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Posts Tagged ‘self-publishing’

Frightened woman

I’m afraid to open the parcel containing the Amazon proof copy of my short story collection. I’ve had it since Tuesday, it’s now Saturday. When I got the proof of the 1st novel I put up on Amazon (http://www.amazon.com/dp/B00H0ORWQY, I fell on it like a famished wolf. Why this sudden turnaround? Perhaps it’s got something to do with the cover, which was unfinished when I sent off for this particular proof, and feels to me as if it will ever remain so.

Let me explain. You see, when I wrote my weird cat fantasy novel, which caused people to think I had finally lost the plot (though they were all too nice to say so), I had the image for the cover before I even wrote the book—a marvellous black & white drawing by US artist Marty Norman.

Marty Norman's cat illus'n 75 dpi copy No cats on pedestals

This time, I had chosen another of his works, a wonderful, hard-edged painting of a businessman on a tightrope, see below. (Sorry I’m too much of a luddite to know how to make the image bigger.)

man on wire

But beta readers from here to Timbuktu all agreed that to use an image like that on the cover of my collection was to mislead people into expecting a book about the problems of Wall Street suits. And that, my little short story collection set in the Northern Rivers of New South Wales definitely was not.

What to do? I had no idea. In the end, I settled for a very ancient image (no, I’m not going to show it to you at this point), and hoped like hell it would work. To open the package from Amazon, even though I know the cover is unfinished and will make the necessary allowances, is to expose myself to immense disappointment if this cover idea hasn’t worked.

Now it’s all very well to say I’ve got time to think of another and still get the book out in October-November of this year, but you see, I can’t. Having been dragged from one fixation (which in my heart I still prefer) to another, something in me has said, This is it. Further than this, I’m not prepared to go. In other words, I’m stuck with this cover, no matter what. So the parcel feels very threatening to me and just sits there on the sofa, accusing me every time I walk past. Thank heavens I’m going out today. I’ll be out all day – so there, parcel!

This state of affairs could go on indefinitely if I don’t so something, so I’ve set myself a deadline of Monday morning. On Monday I must take a deep breath, rip open the parcel and take it on the chin, come what may.

Am I scared? You bet. But will I keep the deadline? Oh yeah; I’m a creature of deadlines. I’m not really happy unless I can see one looming somewhere on the horizon. So Monday it is. Meanwhile, I give the sofa a wide berth.

 

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DSCF3566

In the bush outside Casino, musing on the vagaries of life, and human nature in general, accompanied by two bovine mums. The new calves are just out of the frame.

 Last week I went to Casino to celebrate the Melbourne Cup with friends. For those of you who don’t know about the Cup, it’s the foremost horse race in Australia; everything stops for it. I don’t know one horse from another, but it’s good to catch up with old friends and see what improvements they’ve made on their 240 acres since I was last there.

I had another reason to be glad I was in the bush for a few days: the first morning I was there I received an email from the POD designer – she’s holding my book to ransom until she receives the remainder of her fee. Which is not a lot, I might add. This is unusual in the industry, thank the Lord – the e book designer sent me 3 different versions of my novel and an invoice the next day with a month to pay.( I paid him 48 hours later – I have figured out how to use PayPal.)

The print book designer and I have had a rocky time (we were both starting out). So, as I say, I was happy I was among friends when I received the email confirming what I already suspected but couldn’t bring myself to believe.

My November deadline, has perforce, moved to 11 December — too late for anyone wanting to buy hard copies for Christmas, unless they’re prepared to ship the book using Amazon’s exorbitant Priority Paid option.

Along with the ultimatum, the designer gave me her bank details. Alas, I haven’t yet learned how to pay someone overseas in this way, where, I understand, certain extra bits of arcane information are required. It was on my To do list, but what with editing and proofing the novel, it got pushed to the back burner. Into the nearest town that has a branch of my bank, obtain a bank cheque, and send it by registered post. It will take at least 10 days to reach the US.

