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I’m told I have an American reader. To you, madam, warm greetings … and this translation aid for the following post:

VAT = Value Added Tax. Try to imagine a Sales Tax with bells and whistles.
EU = The European Union. Think Federal Government, without a federation.

Everything else, I think, is in English.


I may not have mentioned that I’m a senior member of the lobbying group, Fair And Responsible Taxation. Fully paid-up of course.

FART is deeply committed to the principle of taxation. How would countries and politicians stay in business without it? How would FART stay in business, come to that? Our flat 7.5% levy on all tax revenues collected keeps us fed and healthy, and has assured us of support across the political spectrum. Many of the world’s great statesmen have been FARTs.

But we also recognize that for a tax to be popular, it must appear to serve the common good. People are reluctant to see their hard-earned wealth redistributed unless it serves some greater cause, such as job creation, population control, or urban renewal. That’s why raising taxes to fight a foreign war is always popular – it meets all three of these criteria, as our splendid adventure in Afghanistan clearly illustrates. Spending on public health on the other hand always draws a groan. The public isn’t stupid; they know that the more people fit to work, the fewer job vacancies there’ll be; and if people start living longer, they’ll obviously consume more of the world’s natural resources and start clogging up our towns and cities.

I wouldn’t want you to get the impression that we’re only concerned with macro-economic issues. We have teams of experts constantly reviewing the fine details of tax legislation, always on the lookout for discrepancies, inconsistencies, and the opportunity to boost our income – which, with the logic of our fair levy, is also in the national interest. FART for the good of the nation – that’s our slogan.

As a novelist myself, I’ve been entrusted with chairmanship of our sub-committee for books and publishing, and I’d like to take this opportunity to present some of the latest FART thinking and open it to public debate. That’s the way things ought to work in a democracy, wouldn’t you agree?

In the UK, VAT is charged on ebooks but not on printed books – and in fact, right across Europe the ebook rate is higher. It’s a glaring anomaly and a very unpopular tax: search Google for ‘ebook VAT‘ and the words you’ll see headlined are unwanted, idiotic and Why? Why indeed? Most ebooks have the same content as their printed equivalents. So why should the consumer pay more tax on the version that doesn’t require us to cut down trees (or fuel transport or power warehouses and shops)? In our green-alert society, the ebook tax clearly fails the ‘common good’ test.

How did this come about? Blogger James Bridle suggests it’s because ebooks are classed as ‘electronic guides’ rather than books. Not so, James. Applying this logic, there’d be VAT on the print versions of cookbooks, car repair manuals, and Douglas Adams.

To tell the truth, some of our politicians were hoping that things would swing the other way. Remove the exemption for ebooks, they argued, and the public would come to realize how unreasonable it is to treat printed books as a special case. After all, it’s hard to argue that a book is one of life’s essentials like other zero-rated goods – food, children’s clothes, gold, and bingo.

Unfortunately, the politicians miscalculated: instead of demanding to pay more VAT on printed books, the public wanted to pay less on ebooks. So, for several months, FART was trying to find its way out of a hole. How could we make an unpopular policy popular, while still retaining our revenue stream? We were grateful when the EU took the heat out of the argument by ruling that from January 1, 2011, individual states could reduce the VAT on ebooks to match the rate for print – but at their own discretion. Knowing full well, of course, that no government worthy of the name would simply toss aside an increasingly important revenue source. January 1 came and went. Nothing changed.

Meanwhile, we were working away furiously behind the scenes, and I can now announce a solution that is fair, responsible and above all, consumer-friendly.

Our first decision was easy. Obviously, we had things the wrong way round. From the start there should have been VAT on printed books, while ebooks should have been exempt. Who today could argue with a tax designed to preserve our forests and woodlands? That’s socially responsible taxation. So our plan is to have printed books reclassified as ‘household furnishings’ – more accurately reflecting their status in a changing world. They’ll be taxed at the standard rate.

But that still leaves us with a problem. As sales of ebooks surge, so print sales are declining. If ebooks were zero-rated, our income from books would eventually dwindle to almost nothing, and the nation would suffer. Our solution, I think you’ll agree, is bold and breath-taking – a work of FART.

The original inspiration came from James Bridle’s post. Although his ‘electronic guide’ hypothesis was wrong, we liked the question it raised: when is a book not a book? Clearly it has nothing to do with the physical form. If a printed novel is converted to Kindle format, people still think of it as a book; but they don’t if it’s a guide or a set of instructions, whether in print or digital format. So the distinguishing feature must be content. We took the idea further. A set of instructions is self-evidently non-fiction. Suppose we made that the starting-point: that non-fiction should be taxable, but fiction not.

In purely economic terms this works. In the Kindle store, non-fiction books outnumber fiction by more than two to one, and the average price is considerably higher. With two revenue streams, print publications and non-fiction ebooks, we were confident that our VAT returns would give us – and the nation – a degree of comfort.

But there was still a nagging question. We’d have no problem selling the idea of taxing print books – all we needed to do was to roll out the old ‘dead tree’ argument. But how could we convince the public that taxing digital non-fiction was both fair and responsible. How could we make them enthusiastic to pay?

