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  • Can you make a living writing short stories?

    We already know that many people break into the novel market WITHOUT writing short stories. So they’re not necessary for starting a writing career, although they might have helped some folks. See this page http://johndbrown.com/writers/writing-business-facts-figures/ for links that will show you how people break in. But some people just love short stories, so the question is can you make a living writing them?

    The answer is yes, you CAN do it–you go into television and get hired to write scripts for TV series (grin).

    But what about doing it in print? Well, let’s try some conservative math.

    1) How much would you need to sell?

    TARGET: a conservative $30,000 gross per year.

    The median household income in the USA is $50,000. But you can find a place (rural Ohio or Indiana or North Dakota etc.) where housing is relatively cheap and live on $30k. I think this is a reasonable target. So let’s make some assumptions about the stories. We’ll assume each short averages around 4,000 words and that you get paid seven cents per word. To earn your target amount you’d have to sell:

    • TOTAL WORDS YOU NEED TO SELL: 428,571
    • TOTAL STORIES YOU NEED TO SELL: 107 (words divided by average story length)
    • TOTAL STORIES/WEEK: 2 sales per week (weeks in year divided by number of stories)

    At 10 cents a word:

    • TOTAL WORDS YOU NEED TO SELL: 300,000
    • TOTAL STORIES YOU NEED TO SELL: 75
    • TOTAL STORIES/WEEK: 1.4 sales per week

    No, this doesn’t count reprints, movie deals, gaming contracts, etc. But reprints usually don’t pay well and movie deals, while they pay well, can’t be counted on. Besides, we’re being conservative. 

    2) Is this a feasible production rate?

    Again, a little math.

    TARGET: 2 stories, 8,000 words average per week

    If we assume you write five days per week for six hours per day at a rate of 500 words per hour, which may be very aggressive if you try to include thinking and revising time in that, then you’ll produce 15,000 words per week.

    So, yes, this is a feasible, if aggressive, production rate–on paper. But I don’t know anyone finishing this many stories per week. Furthermore, it’s highly unlikely you will sell 100% of what you send out. So you need to actually produce MORE than two stories per week. You might have to end up writing three or four. Week after week after week. That’s one story every day or two.

    Theoretically, yes, that rate of production still fits in the 15,000 word capacity. But I’m going to say it’s doubtful anyone can do this because I haven’t seen anyone do it. Have you? 

    But even if you were the Lizard King of writing and could pull this off every week of the year, the question is can you sell all those stories?

    3) Is it feasible to sell two stories per week?

    According to http://duotrope.com/index.aspx there are about 200 venues for short fiction paying pro rates, which for them is 5 cents or more. No,  anthologies are not represented there. But I’m not sure it will change the equations that much. So you have to sell 107 stories to these 200 markets. I don’t know how many slots are open in these places. Some of these venues publish one story per year, some publish twelve, some more. Some are published semi-annually, quarterly, bi-monthly. Let’s say there are 2,000 slots. Of course, we might need to count total wordage up for hire at these venues instead, but we’re just doing this on the back of a napkin. So 107 stories out of 2,000 slots means you’d have to make up 5% of the market. You sell five of every 100 stories these folks buy.

    FIVE PERCENT OF THE WHOLE MARKET!

    Nobody makes up 5% of the whole short fiction market. NOBODY. Okay, let’s say there are 4,000 slots. Each venue averaging twenty stories per year. So you have to make up 2.5% of the market. Nobody does that either. What about 1%? Anyone? One out of every 100 stories? No.

    Is this because writers are lazy? Could it be done? You might be the first?

    That’s lotto thinking. What you want is demonstrated income, i.e. people have DEMONSTRATED it can be done. Nobody has demonstrated this can be done in the current market. So it’s not reasonable to expect you’ll do something nobody else is doing.

    So the answer is that even if you produce three to four short stories per week, you’ll never be able to sell enough to make a living. Now, I know of a few authors who can make a few thousand dollars per year writing short stories. I’ve heard of one guy who made $10,000 a year for a few years. But can you live on that? Even if you move to a place where housing is very, very cheap? Besides, we’re trying to avoid lotto thinking here. We’re trying to be practical and conservative. This is one guy. Do you yourself know anyone who has done this? I wouldn’t want to base my future on what one guy did.

