When the workshop works

From a workshop participant at MountainCon:

I’m going to give a shout out to all the goodness I experienced. So if you don’t really care what happened at the con, you can stop after this paragraph and take this message away with you: Brandon Sanderson (who does Writing Excuses, has published several novels, and is the chosen one to finish Jordan’s Wheel of Time series) and John Brown (with a must buy novel coming up next year) are incredible teachers. If you ever get a chance to attend a class or workshop by any of them, don’t let it pass.

We loves to hear these things, Precious.

But we loves it just as much when we can make the students shiver with excitement: more here: http://www.amichopine.com/blog/?p=318

To those who missed this run of the 3 Things You Must Learn to Write Killer Stories Workshop, know I’ll be holding it again. Check back to see when.

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  • Generating Story 10: Creative Q&A with Orson Card

    Back when Orson Card first started his online magazine Intergalactic Medicine Show, he wrote an essay in which he detailed how he developed the idea for one of the short stories he told in his Ender universe. Card’s essay is a valuable resource because he exposes his mental thought process, modeling how he approaches story development.  It’s not often that an expert takes the time to expose his mental thought process while working through something, and there’s always a lot to learn when they do.  Interestingly enough, it illustrates a number of the principles in the Story Development Framework.

    Please read How One Story Can Give Birth to Another by Orson Scott Card.

    While you are reading it, watch for:

    1. How often he uses questions as he develops the story.
    2. How story objectives influenced what he wrote.  For example, why didn’t he write from Peter’s point of view, and how did he want to portray the mother?
    3. How story principles guided his development.  For example, what were the three ways to get an audience’s interest and how did that affect the story development?
    4. What he did when his zing suggested he go another way.  Did he end up writing the story he set out to at first? (Card listens to his Spidey-sense, what he cares about and believes in, quite a bit.)
    5. What his first draft provided him.  What does this say about using drafts to help you develop the story? 
    6. How he used the four-scene “plan” he sketched of the story.  How did that outline help him?  When he had that, was he finished developing the story?
    7. How he uses improvising to continue the development as he drafts.  What did he need in order to improvise? And what was he actually doing?

    Did you notice the elements of the story–problem, character, plot, and setting?  Did you notice how his development continued while working on the text (drafting)?

    One thing I don’t think you should take away from this is that you must write exactly like Orson Card.  That you must not include much setting.  Or that your sketches of the plot, the “plan” of the story, needs to be just like his.  You may enjoy more setting than Card.  You may want more or less in your sketch.  That’s fine.  The goal here isn’t to suggest you follow his exact procedure and have his exact same objectives.  It’s to see how authors use creative Q&A to develop a story, to make it come to life.

    As a final side note, I would like to quibble with one thing Card says.  A lot of folks talk about showing and telling in writing.  The eleventh commandment is to “Show, don’t tell.”  But I would like to suggest that writers actually never show anything.  They can’t.  It’s all tell, tell, tell. 

    Showing requires the original sensory input.  So a movie can show.  A stage play can show.  Both can also provide raw auditory input.  But all an author can show are marks on a page.  Those marks guide a reader into imagining events, people, and things, but it’s telling–“imagine this, imagine that, now imagine this.”  The author can tell in scene or summary.  Both have their place.  But it’s important to realize that we’re helping the reader imagine.  I don’t have time to go into the implications of this right now, but try the idea on for a while and ask yourself what type of writing helps you imagine things more vividly.

    For more in this series, see How to Get and Develop Story Ideas

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  • Edward Bear Shares More Proofreading Secrets

    Mr. Edward Bear (pseudonym) shared an awesome secret for sussing out quote issues in a previous post. He’s back with a nifty way to help spot spelling issues.  It helped me spot a number of inconsistencies in Bad Penny, which I recently fixed. Take it away, Mr. Bear.

    * * * *

    Augmented Proofreading 2

    Last time, I mentioned checking spelling and spelling consistency, and this note is to fulfill my promise.