And then someone came up with a brilliant idea. What about a progressive tax, with ebooks rated according to the amount of fiction they contained? What if, as well as fiction and non-fiction, we introduced a third category – semi-fiction? After all, we agreed, the lines between fiction and non-fiction are increasingly blurred. Take Dan Brown’s novels, for example. How much of The Da Vinci Code is factual and how much fictional? Take the book I mentioned in my last post, Peter Bergen’s The Osama Bin Laden I Knew. Take my own novel, The Lebanese Troubles, for that matter. We sat down together to run the rule over my book, and found it to be 73.47% fictional (building in a 3% margin of error in case things which were not true at the time of writing may become true later, or vice versa).

Our plan is to tax books according to the percentage of factual detail they contain. Entirely factual? The full VAT rate will apply. Entirely fictional? Zero-rated. Semi-fictional, with a 70% fiction content? Consumers would pay 30% of the standard rate.

Will this popularize the tax? You bet your life it will … with this clever message:

THERE’S NO TAX ON IMAGINATION


The politicians among you will quickly appreciate the power and impact of the sentence. Here’s FART, serving the common good, promoting, preserving, curating one of mankind’s most precious assets – its imagination. And even as we take more from consumers (on the nation’s behalf), the emphasis is on taking less. It’s a lesson we encourage our politicians to learn: stop talking about what you plan to do; focus instead on what you’re certain you’re not going to do. It makes for less trouble all round.

So far, so good. But then we needed to consider the practicalities. If we’re going to tax ebooks on their fictional content, how exactly are we to measure it, and who’s going to do the measuring? What percentage of fiction would be allowable? How would consumers know whether they were reading fact or fiction? We turned for guidance to the EU, with its years of experience setting and maintaining the standards for consumer products. Particularly helpful was their legislation for milk products – whole milk, skimmed or semi-skimmed.

The first requirement is to set clear, measurable standards. Just as the European commissioners require whole milk to have a 3.5% butterfat content, so a book labelled ‘fiction’ would need to contain at least 90% fiction. Skimmed milk must be 0.3% butterfat; non-fiction would need to be less than 10% fictional. Semi-skimmed milk can be in the range of 1.5 – 1.8% butterfat; we’re more generous – semi-fiction books would be permitted to include 20 – 80% fiction.

You might be wondering what would happen to books with 10 – 20% or 80 – 90% fiction content. We’ve learned an important lesson from our friends in Europe: it’s important that there should be clear separation between the different categories of product, in case the consumer might purchase a semi-fictional book thinking it’s non-fiction. For this reason, we’ve proposed that the new legislation should not permit the sale of books with a fiction content outside the permitted ranges, no matter what the format.

Who would calculate the fiction content? With hundreds of thousands of book producers, the only workable solution is for the author to do it. We’ll need regulators and stiff penalties, obviously. How would we punish authors who tried to mislead their readers? One suggestion we’re seriously considering is to reclassify the author’s entire body of work, not as fiction, non-fiction or semi-fiction, but at literary fiction, virtually guaranteeing that his books would never be read again.

How will the scheme be consumer-friendly? Again, we’re following the trail of milk. Blue, green and red caps on a milk bottle tell the customer whether she’s buying whole, semi-skimmed or skimmed milk respectively. Similarly, writers will be required to color-code their ebook covers to indicate the percentage of fictional content inside. Consumers have a right to know what they’re buying.

And this is where we can put democracy to work, giving you a chance to add your voice to the world community of FARTs. Just answer this simple question. What color-code should we use for fiction ebooks? Let’s find out if your vote matches our decision. Leave your preferred color as a comment below, or if you’d prefer, text your answer to FARTCOLOR.

Texts cost £5 plus 1 standard network rate message plus VAT. To register a vote you must be 18 or over. If you are not the bill payer, please ask for permission before sending a text. Only 1 vote may be cast per person. Closing date for voting is June 1, 2011. Votes cast beyond the maximum number stated or after the closing date, will not be counted, but may still be charged. Entries which are incomplete, incorrect, misspelt or incomprehensible will be void but may still be charged. FART will record and count each vote but may choose not to publish or be bound by the results.


Coming soon: new FART proposals for skimmed reading.

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Sorry – much of the site is still under reconstruction. But if you’re new here and looking for more satire, look for posts in The TwitFace Project category.

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In a two-part post, I’ll show why the Kindle seems set to dominate the e-reader market … perhaps driving all its competitors out. And then I’ll explain why, despite the advantages of consolidation, we may have reason to fear an effective monopoly.

Taking the publishing world entirely by surprise last week, Amazon announced that it had signed a deal to make its Kindle list available to 11,000 US libraries later this year.

Commentators, like TeleRead’s Paul Biba, are still busy piecing together the implications of the news and its impact on the market. But essentially the agreement seems to be between Amazon and OverDrive, the major supplier of books to US libraries.

On the face of it, this is good news. If you’ve been following this blog, you’ll know I’m a big supporter of book-lending and library systems. Most of the authors I love today were first introduced to me as recommendations from other people; very often I was first a borrower, then a convert, and finally a regular purchaser. That’s why through my own Author Associates scheme, I’m allowing those who enjoy my writing to gift an e-novel to their friends. Although I’ve chosen not to publish in print, libraries are very much in my plans.

