Tag Archives: amazon

How to Sell Your Book, No Matter Who Published It (2)


screen-shot-2017-01-11-at-4-39-55-pmIntroduction, Part II

Why You Should Exploit Amazon – Even If You Don’t Like the Company

Throughout this guide, many of my suggestions for book marketing and promotion will assume that your book is for sale on Amazon. For most of you, this will be an obvious premise, a given. However, for some – including a number of writers I have known and admired for a long time – this assumption will create a problem: because they are boycotting Amazon.

There are valid reasons to boycott Amazon, the primary one being that it is a megacorp that is taking over the world, destroying everything in its path – from publishers to bookstores and beyond. On the basis of news stories, many consider the company to have behaved unethically towards its employees – rebuttals notwithstanding.

I respect anyone’s decision to boycott Amazon if that is what they have decided to do. Even if they have, they will find a host of useful strategies in this guide to help them market their books; I will include a range of tips and suggestions that have nothing to do with Amazon.

However, before we start, I feel the need to point out that writers who choose to boycott the Amazon sales platform are shooting themselves in the feet. Both feet. And in the head as well.

Because Amazon is a megacorp that is taking over the world and chewing up everything in sight, it is the one place where – if you can get noticed – you are going to sell a lot of books. Statistics (now three years old, but I couldn’t find any more recent ones) estimated that 41% of all new book purchases were Amazon purchases – and we’re not just talking about online new book purchases, but about all new book purchases. (For online purchases, the number was 65%.)

Humans are more often lazy than they are principled. Even if everyone in the world felt that Amazon was the most despicable company on the planet, most of them would still shop there – because it is so easy, and because, unlike my local bookstore, which happens to be Indigo – another big company – it always has the book I want, at a low price, and will get it to me tomorrow. I want my books to be available on a platform where people can make impulse book purchases from the comfort of their couches, as I do.

Amazon is not only friendly to buyers. It is also friendly to writers. It offers incomparable royalties to those who publish with it, and it makes it easy for Amazon authors to promote their books. For those who publish with traditional presses, as I will explain in later installments, there are still many opportunities for authors to use Amazon to serve their own purposes.

Not selling on Amazon makes as much sense to me as not driving anywhere because cars pollute the environment. In other words, it makes sense, but I am not going there. I have done so many principled things in my life that have got me absolutely nowhere, that nowadays I am being very careful about who I boycott. (I am not justifying this behaviour, just telling you where I stand.) To salve my conscience perhaps, I think of myself as exploiting Amazon. This guide will explain how you can do that, too.

In the next installment of this series, I will talk about the Four Stages of Book Promotion – and then, in installment 4, we will get started.

* * * * *

Throughout this series, I encourage you to share your own experiences and knowledge about book promotion through the comments section below. If your comment isn’t posted immediately, be patient. I review them first, to avoid spammers, and (believe it or not) I’m not always online.

Why Any Writer Worth Her Salt Should Welcome Amazon’s Pay-Per-Page Initiative

Screen Shot 2015-06-24 at 9.34.09 AMThere has been a whole lot of uproar and outrage out there in the books world in the past few days, ever since Jeff Bezos announced a new way of paying authors who participate in Amazon’s Kindle Unlimited and Kindle Owners’ Lending Library programs. The new system (which, by the way, applies ONLY to e-books that are borrowed from Amazon, and not to e-books that are bought outright), is to be launched in August.

The outrage has largely been fuelled by media coverage such as the item above from The Guardian, where the contents of the article are accurate but the headline misrepresents the nature of Amazon’s initiative. The dismay has been spread by those who read only headlines and then react — on Facebook, Twitter, or elsewhere – without reading further, and by people with a hate on for Amazon and Jeff Bezos in particular and self-publishing in general, due often to their loyalty to traditional publishers. (The dust from the Hachette fracas is a long way yet from settling.) Now I am seeing comments that denounce Amazon’s new method for paying authors for their borrowed books from people who don’t know the first thing about self-publishing, and may never have bought a single thing from Amazon, much less signed up to participate in its lending library.

In truth, Bezos’s announcement should be welcomed by every writer with any self-respect. Those of us who are writing books of fiction and non-fiction that we want people to read and find satisfying (or at least find to be of enough interest that they will finish reading them before they rip them to shreds), are the ones who will benefit from this new initiative. Those who will lose money are those who are churning out “book products” – page after page of illiterate crap that people download onto their computers but discard after the first sentence or first page.