    CONCLUSION: there’s no evidence that strongly suggests it’s feasible to sell at the necessary rate to make $10,000 per year let alone $30,000.

    4) Re-purpose the wordage to Novels!

    Go back up and look at the annual output of words. If you can write 300,000 to 450,000 words per year, you could write four to six young adult novels (averaging 70,000 words per book) or two to three adult novels (averaging 120,000 words per) in that same time.

    Why not build a career in novels?

    Yes, you may start at $5,000 – $6,000 advance per book. But if you sell well, that goes up. Plus, if it does sell well, you get royalties. Plus you can sell foreign novel rights. Plus you get an advance to help with some expenses. More importantly, we have thousands and thousands of folks DEMONSTRATING they can make a living writing at that pace.

    So write short stories if you love them, but don’t expect to make a living at it.

    5) But what about Amazon and self-publishing?

    Could you make a living selling your shorts out there?

    Only if your shorts were once worn by Brittany Spears.

    For more on e-book sales, let me recommend you read a few posts by J. A. Konrath. I’ll let you decide. But please note that he’s selling NOVELS. And as always, you want to be realistic about this and make sure you see many people DEMONSTRATING it can be done. Do you think Konrath presents such evidence? You tell me.

    Postscript

    Read these two posts by Dean Wesley Smith where he busts some big myths about not being able to make a living writing:

    Killing the Sacred Cows of Publishing: Only 300 Writers Make a Living

    Killing the Sacred Cows of Publishing: Can’t Make Money in Fiction

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  • Media and Teenage Sexuality

    I don’t know how it’s possible to aruge that media does not influence our decisions. The evidience is simply overwhelming. Here’s another report of a study linking media sexuality to teenage decisions about sexuality.

    “CHICAGO — Groundbreaking research suggests that pregnancy rates are much higher among teens who watch a lot of TV with sexual dialogue and behavior than among those who have tamer viewing tastes.” Full article here.

    The study shows that while teenage pregnancies have dropped overall, those teens watching racey shows had, not just a small incremental risk, but TWICE the risk of getting pregnant.

    Now, I know this article by the Guttmacher Institute focuses on the 1990’s, but it still is enlightening. It discusses the reasons for the dropping teenage pregnancy rates during those years. It’s conclusion is that both abstinence and usage of more effective contraception are the main factors for the drop in teenage pregnancies.

    When I put the two articles together, it makes me wonder if the racey shows are encouraging more sex among the teens who watch them or the use of less-effective contraception or both. My guess is that the shows are influencing a decision for more sexuality.

    Either way, what does this mean for a writer?

    To me, it means that while I’m never responsible for someone’s actions nor in 100% control of what people take from my writing, I AM responsible for those things I know are highly likely to influence folks one way or another. I hope my works provide a wonderfully entertaining experience, but also avoid influencing people into decisions that will lead them down paths that will limit their happiness.

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    Writing Update: 5/21/11 – visualize first, scene goals, the power of research

    I finished two chpaters this week. I’m quite a bit behind my stretch schedule which has me finishing the beginning of August although not too far behind my my conservative schedule which has me finishing the end of September.  A few more weeks and we’ll see if I’m giong to meet the stretch schedule.

    A lot of these first seven chapters are the same scenes as from before. Well, the same idea. But because enough has changed in the situations and because I’m writing some of the scenes from different points of view I have to rewrite them. So while I hope to catch up with some copy and paste from the last draft, I just am unable to do that here. 

    Visualize –> Report

    I thought I’d share one of my key methods for writing scenes. Here’s what I’ve found: when I can visualize the scene, it’s fairly easy to tell the reader what’s going on and to structure it in a way that achieves my purposes. When I can’t visualize it, I have nothing to tell. So for me the first thing I have to do is to see what’s going on. Then I can report as if I were there. Or if it’s from a more deep point of view penetration, I can report from my character’s eyes.