Most libraries will probably welcome the announcement as well. Librarian Andy Woodworth wrote recently of the difficulty explaining to a would-be ebook borrower why a book might be incompatible with a reading device. Or if the book could be downloaded, how to organize all the permissions and programs needed. ‘I am the de facto technical support,’ he grumbles. How much easier it would be if, as Amazon no doubt intends, there was only one reading device to worry about. Particularly if it’s probably already the most popular e-reader available for seriously committed readers. (Don’t start growling, iPad fans. I haven’t forgotten you.)

Until now, the Kindle and libraries haven’t seen eye to eye. The Kindle’s proprietary AZD publishing system will not run ebooks published as ePub files, the free and open e-book standard. Other devices don’t read Amazon’s special AZD files. OverDrive meanwhile has always distributed ebooks to libraries as ePub files, using Adobe formatting to set borrowing terms. So Kindle books were out in the cold. (If this all seems too technical, bear with me and just think of it like this: the Kindle won’t read non-Kindle books, and non-Kindle devices won’t read Kindle books. It’s just like trying to run Mac software on a PC, or vice versa.)

But with the new agreement, the whole Kindle library will be accessible. Are you worried, libraries, that your previous investment in non-Kindle ebooks might be wasted? You needn’t be: OverDrive assures you that existing arrangements will be honored and you won’t have to re-purchase books that you already hold.

So, this author is happy that his book can be borrowed; the library is happy that ebook lending will become so much easier – and therefore that libraries can keep up with the digital times; the borrower’s happy that the ebooks she wants will now be available. Everybody’s happy.

Aren’t we?

Let’s look closer at where the Kindle seems to be going in the longer term. A good starting-point is the announcement from OverDrive’s’ manager for content sales, Karen Estrovich:

Your library will not need to purchase any additional units to have Kindle compatibility. This will work for your existing copies and units.

A user will be able to browse for titles on any desktop or mobile operating system, check out a title with a library card, and then select Kindle as the delivery destination. The borrowed title will then be able to be enjoyed using any Kindle device and all of Amazon’s free Kindle Reading Apps.

So, she’s saying existing copies of library ebooks (published in an ePub version, remember) will work on a Kindle. Does this mean that the Kindle will soon be able to read ePub files? I suppose it’s a possibility. But I’d be very surprised. Why would Amazon want to help promote ePub when its own best interests are served by delivering books in its proprietary format? Much more likely is that a major conversion program is underway to get existing OverDrive-distributed titles available in the AZD format.

Estrovich’s assumption seems to be that the Kindle will quickly become the library’s e-reader of choice. I think she’s right, because the Kindle has three important competitive advantages:

  1. It’s easy to download and use. Most readers and writers aren’t especially technical, and librarians are tired of explaining.
  2. Amazon has spent years building its book catalog. Back in 2005, Tim O’Reilly in his landmark article ‘What is Web 2.0?‘ advised: “For competitive advantage, seek to own a unique, hard-to-recreate source of data.” That’s exactly what Amazon has done. Virtually any title will be available.
  3. The Kindle will cost next to nothing.

OK, perhaps I’m jumping the gun on Kindle pricing. True, there’s been web speculation that the reader will be free by Christmas, but Amazon have stated nothing of the sort. Yet all the indications are that further price reductions are in the offing. Already in the last 18 months, Kindle prices have halved, and there was another important announcement last week. Users in the States will be able to buy at a price as low as $114 if they’re prepared to accept advertising.

My view? The price slide won’t stop there … because Amazon, unlike Apple, is essentially a sales and marketing operation, not a hardware manufacturer. They make their money taking a cut on the sales of 900,000 books to a few million readers. But suppose they could drop the price of the hardware low enough so that, say, every school kid and college student carried their text-books on a Kindle? Suppose it became just as indispensable to us as a calculator? Suppose they do exactly what the manufacturers of ink-jet printers did, selling the hardware cheap and maximizing their profits on ink cartridges, selling to a captive market. Because of the strength of their catalogue, that’s exactly what Amazon could do. And their competitors would be left floundering.

If that’s the plan, the libraries initiative makes absolute sense. It’s not the sales of hardware to the libraries that Amazon are interested in. It’s another step towards establishing the Kindle and the Amazon brand as the only viable e-reader in the market. To create an unassailable monopoly.

But of course the Kindle won’t eliminate the competition, you say, you technistas. How could it, when The iPad is packed full of features, offering so much more than the Kindle?

If you were around at the end of the 80s, maybe you’ll remember those feature-full, multimedia-capable home computers, the Commodore Amiga and the Atari ST. Alongside them the clunky IBM PC, with only 16 colors and a few beeps – fine for business applications, but also trying to push into the home market with pricing at less than $1000. I remember attending a conference of leading British leisure software publishers as late as 1990 and debating: Was the PC a serious contender? The answer was a resounding ‘No’.

Yet a couple of years later, the PC was almost the only show in town. Not the IBM model though. Manufacturers in the Far East managed to reverse-engineer the machine and flooded the market with cheap clones, with prices at or below the cost of the best home computers. The combination of keen pricing and a wide, versatile software range – including proven business and productivity applications as well as games – made the PC clone the perfect family computer.

What happened back then seems to be characteristic of emerging technologies. In the early days a number of manufacturers struggle for pre-eminence, each of them with a slightly different system and standards. Before the PC clones, there were at least half a dozen serious contenders for home computer leadership, all with their own operating systems and their own software. But eventually a point is reached where one of them wins out, and a single standard emerges. It happened with home computers. It happened with video – when JVC’s competitively-priced VHS machines eventually triumphed over Sony’s technically superior but more expensive, Betamax. And I think it’s about to happen with e-readers.