The Particulars

Here is what you need to know in order to assess the new payment method that Bezos has announced:

  • The new royalty payment plan applies ONLY to books that are enrolled in the Kindle Unlimited and Kindle Owners’ Lending Library programs. Writers who have self-published their books in paperback or e-book format for direct sale on Amazon do not need to participate in the KU and KOLL program. It is optional.
  • Kindle Unlimited (KU) is a program for which readers can register for $9.99/month, and subscribers can then can borrow as many e-books or audiobooks as they want during the month. (If you’re in Canada, this is the link.) After the month is up, the e-book is removed from your device. Until now, the authors of those books got paid a portion of the kitty collected from KU whenever their books were downloaded, whether the books were ever read or not. If a reader read the first page or first five pages, hated the book, and never picked it up again, the author still got paid. Or if a reader felt like downloading several books but never got around to reading any of them before the borrowing time was up (as some of us do at the library, sort of like trying on clothes at home and then deciding we don’t like/need/want them, and taking them back unworn), the writer still got paid.
  • The Kindle Owners Lending Library (KOLL) is available to members of Amazon Prime. KOLL operates in a similar way to KU, except that there is no “due date,” when the e-book is automatically removed from your device, but you can only borrow one book a month. Again, many readers were downloading books, discovering they were not of interest to them and/or were unadulterated crap, and never picking them up again. The writer still got paid.
  • The money that is available to authors who choose to participate in KU and KOLL is called the KDP Select Global Fund. Each month a percentage of it goes out to authors. Currently, the money that Amazon makes available to this fund is divided equally among all books that are borrowed via KU or KOLL. Those authors with more books have the potential to make more money.
  • Under the new system, the money will be divided on the basis of the number of pages “read” (or accessed, to be exact) when a book is downloaded. There are downsides to this if you are a poet, or are writing genius flash fiction: these writers may chose to triple-space their text in future:) . But the benefits outweigh the disadvantages for most books and most genuine writers, because now payments will be made to authors who have written books that are of sufficient merit that readers want to keep reading — either because of the quality of the writing, the page-turning nature of the writing, or for other reasons (e.g., the reasons that made the Fifty Shades book sell so well, which still elude me). With her best-selling novel The Goldfinch coming in at 771 print pages, Donna Tartt would have been ecstatic about this new plan if she’d had the foresight to self-publish.

An Attractive Option

While it is optional for authors of e-books on Amazon to make their books available on Kindle Direct Publishing Select (KDP Select) — where they become eligible for KU and KOLL – there are definitely advantages to participating, such as a higher royalty rate on books that readers purchase outright from Amazon. This makes sense: Amazon wants to encourage readers to participate in KU and Amazon Prime. But it is still a choice: we can sell our e-books and our paperbacks on Amazon without participating in the KDP Select program. I personally have made almost as much from the KU/KOLL program as I have from outright sales since I enrolled in it.

Sorting Wheat from Chaff

In case you hadn’t noticed, there is a whole lot of crap out there in the self-publishing world. I have seen “writers” on Facebook, Twitter and elsewhere who laugh at those of us who ever write a second draft of anything. To them, revision is a waste of time. These people measure their output in the number of words written in a day (5,000 being a typical minimum) and work to attain those numbers like those of us with FitBits do to acquire steps. It’s not that they write inspired first drafts: I’ve checked out several of them. Quality is not an issue: the number of books (products) on the market is all that matters. Those self-described writers have been doing very well with KOLL and KU as it currently exists — who cares if people read your book? All that matters is that they download them.

Those who are the modern versions of Charles Dickens — who, given his deadlines, must have churned out readable first drafts — will continue to make money under the new system. But they are in the minority.

Those of us who have sweated over every single word we’ve written, and after much revision (usually taking several years, not several weeks) have ended up with a few books that we find of sufficient quality to publish — and then, before we dared to self-publish them, have hired editors and book designers to make the “package” a quality item in which to deliver the quality writing — are the ones who are going to win under the new system.

It has long been my belief that the new gatekeepers for books — those who decide what books other people should read — will in future be the readers, rather than the agents, publishers, booksellers and traditional reviewers who have dictated the confines of our reading decisions in the past. This new approach from Amazon brings us one step closer to that reality.

Amazon vs Hachette and the erosion of author solidarity

Writers need to remember that both sides are making more money from our talent than we ever can

Like many other writers, I am caught in a sticky predicament when it comes to the battle between Amazon and the publisher Hachette, in that supporting what is growing into a cause célèbre for many traditionally published authors means diminishing our own work and reducing our (mostly paltry) incomes.