    To begin with, I’ll admit freely I do not recommend just running a spieling chucker over the text. And yes, I’m using the phrase deliberately. The spelling checker in the program I’m using to write this just waltzed right past it, despite the fact that neither word makes sense in this context. I got started trying to get some mileage out of spelling checkers a while back, when I realized that OCR scanners will work like hell trying to find a word and probably will come up with a word, but it will be the wrong word. Over at Project Gutenberg, they use the term “scanos” as an analogue of “typos.”

    The other adversary is consistency of spelling and usage. Examples might include “canceled” and “cancelled” or variant possessives, such as “Jones’” and “Jones’s” in the same text, or simply variant spellings of the same character’s name, such as “Erik” and “Eric.”

    So what do I do for these sorts of problems?

    What you need is a list of all the unique words in the story, and it’s easy with a dollop of regex. (See the first post on this topic. The one I’ve taken to using is the following:

    [^-‘‘’\w\d\r\n]

    This one I can explain, since I wrote it. 🙂

    What it says is to look for any individual characters within the brackets([]). The leading caret (^) says “Nope, they should not be in this list.” Following that are the hyphen(-), the straight  quote(‘), and the opening and closing curly single quotes(‘’). After that, it’s any character that would normally be in a word (\w), any digit (\d), any carriage return(\r) or any new line aka paragraph terminator (\n).

    And what you do with the above is to set Textpad (see previous post again) to replace all of them with a newline (\n) character.

    Here’s what the search and replace box in Textpad looks like for this:

    Augmented Proofreading image001

     

    Notice that the “Regular expression” box is checked. And then you choose “Replace All”.

    The result is to turn this:

    Once upon a night we’ll wake to the carnival of life
    The beauty of this ride ahead such an incredible high
    It’s hard to light a candle, easy to curse the dark instead
    This moment the dawn of humanity
    The last ride of the day

    into this:

    Once
    upon
    a
    night
    we’ll
    wake
    to
    the
    carnival
    of
    life
    The
    beauty
    of
    this
    ride
    ahead
    such
    an
    incredible
    high
    It’s
    hard
    to
    light
    a
    candle

    easy
    to
    curse
    the
    dark
    instead
    This
    moment
    the
    dawn
    of
    humanity
    The
    last
    ride
    of
    the
    day

     

    For a book, this means what you have as a multi-thousand line long document and LOTS of repeated words. The next step is to lose the repetitions by sorting the list. For TextPad,  you’ll find Tools->Sort on the menu bar, and I generally set the sort up as the following:

    Augmented Proofreading image002

    This is a case-sensitive sort and “Delete duplicate lines”, of course, gets rid of all the duplications of words like “a”, “an”, and “the”.

    For the above text, you get:

    It’s
    Once
    The
    This
    a
    ahead
    an
    beauty
    candle
    carnival
    curse
    dark
    dawn
    day
    easy
    hard
    high
    humanity
    incredible
    instead
    last
    life
    light
    moment
    night
    of
    ride
    such
    the
    this
    to
    upon
    wake
    we’ll

    34 unique words.

    And here’s the payoff for all this funky text munging: Run a spelling checker over this, and it will find typos, of course, but it will also generally complain about most names, which aren’t generally kept in spelling checker dictionaries, and it will also show you words and their variants, nestled fairly closely together. Here’s an example from one of my projects:

    Swiss-born
    Take
    Talking
    Tallmadge
    Tallmadge’s
    Tarelton
    Tarleton
    Tarleton’s
    Tavern
    Tecumseh
    Tell
    Ten
    Thames

    The spelling checker landed on Tallmadge and its possessive form, but do you notice the “Tarelton” on the list? That’s the time for the Aha!, and you can fix the “Tarelton” form. The same thing applies to possessive variants and any other variant form you find.

    As with the last post, I’ll be peeking in on the comments and answering any questions that come up.

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  • Edward Bear Shares His Proofreading Secrets

    One of the things I enjoy about being an author are the emails I receive from readers. A few months ago I received one from Mr. Edward Bear. He’d purchased Servant and, as he was reading, found an unclosed dialogue quote.

    Mr. Bear could have simply noted it and read on. But he did not. Mr. Bear is a proofreader. And so he practiced a bit of wizardry, found that I had a handful of quote goofs, and emailed them to me.

