to pick up Shawn Coyne’s book so that I have some kind of textbook to refer to when I give storygridding (a term Shawn Coyne coined) a try. I think it’ll be easier to graph once I know exactly what I’m supposed to do.

To be clear, I do think the story works based on the genre I’ve established. But now I’m wondering if I’ve picked the right genre. And I also think I can make it better. Even still, I have pictures in my head for improving it.

But, of course, that’s not the only thing I’ve been studying, nor the only thing keeping me up late at night.

When I do put it through a new rewrite, and eventually rerelease it, I also need to consider the cover image. I like what I have, but I don’t know that it’s appropriate for the genre. So much to consider, and I feel like no matter how much I learn about my craft, my awaiting knowledge seems to stack and stack.

There’s also the secondary concern about marketing. Whenever I do reedit and repost the story, I’ll want to do so with a change to the metadata. In short, I want this thing primed for marketing, and that means stripping out much of what’s already in there and replacing it with a more direct (and beneficial) link.

But how do I follow that?

The primary marketing tactic I see and hear all over the Internet is that the mailing list remains king. And guess what. I don’t have one. Nope, no mailing list. My blog subscription option is the best source I have for sending out new information, and most of the people who come here come to read my one comedic post about hoverboards, so they’re not going to subscribe. Clearly, that needs to change. So, I’ve been giving a lot of thought to the mailing list and when to start it. But, I don’t want to really push the thing until I have what Nick Stephenson calls a “reader magnet” ready, and I’m starting to think that moving the post-credits scene to a mailing list exclusively is a bad idea. That scene is really part of the book, and should remain with the book. So, I’ve been toying with the idea of writing a novella about the bounty hunter who’s searching for our mental institution escapees (spoiler alert if you haven’t read The Computer Nerd) and using that as my subscription incentive.

Would you be interested in reading the story of Mr. Sanders’s pursuit of our escapees?

Of course, getting people to subscribe means giving them something else to buy down the road, and The Computer Nerd is not something I plan to make a sequel or an entire series out of. It’s supposed to be standalone. Assuming they want something in the same genre, what do I give them?

I’ve been giving more thought to other stories I’ve posted or have planned to post by now–Gutter Child and Teenage American Dream specifically–and considered that maybe their stories could fit more into a mystery or thriller convention, and less in the convention they already have. So, among all of my other stray thoughts, I’m wondering if I should expand Gutter Child and turn the current plot into a subplot, and give Teenage American Dream a darker problem. I have some ideas on how I can expand them, but that will undoubtedly hold up my current plans of the other stories I’ve mentioned on this blog. I feel like I’ve been ignoring them long enough.

So, that’s how my month has been. No progress, just a lot of studying.

I also host a biannual game-making contest, which had a deadline this month, so I’ve been giving that a lot of my attention. But you came here to find out about my writing, didn’t you?