Now I have also created a poll on helpmechooseacover.com with my three designs, so you can vote if you so choose:
I’m almost there! “Starting Out as an Indie Author” is nearly ready for publication. But first, I need some feedback on covers and the book description I’ve come up with. The first cover is based on the graphic I’ve been using for this series for some time now, with stock art I’ve already purchased, so it is more finished than my other two designs. The others have more the character of mock-ups, since I thought it would be fun to attempt something more playful as well. And as you can see in the covers, I haven’t purchased the art yet. They might be too playful, after all, and I wasn’t sure if it would be worth it to purchase the art.
And here’s the book description I came up with:
Have you written your first book and are considering self-publishing? Perhaps you have started looking into the possibility and are feeling overwhelmed by all the options, all the things you need to do and learn in order to become an indie author? Or maybe you aren’t even sure yet whether self-publishing is for you or not, and you want to find out more of what is involved before you decide.
STARTING OUT AS AN INDIE AUTHOR was written for beginning self-publishers and covers the basics on where to sell your books, formatting for eBook and print, and developing marketing strategies. It includes a number of step-by-step instructions for everything from cover design, to setting up eBooks for various distributors, to creating ads with Facebook and Amazon Marketing Services. In addition, there is advice on any number of topics: eBook pricing, using distributors, how much to spend on self-publishing, and writing blurbs for your books.
With this sanity-saving book as a guide, you will have a much better grasp on what is involved in self-publishing and will be able to approach the task realistically and with eyes wide open.
Part I: Is Self-Publishing for You?
Chapter 1: Advantages and Disadvantages of Self-Publishing
Chapter 2: Potential Self-Publishing Mudholes
Chapter 3: The Costs of Publishing as an Indie Author
Part II: Getting Ready to Publish
Chapter 4: Why Editing is Important – and Who can Probably Skip the Expense After All.
Chapter 5: Preparing Your Manuscript for eBook Retailers
Chapter 6: Cover Options for Indie Authors
Chapter 7: Writing Blurbs and Descriptions for your Books
Chapter 8: Amazon Delivery Fees and Reducing the File Size of Your EBook
Part III: Publishing Your Book
Chapter 9: EBook Pricing
Chapter 10: To KDP Select or not to KDP Select
Chapter 11: Using Distributors for Getting into Online Bookstores
Chapter 12: The Importance of Keywords
Chapter 13: Formatting the Interior of your Book for Print
Chapter 14: Creating a Wraparound Cover for your Print Book
Part IV: Marketing
Chapter 15: The Big Challenge: Becoming Visible
Chapter 16: How to Develop a Strategy for eBook Promotions
Chapter 17: Alexa Rankings for eBook Ad Sites
Chapter 18: Advertising Sites
Chapter 19: Social Media and Cross Promotion
Chapter 20: Newsletter Basics
Part V: Final Thoughts
Chapter 21: Why “Write the Next Book” isn’t Enough; Or: What to do if your Books aren’t Selling
Chapter 22: Rolling with the Changes
Do please let me know what you think!
I’m almost there on getting the book version of my series “Starting Out as an Indie Author” ready for publication! I’ve put together some new material on subjects I hadn’t covered in my posts. Today I would like to share a new chapter with you, “Social Media and Cross Promotion.”
Social Media for Writers
If you are forced by financial difficulties to keep your expenses for advertising as low as possible, social media and cross promotion may be the only effective avenues open to you until you have made enough from your books to reinvest in more expensive ads (or better covers, or whatever you have decided you might need to move your writing career forward). Because when it comes right down to it, most of the cheap advertising sites are cheap for a reason. And many of those that are more expensive have priced themselves so high that you’re never going to get a positive ROI using them. Luckily, there are plenty of authors out there willing to share their results with other authors, so we don’t have to throw our money away, at least not too much.
But to figure that out, you need to network with other indie authors. A great place to start is the Writers’ Cafe on KBoards, which I’ve mentioned before in this series.
So how should you spend your time on social media as an author to sell your books? My answer: don’t. Yes, I know I started this post suggesting it might be one of the only ways for authors who don’t have the money for advertising to “get visible” (to quote David Gaughran, who you should read, by the way.)
But the thing is, you don’t sell your books on social media, not really. You offer content (like me with my Indie Author series), or you become an Internet personality (like Chuck Wendig), or you join groups and start up conversations with readers who are fans of the genres you write in. No one likes authors who are only posting “BUY MY BOOK” all the time.
I’m in the camp of those who believe that social media only sells books indirectly. If you have established relationships with readers through social media, then they might be curious and pick up one of your books to see if they like it. Admittedly, I am far from being a social media guru. I’m not a big fan of FB and Co., since it can be such a time sink. But just consider how you react when “BUY MY BOOK” shows up in your Twitter feed. I bet you’re a lot more likely to click Unfollow than the link to buy the book.