    Many of them ended up being weird smart quote issues Word introduced into the text when I broke a line of dialogue with an action like this: “You will not”–he scratched his nose angrily–“share another pair of my panty hose with that woman!”

    You’d think that would be enough for a doughty reader. But Mr. Bear didn’t just notify me of the errors. Oh, no. He also included the page from his proofreader’s grimoire that allowed him to find those quote issues in a matter of minutes in the first place.

    As soon as I had the time, I tested the spell on Bad Penny, and, voila, in a matter of a few minutes found a couple of issues in that text. I was delighted.

    But Mr. Bear wasn’t satisfied with mere delight. He then sent me another page from that grimoire to help with spelling. We luvs wizardly readers, Precious.

    Copy editing and proofreading require patience, painstaking reading, and a knowledge of what to look for. You have to know not only the mechanics of the written word (capitalization, spelling grammar, syntax, punctuation, abbreviations, usage, etc.) but also, if you’re reading for a printed edition, interior formatting (widows, orphans, word or hyphen stacks, headers, and so forth). There’s a lot to it. And anything that speeds up the process and minimizes errors is welcome.

    If you’re contracting your proofreading out, a cleaner copy can also translate into lower rates. Knowing that many of you who visit this website are writers, and because your host’s generosity knows no bounds, I asked Mr. Bear if he might be willing to share his wizardry with you. The wizard responded with a yes.

    Augmented Proofreading 1

    By Edward Bear I’m Ed Bear. I work, both professionally and otherwise, as a proofreader. I’ve gone over books for my publisher and I’ve done scan/OCR/check against paper books for republication, both electronic and back-to-treeware. When I mentioned some of the “ancillary tools” I have for aiding the work, John offered me this guest post slot in his blog. Feel free to pass this stuff around. I’ve found these techniques invaluable in getting the job done faster, and with better quality.

    First, though, I need to tell you about the tools themselves. The biggest component is the software for electronic text editing. However, I’m NOT talking Word or anything like that. I’m talking about an editing program which can a: work with plain text and b: handle Regular Expressions. (What are those, some of you ask? I’ll get to that.)

    Since I’m a windows user, I have two such programs available. My favorite is a program called TextPad (www.textpad.com).  I’ve used it for years and it’s become invaluable to my work. They currently charge $28 for a single user license, but IMO, the program’s so useful that, even though upgrades are free, I buy another license every time they bring out a new major release. The other program is free. It’s called NotePad++ (http://notepad-plus-plus.org/) I’ve tested it and it can handle the methods I use, but I haven’t used it much, since TextPad and I are long-time buddies. If anybody out there knows a program for the Macintosh which will do these jobs, please mention it in the comments.

    Regular Expressions

    You don’t have to be a wizard to use them. The tutorial over at http://www.regular-expressions.info/tutorial.html describes them elegantly:  “Basically, a regular expression is a pattern describing a certain amount of text.”  They are also called a regexp or regex, and I’ll be including the regexes I use in this post.

    I have a small library of regexes, and two of them are critical to aiding the proofreading process. One of them allows checking dialogue quotemarks, to insure that speech is properly closed off, and the other makes it possible to generate a word list of each unique word in the  book. I’ll be walking through the usage, including screenshots.

    Quote Checking

    One of the challenges of checking dialogue passages is that, with one exception, every opening quote (“) needs to have its matching closing quote (”). The exception, of course, is when the same character is speaking in the next paragraph. This can lead to a heavy false positive load if the characters are loquacious.

    The first time I tried this stunt, I found  73 paragraphs with unbalanced quotes. Only 6 of them were errors. But being able to find them quickly so they could be fixed in minutes instead of hours? That paid for the effort.