I’m not saying that the iPad isn’t a wonderful machine, or that its success will be short-lived. It offers tremendous potential for so many different activities, which users love. But if we’re talking specifically about the world of digital books, it’s the Kindle which seems poised to assert its supremacy and consolidate the market.

Which will make a lot of people happy.

And which fills me with concern.

Next time, I’ll explain my concerns, drawing on my experience as an independent software publisher working with another company that built a monopoly – Microsoft.

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Rapscallion

In yesterday’s post, Read it – Love it – Forget it, I suggested that the best way for a creative writer to find new readers was … to be a creative writer. And that, since digital readers are changing our way of life, making it easy for people to grab half-an-hour’s content at the break-points in a busy day, the short story is an ideal platform.

There are certainly other ways to stay in the spotlight. Constantly showing up on message-boards for example. Participating in writer groups. Pumping a novel on Twitter, Facebook. But as Joy Campbell commented not long ago, sometimes writers begin to feel they’re pimping their books. And if they think that, then it probably won’t be long before readers notice too.

Even if the writer’s self-publicity campaign is discreet, comments on a forum show who they are, whereas a free short story shows how they write. There’s a much better likelihood of a good match between reader and writer if the reader’s already familiar with the likely content, style and interests before she pays her money and downloads the novel.

And that’s why I’m planning to reduce my blog posts somewhat, aiming instead to publish one or two free shorts per month.

But it won’t just be my short stories I’m featuring here. I’m planning to point you towards other emerging writers you’ll probably enjoy if you like my work.

Let’s be honest. My motives are not entirely altruistic. Right from the start of this writing adventure, I realized that with a million other novelists out there, my chances of making an impression on readers were somewhere between nil and infinitesimal. But maybe I could do better if I carved out my own niche, and filled it with writers, readers and reviewers who shared a common interest: searching for new writers whose work we’d be proud to display in our permanent libraries. Timeless books and stories that we found first.

What exactly am I looking for?

Stories that:

  • transcend or transform their genre (or perhaps have no genre at all – personally, I’m something of a genre-jumper).
  • leave an indelible impression – I know I’ll still remember them in a few years’ time.
  • twist the kaleidoscope, revealing new patterns, shapes and dimensions.
  • compel me to participate, not just observe.

Writers who:

  • paint a whole picture with just a few deft brushstrokes.
  • write their characters so large on the page that I’m only dimly aware it’s a fiction, or that a writer even exists.
  • craft every word with care, yet never try to overwhelm me with technique.
  • push the envelope, showing new possibilities for the short story or the novel.


Perhaps an example helps. I introduced you to Suki Michelle‘s work a couple of day’s back. ‘Daddy’s Machine‘ is a short story told from the viewpoint of a Down’s Syndrome sufferer – but with an IQ of 165. The story is multi-threaded with issues: the balance between intelligence and understanding; scientific research and morality; our responsibilities as carers; how we assess criminal responsibility. But what I find extraordinary is Suki’s ability to put us in the position of the sufferer – we look out on the world as a Down’s Syndrome child. In other writers’ hands, it might have become mawkish; not a chance of that with Suki, who just tells it like it is.

It’s hard to believe that the story I’m introducing today, ‘Mirage‘, could be from the same writer. In an edgy black comedy set in a post-apocalyptic world, Drew Randim, a smooth-talking reality show host is down on his luck. But maybe there’s one last payday. It’s a totally different genre, world, and character-set. Suki’s there, masterfully pulling the controls to make unlikely circumstances utterly believable, yet she hides like a chameleon behind her characters. Where’s the author’s voice? There isn’t one. She just lets her people do the talking. And then asks us draw our own conclusions, compelling us to think.

Notice that both these stories, like my published work, bear the Rapscallion imprint. I don’t intend Rapscallion to be a publisher, although I did contribute a little towards the editing – Suki’s so good that not much input was required, and it was more a question of a second opinion; and I did help to get the stories into their e-format. I’ll continue to use Rapscallion as a marque ( – there’s been a recent design-change, as above) which invited writers can use if they wish to, indicating that a story’s got the full five-stars from me.

The stories I feature here in the blog don’t need to be from Rapscallion, but there are a couple of other considerations. My interest is in discovery, so I generally won’t be featuring writers who already get plenty of coverage elsewhere. The recommendations need to be complete short stories, take 30 minutes or less to read, and be available as free ebook downloads – as you’d expect for a sample of work.

Do I want writers to send submissions? Absolutely not. I don’t intend to get into the business of disappointment and rejection. I’m simply doing what I believe agents and publishers should: scouting for talent, not waiting for it. My objective is to find work that sits well alongside mine, so that we can begin to build the outstanding team of writers, reviewers and readers I described in Listening to Lombardi, drawing strength from one another.

But I can’t do it all alone. So if you’re a reader or a reviewer and you’ve come across writing that meets my criteria, then I’d love to hear from you.

Scroll back to the top of the blog and Click on ‘Talent Hunt‘ to keep up with the complete list of writers worth discovering.