When the designer has received the money and sends me the POD version (hope hope hope), it would be madness to go to press without seeing the proof. (We’ve been though two, so far.) Even using Amazon’s priority paid shipping option, I will lose another 6 days. If there are formatting errors that require fixing, I wonder what happens then?

Even if the book is ready to go, and I sure hope it is, I will lose another six days while I wait for the last lot of print copies to arrive. In my youth, I would’ve lost a lot of sleep over this. Now I just chalk it up to the aforesaid vagaries of human nature and move the date to 11 December. Just to be on the safe side.

It’s a weird situation, and I have no feelings against the designer. It’s not her fault I haven’t yet conquered overseas internet banking. And she did have a hard time with me, I know that. Remember, I’m the one who didn’t even know how to save attached files forwarded to me as downloads. (I thought you saved them under View, and wondered why I couldn’t print or forward them to anyone.) In my defence, though, I had a bit of a hard time myself. When you’re both learning, these things happen.

Life’s funny, and far too short to waste a lot of emotion on a thing like this. It’s very small hiccup in the overall scheme of things. It’s even funny, if you can just see the humour. Fancy being so awful that someone felt driven to this measure. It’s a kind of distinction, I suppose, but one I could well do without.

Darth Vader image

Come over to the dark side, Luke, with me and Danielle de Valera.

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Janet leigh

For those of you who might be wondering where I’ve been these last ten weeks, I’ve been investigating Indie publishing, particularly the publishing of Print on Demand (POD) books with CreateSpace, a subsidiary of Amazon. Those ten weeks have been most illuminating, and I thought I might share my discoveries with you. If you’ve already published a POD book, stop reading now, I won’t have anything new to tell you. If you haven’t, gird your loins, and read on.

For most writers, the journey into indie publishing follows a certain pattern. First, we have:

1.   The Sylvan Glades of Writing the Novel, where the Wellsprings of Hope bubble to cheer the fiction writer on his/her way. The writer thinks the going is tough, but they ain’t seen nothing yet. Emerging from this glade, the writer who chooses to indie publish must traverse:

2.   The Desert of the Last Copy-edit, a fearsome place littered with the bones of writers who didn’t know what they were doing with commas. Crawling out of this desert, writers encounter:

3.   The Fork in the Track, where the writer must decide whether to do only an e book (much cheaper, and easier on the nerves), or to take their courage in hand and rapell into:

4.   The Dizzying POD Chasm. Should the writer choose to do only an e book, Nos 6-10 will still apply, but they will, to some extent, avoid:

5.   The Slough of Despond, where the writer realises that s/he must either format the print book themselves or pay someone else to do it. Even if they decide to pay someone, as I did, they will still have to traverse:

6.   The Forest of Dread, where they must choose two categories for their novel. A great deal is riding on their choice, especially the novel’s findability. Having negotiated this forest, and there is no way around it, the writer comes to:

7.   The Hill of Bewilderment, where s/he must choose seven keywords which Amazon buyers might (the operative word here is might) use to discover the writer’s novel — again, very important for the novel’s findability. After this, they arrive at:

8.   The Lakes of Confusion, where they must set a price for their beloved novel and try to understand Amazon’s royalties system, e.g. a $9.99 price for a 250 page, standard-size paperback will yield the writer US $2.14. What happened to that 70% (or even 35%) we heard so much about? If, after this, the men in white haven’t taken our writer away, s/he must then cross:

9.   The Bridge of Tears, where, if s/he is a non-US resident, s/he must attempt to prevent the US Internal Revenue from taking 30% of his or her earnings. To do this, she must do battle with monsters ITIN, W-7 and W-8 BEN, go on a quest for a Notary (cross his palm with silver) and also find the elusive Apostille, without which the writer will continue to pay the dreaded 30%. Finally, the writer comes to:

10.   The Well of Disappointment, which s/he quaffs while contemplating the novel’s sales figures. If you think I’m being unnecessarily gloomy here, Mark Coker, founder and CEO of Smashwords says that, for most writers, the average number of e books sold per title is 100.

