Similar Posts

  • Indie Thoughts: How To Sell Loads of Books

    From Russell Blake.

    This does not represent the only way to do things, but it’s my way, and is the synthesis of everything I’ve learned over the last 23 months of self-publishing:

    1) Pick one genre that’s popular and with which you are extremely familiar, and then write in that genre. Stick to it. Don’t hop around. It confuses your potential readers and muddies who you are in their minds, and will hurt your sales. If you want to write different genres, use a pseudonym, and if you like, let your readers know that moniker is you. But stick to one name, one genre, because you’re building your brand, and brand building is a function of clarity – clearly communicating what you do, and what your product is.

    2) Write a series. Why? Because readers like series, and you want to give readers what they like. Or you won’t sell as much. You can try stand-alone – I have – but my series outsell my stand-alone books 4 to 1. Once you have at least three books in the series, make the first one free. Earn your income from the rest, but give readers a whole novel to decide whether they like you or not.

    3) Write a lot. By that I mean try to write at least 3 novels a year. Don’t bother with short stories or novellas (40K or under) if you’re writing fiction – erotica, romance and non-fiction reportedly to do better with short form, but I don’t know from personal experience. Write 60-90K installments in your series, and release them AT MINIMUM every four months. Every three months would be better. Every two, better still. Momentum breeds success, and readers have short memories. The current market is a hungry animal, and you need to feed it, or risk being forgotten by the time your next one releases. Sorry. It’s the truth. And don’t start whining about how X famous author only puts out one book every Y years. If you’re Dan Brown and you sell tens of millions of novels each whack, then do whatever the hell you like. If you aren’t, listen up, or chock your strategy up to, “Become the next Dan Brown” and stop reading this drivel.

    . . . .

    5) Allocate time every day to write, and be disciplined. I suggest minimum one hour per day, or 1000 words. I actually ignore that and shoot for 5000-7000 a day when writing a novel, but that’s just my approach, and it’s not for everyone. My point is that you must be disciplined about your writing and develop that muscle. If you don’t make it a habit, you won’t write enough to put out one novel every four months, and you’ll already be way behind the curve.

    6) Allocate time every day to market. I recommend a 75%/25% writing to marketing mix. So spend an hour writing every day, and fifteen-twenty minutes marketing (social media, blogging, interviews, message boards like this). Two hours writing, half hour to forty minutes marketing. And so on.

    . . . .

    13) Price competitively and intelligently. Look at your genre. Where are most books priced? Are you undervaluing/underpricing your work? Price to sell, but don’t go cheap, no matter what Locke or Hocking did years ago. Use low prices occasionally to move product, as promotional pricing. But price your product consistently with the rest of your peers. Over time, you can increase prices, if your product warrants it and your readership is willing to pay it. My advice here is don’t price too low, or too high.

    . . . .

    19) Have realistic goals. Look at what the average person does in their first year, and their second. That’s average. It ain’t pretty. If you want to be different than average in a good way, you need to do something better/different, and you need to make your own luck. Don’t get bummed because you haven’t been an overnight sensation. I sold $300 of novels in November, 2011, after six months of 15 hour days and seven releases. In December, 2011, I released five novels I’d been working on for months, to create a massive Xmas surge. I leaped to $1450. With a dozen books out. That’s not exactly a ton for the big Xmas season. But I continued writing as though my work was in hot demand. And I kept investing in my product, losing money, until it turned the corner and I started making decent money in Jan of 2012.

    20) Book selling is a retail business, and retail businesses are promotions intense. You’re only going to be as good as your last, and next, promotion. Promotions are a necessary fact of life in retail. You have to generate noise – the product won’t do it by itself. There are millions of books out there. Yours are just more books. Figure out how to get some visibility. I won’t advise you on how – there are plenty of ‘experts’ that will charge you $5 for a book on what worked two years ago. Simply put, it’s constantly changing, so you need to experiment and push the envelope, share information with others and stay ahead of the curve. But if you aren’t promoting, you’re stalling. In business you’re either shrinking, or growing. If you aren’t promoting, chances are you aren’t growing.

    There are 28 tips in all at “How to Sell Loads of Books.”

    Share
  • For the attendees of my killer workshop

    I think the workshop version 2.0 went very well. I had a wonderful time.  Click on the “Writing” menu above AND the category link on the sidebar to see the many blog entries I’ve made about writing principles.

    1. The 3 Things You Must Learn to Write Killer Stories Handout
    2. The Story Cycle Handout
    3. Lesson from writer’s area: Step 1 of The Creative Process: Capture the Zing
    4. Resource: Zing Hunting Methods

    Remember the 10 to 20’s. I would love to hear your experience with them.

    1. STORY EFFECTS. List 10 to 20 Stories you love. Then next to each write what you loved about it and what emotions it triggered in you. Finally, look at your answers to see the patterns. These are the effects you love, the ones YOU will probably find the most joy trying to create for others.
    2. PROBLEMS. List the main problems (threat, lack, mystery) for each of those stories. These are YOUR problem types, the one’s you’ll probably find the most joy writing about.
    3. INTERESTING CHARACTERS. List 10 to 20 characters or people you find interesting. Next to each identify what it is that makes them so interesting to you. Finally, look at your answers and identify the patterns. These are YOUR  draws. Use these when developing characters.  
    4. ROOTING FACTORS. List 10 to 20 characters your root for or against. Next to each identify what it is that makes you root for or against them. Finally, look at your answers and identify the patterns. Again, these are YOUR equity factors. Use them when developing your story.
    5. STORY PATTERNS. For the stories you identified, map out their story cycle (problem, reaction/decision, action, disaster). Your goal here is to see patterns of how the types of problems you love develop.
    6. ZING. For one week gather 10 to 20 zing each day. Try to get zing in all four areas (problem, plot, character, setting) during the week. Look at the lesson on capturing the zing and the zing hunting methods resource in the writer’s section.
    7. POWER QUESTIONS. Start a list of creative questions that are productive for you. You will want to identify power questions for all 5 parts of story. Look at the handout for some of mine. Ultimately, you’ll ask yourself hundreds of questions, but there will be 10 to 20 that you keep coming back to.  
    8. TIME. Identify how you will get 10 to 20 hours to write each week. If you can’t do 10, try to get close.
    9. WRITE. Develop and write a story. Identify the day you will start and do it.
    10. CONTACT ME. I want to hear about your progress.  Please post your findings in the comments of this blog entry 🙂
    Share
  • “The Only Law of Literature” by James Maxey

