Indie Thoughts: It’s a business

Complaining is not a business strategy ~ Jeff Bezos

I love that quote.

That doesn’t mean folks should never express dismay, fear, or frustration. It can sometimes be very helpful to voice it.

Name it.

Pin it to the wall.

And then move forward.

So Amazon changed how they approach paying authors with Kindle Unlimited (KU). I think the move is fantastic. It rewards value provided to the reader. If you’re in the business of selling value to the reader, that’s a no-brainer.

I also think this whole KU 2.0 thing illustrates why Author Earnings is so important.

It reminds us that we are NOT Amazon.

It reminds us that we are NOT the publishers.

It reminds us that we are NOT the agents.

We are a totally different group.

Amazon is simply a partner. A great partner right now, but they are NOT us.

Which means we’re responsible to make our own way. How do you do that? The only way I can imagine is to own the idea that you’re a business. And then think like a business.

How?

I haven’t run any better way than the lean startup approach.  I’ll be sharing some posts over the next few weeks that explains just what that means.

Happy 4th of July! May God bless America and the disruptive freedom-loving form of government she introduced.

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  • The eBook Tsunami of Crap is Crap

    Some folks say ebooks will foist a terrible problem upon readers–they’ll soon have to wade through mountains of crap to find a book to read. It will be a terrible chore. J.A. Konrath gives his answer to this lament. Kris Rusch gives hers.

    Here’s mine: there will NEVER be a tsunami of crap facing a reader looking to buy ebooks or any other kind of book. Ever.

    Why?

    REASON 1

    Buyers REFUSE to look at seas of choices–crap or otherwise. Shoppers always seek to limit choices (too costly to look at everything) and use a number of methods to immediately narrow those choices down: recommendations, reviews, what’s on the shelf, etc. (For a fascinating look into a few facets of how we make choices, listen to this Radio Lab espisode.)

    For example, when shopping for vanilla you don’t go searching through the 500 brands available online and in various stores–Mexican, Vodka, American, Rum, organic, generic, brand, etc. It’s just not worth the time. Something on the shelf is usually GOOD ENOUGH.

    Likewise, nobody cares to look at 150,000 titles to find the best. They don’t have the time. In fact, they don’t need to. They can usually find a number of books that are intriguing enough in the “smaller” selection any given vendor sets before them.

    In the case of Amazon ebooks, that selection is the best-sellers, the ads, and the this person bought that.

    Nobody ever sees the 4 gazillion books. Ever. They don’t want to.

    REASON 2

    Vendors can’t display a gazillion choices, even if they wanted to, which they don’t (studies have actually shown that providing shoppers too big a selection leads to FEWER sales).

    And no, just because Amazon says it have 2 quintillion titles for sale that does not mean they’ve been displayed. You only see a handful of titles at a time.

    Even if you scroll through the various lists, you are rarely looking at more than a dozen choices at a time. You’ll probably see less than 200 titles total any given time you go shopping.

    Vendors NEVER display a tsunami. EVER.

    REASON 3

    Readers have MORE THAN ENOUGH leads to fill their capacity for reading.  Even if they wanted a sea of options, they wouldn’t wade through them because they don’t have to–it’s too easy to find something to read.

    Leads are everywhere. There are recommendations from friends, family, reviewers, celebrites, and Amazon’s this person bought that.  There are leads from best-seller lists (another type of tacit recommendation). Leads from browsing.

    Readers have leads coming out their ears.

    This is important because the number of leads any given reader has far excees that reader’s capacity for reading.

    How long does it take you to find one book that looks interesting? From browsing or recommendations or whatever?

    Minutes.

    Maybe if you’re having a really bad day, it takes an hour. But it takes so much longer to read one story than it does to find one you want to read.  That’s why we all have two year’s worth of books to read in our queues.

    So. There is no sea of crap. There NEVER was or ever will be one for any given reader.

    Buyers avoid selection seas like the plague. Vendors don’t provide such seas anyway. And readers don’t need them–they have more than enough leads which turn out to be exciting enough to fill up all their reading slots and more.

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  • Excellent advice from author Larry Correia

    Larry just wrote a great post about Writing Gun Stuff. Down at the bottom, he says this:

    I’m not one of those people who gets hung up on “rules of writing”. . .  If it is awesome, and your readers like it, write it. [emphasis added]

    Amen to that. And if you’re going to write about characters with guns, read the rest of the of the post.