Consider as well that the time you spend on social media is time you could be spending writing. If you only have one or two novels finished so far, it probably makes more sense to concentrate on writing the next one before you go searching for an audience for books that aren’t there. One book does not a career make (except if you’re Margaret Mitchell).
Basic Internet Presence for Authors
There are plenty of recommendations out there, but here are mine:
– Amazon Author Page
– Facebook Author Page
– Goodreads Author Page
– Blog or static web page
One of the reasons I suggest making sure you have at least the above is because many of the advertising sites I have recommended on this blog ask for links to web page, Twitter, and Facebook when you book an ad.
Here a short rundown of those that might not be quite as obvious:
– Amazon Author Page
The Amazon Author page is important because if you don’t set one up, all a reader gets when clicking on your name in the Amazon store are the search results. If your name is Jane Smith, this is not going to help you a lot. I’m lucky that my name is not all that common — not even in Norway. But even for a Nestvold, an author page is still a big advantage over a page of search results. It allows me to have links to book trailers, my blog, author pics, and all of my books:
To create your author page on Amazon, you need to go to Author Central: https://authorcentral.amazon.com/
– Goodreads Author Page
The importance of a Goodreads Author Page is similar — it allows you to link all of your books, as well as your blog feed and whatever book trailers you might have in one place. And that on one of the most important sites for book addicts in the world.
To create it, you need to set up a Goodreads account. Once you have that, all you need to do is find one of your books, click on your name and scroll to the bottom of the page where you will find “Is this you?” When you click on the link, you can send a request to join the Author Program. Complete instructions are here:
– Facebook Author Page
To create an FB author page, click on Create / Page on the left hand side of of the screen in your news feed and follow the instructions. The “Writer” category is under “Artist, Band or Public Figure.”
If you’re a bit of a social media grump like I am, you might be wondering why I recommend so many things to sign up for. While on the one hand I don’t like spreading myself too thin, at the same time, I have fans on all of these sites who only communicate with me through whichever happens to be their favorite. Without those sites, I would be missing out on communication with readers who want to contact me.
While I advocate making sure you have a presence on all of the sites listed above, that doesn’t mean I think you should be hunting down followers or friends on Twitter or Facebook or anything else. That way lies madness, and many hours of wasted time. Believe me, I’m as guilty as anyone of being addicted to numbers when I first started learning about all this stuff. But believe me as well that chasing followers is not going to do you a bit of good. Yes, you should be on all those platforms, but no, following or friending in the hopes of selling more books will get you nowhere and will only eat up time better spent writing.
Further social media sites for authors
I am on all of the above, but with the exception of Pinterest, which I love, I don’t really use any of them. And despite my love of Pinterest, I have no idea whether it can work as a marketing tool. What I mostly use it for is a place to collect links for books in progress, as you can see from this board for Ygerna, a prequel to my Pendragon Chronicles series:
As for the rest, I signed up for them because I read somewhere that you really had to have a presence there as an author, so I went with the flow. Of all of them, Reddit appeals to me personally most, but at the same time, I know that I could get lost in the discussion threads if I allowed myself to, so I just don’t go there in the first place.
For all of these sites, the main thing to remember is to be on those that appeal most to you. Use them in a way that feels natural, stay authentic, build a presence, and interact with like-minded readers and fans.
This is where the real genius of social media for marketing purposes lies. If you can find a good group for cross promotion, when you all have a sale, instead of yelling “BUY MY BOOK,” you will be sharing an amazing deal with dozens of eBooks on sale for only 99c!
Which would appeal to you as a reader more, HUGE SALE or BUY MY BOOK?
In my opinion, group promos are pretty much the best way of getting the word about your novel out to a wider audience for free. The idea behind cross promotion is that all of the authors involved share the information on their blog, mailing list, Facebook page, etc., and the more authors involved, the wider the reach. So it requires some effort on your part in helping to spread the word, but not much more than if you were lambasting Twitter with tweets most people will ignore.
But how do you find out about groups like this in your genre? One of the best resources I know is Kboards, which I mentioned above. I no longer spend as much time there as I did when I was first starting out, but it is an incredible resource for indie authors.
Aside from Kboards, another way of finding group promos in your genre is through Facebook. Try searching for “group promos” or “group promotions” and see if anything shows up that fits with your genre. The group I participate in most regularly, “Science Fiction and Fantasy Book Promotions” organized by Patty Jansen, is on Facebook — although I found it through Kboards. If you also write SFF, you can find the link on the right sidebar of my blog. Join, introduce yourself, help promote in any way you can whenever there is a group sale. If you have found a good community, I am sure you will see results.
But remember, putting a lot of effort into promotion isn’t really worth it if you only have one or two novels out. Concentrate on getting a couple more published before you start spending too much time trying to draw attention to yourself and your books.