    james-maxey

    You already know how I feel about writerly rules. So when I read James Maxey’s “The Only Law of Literature,” I had to share it.

    I want to quote the whole thing here. But I’ll resist and quote only the conclusion.

    [In response to critiquing stories that don’t work for you] All the literary analysis of writing techniques, of style, of world building, of creating characters–it all has it’s place, but it’s almost completely useless as a guide to writing a good book. You are never going to be able to think or study or analyze your way into writing a book that people love.

    There is only one law of good literature: Write what you’d love to read.

    Not what you have read and loved. What you love, but haven’t yet read.

    To quote myself from the Impish Idea thread:

    Every thing you write should be a love story. Not a romance. But a story written because you loved it.

    Follow your passion. Don’t worry about pleasing everyone. Fill your book with the stuff that makes your heart race and leave out the stuff that bores you. If you don’t make it into print, at least you’ll have a book you can look at with pride as being truly your own.

    Once you’ve learned this secret, everything else falls into place.

    Go read the whole post.

    It’s important to learn craft. You cannot get away from it. But craft is only useful as a tool to tell this cool, wonderful, poignant, amazing thing we’ve invented and discovered.

    Share
  • |

    John guests on Writing Excuses season 3 episode 16

    writing-excuses-the-guys2-300x139A while ago the Writing Excuses team asked me to record with them, and last Friday I got to do it and had a blast.

    We recorded three episodes. In the first podcast we talk about putting and not putting ourselves in our writing and making characters who don’t all sound like the author. As usual, the guys had some great insights. Check it out: The Anti-Mary Sue Episode.

    Share
  • Trusting the writing process

    I’ve experienced yet again the miracle of manure, of starting from scratch, and following the zing.

    This last week I’ve been rewriting a beginning to a novel. It’s a bit tricky because I can’t just rewrite it without constraint. Such a rewrite would cause massive changes to everything else in the book. In fact, a complete, unfettered rewrite of a beginning might end up requiring a totally different book. But Tor bought the book in hand. Besides, I don’t have time for a total rewrite even if they did want one. So the new beginning had to fit into the rest of the current story.

    At three different spots where this beginning needed significant changes I have had to write a pile of cow crap because it’s all I had in me at the time. I knew I couldn’t use those plops when I finished them. But there they were.

    The problem was compounded by my reading the recent Time article about Stephenie Meyer and starting to listen to Empire by Card. I have a weakness for comparing myself to others, and this time the comparison yeilded some depressing results.

    Then I asked myself what wasn’t working and how I might meet the goals of those scenes a bit better. I followed my heart. But in all three cases I had to stop trying to use the brilliant words I had written originally. Not the cow crap revision, but the original stuff.

    I’m not talking about the general prescription that we writers need to “murder our darlings” because the darlings are usually bad writing. I find general prescriptions to be wrong much of the time and that one in particular to make no sense at all.

    In this case one of the things I had to jettison was a beginning segment that had compelled 90% of the readers who glanced at it to read more. A beginning page that snagged agents and editors. A beginning page I still loved, even after reading it as many times as I had.

    But it just wouldn’t fit, couldn’t fit with the new structure. When I tried to hang onto it, I wrote crap. Which was fine. There was some good stuff in the crap. But I eventually had to trust myself and come up with something else completely.

    And while I don’t know if it’s going to suck readers in like the original, I think it’s pretty dang good. Back before Card’s boot camp I would have never made it to this point. I would have given up. But this is just the process for me now. It took some time to learn and trust it. But now I know that while sometimes I can write hot. There’s no reason to despair if I don’t. Sometimes it takes a few tries before I get to the good stuff.

    As for Meyer and Card, well, it’s not my goal to be a one-trick pony, now, is it. 🙂

    Share
  • New presentation materials

    Super Author Kristan Higgins
    Super Author Kristan Higgins

    The RWA conference was a blast. It was a wonderful time to hook up with writing friends, to make new ones, and to listen to insights and advice from folks who are selling tons of books.

    Brenda Novak, whose latest book hit #48 on the USA Today list,  gave a great presentation on generating emotion in the reader.

    RaeAnne Thayne, whose book is currently the #5 best selling book in the USA this week, shared lots of helpful tips on ways to make this your most productive year ever.

    Kristan Higgins, whose latest book hit #20 on the USA Today list, gave a presentation on the role and delights of secondary characters and how to use them. She also gave a humorous and insightful keynote speech about one of the most satisfying reasons to tell stories–to help others.

    Lynn Kurland’s presentation on world building was short, but sometimes short is more powerful. I came away remembering that one key to great world building is remembering that nobody will care much about the world if they don’t care for the characters!

    There were others presenting, but I wasn’t able to attend. I’m sure they were equally good. I had a great time.

    I promised those that attended my presentations that I would post the PDFs here. Enjoy!

    Make Them Beg for More — Triggers and Delay

    The Story Setup

    Share