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  • Work hard for 45 minutes, then take a break

    My first semester in college I earned a GPA of, ta dum, 0.68.  How do you earn such amazing grades? Well, I’ll tell you: the super secret strategy is to get an F in everything except ballroom dance. In that you get an A.

    I couldn’t squeeze any juice out of my textbooks, but I sure could fox trot.

    And I wasn’t partying. Dope and beer bongs were never for me. I wasn’t skipping class. I was lugging this huge valise around with every textbook I had. I think it weighed something like forty pounds. I was stitting in classes looking studious and taking notes. Well, except for physics which started early. 7:30 a.m. if I recall. What kind of a nut job takes a class at 7:30 a.m.? I did. I tried really hard to stay awake. I know I saw the professor shoot a gorilla with a tennis ball once. But the rest of the time I was in la la land catching z’s.

    A 0.68, and I was in the honors program.

    Obviously, I didn’t know how to go about learning. I’m glad the university didn’t give up on me. They put me on probation and told me I had to take a class on studying. A class on how to take the reponsibility for learning into my own tentacles. A class that shared techniques that actually helped.

    One of the techniques was taking breaks. You were to work hard for 30 or 45 or 50 minutes and then take a break. Why? Well, because studies had shown that someone who, for example, was going to study for two hours could learn more by taking a ten or fifteen minute break in the middle than someone who worked the whole two hours.   Spending more time on studying actually meant you learned less.

    I’ve found this method applies to more than just reading textbooks.  It also applies to writing. My practice is to set a time for 45-50 minutes. My goal is to write as hard and fast during that period as I can. To be totally focused on the task at hand. And then, when the timer dings, to literally get up out of my chair, walk about, and take a break. Then come back at the top of the next hour and start another 45 minute session.

    But I’m not the only one doing this. A lot of folks use this method. Author Annie Bellet writes about her use of it in The Quest for Productivity and shares some of the reasons why it helps her. Read what she says there. If you haven’t done a 45/15 or 48/12 session, give it a go. See if you don’t actually get more done in less time.

    Oh, btw, as for my grades, not only did I NOT drop out (or get kicked out) and become a hobo living in a trailer by the river, I ended up getting a 3.8 in my masters of accounting program. I think it’s safe to say I figured that school thing out. 🙂

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  • Which cons should an aspiring author attend?

    You want to meet editors and agents. But how? Where?

    Writing Excuses recently held a great podcast listing the types of events aspiring authors might want to attend–conventions, conferences, workshops, expos, etc. But knowing the types still doesn’t tell you which events to go to.

    If you’re looking to meet editors and agents, here’s a way to figure out precisely which events you should attend.

    1. Instead of taking a random scatter-shot approach, get some laser precision. Do this by first identifying the specific editors and agents you’re interested in. Then find out which events they’re going to attend. Forget all the other events–these are the ones you want to go to.

    These folks will often post their schedule on their websites. The workshops, conferences, and conventions will also often post guest lists. You can also query the agency or publisher itself and ask which cons so-and-so will attend (just contact the receptionist, you don’t need or want to contact the editor or agent specifically).

    Now even if you don’t know exactly who you’re interested in, you can still narrow down your focus. Event X might at least have some agents or editors attending (even if they’re not in your genre) while event Y does not. So go and see if you can’t get tips from those agents or editors

    2. Research each of the events. Some provide meetings with editors, some provide pitch sessions, some will require you to track the person down. Select the events that look the most promising to you.

    3. If you feel a bit nervous or shy, develop a short script for what you’ll say and how you’ll approach these folks. Or make a list of potential talking points. Run it by some friends and other writers to  make sure you don’t sound robotic, dweebish, pushy, or pleading.

    You have to remember that agents and editors are looking for new talent constantly. If they don’t find new talent, their income stream soon dies. They want and expect people to find them. They WANT to talk to YOU. They just want to be approached in a friendly and business like way. 

    So you have your script, talking points, and plans and will probably end up deviating from them. However, just having that in your head when you go to the con and approach the person you want to talk to (even if it’s only two sentences) can go a long way to calming your nerves.