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On a more serious note today, I’m going to introduce a new scheme – Author Associates, intended as a model to strengthen the relationship between writers and enthusiastic readers. I want to look again at Andy Woodworth’s eBook Reader’s Bill of Rights, and suggest how we could give our readers real ownership of the eBooks they buy (which Amazon denies at the moment). And I want to show why Smashwords is one of the indie writer’s most important tools.

Expensive Tastes

First, let’s recap. In my last post, I explained (well, narrated really) why I’m increasing the price of my e-novel – to $5.95 in the US and £3.75 in the UK (plus all the various delivery charges and taxes that eBooks so unfairly attract). The reason was to change reader expectations. At $0.99, the expectation is probably low, and I may be damaging my book’s prospects in two ways: first by not attracting the right kind of reader; and second, by attracting the wrong kind of reader.

‘Right’ and ‘wrong’ is not a value judgement – it’s not the same as saying ‘good’ and ‘bad’. In the book market, there’s plenty of room for both fast-food and fine-dining. Both have their place. But you’d better be sure that if your customers are expecting McDonalds, you don’t offer soft candlelight, an expensive wine-list, discreet table-side service. Or vice versa. You’ll just get them confused – and probably unhappy.

What sort of customers do I want? I’m looking for discriminating readers – people who’ll come to the table with high expectations. They want a good yarn told with craftsmanship, artistry, polish. By increasing the recommended retail price, I hope I’ll be able to find them.

The Value of Sharing

Yet in earlier posts, I’ve often promoted the importance of sharing and the value of free. Not long ago, I wrote:

‘If I look at the books and the authors I love best, almost without exception I started reading because of the recommendation of a teacher or reviewer I respected, or a friend or a family member. In many cases, I was a borrower, then a convert, then a purchaser.’

Look at the copyright notice on The Lebanese Troubles and you’ll see that I’ve encouraged readers to share the book with friends and family, instead of insisting (as most eBooks do) that each reader must purchase a separate copy. It’s not because I don’t need the money: like most writers, I need to make enough to support my habit. But I’m taking the long-term view.

Will readers really recommend? If my work’s good enough, I believe they will. Our libraries and music collections define us: they show our friends who we really are. That’s why Goodreads is so popular. And if we spot a new talent, so much the better: we can claim credit for being one of the first to notice. Yes, people do talk when they find a writer or a musician they really enjoy.

So What’s The Pitch?

Here goes our schizophrenic writer again, raising the price on the one hand while advocating sharing on the other. How can this make sense?

Like this.

The recommended retail price sends my value signal to the market – and that’s where the price will settle in the long run. But at this point in my writing career, volume sales are far less important than winning the support of key ‘influencers’ – people who care enough about my writing project to become participants themselves. I need readers to post thoughtful reviews on the key reader sites – Amazon (US and UK), Smashwords, Nook, Goodreads. I need them to recommend my work to friends. And not least, I need direct feedback.

Where am I going to find these people? Right here, on this blog, if I use it properly. By investing the same amount of creative energy and care into the blog as I would into a novel, it becomes an interactive showcase for my writing. I hear some writers complaining that blogging takes time away from their real writing. For me, this is real writing, and it’s the place where I can interact best with my readers – putting on a series of live gigs. If you enjoy the gig enough, chances are that you may start buying the published material … and hopefully you’ll tell your friends too, so they can catch up with the next performance.

The Author Associates Scheme

It’s because this core group of influencers is critical to my success that I’m launching my new scheme. This is how Author Associates works.

If you enjoy the blog, or already have a copy of ‘The Lebanese Troubles’, you are invited to register. Then, as an associate, you may:

1. Purchase your own copy of ‘The Lebanese Troubles’ for just $1.99, via a discount coupon that will allow the eBook to be read in any format. This offer will expire after 200 coupons have been issued.

2. Apply for a batch of 5 gift coupons, allowing friends and family to get the eBook free of charge on your recommendation.

3. Apply for up to 20 discount coupons, allowing members of your reading-group to purchase the eBook at half-price.

4. Register your TLT purchase. Then, if you have purchased for one e-reader, you will be able to view the eBook in any format. You will also be entitled to a free replacement copy, should your original copy become inaccessible, for whatever reason.

5. View and comment on draft chapters of my next novel, scheduled from August 2011 onwards.


Reader Rights and Redundancy Marketing

Before we look at implementation, let’s just pause for a moment on clause 4 – being able to view the book in any e-reader format, and getting a free replacement copy if your original copy is lost or broken. My thinking here has been greatly influenced (again!) by Andy Woodworth’s e-Book Reader’s Bill of Rights. Here’s his complaint.

‘Digital Rights Management (DRM), like a tariff, acts as a mechanism to inhibit this free exchange of ideas, literature, and information. Likewise, the current licensing arrangements mean that readers never possess ultimate control over their own personal reading material. These are not acceptable conditions for eBooks.’


I wholeheartedly agree with Andy’s stand. In the digital age, equipment manufacturers and content providers have profited enormously from built-in redundancy. If you’re old enough, you’ll remember the Betamax/VHS divide in the early days of VTR. When VHS finally won out, my whole investment in Betamax videos was wasted: if I loved a film, I had to buy my Betamax version all over again to watch it on my new VHS machine. And then again when DVD swept in to replace video. And then again when I moved back from the Mid-East to the UK, only to find that my DVD player wouldn’t work with European disks, and that my new European player read my existing collection as a series of question-marks. It happens with printers as well. I’ve been using my trusty printer for years, but now they’ve stopped issuing the ink cartridges for that model. And how many times does Microsoft want me to buy their operating system? It’s just an operating system, for goodness sake! I don’t care!