    The process itself is simple: You take the document and convert it to plain text. If it’s an RTF or Word document, you simply select ALL, hit copy, and paste it into Textpad.  The result will look something like this:

    image001

    What I normally do is turn on word wrap, so I can see the whole paragraphs as I go. So it looks like this:

    image002

    Now, we go hunting. The next step is to set up the search pattern using a regex. The one I use for this is the following: (?!^([^“”\r\n]++|“[^“”\r\n]*”)*$)^.+ Complicated little brute, isn’t it. I didn’t write it, but I knew who to ask if he could write one, and the above is the result. FYI, there’s also one for straight quotes: (?!^([^”\r\n]++|”[^”\r\n]*”)*$)^.+ You use it the same way. So go into find, and put the regex into the “Find what:” box:

    image003

    Notice that the “Regular expression” box is checked. I also “Wrap searches” just in case I miss something and want to loop around. Click “Find Next” and:

    image004

    The paragraph highlighted has two opening quotes, one at the beginning and one at the end. Word assumes that a quote preceded by a space is an opening quote, so you need to correct it in your RTF/DOC. Wash, rinse, repeat. You keep doing “find next” all the way through, checking for situations like the following:

    image005

    As I said, same speaker, next paragraph, so this one is good. This post is getting a little long for a blog entry, what with illustrations, so I’ll break off here. Stay tuned for part two: checking spelling and spelling consistency. In the meantime, here are the RegEx tool commands plus a few bonus goodies: RegExToolCommands.

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  • Plot Basics

    In the comments to this week’s writing excuses on the 3 act structure, a writer asked if the try/fail cycle would really work with her chase story because her folks do not “fail to solve the problem” every time so much as “escape by the skin of their teeth”.

    I thought this was a great question because we ARE often led to believe that the characters need to fail in each attempt. But if we look at a number of stories we’ll see that this isn’t the case. The hero is NOT always failing in his scene or sequence goal. In fact, much of the time he succeeds. So how does plot really work? Here’s my post.

    [edited for clarity]

    Jen, fwiw:

    A few things finally opened up acts and plot to me. Maybe they’ll be helpful to you. I say this because a chase would work the same as anything else. I’ll just start at the beginning, although I’m sure you know a lot of this.

    1) Story is about someone solving a problem. The problem is one of happiness (danger or lack on some level–physical, social, freedom, etc.) or mystery.

    2) The reason why we tell stories about problems is because the solving of problems, if done a certain way, evokes suspense, surprise, and curiosity in the reader, and then a release of emotional tension. Why we humans like that ride, I don’t know. But we must keep this in mind when dealing with #1 because these effects are the main effects the bulk of people go to story for.

    3) Plot is simply the actions the characters take, the results of their action, and what they decide to do next. Except this can’t be any old action and result. It has to be action and result that builds the anxiety of suspense, surprise, and the mystery or puzzle.

    4) There are four possible answers to the question of “did the hero’s action solve the problem?”: yes, no, yes but, no furthermore.

    For example. Yes, you killed the monster. No, you didn’t. Yes, you killed the monster, but it bit you and now you have the virus that’s going to turn YOU into a monster. No, you didn’t kill the monster furthermore you woke up its mumma.

    Of those four possiblities, only the last two build suspense and curiosity. The first removes it totally. So it’s out. And a no answer leaves suspense unchanged. All you’re doing is delaying things with that. What you want to do is ratchet it up.

    So if you want to build suspense then when a character takes an action, that action has to make things worse. They may escape by the skin of their teeth, but now the federal police know where they are (yes-but). Or not only did they not escape the police, but now the mafia, the real bad guys, know where they are (no-furthermore). These escalations and complications to the plot/problem continue until the hero’s plan is in total shambles and it appears he really is done for. That’s when they get one last shot at it.

    If someone is trying to escape you don’t need a different plot structure. Their actions simply need to make it harder and harder and harder. Their plan needs to start to come apart. Things go wrong. Things they didn’t plan for make it worse. Someone double-crosses them or goes AWOL. We need to see them walking into dangers they didn’t plan for. If you go back and look at Prison Break season 1, you’ll see this all over the place in the last two episodes.

    5) Acts are just a nifty way of breaking up the problem solving process into parts. In act 1 (the beginning), as stated, you introduce the problem and show that the character won’t or can’t walk away. Often a big reversal or reveal (a big yes-but or no-furthermore) marks the end of that act. But the key thing is that the hero MUST act. The stakes or too high or they simply can’t get away.