What does all this mean? In a nutshell it means that the average indie writer/producer of a POD book will be flat out getting their money back. There are hidden costs to producing a POD book that exist regardless of whether the newbie writer outsources, or designs the cover and interior themselves.

In the meantime, I’m camped on the Hill of Bewilderment, right next to the Lakes of Confusion, having taken over a week to negotiate the Forest of Dread with nothing but a hurricane lamp to guide me.  While camping out and enjoying the sights, it occurred to me that I might be able to do some good by devoting one post to each of the steps I’ve described above, so that newbie writers will at least know what lies in store for them.

Forewarned is forearmed. So they say.

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http://www.amazon.com/dp/B00991SMHY

I first met Allan Lloyd in Mullumbimby, way back in the 1980s, when I worked as a volunteer with his first wife Diana; we were trying to obtain a government grant for housing for people with a mental illness in Byron Shire.

In 1994, when I returned from a 2-year stint in Sydney, Allan gave me a ms called The Case to look at. I was immediately struck by his edgy take on life and his clean writing. Now he’s produced an ebook entitled Peace & Love and All That Crap, which has even more of the same.

I’ve always been interested in how authors come to write their novels, so I asked Allan to give me a little rundown on the genesis of his book. Here is what he said:

 

Peace & Love & All That Crap came out of a scriptwriting workshop I was invited to attend in the late 1990s, having had my first film script shortlisted for development funding (albeit unsuccessfully) by what is now known as Screen Queensland. For the workshop, I had to write a treatment and the first thirty-or-so minutes of a new script.

Some relevant personal background: I’d spent much of my life as a walking dichotomy – a left-leaning quasi-hippy working as a freelance advertising copywriter. Talk about a conflict of interests.

And a flashback: Years before, I’d seen a TV news segment showing people protesting about the planned demolition of part of their seen-better-days suburb by dressing themselves in cardboard cartons painted as buildings and being knocked over for the camera by one of their number representing the demolition process. At the time, it had occurred to me that if they’d really wanted to be taken seriously by the general public, they should’ve presented as regular citizens rather than weirdos nobody would want to live next door to.

I based my new film script around that one observation. Drawing on my own advertising background, and people I’d known while living in Mullumbimby, I came up with the idea of a bunch of ageing hippies hiring a cynical public relations expert to help them mount a PR campaign to save a pristine nature sanctuary from private development. The twist was that nobody would take the hippies seriously unless they compromised their principles and faked mainstream credibility.

This script was shortlisted for development funding (again, unsuccessfully) by the Australia Film Commission (subsequently Screen Australia), and then ignored by the Australian film industry. So okay, I figured, if I could write a pretty good unproduced screenplay, it oughta be a snack to turn it into a pretty good unpublished novel.

It was harder than I’d expected. Ninety-odd pages of dialogue needed a narrative. And I wanted that narrative to be in the third-person voice and sounding like the hero’s inner voice, yet not mirroring the style or structure of his spoken dialogue. It took me forever to find what I thought worked and allowed me to have that third-person narrative reacting to the opposing attitudes of the hippy characters the hero has to deal with.

On the upside, the ‘novel’ form gave me room to explore what I’ve found to be a certain integrity and idealism intrinsic to the hippy lifestyle, and contrast it against the delusions and hypocrisy so prevalent in contemporary ‘straight’ society. It also allowed me to include encapsulated back stories for many of the characters, which I believe added extra texture to the story and reading experience. Certain plot elements of the film script, including the ending, rewrote themselves along the way.

When it came to getting published, despite a damn good letter and synopsis (I’m an advertising copywriter, remember) I couldn’t interest a single agent in reading the entire manuscript. The ‘first fifty pages’ highlighted my hero’s unsympathetic qualities without the hippies getting a look in, while the ‘any fifty pages’ option meant that the story’s episodic development became difficult to appreciate.