We’re going the same way with eBooks, unfortunately. Yes, there’s apparently an industry-standard – ePub – and the ePub version is fine for the iPad and the Nook. But not on the Kindle. And if I publish via Amazon, using the .mobi standard, that’s fine for the Kindle, but not anything else. I worry about closed systems. I worry even more when I see, in the small print, that the purchase I thought I’d just made is only a license: the eBook doesn’t really belong to me, as a printed book does. If the only concern is to maximize sales and profitability – to sell the same product again and again as hardware is updated or replaced – then all this makes perfect sense. But for anyone who feels that the customer’s interests should come first, redundancy marketing is repugnant.

The good news is that – because I’ve taken the indie path to publishing – I can take a stand and offer my readers a much better deal. With a little help from Smashwords.

Smashwords To The Rescue

Smashwords is a very popular digital publishing platform, but I hear the occasional criticism from authors who say they never actually sell anything there; readers flock to Smashwords looking for free books, but when they want to buy, they go to Amazon. That may be true at present, but it’s a misunderstanding of the Smashwords mission. The site has been built by a writer for writers, and it’s a place where the writer’s interests always come first, where we can truly exercise our freedom to publish, price and market in the way we choose.

When I publish there, my eBook is automatically converted into 10 different formats. So no matter which e-reading device the reader prefers – Kindle, iPad, Nook, the Sony Reader, the PC or laptop, a mobile phone – one of the Smashwords versions is going to do the job (- not necessarily perfectly, but we’ll come to that another time).

The second huge Smashwords benefit is that it gives me complete control and authority over any discounts that I choose to offer. It gives me the flexibility to offer gift vouchers and discount coupons via Author Associates; better still, it has a reporting system that allows me to relate a coupon number to an individual associate, so that I can track coupons already used, and monitor the effectiveness of my scheme.

Getting Started As An Associate

There’s still work to be done to perfect the new scheme. Smashwords doesn’t tell me who’s purchased my books. Nor should they. I personally wouldn’t want to be pursued by every writer whose book I’d downloaded just to take a look-see. It’s important that Author Associates should be an opt-in scheme for readers who are genuinely enthusiastic, and that no-one should feel pressurized to participate. But that means I’ll need to build a special sign-up tool here on the blog. (Don’t be surprised if you see scaffolding here in the next few days.) I’m going to need a good database too, to keep on top of the interactions with associates. Luckily in another life, I’m a web/database designer – so I’ll be able to cope. No doubt there’ll be other teething problems…

But to get started, there’s nothing like starting. So if you’re interested in joining me as an Associate, and taking advantage of any or all the benefits of the scheme, just let me know right now in a brief comment, and I’ll get back to you by email with more details.

Related posts

Triple Filtrée – No Smooth Outcome. Positioning the novel – as a large potato, or a large beer?
Whose eBook – Yours, Mine or Amazon’s? Am I buying the eBook or just licensing it?
Go On! Lend My Book! – My original post on book-sharing – including a sample ‘sharing’ copyright notice.

Other References

The eBook Reader’s Bill of Rights: Andy Woodworth
Smashwords: sign-up page
Smashwords: my novel page

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Just emerging

2010

A year ago, I wrote that April 3rd 2010 would be remembered as “the most important day in 570 years”.

Do you remember that day? The excitement and expectation as the iPad finally hit the stores after months of rumor? Of course by April 3rd 2011 no self-respecting technista would be seen dead with an iPad. Now it’s all about the iPad2 – ‘thinner, lighter, faster’, all manner of temptation to succumb to the Apple again.

But I wasn’t writing about the product. What happened that day was a turning-point in history – a watershed. The ebook had been rapidly emerging for a couple of years, but the iPad somehow legitimized digital publishing. It was the new cool. Bless my soul and whiskers, even Twitter millionaire Steven Fry was promoting the virtues of e-reading on this ‘game-changing’ new product. It was cooler than anything since …

1440

The last game-changer in the history of text – Gutenberg’s invention of the printing-press. No longer would the monk labor in his drafty cell, painstakingly hand-crafting the illuminated manuscript (“How I love the smell of vellum.”). Now a book (“Call THAT a book?”) could be produced in a matter of hours – thinner, lighter and faster than ever before. For the first time, books passed out of the hands of the Church into the homes of ordinary people (“How will standards be maintained if there are no gatekeepers?”). A social and cultural revolution was underway.

What changed? As literacy spread, learning was increasingly secularized. Books started to appear in the vernacular instead of the language of Christendom, Latin. There’s a strong case to be made that print was directly responsible for the Reformation, the Renaissance. The reliance on oral tradition died. Arguably, print brought about the growth of organizations and centralized businesses, created modern urban society. But of one thing there’s no doubt. Print created a market of private readers. And to satisfy this market, a new art-form emerged: the novel.