    Now in act 2 (the middle) the hero says, aha, this is the real problem. Let’s try to solve it. Act 2 is a breeze to write IF you think about escalations and complications and nasty surprises–yes-buts and no-furthermores. He takes an intelligent action. BAM. It gets worse. And as these complications pile up we see that the hero comes to a point where his plans are in a shambles and the problem looks almost certain to squash him for good. In Star Wars, sure they saved the princess, but they led the empire to the secret base and the death star is going to blow them away (a grand yes-but).

    In the last act, the hero straps on his guns and trys one more thing. Sometimes it helps to think of acts 1 and 2 as the hero reacting and act 3 as the hero finally getting the inititative, although it appears to be almost too late, and strapping on his guns. In Star Wars they do this. They’re running, running, running, and then they attack the death star. But the odds are slim. And they only have one little chance.

    Remember: the odds are slim at this point and things get worse not because this is how problems are solved. Many get solved on the first try in real life. But because solving a problem in this way produces maximum suspense, surprise, and curiosity–the chief effects readers go to stories for. Any time you see a new plot structure or theory, you need to ask yourself what effect it has on the reader. If you can’t see any, junk it.

    So you might have three acts, four, five, seven (all variations I’ve seen). It doesn’t matter. An act usually ends with a huge change in the nature of the problem. See Robert McKee’s STORY. But the number of acts isn’t the issue. It’s the effect on the reader. The acts are just means to an end. If we don’t keep the end in mind we’re likely to misuse the techniques. 

    6) The key for moving through the acts is to ask myself about actions, obstacles, and results. Here are some questions I’ve found productive.

    Action. What are some intelligent actions the hero might take in this situation? What would I do? What are some logical steps that the reader might not think of?

    Obstacles. What happens? What are some compelling obstacles the hero will face in this attempt? Are there points of conflict with himself, someone else on his side, the antagonist or his henchmen, someone in the background, with the setting? What does the antagonist do to foil the hero? What is a logical but maybe an unexpected and surprising obstacle to both the reader and hero? How does the hero’s plan begin to come apart?

    Results. What happens? What are some possible results that pose a yes-but or no-furthermore? What would be unexpected, surprising to both the hero and the reader? How does the character’s action make it worse? How does the result reveal the problem is much worse than the hero and reader first thought?  I’m thinking of complications and escalations–things that make the problem harder to solve or more important because more’s at stake.

    In all of these, I choose the options that gives me the most zing and run with them. If they peter out, I try another (take 2, take 3, take 4), until I have one that works. Then I repeat it all over again and again until the hero is looking the gun in the face.

    7) The “hero’s journey” is nothing more than a bunch of mystical names for common elements in this specific type of problem solving structure. Why does the hero have to leave home? Not because of some mystical archetype mumbo jumbo. No, because this forces them out into unfamiliar territory–adventure, risk. Things go wrong. The hero has to face the problem.

    Why does the hero go to “the cave”? Again, not because of some mystical archetype mumbo jumbo. No, because turning and facing the monster, going onto ITS turf, poses the MOST RISK and hence most danger and hence most suspense for the reader.

    Always keep the purpose of the story in mind. Suspense and curiosity DRIVE the structure of most stories. Yes, there are other effects we go to story for. But the reason stories are structured the way they are is because of those two reader effects. And all the rest of those Joseph Campbell terms are useless to writers unless they make the connection and see how they play into suspense and curiosity.

    And even then I’ve found it’s wrong-headed to bind yourself to to a form just because. Or to think you need to slavishly follow it. The decision has to feel right for the story. It has to build anxiety and curiosity. And whatever does that well is right, regardless of whether it follows some formula. Although, I will say that certain story structures are used again and again because they deliver the goods to the reader better than other structures. Like biological evolution, they survive because of natural selection by readers.

    So that ended up longer than I intended. Hopefully the ideas were as helpful to you as they were to me.

    This writer’s question arises because of the common way of explaining the try/fail cycle sets us up to think there is only a no or no-furthermore option to each attempt by the hero. However, if we just look at a handful of stories, we’ll see the yes-but option is used all the time. What we want to avoid is the yes option, because that just stops the story. It stops the story because story is about solving a problem. And once the problem is solved, the story is over.  