Did it deserve to find a publisher? I’m the last person to ask. Danielle would say I should’ve had it professionally assessed, and she’d be right. As it was, my partner is an astute reader and often confrontational critic, and she provided perceptive feedback whether I liked it or not. But frankly, I’d had a few years of fun writing it, was by then maybe not mad about any potential hard yards of revision, and in retrospect I think that even my attempts at interesting agents were arguably more about ‘that’s what you do next’ rather than any real personal need to actually see a book published.

So Peace & Love & All That Crap sat around for a few years until I recently decided to self-publish it for Kindle. At the token price I’m asking, I’ll never make any real money out of it even if it sells, but that’s not why I’ve put it out there.

I just figure it’s better read than dead.

Allan Lloyd

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 My guest blogger this month is Ed Griffin, who teaches creative writing at Matsqui Prison, a medium-security prison in Canada. Ed has just released his new eboook – a novel entitled Prisoners of the Williwaw – on Amazon. Over to you, Ed.

 

In the 1980s, my wife and I owned a mom and pop commercial greenhouse. Our business was prospering, but something was wrong. My life was planting seeds, growing tiny plants and selling vegetables and garden plants in the spring. I was becoming what I grew — a cabbage, or maybe a petunia. My mind was dying and I knew it.

          I started playing around with writing. After supper every night I would go out to my ‘office,’ a little added-on room between our house and the garage. It had windows to the front and back and a space heater that was adequate for spring and fall, but not winter. I would sit down at the typewriter and follow my creative muse.

          Whole worlds opened to me. I wrote about the area behind my childhood garage where I practiced pitching, and dreamed of reaching the major leagues. I wrote a short story about a group of prisoners on an island. I wrote a poem about getting along with the Russians. Hours passed. Suddenly, as I wrote, an alarm would sometimes ring in the house. The alarm meant I hadn’t turned the heat on in the greenhouses. I had to shut the door on the vibrant world that grew on the paper in front of me and hurry to the greenhouses to start the furnaces.

          An hour later I’d be back at the typewriter. Type a sentence, stop, look at it, realize it wasn’t quite true and then search deeper. Layers of middle-aged half-truths disappeared, the comfortable maxims I had surrounded myself with — “Business is good. Don’t make any changes,” and “Relax. You’re getting older.” The fires of my youth burned again — civil rights, world peace, a place in the sun for every person. The idealism that had lain dormant for eight years sparked back into life.

          Isaiah was on the scene again, reminding me of the words I read in the seminary and tried to live when I was a priest:

          I have appointed you to open the eyes of the blind, to free captives from prison and those who live in darkness from the dungeon. [Chapter 42-6]

          As I wrote I dug, I searched always deeper, trying to reach the truth. It might be easy to speak a lie, but it wasn’t easy to write one. I started to unravel the tangled skein that was me. These revelations came, not from writing philosophy or self-help dictums, but from writing fiction. Put a man and a woman in a fictional situation. What does the woman really think? What does the man think? Is this real? Is this how people are? Where do I get my ideas? What is human nature all about? Who am I?

          For example, as I wrote about the prisoners on the island, I got to know each one of them. How did they get into crime? Why were they different than me? Did they have a religious education as I did? What did they think about God? Was God a mean father for them or a gentle parent? What did I think about God?

         Amazing. The seminary had tried for twelve years to teach me how to meditate, and here I was doing it while I wrote.

http://www.amazon.com/Prisoners-of-the-Williwaw-ebook/dp/B005S33Q7S/ref=sr_1_1?s=digital-text&ie=UTF8&qid=1342834442&sr=1-1&keywords=prisoners+of+the+williwaw

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How time’s flown. I must have been even more knocked around by my trip to NZ than I realised. My change of computers hasn’t helped either – followed by a change from dial up to Broadband. Dial up was cheap (its great attraction, there aren’t many others) but oh so slow. In the end, even I couldn’t stand it. So here I am, somewhat behind the eight ball, but full of good intentions after my break of over two months.

 This week, while I’m finding my feet and getting used to the dizzying speed of Broadband (how can humanity live at this pace?) I’d like to introduce David Ireland, aka Casimir Greenfield, who’s been kind enough to write a guest blog for me on his writing methods.