Fast forward

To today, a year after a new text revolution. What’s changed? Perhaps it’s not so much change as acceleration. Writing has been democratized: we write almost as much as we talk – some of us more so. A year ago, we sent 50 million tweets a day; today it’s 140 million. In the same time the number of WordPress blogs has increased from 10.5 million to 18 million. The number of books published on Smashwords has passed 40,000, with 5000 new titles added per month.

Those are the figures, but what’s the impact? We’re beginning to recognize the vernacular: this week OMG and LOL were added to the OED. (If OED is a new one to you, don’t worry – you really don’t need it for most texts.) We’re decentralizing: who needs to be in an office when you can message anyone on your mobile? The prophet of our electronic age, Marshall McLuhan foresaw this 50 years ago when he wrote of our return to the village – but now ‘the global village’.

But most tellingly, the events of the last few weeks in the Middle East are directly the product of the text revolution. I remember sitting on a beach in one of the Arab Gulf states 35 years ago, and asking how long their comfortably feudal systems could survive in a modern world. The answer was 35 years. After all those years of quiescence, the ruled have erupted against the rulers. And what’s driven their revolution – not the cause but the mechanism? Text messages, Facebook, Twitter.

Weren’t you supposed to be talking about the novel?

I’m coming to that.

So authors are publishing 5000 new books a month on Smashwords. On Amazon it’s probably more … plus of course all the previously published books re-released there. In the digital world, publishers realize, books never need go out of print. (Watch for proposals to change the copyright law.)

But almost without exception, books are still written first for print, then converted to a digital format. The iPad in particular perpetuates the illusion that we’re still reading a printed book, with a display that simulates a page turn. How long will it be before we start seeing books written to take advantage of the new medium? How long before an e-novel emerges, as radically different from the current literary form as the novel was from its predecessors?

Probably a long time. After all, it was 200 years or more after the printing press that novels in English began to take off with the work of Bunyan, Defoe, Richardson, Fielding.

Our friend Stephen Fry, it’s true, has already had a stab at it. In September last year The Fry Chronicles, a memoir, was published simultaneously in hardback, as an eBook and as an iPhone app. And it’s genuinely innovative: the app allows readers to skip through the book using color-coded categories to focus on different people and subjects.

But most writers have carried on as before, conceiving the novel as a print object, thinking in terms of the number of print pages, maintaining a print layout, telling the story as they would a print story.

Then this week, for the first time, I heard the faintest whispers that change is in the air.

First on an Amazon thread – that old chestnut, ‘What is literary fiction?’ In a fascinating series of posts, Stefano Boscutti claims to be working on stories that can change in reaction to a reader’s physiological responses – but admits that it’s ‘a stupid, crazy, ridiculously daunting project’. Maybe. But it will happen one day, to be sure. Then Stefano touches on something of particular interest to me, because it’s exactly what I’ve tried to do in my novel, The Lebanese Troubles:

I’m pushing for a hybrid of screenplay and prose to make my stories “read” better on screens. Increasingly the screen is how we consume text.

Then just this morning, I was followed on Twitter by 40kBooks.com – and their site was a real find. ‘Smart content for smart people’ was the message I got from their home page. And I have to say that these folks have a smart marketing strategy. They’re thinking about where their smart readers read, and how. It may be hard to get time to curl up with a novel, but there are times in the day when you’re waiting, maybe commuting, maybe taking a lunch break, and your mobile phone is already with you. So what kind of material are they publishing? Novellas, from both top and up-and-coming European and American writers. Essays, from leading thinkers. The sort of content that will keep the reader fully absorbed for around an hour. Because ‘short is more’ they say. That’s thinking outside the book.

And then, right there on the home page, two sentences that expressed my thoughts perfectly, from an essay by Thierry Crouzet:

We know today how to translate books from paper to the e-world. It is now time to learn how to write books which could not have been written on paper.

Whisperings perhaps, but the game really is changing. The e-novel is being conceived.

* * *

If you’re a novelist who thinks screen rather than paper, please check in here, with a comment. We could have fun exploring ideas together.

The discussion continues in ‘e-Novel: explorations in writing and reading‘, with discussion on the changing relationship between writer and readers, and a live e-Novel exercise.


References

The most important day in 570 years – my original post
MediaDigest – Twitter figures
ReadWriteWeb – WordPress figures
Smashword figures – see post for March 25.
Wired.co.uk – new entries in the OED
Stephen Fry‘s blog
Stefano Boscutti‘s website
The 40kBooks website
Thierry Crouzet on 40kBooks.com

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Lendle-ing again

Well two-and-a-half cheers! eBook-sharing is back on the agenda again.

One day after stopping Lendle in its tracks, Amazon relented and they’re back in business again, with just a teensy bit of sync-ing goodness (‘useful but non-essential’ say Lendle triumphantly) removed. If only we could deal with all the world’s great crises so amicably!

And for indie publishers and writers, it’s an important victory too, because it leaves us the right to choose whether we want to share our books or not. If Lendle is to survive, so will Booklending.com, and both figure in my long-term marketing plan.


… With Reservations

But the news doesn’t quite get the full three cheers.

First there was a thumbs down from Shiori, the Japanese student who’s been living with us for several months now. I used ‘Lendle’ for a few harmless pronunciation exercises. Sadly, she now hates the word, and says the thing would never catch on in Japan anyway, with a name like that.