For those who have missed this story, Amazon has begun to delay the delivery of books by Hachette authors significantly, and to create impediments on searches for Hachette books on the Amazon site: apparently due to a dispute between the two companies over ebook pricing. (See the LA Times for details.) No less a celebrity than Stephen Colbert is now urging all of us to boycott Amazon in support of Hachette authors, of which he is one. The New York Times is outraged. So are many noted writers (Malcolm Gladwell and James Patterson are two, both also published by Hachette) and several writers’ organizations.

Those of us who are caught in the middle of this firestorm are primarily established writers who have chosen to go the self-published route for some or all of our new or out-of-print titles, and to use Amazon as our publishing partner. Typically, we ourselves have had books published with traditional presses in the past, and as a result we have strong connections (e.g., through membership in writers’ organizations) and even long-term friendships with other authors who are still published only by established presses. These presses include not only Hachette but all publishers who could receive similar treatment from Amazon in future, which is most of them. Solidarity is at stake here, and in a pre-self-publishing world, we would have easily and strongly stood together. Now, over this issue and several others related to it, such strength in unity is impossible.

For indie authors, there are many good reasons for selecting Amazon to fulfill the role of publishing partner for our self-published books, most of which involve both financial considerations and the ease of getting books created and distributed. CreateSpace (Amazon’s print-on-demand publishing arm) and Kindle Direct (Amazon’s e-book-creation arm) are easy to work with, user-friendly and professionally staffed, and they offer basic packages at reasonable prices. They also offer a range of add-on services (e.g. editing, book design), depending on what you want, need and/or can afford.

The distribution advantages are obvious: almost everyone in the universe has an Amazon account. Amazon delivers what you want, when you want it, and at a lower price than just about any other company (especially other bookstores these days, since Amazon’s innovations combined with the booksellers’ own lack of foresight have put most of them out of business). A writer may choose to make her books available on a number of platforms (Barnes & Noble, Chapters, Kobo, Smashwords, etc.) but no writer can afford not to have her books also available on Amazon. Some of us even choose to have our books available exclusively on Amazon, due to the additional advantages Amazon offers us for choosing to limit our sales to its sites.

Yes, Amazon’s forward thinking–embraced by readers everywhere–has overturned the literary landscape. And yes, its innovations have driven most booksellers out of business due to its accessibility, range of offerings, and lower prices. Yes, Amazon has also started hammering at the bedrock of traditional publishing houses: its practice of treating the biggest of the big publishers no differently than it does me, a self publisher, may ultimately bring down Hachette and many other companies that have for decades made their livings off the backs of writers.

Amazon is a hell of a good company for writers who are working with it, rather than with one of its competitors. I get up to 70% royalties on my ebooks, and my readers can buy them for $2.99.  I can even give them away for free if I want to, in order to promote sales. (Publishers typically sell ebooks, which cost next to nothing to produce, for $10 to $15. Their writers get $1.50, and the publisher keeps the other $13.50. Even with print books, self publishers do far, far better financially per book sale than they do with traditional presses.)

What other writers want to do re: publishing their works is their business. However, with this Hachette-Amazon argument, if I choose to “support my fellow writers” and boycott Amazon, I am essentially telling people not to buy my books. And if I don’t support this boycott, I am a turncoat.

For a range of reasons that have to do with my choice to self-publish, in the past few years I have felt a steely and disapproving silence from some of my fellow authors, mostly the mid-range ones, and now here is another divisive issue that threatens to drive an even greater wedge between us.

Writers who ask me to boycott Amazon because of its treatment of Hachette have failed consider (and a lot of them don’t care) that my books are not accepted for sale in bookstores, not reviewed in traditional media, not eligible for most awards and grants, and not available in libraries. Why? Because I do not publish with an “established press.” But I’m supposed to give up book sales to support those companies that do have other avenues for promotions and sales? I think not.

Author John Greene is quoted in the LA Times article as saying, “The breadth of American literature and the quality of American literature is in no small part due to the work that publishers do, and it’s very unfortunate, in my opinion, to see Amazon refuse to acknowledge the importance of that partnership.”

I disagree. American (and Canadian, and British, and Indian, and Australian, and so on) literature will thrive just fine without publishers – editors’ imprints will fill their roles in future, and much less expensively for everyone concerned.

Medium-sized and major publishers have done nothing at all for me, ever. They have not rejected my manuscripts so much as they have refused to even look at them, because they base their selections on what will sell, not on “the breadth . . . and quality of [the] literature.”