Over to David.


Having lived a long life, I have a good deal of source material to draw

from. Each day begins at five with a couple of hours writing before the rest

of my world wakes up. We have a very understanding dog.

I always have a number of projects running concurrently and I don’t really

have a problem skipping between crime fiction, young adult fiction,

non-fiction and song writing.

I do plot, but I prefer to let the characters and events unfold themselves

organically, even if that takes me down unexpected paths. I like to think

that my stories have shape, much like an opera or a humble vinyl album.

Beginning, middle and end — with a prologue, coda or false crescendo as the

story requires.

As a radio broadcaster, I value the spoken word, and thus each word of my

writing will have been uttered out loud before the reader sees it. I firmly

believe that much writing can be improved by vocalising before the final

draft is laid down. Dialogue needs to be natural.

I am not a fan of fanciful names, even in my young adult pieces. They can be

quirky, but I will not inflict unpronounceable names upon the poor reader. I

would rather that the ordinary encountered the extraordinary, and I hope that

my work is stronger for that.

An oft asked question: How do I write? Well, I love working digitally, but I

always have a notepad handy to scribble on and a Dictaphone for the car. I

know that if the idea is strong enough one should remember it, no matter

what, but I’m not prepared to take the risk. Everything is saved. I have a

sixty-second backup on the processor. Better saved than sorry.

Dave Ireland or Casimir Greenfield? I use a pen name mainly because my given

name has been around in the literary world for a while. The Australians

already have a David Ireland — they don’t need another. So it’s Casimir

Greenfield who writes the stories, sings the songs. I just take the blame.

I have recently published both my crime novels as ebooks for sale on Amazon,

but these are currently locked down, due to publisher interest. However,

both books can be read for free at the Harper Collins Authonomy site (see links

below).

I am presently completing the novelisation of the screenplay of my Ruby No.

One trilogy, a young adult piece currently under offer. Plus, my recording

career is kicking off again with the release of an album in June 2012 — I

said I had a lot of source material; it goes with a long and varied career …

If this seems like a scattergun approach, it is anything but. Any writer

will tell you that the only way to get anything down on paper is to work at

it. Consistently, each and every day. And if you do, whatever the result is

like, you’ll have a body of work that you may well be able to knock into

shape with some judicious editing. I think it works for me.

Bloodstones and Slow Poison can be found at Authonomy by clicking these

links:

http://www.authonomy.com/books/42590/bloodstones/

http://www.authonomy.com/books/42586/slow-poison/

More information about my work can be found at:

http://www.authonomy.com/writing-community/profile/me/

or at:

http://www.casimirgreenfield.com

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A range war is brewing on the e-book front as a result of Amazon’s pre-emptive strike in introducing Amazon KDP Select, a 3-month optional contract operating above and beyond the normal Amazon KDP program available to authors. If an author hits the Select button, for the time their book is enrolled in the Select program, they must agree not to distribute or sell the book ANYWHERE ELSE! This includes their own personal blog or web site. Their title must be 100% exclusive to Amazon.

Before Amazon KDP decided to introduce Select, self-published authors had the opportunity to distribute their books across a large number of platforms — Amazon itself, Apple iBookstore, Barnes & Noble, Sony, Kobo, Smashwords, Books a Million and others. This was good for the writers, good for the e-book publishers and distributors. A nice competitive industry.

 To retaliate against Amazon’s pre-emptive strike, Barnes & Noble, the other distribution giant, has decided to withdraw from its lists all titles published by Amazon. It would seem, at this stage, that even if a book is published on some other platform and merely distributed through Amazon, Barnes & Noble will withdraw it. Books a Million and the Canadian Indigo have followed B & N’s lead.