    So the sequence is to visualize (do the things that help me get that visual, feel, sound, etc.) then report in a way that will transport the reader and present the things I feel I need to present because they’re cool or because I want to generate a specific effect. 

    This is why I use the sketch/draft method. I sketch things out to get an idea of what’s going on first. Sure, I’ll discover details as I write. I’ll sometimes realize my first idea was off or wrong or won’t work. But if I don’t have an idea in the first place, I simply can’t write. It’s all a blank screen. One of the biggest causes of writer’s block is simply a lack of invention–of not having anything to write about because nothing’s in the mind of the writer.

    First have something to say. Then say it.

    Of course, you have to come up with the scenes in your mind before you have something to say. That takes some exploratory drafting, sketching, creative Q&A. You can see Orson Card doing some takes here in his writing lesson “Beginnings“, trying to help flesh it out in his mind. 

    The main tool I use to sketch is the summary–a bullet point or chapter outline like a posted about last week. However, sometimes it’s not enough. Sometimes I need an actual map to block out who does what and where. This week, for example, I was writing about Sugar coming into a village. She needed to enter then encounter some dead bodies.  I spent something like 45 minutes typing hardly anything and then realized-duh!-I don’t know what’s going on, where she’s going, why. I can’t see this place at all. I needed helping visualizing it first, not in super detail, but enough so I could report.

    So I took five minutes to sketch a simple map of the village, where she was when she entered, and where she was going, what was likely in the yards, the fences, etc. Once I saw it, I could then report, just tell what I saw as plainly as I could to the reader. I know these scenes fairly well, this being the FOURTH FREAKING DRAFT of this novel. And yet I’ve had to do some drawing for two scenes so far (the other drawing was for an ambush that wasn’t in the last draft). Because again, things had changed. And I had to see it before I could report it.

    Other tools that help me visualize and hear are actual photographs of things or people. Or audio of people’s voices. I was struggling getting a character in my mind for my short story LOOSE IN THE WIRES. I was listening at the time to Susan Grafton’s O IS FOR OUTLAW and when the actor performed this one character, suddenly I HEARD it. Boom, the guy came alive in my mind. Once alive there it was relatively easy to put him down on paper. Again, I was just relaying it to the reader.

    So I believe that what a writer must do is bring the situation to life in his or her mind first. It won’t be everything in exact detail. There’s a lot to be discovered in the writing. But it will be enough that it will feel like you’re simply telling something you saw or experienced.

    Scene Goals

    While writing, of course, I have objectives for my scenes. Sometimes I’ll do exploratory drafts, not having any goal except to see what happens and invent something cool. But that’s usually in my pre-draft stage. At this point I have a rough idea of where the story is going to go. I’ve already done a lot of the inventing. Now I have to translate it to scenes. And so I find having a quick list of objectives for the scene, along with my brief summary of what I’m expecting to happen, helps me visualize as well.

    Here are two examples of what a list of scene goals might look like for me.  These were for two scenes in draft 3 of CURSE.

    Example 1:

    • This is the time for her to make her HEROIC CHOICE. I want a heroic moment.
    • Terror of Legs being lost
    • Legs seeing her for the first time the next morning—he IS going to experiment because Urban is gone. Does he give something to her, his weave, twisted—Flax helped me.
    • Some tenderness
    • Last time with Mistress until the final battle

    Example 2:

    • Skir battle coolness. Need some surprises
      • Ayten dragging off souls
        • Sees it below on the ship
      • Seafire
      • What cool skir thing could there be?
        • Whirlwind
        • What would happen if a skir dived?
        • Some missiles, stones in the wind
        • First sight of that. She ship has slingers etc.
    • Sugar having to choose to leave people, see the beginnings of harvest
    • Oh Crap moment at end—this is going to be bad
    • This is the setup for the next scene where She and  Urban are spying and after the assessment, he says, we need to go. And she’s in indecision, and he says I will wait until, and then I will leave.