    Other writers talk of formulas, however “pattern” has always been a more helpful way of looking at it than “formula.” I know, that’s semantic quibbling. But “formula” suggests to me THE way while “pattern” suggests to me something not so strict, something with some give to it and perhaps a great number of variations. Either way, pattern or formula, I found that unless I can understand the why of a part of the pattern, the effect it has on the reader’s experience, it’s not much use to me. It all comes down to plunging our hero into trouble or mystery, and then making the trouble or mystery worse SO THAT the reader feels increasing anxiety, curiosity, and surprise.

    BTW, here’s a good explanation of the 3 act structure with some tips from Stephen J. Cannell, an old pro. I really like his tips on act 2 issues and complications. Because if we make the antagonist an active force, he or she will provide many wonderful yes-but and no-furthermore options.

    You’ll find other excellent explanations of plot in TECHNIQUES OF THE SELLING WRITER by Dwight V. Swain, HOW TO WRITE BEST SELLING FICTION by Dean Koontz, and THE SECRETS OF ACTION SCREENWRITING by William C. Martell.

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  • Indie Thoughts: Enticing with price

    The top two factors driving book sales both stem from having a loyal customer base. Building that base is the goal as it is in any business that depends on repeat customers. In a previous post I outlined these parts to building that base.

    1. Create a product (a book in this case) that’s likely to delight a certain set of consumers (readers).
    2. Let those consumers (readers) know about it.
    3. Make it enticing for them to give it a try.
    4. Make it easy for those who liked it to know when they can get another; and make it easy to get.
    5. Get more product (another book that’s similar to the last) out the door so your repeat customers can come back for more.

    In this post I’m going to share some thoughts on #3.

    So how do you entice someone new to give you a try? There are a lot of things I see that play into that:  a great cover, description, sample chapters, and reviews that all say quality and scream genre. But there’s another huge factor to making something enticing. And that is price. Or rather price vs. perceived value.

    I’m looking at Mark Corkers reports from Smashwords.

    I’m looking at slides 65-69. I know many of us have seen them.

    If the patterns are similar at Amazon, which sells more ebooks than anyone else, then a price of $3.99 on average will sell more than double the copies of $6.99.

    $3.99 means MORE readers who might develop some level of loyalty, MORE word of mouth, and it means MORE revenue than at other price levels.

    It means more than double the chances of getting your stuff in front on an influencer.

    More than double the chances for luck to come into play.

    And those odds grow exponentially.

    And, again, all along the way that price earns you more than if you were pricing at $6.99 or $9.99 because you sell more books.

    Of course, these are averages, which means folks are winning at prices above and below this. Furthermore, it’s not the same across genres. For example, it appears romance tends to sell better towards the lower end of the range Corker shows.  But it clearly shows that price is an important part of enticing a reader to give you a try.

    And when I look at the indies who are selling huge numbers and have built their customer base, the vast majority of them seem to have gotten there by tapping into the market forces Corker shows on these slides.

    That doesn’t mean they price all their books the same. Some are doing very well using a loss-leader/sample strategy where they offer the first book in a series for 99 cents or free. This also doesn’t mean they set their price and forget. it. They seem to do just the opposite, experimenting with different prices.  I noticed the Joe Konrath, who became a mega-seller at $2.99, raised his prices to $5.99 recently. He’s dropped them back down to $2.99 and $3.99. But he was clearly testing something. In an interview earlier this year with Simon Duringer, Russell Blake who is doing very well in the thriller category recently said this.

    Probably the most effective thing I did over the last two years other than Select, which came and went in terms of usefulness, was making the first book in my JET and my Assassin series free. That lowered the barrier to giving my work a whirl to nil, and my readership exploded from there. About a month and a half ago I stopped doing that because I saw my conversion rates were averaging about 12-13% from the first to the second book, and I questioned whether, with, say, 500 downloads a day, and seeing 60 sales of book two, it might not be more desirable to get 70 paid sales of book one, and seeing that same 60 on the conversion (because if someone pays for your first book, they’re probably going to read it, and soon, whereas if they get it free, it could take years, or more likely, never happen). So far so good.

    Clearly the folks who are doing well with this are experimenting with price to see which levels maximize revenue and loyal customers. And I think that’s the key. They are looking at what seems to be working for others, experimenting, and basing decisions on results.

     

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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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