E-books are the new cash cow of book publishing, and indie e-book sales are rising at a phenomenal rate. In the US, in the last three months of 2010, Amazon’s sales of e-books surpassed that of paperbacks for the first time, and self-published e-books are beginning to appear in bestseller lists. But self-published authors are about to lose their freedom of choice and the wide distribution platforms their books enjoyed in the past. Because B&N and Amazon deliver the greatest volumes of sales, a self-published author or a small press will be forced to choose between these two giants. Going with only one distributor, however large, carries potentially huge risks for the user for the distributor can change the conditions at any time.

Range wars never benefit the peons. In this case, it’s the writers and small publishers who are caught in the crossfire. Is Amazon breaking the law with KDP Select? Should some kind of legal safeguards be put in place to prevent monopolistic practices in the young e-book industry?

 For more details on Amazon KDP Select, see my previous post:  Amazon KDP Select – a poisoned apple?

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When online bookstores began to take off, Amazon quickly established itself as the biggest dealer in the field. Sure there were other bookstores, for example, Fishpond, but they paled beside the giant Amazon. We’re talking hard copy here.

When Amazon saw the trend towards e-books, it hopped right in and again established itself as the biggest retailer. Sure, there were other e-book distributors — Apple iBookstore, Barnes & Noble, Sony, Kobo, Smashwords and others — but Amazon was the biggest. A huge industry sprang up. Writers could self-publish their books and put them on many different distribution platforms.

Looking good. Good for the writers, good for the e-book publishers and distributors. A nice competitive industry.

Then Amazon produced the Amazon Kindle, a series of e-book readers that enable users to shop for, download, browse and read e-books, newspapers, magazines, blogs and other digital media via wireless networking (source: Wikipedia). Amazon has now launched what it calls Amazon Kindle Direct Publishing  or Amazon KDP. With this, a writer can get his book published by Amazon and have it go directly to Kindle, which is grabbing a large share of the applications market with the introduction of its Kindle software for use on various platforms such as Microsoft Windows, iOS, Blackberry, MacOSX (10.5 onward, Intel only), Android, webOS and Windows Phone (source: Wikipedia).  The most recent refinement of all this is Amazon KDP Select.

Amazon KDP Select. This sounds good — until you read the small print in Amazon’s Terms and Conditions: https://kdp.amazon.com/self-publishing/help?topicId=APILE934L348N

To paraphrase this small print: While or the time your book is enrolled in the program, you must agree not to distribute or sell your book ANYWHERE ELSE. This includes your own personal blog or web site. Your title must be 100% exclusive to Amazon.

If you violate this at any point during the 3-month enrolment period, or you remove your book from the program so you can distribute it elsewhere, you risk forfeited earnings, delayed payments, a lien on future earnings – or getting kicked out of the Kindle Direct Publishing program altogether.

After the obligatory 3 months, your enrolment in the KDP Select continues unless you go through the process of opting out. Forget, and you’re up for another 3 months.

This forces the author to remove the book from sale from the Apple iBookstore, Barnes & Noble, Sony, Kobo, Smashwords and others, thereby causing the author to lose out on sales from competing retailers.

By withdrawing a title from any retailer, the author destroys any accrued sales ranking in their lists, making their book less visible and less discoverable should they reactivate distribution to competing retailers.

Do authors want to be totally dependent upon Amazon for sales? New writers are desperate; they will do almost anything to sell their books. And they know that with Amazon KDP, more customers are motivated to go straight to Amazon since Amazon has this exclusive content.

It’s a clever ploy on Amazon’s part. As Mark Coker, founder of Smashwords says, The new Amazon KDP Select program look s like a predatory business practice (ref: http://en.wikipedia.org/wiki/Anti-competitive_practices). Pretty soon, Amazon can use the opportunity to leverage their dominance as the world’s largest e-book retailer (and world’s largest payer to indie authors) to attain monopolistic advantage by effectively denying its competing retailers (Apple, B&N, Kobo, Sony, etc) access to the books from indie authors.

Indies are the future of book publishing. In the US, in the last three months of 2010, Amazon’s sales of e-books surpassed that of paperbacks for the first time.