    4. Attend the con and make adjustments to your plan as necessary.

    5. Don’t miss unplanned opportunities. Writing is sometimes a lonely business. When I go to cons I have folks I want to meet and catch up on. But I also make sure I engage other con goers. I smile, I say hello, I ask things like “so are you here as a writer or a fanboy?” or “what did you think about panel?” or “Your Klingon ridge is looking mighty today.” We chat.

    I do it because I learn a lot from others and its just plain interesting. And sometimes you make an acquaintance that can develop into a working relationship. For example, I met Larry Correia (new author with Baen) at a local con I just attended. He had a fascinating  story about his breaking in. We chatted for a while. There was no ulterior business/network motive. Just a great conversation. A month or so later a business opportunity arose and I thought of Larry. He’s now going on tour with me and Dave Farland this fall.

    Be flexible. I’ve been invited and have invited others to go do lunch or dinner. And those have always been great chats. And sometimes business ops have arisen later because of them. But even if they hadn’t, it just makes the experience so much better. Good conversation is its own reward.

    6. If all of this is too scary, bring back up. Get a friend or family member to go with you. 🙂

    And if you stumble a bit, maybe stutter, maybe even feel like you’ve made a fool of yourself, do not stress. It’s to be expected the first few times. No big deal. Most poeple are shy and will either give you a break or be so worried themselves they won’t notice. With a few tries you’ll learn. If yo do make a fool of yourself, the good thing is that editors and agents meet so many people that your face will soon be forgotten, and you’ll be able to reboot and approach them next year with a clean slate (just remember to not wear the same belly dancing costume).

    Of course, this doesn’t tell you what to do and not to do when approaching these folks. But as far as deciding where to go, this is one method that works.

    —

    Added 7/31/09

    SFWA has some great articles on conventions and networking by Diana Rowland.

    How to Network at a Convention

    Networking 201: How to Work a Room

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  • More 10-to-20’s

    I just posted this in one of the comments sections and realized it would be useful to everyone.

    There’s another part to this that has to do with text. There will be more 10-to-20’s that go along with it. But I think I’ll be trying to create that presentation as a video for the site. We’ll see. Right now I’ve got to finish CODG. But when you finish the ones I assigned, I suggest you add these.

    1. BEGINNINGS. Go to the bookstore or library and pick up 10 to 20 random fiction books off the shelves and then sit down with them. Pick up each and read the first two pages. Note which ones pull you in and which resist you. Identify the cause. Then see what patterns you can find.

    2. 3 GRUNTS. Find 10 to 20 short stories or chapters from different books. Read them over three or four days. Do NOT read them looking for problems, but just as you would any book you’d picked up for enjoyment. While reading make a note of any section where your interest flags, the writing or story is unclear, or you just don’t believe it. These bumps are what Orson Card calls the three reader grunts. They occur when a story is unclear, unbelievable, or boring (i.e. you grunt huh? come on? or who cares?). When you’ve finished, look for the patterns that caused this response in you. ***This is one of the key things we did in Card’s boot camp that made me feel like the mists were being parted*** 

    3. ENDS. Look at the endings to 10 to 20 novels or short stories that you’ve read. Identify which you enjoyed the most and which you did not. Look for causes. See what patterns emerge.

    4. SMALL BEGINNINGS AND ENDS. Do the beginnings and ends analysis 10 to 20 chapters and then 10 to 20 scenes.

    Of course, you can look at anything this way–plot turns, magic systems, aliens, settings, dialogue exchanges. Get 10 to 20 of them. Identify which are interesting to you and which aren’t. And then try to see the patterns. But I’d recommend you start with those above.

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5 Comments

  1. That’s a great quote! I totally agree with thinking like a business and I’m looking forward to reading your posts about it.

    And well done on finishing another first draft! 😀

  2. Looking forward to this information – it looks to be helpful as I start various on-line businesses (web sites).

    And how about a new Progress Bar for the next step on Frank’s new story? (I know a guy who can help….)

  3. (grin)

    Yeah, I know that guy too. And it’s perfect timing. The 2 week manuscript rest ended today. Tomorrow I start the read-through.

  4. I like the quote.

    As someone who is an avid reader (I own all your books in Kindle format, and I was thrilled to see you on the Baen website), and is also self-employed – I’m in IT rather than being an author, I think this is good advice.

    Looking forward to getting the eArc of your new book, and then the finished version too. 🙂

    Mike

  5. eArc…

    Hum, Baen and I never talked about that. But that’s definitely something to explore. Thanks, Mike!

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