As Hugh Howey says in wading into this issue, “Publishers could have realized years ago that they are in the story development and delivery service, but they thought it was all about books. Which pretty much underscores all that has happened since.”

It is the publishers I am refusing to support, but that’s not how a lot of authors see it. But I can’t afford to be politically correct on this one. My unwillingness to support Hachette (and their agitating authors) vs Amazon is partly principle and partly economics – not being James Patterson, J.K. Rowling or Stephen Colbert, I can’t afford to support a cause that impacts my own income so directly. But here’s the bottom line: I’ve fought long and hard to get what I (and my reader-reviewers for the most part) believe to be quality books into print and available on the market, and any boycott of Amazon prevents those books from reaching readers. How can I urge that?

So my message to my fellow writers is this: do what you want when it comes to getting your books to print. Just don’t let issues like this one rip us apart. We’re all in this together, talking to our readers. The rest of them are only intermediaries who have figured out how to make more money off our talent than we ever can.

 

 

Greedy Businesses Target Self-Published Authors

Sleazy salesman pointing

It is not difficult or expensive to publish on your own, but a lot of would-be self-publishers dont know that. As a result, whole nests of snake-oil salesmen have hatched to separate unwitting writers from their money. Most of these writers will never make back the money that is being bilked from them, and even those who do are often wasting their hard-earned cash.

As I prepared my presentation on self-publishing for The Writers’ Union of Canada’s cross-Canada professional development workshop, Publishing 2.0: Tips and Traps, I became aware that taking advantage of the naïveté of first-time self-publishing authors (or “indie publishers,” as we are also known) has become a growth industry.

Quite a few of the businesses involved in this field of endeavour used to be legitimate, contributing members of the traditional publishing establishment: printers, literary agents, book publicists and the like. With their incomes from traditional sources now eroded by the same technology that permits anyone and everyone to publish anything and everything, quite a few of these formerly upstanding companies have turned their attention to “helping” unsuspecting authors to get their books published… for a fee.

Many writers who set out to publish their manuscripts independently or to get their out-of-print books back on the market have no idea that it costs almost nothing to make their novels or non-fiction works available for sale as e-books, and that for about $500, they can get a respectable-looking paperback up for sale online. It is upon these unsuspecting souls that the newest incarnations of the film-flam artist have set their sights, offering self-publishing packages that can cost thousands of dollars. and promising little in return that isn’t available for free or at very little cost elsewhere.

These authors are being convinced by ads and on-line pitches that self-publishing is a technically challenging undertaking, requiring expertise. Paying for technological expertise is not, in fact, necessary because self-publishing sites such as Smashwords are extremely user-friendly. Nonetheless, from the beginning to the end of the publishing process, these highway robbers lie in wait — urging offset-printing services, for example, upon writers who ought to be printing on demand instead. (Offset- printed books are ones that are printed in large numbers on huge printing machines machines that are now increasingly sitting idle all over the country in the wake of the move online of so many magazines, books, catalogues and brochures. Print-on-demand (POD) books are printed on much smaller machines, one at a time, when the book is ordered. Single copies of books can be printed immediately, so no extra trees are wasted, and authors have no obligation to buy a certain number of books as part of the self-publishing option — or to warehouse those books in their basements. Today, the difference in quality between offset-printed and POD books is negligible.)

Other self-publishing authors are hoodwinked into paying companies to “promote” their books on social media ­ a strategy that is nearly ineffective unless it is part of an overall marketing plan. And the costs for overall marketing plans themselves  (also available from a host of sources) can be outrageous and unnecessary. (I have just been looking at one company that lists one of its services as “Amazon Optimization” through the creation of “keywords.” If you’ve written the book, you can pick seven words to help readers discover it, as you will be prompted to do by Amazon itself when you post your book there. That is all that “keywords” are. Snake-oil salesmen love to throw technical terms around, but most of them are easy to translate into plain language.)

Still other companies offer book distribution packages that are actually available to everyone at very little cost when they publish books online with Smashwords, Kindle, or other self-publishing outlets. (You can get expanded distribution from Amazon, for example, that includes bookstores, libraries, etc. Your royalties per book are smaller than with direct sales to purchasers, but there’s no need to pay up front.)

We are also seeing increasing numbers of expensive, needless gimmicks such as seals of approval to indicate production quality in published e-books (this one charges $125 per title. How many readers do YOU know who are choosing to buy books because they have a formatting seal of approval?), and costly competitions for awards that very few can win (and who knows whether the winners gain any sales traction from their prizes?).