Think about this. It might pay indie authors to recognise that their long term interests are best served by having a competitive global ebook retailing ecosystem. Mark Coker recommends an author distribute their book to as many retailers as possible. Many ebook retailers, all working to attract readers to books, will surely serve indie authors better in the long run than a single retailer who can dictate all the terms.

But whoever thinks of the long run? The long run is everyone’s poor relation, doomed to be steamrollered by the bullies of expediency and money.

The contents of this blog are based on a blog by Mark Coker, founder of Smashwords. The original, more comprehensive article can be found at: blog.smashwords.com/2011/12/amazon-shows-predatory-spots-with-kdp.html

Next Week: A review of Australian author Michael Sala’s debut novel The Last Thread published by Affirm Press.

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With the rise of digital technology, mainstream publishers became deluged with manuscripts. Today, more and more emerging writers are taking to self-publishing as a way of getting their work out there. Below is one writer’s journey into publishing with the UK Arts Council funded site Youwrite on.  It’s a happy story.

Self-publishing with Youwriteon by guest blogger: Louise Forster

After 11 years I’ve finally cracked it, I’m published. Okay, not in the usual sense with an agent and publisher, but as a self-published writer. I’ll cut to the chase and give you the facts.

I published with YouWriteOn, a UK Arts funded site that anyone can join. Basically it works on a bartering system. You read someone’s work and, at random, someone reads yours. You receive reviews from cold readers who don’t know you. The down side is, sometimes you’ll get a reader who’s not familiar with your genre. Then you need to shrug and say to yourself, what the heck. Of course there are times when a reviewer will say, ‘I wouldn’t normally choose this genre and I almost deleted your piece, but I’m glad I didn’t because I really enjoyed it.’ Check them out at www.youwriteon.com. If the above doesn’t appeal to you, they also offer publishing without peer review at:  www.FeedARead.com

Nearly 2 years ago I paid £58.99 (A$89.77). With this fee I’m published, and printed by Lightning Source, who have Print on Demand (POD) facilities all over the world, including Melbourne (important for me, as I’m in Australia). My book is beautifully presented in paperback, glossy cover, good quality paper and lovely, easy-to-read font. Recently I paid £34.94 for 6 of my books in hard copy; that comes to about A$5.50 per book, and that includes postage!

My book is available on as many online stores you can think of and some you wouldn’t know existed, like www.flipkart.com  in India — I’m waiting for an Indian director to read FINDING VERONICA and love her so much he wants to turn it into a Bollywood movie! (Bring it on.)

INFO BELOW TAKEN FROM THE FeedARead SITE:

• It’s free to set-up your book for sale through FeedARead.com
• You set your own book price and royalty
• Full bookseller distribution service. You can also choose to make your book available via the major online outlets, including Amazon, and for major bookshops to order. The fees for this are as follows:

BOOKSELLER DISTRIBUTION SERVICE
UK Authors: £88
US Authors: $79
Australian Authors: $140
European Authors: E100
All other authors: £88 UK.

FeedARead’s distribution service places your book into the world’s most comprehensive distribution channel. With over 30,000 wholesalers, retailers and booksellers in over 100 countries your book will gain the maximum exposure possible in the market today. This includes your book being available to order through all of the following: Amazon and Barnes & Noble (US); Amazon, WHSmith and Waterstones (UK); Amazon Europe; and TheNile.com (Australia).

My book is also available on Kindle through Amazon. On 18 December I joined Amazon’s new program for Kindle users called Prime. It was a little scary, but looking into it, I discovered that subscribers to Prime pay $78.99 annually. This enables them to borrow 12 books per year from the Prime Kindle list. Why would readers want to go this library route when it actually costs more per book? It saves the reader from making PayPal transactions every time they want a new book. Amazon currently sets aside $500,000/month for distribution to authors. After the 90-day trial period, my book continues with Prime for another 90 days, and so on unless I inform them that I don’t want to continue. Every 90 days, I am given 5 days for promotion, during which your books are available for free, and I can choose the dates — which is most useful if you want to coordinate it with your local book launch and local PR. I had one on the 18th another on the 21st of December.  (Normally, the ebook sells for $2.99; I receive 70% of this. )