    They’re fairly simple.  Of course, I have other goals in mind that I don’t need to write down–“start and end with a hook,” or a rest, depending. “Transport the reader might be another,” meaning make sure I use what I know about presenting details. Another might be “bring the character on in an interesting way.” And because I generally know the big picture of what’s going to happen, I can focus on these other details as I write.

    Research: Monster Zing & Visualize Method

    Research is also a monster method for visualizing and for zing. I can’t tell you how much it has helped me in the past and on my current projects. In the thriller I’m working on where the main character is ex Special Forces, I could barely visualize anything. Some I’m reading books about it and talking to people who are in Special Forces and watching films about it. There’s no way I could build a story I cared about and believed in without research. I’m going to be doing a ride along with a cop, visit our state prison, and maybe talk to some ex-cons for this as well.

    Tim Powers came to the Writer’s of the Future workshop I attended many years ago. He talked about many things. But research was one of them. In fact, one of the idea generating methods discussed in the workshop, one on which Hubbard himself had written a fine article that we read called “Search for Research” (click the Next or Continued link at the bottom to continue through all the pages of the essay), was about the power of research. So Powers recently did an interview about the latest Johnny Depp Pirates release , which is inspired by his book of the same title (which I read and loved), and restated what he did so many years ago:

    Q: What inspired you to write On Stranger Tides?
    A: I was already hooked into using real historical places for settings. And so I thought, you know you loved Treasure Island…And I thought I bet you can set a nice fantasy story in among the pirates, Black Beard, that crowd. So I read a million books (that is probably fifteen books) about that particular crowd of pirates that were in the Caribbean in 1718 like Stede Bonnet, Black Beard, and Anne Bonny.

    What I always do when I’m writing a book is first I read all the history and biographies and things like that that I can find. And I look for stuff that’s too cool not to use. ‘Ooh that’s neat. Look at that. I like that.’ And I’ll write it down. And then I’ll find something else and say, ‘Oh wow this is great. You got to have a scene happening in this place. Oh you gotta use this guy.’ Eventually, I’ll have twenty or thirty things that are too cool not to use. And it’s kind of fun then because you say, ‘Well okay, here’s twenty or thirty parts of your book. You just have to connect the dots.’ And so I thought, ‘Ok, what was Black Beard really up to?’

    So to sum up.

    1. Visualize, then report.  That’s what I’ve found I have to do. It makes it so much easier to write when I have a picture in my mind.
    2. Scene goals help me visualize the scene and what needs to happen.
    3. Research is a huge tool for helping me find zing and to visualize and invent something I can visualize. 
    4. The Sketch/Draft process (I explained it in last week’s post and in the interview with Maya Lassiter) is another work horse of a tool for helping me visualize and invent by degrees.
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  • YA Books Ratings and Publisher Arrogance (shh, it’s about the $$)

    I’m a bit irked.

    I wish I could talk to a publisher about this. I should talk to a Barnes & Noble corporate book buyer. But since I don’t have one handy, I’ll discuss it with you folks. Maybe I’m up in the night? You tell me.

    Here’s the deal. My wife is 7th and 8th grade language arts teacher. My wife is also a mom who loves books and wants her girls to read until their eyes bong out of their heads.

    So we go to find books for her students and for our girls and, jeez, wouldn’t you know it, but this YA book features masturbation and that one features lots of fine words like F*** and S*** and this one is about giving the guys a blow job (tee, hee, hee).

    Yeah, I know about YA saves. This isn’t about banning this or that content.

    It’s about the fact that I’m a parent. And, geez, I have a certain way I want to raise my kids. My wife is a teacher who needs to provide books to her students that aren’t going to piss some parent off. Why? Because she’s providing a service to that parent. Because she wants to keep her job. And because it’s her job to help parents improve their kid’s reading ability not tell them how to raise a family.

    So why in the Sam Hill can’t publishers rate their books?

    There are millions of their customers who would find this useful.

    Well, here’s one answer I was given by a writer friend I respect.

    Everyone in the industry is really pushing back against the idea of a rating system. Let me see if I can explain why.