I have recently become aware of a couple of new distributors (also referred to as aggregators) on the self-publishing scene, Pronoun and Streetlib. Some time ago in “Starting Out as an Indie Author,” I covered the topic of distributors in general, and Smashwords, Draft2Digital, and Xinxii in particular:
Today I would like to share my experiences with these two new aggregators with you — as a late Christmas present, if you will. 🙂
Pronoun is a relatively new aggregator that claims to not charge any distribution fees, allowing authors to keep 100% of the revenues from their books. I have no idea how they intend to make money off of this business model. While going through their help files, I found something about all their partners and how that allowed them to give their services away for free, but it was rather vague — hardly enough to satisfy this particular curious mind. Personally, I tend to think that if a deal sounds too good to be true, it probably is. Which is why I am immune to shady get-rich-quick schemes. 🙂
Pronoun publishes your eBook to Amazon, iBooks, Barnes & Noble, Kobo, and Google Play. It will not publish an eBook that is already available through any of those vendors — it always distributes to all five of its retailers and will not carry a book that has duplicate listings. This means that if you want to test the waters, you will have to unpublish one of your books from the retailers covered by Pronoun or upload a completely new book.
In order to test Pronoun, I attempted the former, unpublishing a small short story collection that had next to no sales anyway. Pronoun claims to take both epub and docx files. I tried multiple times uploading an epub file, without success. One time it told me to run it through the validator (it passed), another time it told me the file did not include a cover image (it did). Which leads me to the conclusion that Pronoun doesn’t really want anything other than a docx file formatted according to their guidelines, which can be found here:
But since life is too short to spend too much time messing with a service I’m a bit skeptical about anyway, I have not bothered trying to follow their docx guidelines. As a result, I have no real publishing experience with Pronoun to report, only a failed publishing experience.
Authors keep 100% of eBook revenues.
Channels distributed to:
Amazon, iBooks, Barnes & Noble, Kobo, and Google Play.
Pros – Generous royalty structure; slick looking site
Cons – No opting out of any of the retailers they distribute to; do not accept double listings; major difficulties in uploading epub files; long docx formatting guidelines
Streetlib is a new aggregator based in Italy, and the vast majority of the vendors they distribute to are Italian. But they also offer all the major eBook retailer such as Amazon, iTunes, Kobo, B&N, and Google Play — at least hypothetically.
The site is not very intuitive, and I found it confusing to navigate. It’s very obviously still suffering from its own newness: not only was it difficult to figure out how to get around, I kept coming across Italian words and phrases, even though I chose English as my language. Incorrect English crops up here and there as well, and when I tried to get help on various topics, I frequently got an error message. As a former localization tester, it looks to me as if the translation went live without being thoroughly tested.
As with Pronoun, I ran Streetlib through its paces by signing up and uploading the epub of my collection Story Hunger. The uploading itself went more smoothly than with Pronoun, and I was informed that my book had been published. But it apparently takes some time for it to appear in the stores they distribute to — I did the Streetlib testing yesterday, and Story Hunger is still not available anywhere. One of the help files I was able to access says it takes 24 hours for books to go live, but it appears to be more.
For now (Dec. 2016), I would recommend that authors wait on trying to use Streetlib until they get the wrinkles ironed out. It might work better for someone who knows Italian and can use the Italian interface.
Authors receive approximately 60% of the eBook cover price. More details here:
Channels distributed to:
Amazon, iBooks, Barnes & Noble, Kobo, Google Play, 24symbols, 9am.it, Artcivic.com, bajalibros.com (worldwide), bidi.la, bookmate.com, bookolico.com, bookrepublic.it, casadellibro.com, decalibro.it, dottorebook.com, ebook.it, ebooklife.it, evribook.com, feedbooks.com, Gandhi, harmankitap.com — and many more.
Pros – Ease of publishing; many retailers
Cons – Site difficult to navigate; English translation of pages sometimes poor or incomplete; difficult to find a way to opt out of certain distributors
Update: After a couple of days, Story Hunger finally did show up on Google Play. So for those who cannot publish directly, it would be an option, despite the problems with the site, which will hopefully get ironed out someday.
Conclusion: As of this writing, Draft2Digital wins hands down for me as the best aggregator. I will continue to use Smashwords as well, since I sometimes sell a book there directly, and I like the option of being able to offer coupons. I will eventually give these newer aggregators another shot, but at the moment they are more trouble than it’s worth for me.
I hope everyone is enjoying a great holiday season! And if anyone has more or better experience with Pronoun or Streetlib, do let us know in the comments.
Patty posted this to her blog six months ago, but I only now just saw it. Since it made me chuckle and fits right in with my “Starting Out as an Indie Author” series, I thought I would pass it along.
* * *
GH = Grasshopper
VA = Veteran Author
GH: Soooooo, I hear Bookbub is all the rage, but is that site even open to us indies, because I submitted my book once, and they didn’t want it.
VA: *loud belly laugh* You submitted ONCE? Mwahahahahahahaha!!!