Your share of the Kindle Owners’ Lending Library (KOLL) Fund is calculated based on a share of the total number of qualified borrows of all participating KDP titles. For example, if the monthly fund amount is $500,000 and the total qualified borrows of all participating KDP titles is 100,000 in December and if your book was borrowed 1,500 times, you will earn 1.5% of $500,000 (1,500/100,000 = 1.5%); that is, $7,500 in December.

https://kdp.amazon.com/self-publishing/KDPSelect

The sudden rise in sales happened AFTER I joined the KOLL. I believe that, had I not joined Prime, FINDING VERONICA would have been lost among the millions of books available. However to be fair, I have to say that I also began tweeting a few weeks ago as part of my PR program. Whether the suddden rise in my sales was due to twitter or to joining the KOLL, it’s simply too soon to know.

Whatever it is, it seems to be working!

 

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Ah twitter, what a waste of time. It’s got to epitomise the worst of the social media – frivolous, banal, no use to anyone. Certainly not to a struggling writer like yourself.

Think again.

I’ve only been investigating social media for six weeks and twitter for two. What I’ve discovered might amaze you. While it’s true that twitter and Facebook have a lot of rubbish in them, twitter is also doing something else.

It’s broadcasting. In real time — assuming you have a phone that will take the app. I don’t have one at the moment, but after what I’ve seen in the last two weeks, I can see that, as a serious writer, just as I once had to have a computer rather than an electric typewriter, now I’m going to have to buy a phone that will take a twitter application.

For those of you as innocent as I was of twitter and how it works, the basis is this:

On twitter, you choose to Follow certain people. Other people may choose to Follow you. How did these followers find you? They found you on other social media sites. The tweets from the people you are following come up on your screen. Your tweets only appear on the screens of those who are following you.

I currently have 6 followers. Right. So what use could I possibly get out of twitter?

Twitter acts as a broadcaster. A recent survey, whose figures I can’t exactly remember, so puleese don’t quote me, said that 40% of twitter is banality; 30% is self-promotion and the rest is information — which, if you have chosen Who to Follow carefully is information that might be relevant to you. For example, last week, Pier 9, an Australian publishing house in the Murdoch empire, advertised that they were looking for an editor with 2-3 years experience in the trade.

As far as I know, THEY DIDN’T PUT THE AD IN THE NEWSPAPER, THEY PUT IT ON TWITTER.

Agents, publishers, editors are putting stuff out that might be relevant to you. And you can follow them.

Meanwhile, back in the jungle, you can broadcast your own stuff. Wot stuff? Well, recently I had a short story scheduled to be read out on BayFM, the radio station in Byron Bay. It’s not every day I get a story read out on radio, I wanted people to tune in and listen, so I tweeted this to my 6 followers.

You tweeted it to six followers! What possible use could that be to you? I mean to say, 6 people are going to hear about it this way, you’d have been better off texting them. Wrong. Because I was also a member of that powerful social media site Ecademy (the first on the scene in 1998, BTW, compared with Facebook’s 2004) I had been lucky enough to meet Sam Borrett, one of the highflyers there. I became one of his followers, and he graciously become one of mine. When I tweeted to 6 people, he retweeted my message to his followers who number around 5,000. Some of those followers have 20,000 followers.

Are you getting the picture now?

Working on the old six-degrees-of-separation theory, even if you’re not fortunate enough to have a powerful follower at first hand as I had, you can bet your boots that somewhere down the track, one of your followers’ followers has. If you’re thinking of putting out a book in the future, get onto twitter. When your time comes, you’ll have a following, who also have a following, who also have a following, and that’s how something can become viral.

Let’s suppose you don’t use twitter and you have a book coming out. You go for newspapers and a bit of radio if you’re lucky.

How many people do you think will hear about your book?

[More in a fortnight on the social media scene in general, and why, as a writer, you need to be in it.]

Follow me on twitter: http://twitter.com#!/de_valera

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