    A friend of mine, ZZ [name removed], is the nicest person in the world. Volunteered for years at a prison to help people learn to express themselves by writing. Her older brother was a closeted homosexual for years, contracted AIDS, died too young. She wrote a book recently called [title removed], about a family in the restaurant business (as hers was) who have a “late” baby and the problems it causes for the older teens, one of whom is coming out as gay. It’s a soft, quite, sad, moving book. And it would be part of the “rating” system and banned from a bunch of schools. ZZ also wrote a book a few years ago about teenage pregnancy. Also beautifully written, kind, compassionate. But it would get tagged by schools as “inappropriate.” ZZ feels strongly that there are kids out there who need books, kids in your wife’s school system who need to be told they are not alone.

    I don’t see any way to have a system that distinguishes between books that I see as anchors to kids who need help and those books which I see as genuinely offensive and encouraging bad teen behavior by glorifying it. The only system I know is me recommending the best books I see. And I’d much rather see librarians and school teachers go through books on a case by case basis, deciding whether they personally think it fits the values in their community than to have someone else not attached to the community do the same thing.

    Uh huh.

    If this is accurate, it shows the industry’s stunning lack of creativity AND arrogance. Because if publishers really were listening to parents, they could come up with a solution.

    No, really. They could.

    Why, there’s already one out there. They don’t even have to expend even one creative molecule to find it.  

    Look at the Kids-in-Mind rating system: http://www.kidsinmind.com/. It rates movies 1-10 on sex, violence, and profanity (SVP).

    There’s no age stipulation in their ratings.

    Unlike other rating systems, there’s no “children under 13 not admitted.” No “appropriate for teens.” No recommended range for this or that group or this book is good and that one’s bad.

    It just rates the content and gives it a number. You, as the user, determine what level you’re comfortable with and then find the movies that fit.

    I’m a 4-10-4 on sex, violence, and profanity. You might be a 5-2-9. That’s not good or bad. It’s just what it is. More importantly, the rating allows me as a consumer to EASILY FIND AND PURCHASE THE PRODUCT I WANT.

    I know some folks have never heard of it, but consumer choice is a really cool thing.

    And if I hear about a movie that’s amazingly good, but I see it doesn’t match my normal levels, then I can make an informed choice to watch or not watch. The King’s Speech, for example, is a bit above my normal profanity setting. But this didn’t prevent me from watching the film (it was a fabulous movie, btw). SVP just gave me a couple of pieces of simple data I find useful as I make my choices. Data I’m already looking for.

    If publishers were to use a similar rating system, every librarian could peg the levels they wanted in their school and be done with it. As well as consider special cases. Teachers could peg the level for their classroom. Parents could search and find and buy. And they could guide their kids in their purchases as well.  

    Make it easy for them to go case-by-case. And don’t imagine librarians and teachers and parents are going to read every YA book published to find those that fit with their values. They don’t, can’t, do that now. They won’t in some utopian future. If you give them SVP ratings, it will help them spend their time, case-by-case, on books that they’re likely to buy. Which probably means they’ll buy more.

    Write about homosexuality, rape, whatever. But make it easy on the consumer to see if it’s the kind of product they want to buy.

    Some might say, but themes of homosexuality and rape and child abuse etc. etc. are important and would be automatically excluded!

    No, they won’t.

    You can write a story about those themes that scores low on SVP. You can write about those themes and score high. Themes are outside the SVP scale.

    Some parents, librarians, and teachers may want to avoid some themes. Others would seek them out.

    So, good golly, here’s an idea only a rocket scientist could come up with. OR someone who took the issue a tiny bit seriously and wanted to serve their customer. How about a little box under the SVP rating that contained “sensitive” themes.

    They don’t have to do what Scholastic does with its school catalogs and label them “mature” themes, which might suggest “mature audiences only.” They’re not “mature” themes. They’re not “bad” themes. They’re not “good” themes. They’re just sensitive themes.

    SVP and Sensitive Themes: four little pieces of data consumers would find oh so incredibly helpful.