GH: But they didn’t even tell me why they didn’t want it. The whole site is a stitch-up between the trads and the people who already sell well. Those people don’t even need it. Look at meeee. I’m down in the rankings and no one is seeing my book. It’s a conspiracy.
VA: OK, so let’s look at your book.
VA: Is your cover the best you can make it? Is it appropriate for the genre? Is is skilfully made?
GH: Well, it was made by a friend who has a design business–
VA: Book cover design?
Read the rest here.
One of the things that isn’t often mentioned in discussions on preparing your book for publication is the fact that Amazon charges a delivery fee for the books it sells for you. This fee comes to $0.15/MB on every eBook sold in the US published under the “70% Royalty Option.” You can find the complete list of delivery fees for all Amazon stores here:
15c may not sound like a lot, but think about what it means if you have a boxed set with thousands of pages of text and several cover files prefacing each book. Depending on how many books and images it has, a boxed set can easily come to four or five megabytes or more. And when the delivery fee starts getting close to seventy or eighty cents per sale, it is definitely something to take into consideration when preparing a book for publication. If you’re not careful, Amazon’s delivery fees can significantly cut into your profits. A case in point: the challenge of delivery fees is one of the reasons I have not yet tackled trying to make my one and only travel book, Life in the Fjord Lane, into an eBook. It is mostly photographs with little text, and trying to optimize every single one of those photos would be more trouble than it’s worth to me. It sells several copies a month in paperback, and I find it hard to believe it would sell much more as an eBook. I might be wrong, but I don’t think the work involved would be in any way compensated financially, since the price of the eBook could not not be significantly lower than the paperback if I want to make a profit. I could always choose the 35% royalty option to get around the delivery fees, but that too makes all the work involved in turning a paperback book full of photographs into an eBook less likely to be worth my while.
Books priced under $2.99 are automatically in the 35% royalty category, so if you are reducing the price of your book for a sale, you are in no danger of owing Amazon delivery fees once the sale is over. No worries on that point. 🙂
How do you make your eBooks smaller?
This is the real question, and I have to admit that I don’t have all the answers. And while you might remember how I was raving about the beautiful eBooks produced by Vellum — the file sizes of their compiled books are much larger than those produced by other methods I have used. I’m losing about 30c per sale on Chameleon in a Mirror formatted through Vellum. Is it worth it to me? It is. But I have nonetheless been looking into ways to reduce the bloat a bit.
Here are some of the things I have attempted to keep the file size down.
Reduce the file size of your images
The only image that many fiction books have is the cover, and for Amazon you do not need to upload a file with the cover included, since it will automatically be added later if you don’t have it. But if you are creating only one epub file for all vendors, you don’t have to use the highest quality jpeg for the inside cover. According to what I was able to find out when trying to reduce some of my own images, saving a jpeg at 60% instead of 100% should be adequate for any images you have inside an eBook. In Paint.net, for example, (a free graphics design program) all you have to do to reduce the quality — and with it the size of the file — is to open the image, click “Save As,” rename the file, and in the “Save Configuration” box that pops up, slide the quality down to 60%. In Photoshop, this option is available when you “Save for Web.” There you can simultaneously reduce both the image size and the quality to create a smaller file for the interior of your eBooks.
Just remember, before you start messing with reducing the file size of images — make sure to save a copy! When it comes to covers, you will still want to have that full resolution, 100% quality image on hand when creating the Print on Demand (POD) version of your book.
For interior images other than the cover (for which most stores have minimum size requirements), the actual size in terms of length and width can also be reduced. Don’t overdo it, though — you don’t want the images in your book to be tiny little boxes that add nothing to the reading experience.
One very simple way I have found of reducing image sizes is a free online app called JPEGmini:
Upload your image and download the result — that’s all there is to it. The results tend to be at least half the size of the original.
Here is some further reading from someone who is much savvier about images than I am:
Upload an epub rather than a mobi file to Amazon
Theoretically, it shouldn’t make any difference what type of file you upload to Amazon, since they take any epub file you upload and convert it to mobi, but I have seen significant differences in file size in books I uploaded this way. I used to compile mobi for Amazon and epub for all other vendors as an easy way of keeping them apart. But then at some point I noticed that I wasn’t making as much on my Big Fat Fantasy, Yseult, as I thought I should be making, and I soon realized it was because of the file size. After messing with the map, to little effect, I decided to try uploading the epub file, which was a lot smaller, after all.
I reduced the size of my 200,000 word epic by half.
This method may not be as successful for you, but at least it’s worth a try.
Try different ways of compiling your eBooks
While I was researching this topic, I learned that compiling eBooks with Calibre supposedly results in the smallest file sizes. Since I have no experience with that, I am simply passing the information along for what it’s worth. If it’s true, there may be differences between other methods of creating epub files.