Who Is Doing This?

Entrepreneurs

While there are some great resources out there — people with editing and publishing backgrounds who are charging reasonable hourly fees for their services — too many book-publishing coaches and self-publishing managers and others who go by similar titles are no more than fly-by-night operators with no significant credentials. They offer to help you get your book edited and up on Amazon for several hundreds or thousand dollars when you can do it very easily for free or at very little cost.

Printing Companies

Dozens of printing companies that were established to print books for real publishers have huge off-set machines now sitting idle. They need you to help them pay the overhead, so they have re-branded themselves as publishers.  In truth, the only traditional publishers they resemble were formerly known as vanity presses. These companies are selling packages of print-only copies of your book (usually no e-books are offered) for $800 or $900 or several thousands of dollars. They do not know much about promotion and the fine print on their websites state that after you’ve paid the big bucks to buy several boxes of offset-printed copies of your book, they will help you build a website (wow!) and put you in touch with a marketing company to help you promote your book (where you will pay additional fees, of course).  One printing company whose site I visited said they would even put you in their catalogue. Now tell me, when was the last time you bought a book because it was listed in a printers catalogue?

If you are selling to a specific, known market (such as the residents of a small town whose history youre writing) you may decide to go with offset printing because the per-item production cost will be lower. But if you are not certain that you are going to sell the books you are required to purchase when you work with a printing company, using offset is a false economy. These printers who are now calling themselves publishers also say they offer editing: I would advise you to ask who the editors are, and to request their references and credentials.

Respectable Book Reviewers

Reviewing outlets such as Publishers Weekly and Kirkus Reviews have established branch services that are charging unwitting self-published authors upwards of $500 for a single review (Im surprised that The New York Times and The Globe and Mail havent jumped onto this bandwagon yet). The idea is that if you get a good review of your self-published book, you can use it to convince booksellers to stock your book. (If you get a poor one, you eat the money you have spent.) The trick is that most booksellers won’t stock your book anyway, because self-published books are nonreturnable.

You can also pay to have your book review included in a variety of in-house publications where publishers, agents etc. can contact you if they are interested. Humpff.

Keep in mind that your average reader doesn’t know the difference between a Publishers Weekly or Kirkus Review and one your aunt Elsie wrote and posted on Amazon. A $500 review is largely a waste of money.

Book publicists

I believe that book publicity will, along with editing, become an area of specialization that self-publishers need in future. But for now, there are a lot of people out there who say they are book publicists who have no actual experience in the field, or access to the media outlets that might promote your book, and they are overcharging for the services they do provide. Keep in mind that it is almost impossible to get noticed if you have written a novel anyway, even if you’re traditionally published; non-fiction writers usually have a better hook for interviews. And even if the book promoter is well known to the media, there is no guarantee that he or she will make any special effort to get your book noticed, no matter what you pay. Remember that if a book publicist has not read your book and fallen in love with it, that person cannot help you.

A few book-promotion companies will tell you that, for a price, they can help you become an Amazon bestseller or even get you onto the New York Times bestseller list. To do this, they use a complex system that involves a whole lot of purchasers, funded by you, all buying your book all across the country all on the same day or in the same week, which drives your numbers up in the right places. But this kind of access to best-seller lists is not sustainable and authors often end up paying more to get on the lists than they earn back in royalties.

You do need a great promotion plan – one size does not fit all — and here a creative and honest book publicist can help a lot. Remember that at this point in time, getting self-published books into bookstores, or onto radio or television, or reviewed in major newspapers or magazines, is nearly impossible… because of the attitudes of the gatekeepers of those organizations. At the same time, social media is an almost useless promotional device. Any book promotion company that wants your money for these kinds of initiatives had better offer you some proof that they can do the impossible.

Literary agents

Well, you know how I feel about most literary agents. The ones I dissed five years ago are largely out of business now or have found new ways to earn their keep from unsuspecting authors. Check their websites for further info.

Publishers

Even some publishers have turned to mining self-publishing authors for a few quick dollars. Some will take your money and publish your book with a slightly different imprint than their other publications (so those on the “inside” of the industry still know you are self-published, and will still lock you out, unread).