    But no. The industry can’t be bothered with that. And, consequently, reveals its arrogance and total lack of respect for a HUGE portion of their customers.

    I guess they think librarians are mindless idiots. Never in a million years, if a librarian is tuned into the needs of her community and thinks a book on homosexuality would be important, would she search on that sensitive theme and her SVP ratings. And parents would never do that for sure (do you know how many gun-clinging troglodyte parents there are out there!?)

    I guess the industry thinks because it sits in an office in NY City that it knows everything about raising kids. It knows so much it must dictate to parents how to do it right.

    Yeah.

    Or maybe what this really shows is that the publishers have got a book they want to sell. They want to make a buck. And, dang it, this might hurt sales. Because then people wouldn’t buy things they didn’t want.

    They really don’t seem to care about what many of their customers want. Because if they did, and they realio trulio cared about these sensitive topics and saving the world, then they’d publish books high on the SVP because they’re just sooooo goooood, but they’d also publish books on those topics that are equally as goooood with SVP ratings that the majority of parents and school districts would be comfortable with.

    And they’d let the customer choose what they wanted to purchase.

    Customer choice. Customer service.

    Wow, what revolutionary concepts.

    They even might find that if you delight the customer, they’ll come back for more.

    I know, I know. I’m living in fantasy land; delighted customers coming back for more . . . as if.

    Question is: will the publishers listen?

    We’ll see. I truly hope I’m wrong about their arrogance and disregard towards huge swaths of their customer base. In the meantime, you might want to think about talking to the manager of your favorite book store about this. Strangely enough, books stores have a lot of pull with publishers.

    You also might want to look at Kids-in-Mind. It seems to make a lot in advertising. Looks like there’s money to be made in a review site like that for YA books. I know a lot of people who have said they wished they could just read books for a living. Anyone feeling entrepreneurial? Anyone?

    EDIT

    Two more points.

    First, what’s sensitive for one person may not be for another. But that’s the beauty of this. This only identifies subjects that would be sensitive for reasonable sections of the market. For someone with your reading tastes, you’d say, eh, homosexuality, big deal. That’s not a sensitive subject. For others, they’d say, hum, have to think about it.

    It’s just giving data. A respect and recognition of different tastes. Not a prescription of what someone’s taste should be. Or what people should or shouldn’t feel is sensitive subject matter.

    For this reason, I don’t think publishers would want to use the word “controversial” because that implies controversy. Just sensitive (or some other similar label). Or even “Potentially Sensitive Themes.” This is just giving data about content areas SOME parents might want to know about.

    Second, the SVP is not going to be 100% perfect. But something is much better than nothing. And having some clear standard for rating, whatever it is, pegs things so you can figure out where you are. As long as the raters are fairly consistent, then you can tell if something is close to the type of product you’re interested in. There will be goofs. No doubt about it. Huge goofs would be probably very infrequent because a ten-point scale allows you to make gradual distinctions. But I’ll take some goofs now and again over nothing at all.

    Furthermore, because it’s NOT age-based like the MPAA and prescriptive in the target audience, it’s not telling parents what to do. There is no “good for your kids” and “bad for your kids” rating. Just the level you’re comfortable with.

    Finally, some people object to ratings because “how can you boil a book down to a few numbers?” I don’t think this boils a book down. It’s only a couple of pieces of data about a book. Data parents are already looking for. The cover, recommendations, word-of-mouth, flap, description, buzz–these are all pieces of data as well.

    In fact, you and I exclude many books based on genre labels alone. And yet we don’t worry about a genre labels much. They’re useful pieces of information. Are they always perfect? No. But they’re by-and-large very useful. I don’t see that this is much different. Just another piece of data to help consumers find what they want.

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  • Indie Thoughts: Lessons from Heather Justesen

    From Heather Justesen, who writes clean romance.