As I mentioned above, I see a big difference in file size between Scrivener and Vellum. The difference is logical enough, since Vellum uses fancier fonts, more elaborate formatting, and ornaments to indicate scene breaks. It turns out you have to pay for that beauty coming and going. You’re the only one who can decide whether it’s worth it for you.
Do the math, and figure out the best royalty rate for your eBook
What if your book isn’t a novel that is all text except for one measly map? What if it’s a children’s book with elaborate color illustrations? Or a travelogue, like my Hurtigruten book (that I have little interest in trying to convert to an eBook because of the challenges involved)?
As I already implied above, your best bet may be to go with the 35% royalty rate, where you are not charged for delivery fees. You can choose this royalty option regardless of price. 70% sounds better, of course, but if you are selling your book for $4.99, and your delivery fee is $1.75 or higher, financially you would be better off at 35%.
Try not to be too discouraged by all of this, though. If you are just starting out, it’s good to be aware that size matters. It was well over a year after I had seriously started my own self-publishing adventures before I even found out about delivery fees, so obviously it hadn’t really hurt me yet at that time. It might well be the same for you. You can always do some adjusting and fine-tuning once you figure out how much it affects you, and how much time you want to spend trying to make 15 or 20 cents more on each eBook sale. 🙂
Ever since I started going indie and publishing books on my own rather than through a traditional publisher, I have been using Scrivener to create the epub and mobi files required by most retailers. Okay, not ever since — my very first experimental attempts were uploading Word docs to Amazon and Smashwords, and they were resounding failures. But once Scrivener added epub export to its many wonderful writing tools, that is what I have been using as my default e-book formatting program.
I have a new program for that now: Vellum.
Vellum is beautiful — and expensive. And it only works on a Mac. I am a PC user — pedestrian, mundane, and mostly immune to the Apple Cult. My smartphone is a Samsung. Hardware is not a status symbol for me. Yes, Apple makes pretty hardware, but it is outrageously expensive and somehow lives almost on reputation alone, which I find mildly baffling.
But — I broke down and bought my first MacBook back in the day when Scrivener was only available on the Mac. I have been a devoted Scrivener user ever since — and was incredibly relieved when Literature and Latte finally brought out a version of Scrivener for Windows. Oh joy, I would never have to use a Mac again!
Fast forward almost a decade — and me drooling over the beautiful e-books of some of my colleagues created using Vellum. So I finally broke down again and bought a refurbished sleek and shiny little MacBook Air on sale. And it really is amazingly lovely, I have to admit — even though I’m not a Mac fan. 🙂 I would much rather carry it around than some designer handbag. If only it acted a little more like a PC …
I haven’t used Vellum a lot yet, but it seems to be fairly straightforward, with a minimal learning curve (except for the fact that it is on a Mac). Not only does it create very professional looking e-books, it will generate different e-books for a number of stores simultaneously (iBooks, Kindle, Kobo, Nook, Google Play), so you don’t have to do that yourself. And if you use an aggregator like Draft2Digital or Smashwords, it also has a “generic” epub option. It does involve some setting up for the various retailers, but once that is taken care of, you can compile the e-books for all the stores where you sell your books at once.
There are several styles to choose from, designed to suit different genres.
Once you have chosen a style, the final formatting recognizes simple scene breaks like *** and transforms them into into the ornamental break associated with your choice.
Vellum is free to download. You don’t have to pay until you generate your first book. You can either pay $29.99 per title, $99.99 for ten titles, or get an unlimited license for $199.99.
I have only uploaded one book formatted with it so far, and I had some problems with the file for Kobo, so I am definitely not the expert. I intend to switch over anyway, though, gradually replacing the files for all the books I have already published. Unfortunately, Amazon doesn’t seem to update the look inside feature with the newer, prettier e-book format, so one of the advantages I had hoped for is gone. But at least in future, my newly published ebooks will look more professional. And if they ever add a print function, as they claim to be thinking about, that would be a huge time-saver. (You can read about how I format for Print on Demand here.)
If you’re interested in learning more about Vellum, here are some links to folks who are savvier regarding the program than I am (and have images to share *g*):
I am finally (finally!) compiling my “Starting Out as an Indie Author” series into a book, and since I started this weekend, I’ve noticed a couple of things I still need to add. Since the first part of the book revolves around the question, “Is Self-Publishing For You?” I realized I had to write my own version of the consideration of the pros and cons of indie and traditional publishing. (I have a few more things up my sleeve that I will probably blog about in the next week or two.)
So with no further ado, here’s my take on the debate:
Advantages of Self Publishing
A traditionally published novel can easily take up to two years from the time it is accepted to the time it actually comes out. And that isn’t even counting the years of sending the manuscript out to agents and editors.
By comparison, self-publishing is almost instant. E-publishing may take a day or two from the time you hit the publish button until the time your book is available, but rarely more. Print on Demand (PoD) takes a little longer, but in my experience, the physical copy of your book is available in less than a week. Of course, that doesn’t include editing and cover design, but a self-publisher can probably have that completed in weeks rather than years.