Mark Coker, founder of Smashwords, had harsh words for enterprises of this nature. Writing in the Huffington Post in January, 2014, he said:

The vanity approach to self-publishing, as witnessed by Pearson/Penguin’s acquisition of Author Solutions (operates AuthorHouse, iUniverse, BookTango, Trafford, Xlibris, Palibrio, others…), has shown itself to harm the brands of all traditional publishers. I predicted this last year. The Author Solutions business model is wholly dependent upon making money by selling overpriced services to unwitting authors. Their business model is expensive at best, and unethical at worst. It’s about selling $10,000+ publishing packages to authors who will never earn the money back. The model represents the antithesis of what the best and proudest publishers have always represented. Great publishers invest in their authors. The money flows from reader to retailer to publisher to author, not from author to publisher.

Dont Be a Cash Cow (for anyone but yourself)

The best books are not published for nothing, of course, but most of the work can be done at very little cost. The best places to invest your money are directly with a book editor, a book designer, and a book publicist, each of whom loves your book.

In each of these areas, make sure you are getting your money’s worth. You need someone who knows the business and can provide solid references. You need to check those references. You do not want to be one of a hundred books and authors in a money-making assembly line.

The writing and self-publishing community is unbelievably generous with its knowledge and its skills. Almost everything you need to know about self-publishing is available online for nothing. All you have to do is ask the right questions in the Google box. At the very minimum, check out the publication costs on Smashwords, Amazon, Kindle and Kobo before you hire a consultant. In other words, before you pay good money to anyone to get your book up for sale, find out what the work they are going to do for you is going to cost them. Don’t let yourself be bamboozled.

It has already cost you a lot to write your book  – particularly if you consider the time you spent when you could have been doing other things, like climbing the corporate ladder. Invest what you must to get the best possible book to readers. But don’t waste money until after you attain bestseller status. Then, you will be able to afford it.

Self-Published Writers Make (Lots) More Money, New Data Suggests

HoweyData released earlier this week provides stunning evidence that self-published authors in several popular genres are selling many more books and making a good deal more money than most of us had previously suspected. Their success in comparison to traditionally published authors may be a wake-up call for everyone in the publishing business, from first-time writers to the biggest of the Big Five publishers. (It certainly has been a wake-up call for me: I’m dropping prices on my e-books as we speak).

Until now, the only evidence for strong sales of indie vs traditionally published books has been anecdotal reports from individual authors, many of whom seemed to be making a disproportionately large amount of money compared to the rest of us. These authors were considered to be “outliers.”

Now Hugh Howey, one of those disproportionately successful authors — well known among avid readers and the publishing cognoscenti for his best-selling self-published fiction series, Wool — has made data available (and will continue to collect and update it, he says, at his own expense) that indicates that he may not be alone when it comes to successfully selling books online, particularly e-books. His report on author earnings (cleverly entitled Author Earnings: The Report) suggests that indie-published books are getting higher scores on reviews and selling more copies than those of small- to medium-sized presses, and that the gaps between positive review scores and sales are even greater when you compare self-published books with those from the “Big Five” publishers. The primary reason? Indie authors tend to publish e-books rather than paperbacks and other formats, and they tend to charge much less for them than traditional publishers do. And e-books are selling like hotcakes.

Howey’s figures are derived from an analysis of data collected by an unnamed writer “with advanced coding skills” who has created a program that can gather and break down data from bestseller lists at a speed that was previously impossible. The initial data collection and analysis looks at book sales on Amazon and includes three genres: Mystery/Thriller, Science Fiction/Fantasy, and Romance. These genres were examined first because they account for nearly three quarters of the top 100 bestsellers on Amazon, and more than half of the top 1000. Howey and his “data snoop” will look at the entire range of fiction titles in future reports, he says.

Among their findings so far:

  • In these three genres, indie authors are outselling the Big Five publishers. “That’s the entire Big Five. Combined.” [Words and italics Howie’s]
  • E-books make up 86% of the top 2,500 genre fiction bestsellers in the Amazon store, and 92% of the top 100 best-selling books in the listed genres are e-books
  • Although books from the Big Five account for just over a quarter of unit sales in these genres, they take half of the gross dollar sales — and the authors of those books typically receive only 25% of that profit
  • Indie authors, on the other hand, who keep about 70% of the purchase price of their e-books on Amazon, are earning nearly half of the total author revenue from genre fiction sales on Amazon
  • Self-published authors are, on average, earning more money on fewer books than are those with traditionally published books being sold through the same (i.e., amazon.com) outlet.

A Few Conclusions

The Report is long and complex (but not complicated). I encourage all serious writer entrepreneurs to read it carefully — and to stay updated with future installments.