    Two years ago I was working full-time for peanuts (seriously, it didn’t even cover the mortgage–and we didn’t live in a palace.) I quit to write full-time before I went completely insane. By December 2012 I had replaced my c-store income. By April 2013 I earned enough to pay ALL of our bills. Since then I’ve been the primary wage earner for our family, allowing my husband to close the business that was sucking all of the life out of him, and for us to move halfway across the country. He does bring in some money still, but even in my worst month we can pay all of the bills from my writing income. I’ve sold (real sales, not counting freebies) over 60K books in the past eighteen months. I’ve got audiobooks for most of my indie titles and I’m starting to see sales into bookstores. I would have to have one heck of an offer to even consider a traditional publisher’s contract. I’m very happy the way things are.

    * * * *

    Kevin, don’t lose hope. I have books that sell in the single digits every single month despite great reviews. And I have books in a different genre that sell really well every month (not blockbuster well, not top 100 well, but enough for us to get by on.) I didn’t do it with the first or second book, or the fourth book, I had nine books out before I started to make pay-the-bills money, and most of the money, even now that I have 18, comes from a single series. The others make very little [emphasis added]. Maybe give the genre a twist and try something a little different, but still in your general area of interest. Try a different genre that interests you, or just hang on and keep writing. Get feedback, learn more, and keep working at it. I wrote for nearly a decade before I had a book good enough to be in print (before Kindle really took off, or I had enough trust in myself to go it alone, so it was with a small press.) This is a craft, you can’t learn it overnight and success rarely comes overnight[emphasis added].

    Having three books out making six figures a month is crazy good, and definitely not the norm, and yeah those kinds of numbers can be discouraging, but a lot of the other stories here show that it can come. Most people who persevere eventually start to make decent money in indie publishing if they’re doing everything else right. Your covers are pretty good, so try changing up the descriptions and see if that helps. And keep writing.

    More on The Passive Voice.

    A series, lots of product, and an audience that has been under-served for years.

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  • How readers select books

    Gallup did a poll in 2005 asking readers how they selected the books they read. Here are the results.

    gallup-poll-how-readers-select-books

    What this says to me as an author is that the most important thing I can do to help my career is write the best dang story I can, seeing that almost 60% of what readers select is driven by the experience they or someone else had with the book.

    The next most important factor has to do with helping my book stand out for browsers. This would include the cover, store placement, blurbs, flap text, and the opening pages. The only part of this an author can really focus on is the opening pages–again, writing the best dang story I can.

    So it seems authors, especially debut authors, can’t do much to affect sales. But not being able to do much doesn’t mean they can’t do anything. Somewhere, somehow the first readers have to be enticed to give the book a go. Robert Sawyer talks about some of the methods to do that here.

    EDIT: 4/8/2011

    Kris Rusch adds more information that confirms the findings of the poll above in “The Business Rusch: Promotion”. READ HER WHOLE ARTICLE. Notice she does concede that publishers can get some notice for a book. So there ARE things that can be done to make the offer. But I agree with her advice that the best thing to do is get more product out the door. The studies she cites are:

    2010 Survey of Book-buying Behavior by VERSO Advertising. The key conclusion on book-buying is that “Multiple factors impact consumer awareness of a particular title, but final purchase decision (online and offline) driven by author reputation, personal recommendations, and price.” If I were you, I’d read the whole presentation.

    # Reason % Respondents
    1 Author reputation 52%
    2 Personal recommendation 49%
    3 Price 45%
    4 Book reviews 37%
    5 Cover artwork/blurbs 22%
    6 Advertising (including on-line) 14%

    2007 Survey on what motivates readers to by a book by Spier Advertising, reported in Publishers Weekly

    # Reason % of Respondents
    1 Friend’s Recommendation 49%
    2 Familiarity with Author 45%
    3 Description on Jacket 32%
    4 Reviews 22%
    5 Advertisement 21%
    6 Place on bestsellers list 17%
    7 Reading group pick 16%
    8 Cover design 12%
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3 Comments

  1. Thank you for this presentation. It was well-prepared and well-presented with the examples. I loved that you were able to share examples to help us notice the Trigger, Delay, Deliver. Looking forward to seeing more presetations in the future.

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