– Rights Retention
Many publishing contracts are not designed to benefit the author, they are designed to benefit the publisher, as numerous legal battles in recent years have shown. All rights to self-published books belong to the author. She can do whatever she wants with the book and does not have to consult a publisher about it.
This is probably the advantage most frequently cited by indie authors. As an indie author, you have complete control of deadlines, editing, formatting and cover design. You control the price and can adjust it up or down in reaction to sales numbers. It is easy to implement changes, including changes to the text. You could even pull the book for a rewrite if you so choose. Or if the cover doesn’t seem to be working, replace it.
In traditional publishing, an author usually has very little say in cover, design, or marketing strategies. A case in point: my novel Yseult, a retelling of the legend of Tristan and Iseult, was originally published in translation with Random House Germany. They provided stunning cover art, which is now being shared all over Pinterest:
The problem? It looks like the Lady of the Lake, not the tragic love story of Tristan and Iseult. Not only that, the book came out in a fantasy imprint for mostly YA readers, because the publisher wanted to cash in on the popularity of Harry Potter. But — the book has a number of graphic sex scenes. Publishers sometimes make strange marketing decisions which are more concerned with where they think the money is than what would be best for the book.
– Your book has all the time in the world to catch on
Traditional publishing houses will give a book around half a year to see whether it’s going to become a bestseller or not. If it doesn’t, it will soon be remaindered. Your book had its chance, and now it’s dead.
With self-publishing, the “shelf-life” of your book is as long as you care to keep trying to put effort into marketing it. Even if it has dropped into oblivion, you can always try some new marketing strategies to bring it back to life. As long as you want to keep it alive, it never has to go “out of print.”
– Larger percentage of the profits
In traditional publishing, the royalty rates tend to be between 6% (for audio) and 25% (for e-books). As an example, for the hardcover of Yseult in German translation, which sold for 19.95 €, I earned under 2 € per copy. (OTOH, I did get a big advance, the most money I’ve ever seen for my writing.)
By contrast, Amazon pays Kindle authors 35% (for books under $2.99 or over $9.99) or 70% for everything in between. Most other ebook vendors have similar rate structures. Selling Yseult for $3.99 for the e-book, I am earning a little bit more per book than I did with the 19.95 € hardcover of the German translation.
– More frequent payments
Most traditional publishing houses (like Random House) send out account statements twice a year and the payment shortly thereafter.
All the digital distributors I have dealt with until now send payments monthly, with a delay of about a month after sales were made — assuming sales have surpassed a certain payment threshold, which in my experience is between $10 and $50.
– Getting around the blockbuster mentality
One of the difficulties in getting a book published in traditional markets these days is the perceived need on the part of many publishing houses that a book has to have the potential to be a bestseller. This is often referred to as the death of the midlist — those books that sold regularly, but were never expected to produce runaway sales.
If your book is in some kind of niche category, sometimes your only chance is either self-publishing or publishing with a small press specializing in the kind of fiction you write.
– More Work
Let’s face it, finding editors and cover designers, writing the book description, formatting your book, and uploading it to retailers are all tasks that a publisher does for the writer. But if you decide to go the traditional publishing route, don’t assume the publisher will also do advertising for you. The amount of marketing your book will get tends to correlate to the size of the advance an author is paid for her book: the smaller the advance, the less likely the publisher is going to do anything for your book other than announce it in their catalog.
– No Advance Against Royalties
While in recent years advances have been dwindling, most traditional publishers still pay authors an advance against royalties up front, based on how many copies the book is expected to sell. This can be several thousand dollars at once, something it might take a beginning indie author a long time to see. On the other hand, a traditionally published writer will not get any more payments on her book until it has “earned out,” or in other words, made the equivalent in royalties that the author received as an advance. Still, many authors see it as an advantage to receive a lump sum rather than small checks and money transfers here and there.
– Perceived Stigma of Self-Publishing
This one can get indie authors very up-in-arms, but that doesn’t make it any less true. Despite the fact that a number of hugely successful bestsellers were originally self-published, (for example, Hugh Howey, Wool, Andy Weir, The Martian, E.L. James, Fifty Shades of Grey, and Lisa Genova, Still Alice) many readers still cling to the received notion that anything self-published is bound to be crap. If you go the route of an indie author, you are bound to be confronted with this at some point — and it would be best to remain graceful and not lash out if you do.
By the same token, many writers still long for the legitimacy of a traditional publishing contract. I know several writers in the SFF community who have no interest in self-publishing, even after shopping a novel around for years without success, and despite enthusiastic feedback from other writers. The legitimacy of a traditional publishing contract is more important to them than any income they might make self-publishing.
– Wider Distribution
It is still harder for self-published books to get into physical bookstores and libraries. If this is where you want your books to be, you might have to try the rounds of traditional publishing, and start submitting your manuscript to agents.