One of the many inspiring and beautiful charts from Author Earnings: A Report by Hugh Howie

One of the many inspiring and beautiful charts from Author Earnings: A Report by Hugh Howie

(It is also very pretty. I am including an image here from The Report, with proper attribution and an embedded link but used without permission, so if it disappears, you’ll know why. Whether it does disappear or not, I suggest you go and have a look at all the other pretty charts in Howie’s report. They are impressive and illuminating as well as colourful.)

For those who don’t have time to read The Report straight through right now, I’ll extract some conclusions that became clear to Howie, as they must to anyone who examines the data he’s presented:

  • E-books from indie authors tend to be priced much lower than those of mainstream publishers
  • Readers are more likely to buy and review books with lower prices than higher ones
  • “Most readers don’t know and don’t care how the books they read are published. They just know if they liked the story and how much they paid. If they’re paying twice as much for traditionally published books, which experience will they rate higher? The one with better bang for the buck.” — Hugh Howey, Author Earnings: The Report
  • Most traditional publishers are paying authors only 25% of e-book sales, despite the almost insignificant overhead associated with creating e-books
  • Readers are buying many more e-books than they are paperbacks and other book formats, at least from amazon (which is the biggest bookseller in the world, by a huge measure — like it or not).
  • Readers are not buying traditionally published e-books as frequently as they are indie published e-books, because indie-published books cost less. Therefore, traditionally published authors are getting read less often, and are making less money per book sold than indie authors are.

This is important news for traditionally published authors.

It is also important news for major publishers, who are going to lose their authors if they don’t smarten up.

We won’t go into the impact all this is having on good literature, but Howie believes that the data suggests that “even stellar manuscripts are better off self-published.”

A call to Action

In addition to publishing The Report, Howie’s new website, authorearnings.com, invites authors from all sectors to work together to help one another “make better decisions” when it comes to publishing their books.

Howie says that the site’s “purpose is to gather and share information so that writers can make informed decisions. Our secondary mission is to call for change within the publishing community for better pay and fairer terms in all contracts. This is a website by authors and for authors.”

When you go to the site you will be invited to subscribe for updates, contribute to a survey and/or to sign a petition.

I for one will be closely following the activity on that site — right after I lower the prices on my e-books.

Establish a S.M.A.R.T. book promotion goal

iStock_000018615175XSmallBook Promotion Tip of the Week #9: Figure out how many copies of your book you want to sell before you start promoting.

(You can always adjust your targets later.)

After floundering around in the book promotion literature for quite a while now, and blogging about what doesn’t work, I am learning that one principle is more basic than the rest: if I don’t set some promotion goals for myself, I’m never going to get anything done. I could continue to research promotion forever, rather than doing anything about it.

Not that I’m giving up the research, but I’ve decided that even if I haven’t read and learned everything that’s out there yet (by a long shot), the moment has come when I must start to make a focused effort on the actual promotion.

A key word here is “focused” — because I’ve also come to the realization that the goal I set for myself cannot be “to sell books.” That just isn’t a very “SMART” goal.  If “to sell books” is all I’m striving for, I’m never going to get anywhere. It’s like setting myself the goal “to lose weight” or “to read Tolstoy” or “to learn another language.” Those are ultimate goals, but they are not specific, measurable, attainable, relevant or time-sensitive goals, which is what SMART stands for (more on S.M.A.R.T. goals later).

First I need to decide what I want to do with my promotional efforts. Do I want to get to number one (which I think is the general hope that most of us have as we set off on our non-specific promotional adventures)? If so, what does this mean? Do I really think I am going to sell 300 copies of my book EVERY DAY on Amazon? According to this article on Salon, that’s what it takes to make a book an Amazon bestseller. I must face whether that is my specific goal and intent, or whether that is a pipe dream.

And even if that IS my goal, then how many days of 300 sales/day am I aiming for? Would I be satisfied with 300 sales for just one day? – enough to get my book to the top of the Amazon list just once, at which point I could legitimately say (for promotional purposes) that my book had been an “Amazon bestseller” (as in, “My book was once an Amazon bestseller”)? How much practical good is that going to do me in the long term?

Maybe it is The New York Times bestseller list to the top of which I wish to climb. That one is far more prestigious, of course, when it comes to putting a plug about it on my promotional materials. The NYT list is based on weekly sales of books and ebooks across the USA, and no one really knows how many copies of each book must be sold before you make it to the top of that particular mountain, but I’m pretty sure it’s more than I can realistically plan to sell at this point.

Maybe I just want Don Valiente to top the list of bestselling Westerns on Amazon for a day, or for The Whole Clove Diet: A Novel to appear and then stay in the top-ten list in women’s fiction. Maybe I’m eying a local newspaper’s weekly posting of the top ten fiction books sold. (Or maybe I’ve written a family history and I’m not interested in top-ten lists at all: maybe I’ll be happy if I sell ten books, period.)

According to whomever wrote the Wikipedia entry on “bestsellers,” the term is relatively recent and means so many different things in different contexts that it actually means nothing. The entry points out that, depending on the venue, in the U.K. a “bestseller” can mean anything from 4,000 to 25,000 copies sold. In Canada, 5,000 copies sold (ever) constitutes what we call “a national bestseller.”

Why do the numbers matter anyway?

There are a couple of reasons why the numbers of copies of books sold matter (quite aside from the royalties that accrue). First, purchasers do respond to books that are at the top of bestseller lists, even though such lists have nothing to do with quality. (I go back to my Fifty Shades of Grey example which proves that book-buyers can be total sheep exhibiting no taste, and no sense of literary or even erotic discernment whatsoever.)

In addition, and of equal importance, in the case of Amazon when you reach a certain level of sales, the site starts recommending your book to other people who have bought or looked at similar books – which means that Amazon is now doing some of your promotion for you.

And yes, once your book has made a bestseller list, you can call yourself a “bestselling author,” and no one can ever take that away from you. (Although I guess they can demand to know which list you were a bestseller on, and for how long, and they could ask you that in a radio interview, so be prepared.)

It is for such reasons as these that some writers are paying to get onto bestseller lists which – as I reported last week – you can do if you have enough friends and money.

Does the number of books you want to sell affect your promotional efforts?

I think it does, even if you aren’t aiming for the top of a bestseller list. This is the crux of the question when it comes to this week’s Book Promotion tip.

In recent days, I have been thinking about S.M.A.R.T. goals. This is a term which has been in use in the business world for decades, and which I keep coming across in my reading about marketing and even in some of my editing for clients. The acronym stands for  Specific, Measurable, Attainable, Relevant and Time-sensitive. Many experts consider these five attributes to be key indicators when it comes to establishing and attaining goals in such areas as personal and professional development, project management, employee performance, etc.

If your goals don’t have these five attributes, such experts would point out, how can you possible attain them? “Selling books” has none of those attributes, and therefore it’s a lousy goal. (For me it also leads to madly riding off in too many directions at once, as I have several books to sell, not to mention my podcasts on grantwriting, and dozens of places I could sell them, and dozens of ways I could approach the promotion in each case.)

So for me, here is what I am setting as my first S.M.A.R.T. goal: Within six months, to attain at least thirty days of sales of at least ten copies a day of The Adventures of Don Valiente and the Apache Canyon Kid (Kindle version). I have chosen this number because I estimate that this will get us onto the “top 50 Westerns” list on Amazon for those 30 days, which will help to propel us towards ongoing sales with diminished effort.

This goal is Specific because it says I am going to focus only on Don Valiente and ignore my other books for now, and it also sets a specific number of sales per day for a specific number of days.

This goal is Measurable because six months from now (mid-September) I will be able to tell whether I have attained the goal. I can see on my KDP page how many copies we are selling. (I can also track our progress vis á vis other western novels on Amazon. If we need to up the sales numbers per day to get to the top 50, we can do that.)

This goal is Attainable — with an attractive promotional campaign that targets readers of Westerns, given a consistent promotional effort for six months that (at no significant cost to us) positions our books in as many places as possible, I believe that this goal is attainable.

This goal is Realistic. It allows for the fact, for example, that if I send out a review copy of Don Valiente, even if someone does review it, the review will likely not appear for three to four months at least. On the other hand, hitting The New York Times bestseller list is not a realistic goal. I don’t even think that getting into the top 10 list of bestselling Westerns on Amazon would be realistic, when I consider the competition. And I know me: if a goal doesn’t seem realistic, I am going to give up on it very quickly.

This goal is Time-Specific. I have given us six months. (I am now putting a memo in my calendar to report back to you here then, and let you know what happened.)

Do you have a SMART goal for your book promotion? Do you want to declare it in public here so we can cheer you on?

Do you think that setting goals is necessary or of use?

Let us know! I love your comments and so do my readers.

Next week: a book promotion tip that is more specific — that takes less time to write. :)