Each writer has to decide for herself whether she wants to pursue the traditional publishing path, or whether she wants to go it on her own. Self-publishing is definitely more work, but it can also mean more freedom and more profit in the long run. But it can also mean nasty comments from readers who won’t even bother to look at your book. Just remember what they say about success — it’s the best revenge. 🙂
So weigh the pros and cons before you take the first step in either direction, and remember, neither path is exclusive. I still publish short fiction traditionally: submitting to an editor, being rejected or accepted, being paid up front. My novels are all now self-published, however, and I don’t see that changing anytime soon. But for all I know, somewhere down the road, something in my situation will change and I will publish a novel traditionally again. Authors should do what they are most comfortable with, or what promises the most advantages at any given time.
As many readers of this blog know, I broke down this month and did a free promo for one of my Big Fat Fantasies again, Shadow of Stone, the second book in The Pendragon Chronicles. For a number of reasons, I hadn’t really wanted to go there anymore:
1) The reviews you get after a free run are sometimes downright depressing, since a lot of people are grabbing the book who are not your target audience.
2) The Pendragon books are REALLY long, and they took a LONG time to write. Something irks me about giving away all that work for free.
3) I don’t want to support the assumption on the part of a growing number of readers that the only good book is a free book.
Nonetheless, I decided to plan a free promo for Shadow of Stone. In the last half a year, it has sold less than 50 copies and had less than 20,000 pages read. Meaning that even though the book can be borrowed through KU, there were very few people taking advantage of the opportunity.
I think part of the curse of my Pendragon Chronicles series is that the books are standalone novels. And it seems that when readers come to the tragic conclusion of Yseult, which ends with no cliffhanger pulling them on, they are not as compelled to immediately buy the next book — only about 25% of the people who buy Yseult also pick up book 2. So I really didn’t have a lot to lose by tossing SoS out there for free for the first time in years.
Before I scheduled the free run, I applied for ads with a number of sites where I’ve gotten good results before. A lot of places don’t want to advertise book 2 in a series, even if the novels are standalone, but I finally got approved for an ad with Manybooks.net for May 21, so I set up the free promo around that. Organizing a free promo is very different than a 99c sale, since with that you want to go out with a bang. Your sales ranking doesn’t disappear like it does when you’re giving the book away for free. I figured for the free run, I wanted my heavy hitter towards the beginning, so that Shadow of Stone would soon be high in a lot of top 100 lists, which in turn would (I hoped) lead to organic downloads also improving the rank. Around the more expensive ad, I scheduled a couple of inexpensive promos through Fiverr, and applied for as many free ads as I could. (You can see the list of free sites I usually apply to here.)
The strategy worked better than I imagined, even though I never heard back from a number of the sites offering free ads. Here’s the breakdown for my ads, other promo activities, downloads, and income during the course of the free run for SoS:
Shadow of Stone free from May 20 – 24
May 20 – Natali FB promo Fiverr ($5.50) – 185 downloads, $21.32 in earnings
May 21 – ManyBooks ($25) – 685 downloads, $27.47 in earnings
May 22 – Posted to Facebook groups – 263 downloads, $22.94 in earnings
May 23 – Fiverr Bknights ($10.50) – 1382 downloads, $76.08 in earnings
Booklovers’ Heaven (free)
More FB groups
May 24 – More FB groups – 363 downloads, $28.90 in earnings
Ask David (free) – ran Shadow of Stone from May 20 – 24
Applied for but no response:
SF Signal free fiction
OHFB (May 24)
I also tried to set up a Facebook ad based on impressions, since I figured an ad where I pay for clicks for a free book would hardly be worth it, *g* but it was never approved. That’s an experiment I would still like to try for a free book, but maybe with a permafree where time is not of the essence.
One more thing I did which helps explain the huge jump in downloads towards the end of the free run: just before I was intending to go to bed on May 23, I checked the rankings for SoS, and it was very close to breaking the top 100 overall free on Amazon. Since I’m in Central Europe, that means it was prime time in North America. So rather than shutting down as I had intended, I sent out pleas on Facebook and Twitter, asking people to share the word and help me break the top 100.
Here are the rankings of Shadow of Stone when I got up the next morning:
Amazon Best Sellers Rank: #84 Free in Kindle Store (See Top 100 Free in Kindle Store)
#1 in Kindle Store > Kindle eBooks > Literature & Fiction > Historical Fiction > Fantasy
#1 in Kindle Store > Kindle eBooks > Science Fiction & Fantasy > Fantasy > Historical
It was #1 in several other categories as well, but those are the ones Amazon decided to show me. 🙂
During the course of the promo, I sold 51 copies of Yseult, which had previously been limping along at about a sale every other day. Strangely enough, sales of other books not in the series picked up as well, something I rarely experience with a 99c promo.
But the fact remains that the vast majority of my income from this promo was from sales of Yseult. The way the Amazon algorithms are right now, I definitely would not recommend a free promo for a book that is not part of a series. The rank for SoS after its free run (where it broke the top 100) was #126,851. Yseult, on the other hand, was #7580 — at full price. The sales I’ve seen since the promo are mostly a result of the increased rank of the companion novel.
Of course, these numbers don’t come close to those to the profit you can make if you DO get a BookBub ad. But since those are few and far between (my last was in January), I’m very happy with the 4:1 ROI of this particular promo. 🙂
I’ve “known” Alicia Rasley since the early nineties, when we were both active on the writing discussion groups (called RoundTables) of the now defunct online service GEnie. I was a rank beginner at the time, while Alicia had already been traditionally published, but she was always gracious and helpful. We bonded over Aphra Behn, and she was one of the first people to read (a very early) version of Chameleon in a Mirror. So it is with great pleasure that I welcome Alicia to my blog.
First off, please tell us a little bit about you and your work.
I write Regency romances and mysteries. I keep threatening to write a small-town Indiana series featuring regular people living regular lives (I live in Indiana and have a regular life myself), but for some reason, no one seems interested!
Do you have a writing routine?
I try to write an hour a day. But I’m still working full-time as a writing teacher, so some days I don’t get the hour in. I also always seem to have several projects going at once, so I spend time everyday trying to figure out which I feel like working on. So… answer is, I say I have a routine, but it’s not a very routine routine.
What made you decide to become an “indie” author?
I was traditionally published for 20 years, and suffered most every horrible offense and injury possible — lines closing just after I pledged them a book, editors getting laid off just after they expressed interest, agents with serious issues who only pretended to submit my books to editors…. And after all the work and rejection and revision and editorial interference, the book would be on sale for three weeks, and then disappear — and the publisher, just for the heck of it, would keep the rights to the book for seven to ten more years. It was the worst system ever, but it was the only one available back then… until a few years ago, when indie publishing became viable and affordable. And I’m never going back to traditional publishing (unless one of those companies offers me a million dollars, but I don’t think we need to worry about that happening).
What have you already published?
I had about 12 books traditionally published, and most of those I’ve republished as an indie author. I also have some novels and some writing books published independently. My Regency romance-mystery just came out in February, Tryst at the Brighton Inn. It’s kind of a hybrid, as I’m publishing the print version myself, and the Kindle Scout program (an Amazon imprint) is publishing the ebook.
What are you working on now?
I’m working on revising a few of my old books slightly to make them fit together better in a boxed set of Regency romances. It will be called Lords of the South Coast. And I’m just starting a new series of young-adult novellas set in the period of the French Revolution, about a group of children and teens who run away from the danger and become the wards of a mysterious noblewoman with a rambling old manor house near London. I like to think that young people will enjoy historical stories about plucky teens overcoming terrible odds to find peace.
I think you may well be right. 🙂 Do you make your covers yourself or do you hire a cover artist?
I am not at all visual, so I rely on a cover artist. Kim Killion did a wonderful job on the Tryst cover. It’s traditional and yet striking.
What do you think are the advantages of indie publishing? Of traditional publishing?
Indie publishing is great because it offers so much control and freedom. For a battered and bruised vet like me, it’s almost a miracle to think I can write what I want, and reach my readers directly without some huge international conglomerate publisher acting as the “gatekeeper” (and usually slamming that gate right on my foot). The downside is that I have to do all the work myself, but I never made enough money for a traditional publisher that they did any marketing for me — so it’s nothing new for me to sell my books myself.
As for traditional publishing, if you are a bestseller and stay that way, you’ll probably be treated well by the publisher. No one below bestseller status has any real assurance of good treatment, but I think the weather is pretty sunny in the highest-selling group. Otherwise, the big advantage of traditional publishing is the prestige. You have some supposedly independent affirmation of your skill as a writer. I think that’s fading (the ultimate judge of our skills is the reader now), but I do think many writers feel more validated if they’ve experienced traditional publishing.
What advice would you give to an aspiring author?
If you’re trying to get traditionally published, give yourself a deadline, after which you’ll indie publish. Traditional publication can move glacially slowly, and sometimes you’ll spend a year trying to get an agent and then the agent will spend a year trying to sell your book, and then there’s a year between the sale and the publication… and three years have gone by. Consider having one book on the traditional publishing treadmill, and in the meantime, publish other books yourself. That way you might well end up with the best of both worlds!
But if (as so often happens) your books never seem to fit the lines of a traditional publisher, give it up and go all in to independent publishing. The readers might love all the stories the trad publishers rejected.
And if you’re planning to go indie, take the advice everyone keeps giving me — to conceptualize a series of stories rather than five “one-offs”. Readers love connected stories with a common theme or set of characters.
Good luck on all your projects, and thanks so much. Alicia! I think you’ve given new authors a lot to think about. 🙂
Getting in touch with with Alicia Rasley:
Facebook – Alicia Rasley, Author:
Twitter – @aliciaregency