Not that she needs to worry, not yet anyway. Because when I started the sign-up process with Lendle, this was the Welcome I got:

Please note that Lendle is currently only available in the United States. We expect Amazon to allow book lending elsewhere soon.

Well, I’m a Brit, and the news wasn’t entirely a surprise. You know what we’re like, we’d be awful at returning books on time – though perhaps not as bad as your George Washington who, I hear, had a book out on loan from 1789 until last year – and then got off without paying the $300,000 late fee.

But the Japanese, the Germans, the Swedes … surely you could have trusted them!?

My guess is that Amazon will want to install a GPS book-sniffing device inside each eBook before introducing sharing outside the US, so that recalcitrant foreign libracriminals can be hunted down. Whether the expiry of the Patriot Act at the end of May will have any impact is hard to say.

But at least the principle seems now to have been accepted – that writers should have the choice whether to offer their books for sharing or not.


With big reservations

Of course, there will still be writers who think that Amazon’s change-of-heart will open the door to unspeakable evils, and this view has been eloquently expressed by Steven Lewis on the Kindle Writers blog. In an open letter to Jeff Croft, co-founder of Lendle, he writes:

Maybe I don’t have Mr Croft’s vision thing. Have I even understood your business correctly? (It is a business, right?) After all, as a publisher, I have what Mr Croft calls an old school business model, that’s the one where I expect to be paid for my work.

Perhaps you agree with Steven. That’s fine. If so then you don’t need to offer up your books for sharing. Everyone should have the right to opt out too. But before you come to a decision about it, take a look at the comments following Steven’s post. As well as a response from Croft, you’ll find other writers making a cogent case for participating in a book-sharing scheme – because they’re convinced it will increase both readers AND income.


Getting started with sharing

We’ll let the argument rage over there. Assuming you have made the decision to be a book-sharer, where do you go from there?

The starting-point is your copyright notice – and I was delighted today to get a ringing endorsement for the wording I’ve proposed from none other than Andy Woodworth, the co-sponsor of the eBook User’s Bill of Rights. So you could share this too.

Treat this ebook as you would a printed book. If you enjoy it and want to share it with friends and family – as we hope you will – then please do so. The best support you can give is by helping to spread the word about a (publisher’s) author or book. All we ask is that you respect the author’s right to make a living from his art: so please do not re-distribute this book in any format for commercial purposes, or modify the content in any way.

But that’s only the start. Just because I allow people to share my book, it doesn’t follow that anyone will want to do so. There are 130 million other books published (according to Google, whose plans to scan all of them came to a crashing halt yesterday at the end of a long-running law-suit). Over 18 million WordPress blogs – and probably as many more that are not WordPress). 200 million Twitter users sending 1 billion tweets a week, as Twitter celebrates its 5th birthday today. How has your book got a chance unless it’s either extraordinarily good – and even then maybe not – or extraordinarily bad?

That’s where we’ll start next time – with a look at how to create passionate early adopters, those who will help to launch your book out into the world.


Sources

References::

Related posts – Writers without Borders:


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lendle

About 15 minutes after my last post, recommending that we writers should pro-actively encourage lending, news started circulating that Amazon had forced Lendle to close down.

To be honest, I didn’t know of Lendle – it was after all only 6 weeks old. But I’m learning now that many thousands of book-lovers were already signed up, lending and borrowing their Kindle books just like those who use the service I described yesterday, Booklending.com.

Before I go further, let me make it clear that these sites were NOT latter-day Kazoos, designed to encourage indiscriminate copying of an artist’s work. The borrowing process was carefully circumscribed, using the API that Amazon itself introduced at the turn of the year: a single purchaser could lend each book properly purchased once only, and the book would be automatically returned to the purchaser after 14 days.

Why should I – as a writer – be keen to encourage this? Doesn’t it deprive me of sales? Absolutely not, if I take the long-term view. If I look at the books and the authors I love best, almost without exception I started reading because of the recommendation of a teacher or reviewer I respected, or a friend or a family member. In many cases, I was a borrower, then a convert, then a purchaser.

Seth Godin, social media’s poster-child, understands this. His latest scheme, The Domino Project, seeks new ways to spread ideas – through books – quickly. Godin is frustrated that while a tweet or a blog-post may gain exposure a thousand times in a few minutes, the book – ‘still an ideal tool for the hand-to-hand spreading of important ideas’ – is held back by slow publishers, inflexible and ill-considered pricing, and antiquated distribution.

Godin’s solution? His latest book, Poke the Box, was first released for $1 to early adopters, people who were sure to spread the word. Now officially released, the book is priced at $4.99 but readers who love it and want to share it with their friends or colleagues can get a special price for a 5-pack or a 52-pack of books – buy 14 and get 38 for free. Echoing Tim O’Reilly, Godin says:

Our enemy is not piracy; our enemy is not our best readers not paying for it; our enemy is obscurity.

Sharing then, borrowing, lending. All to spread ideas, to get people listening. And who are the co-sponsors of The Domino Project. Why, Amazon!

The same Amazon who yesterday told Lendle, in a no-reply email, that their website “does not serve the principal purpose of driving sales of products and services on the Amazon site.”

Search for #Lendle on Twitter and you’ll see, not anger, but sadness and resignation. Jeffrey Zeldman, (the inspiration behind the wonderful “A List Apart”), tweets:

“Sad to see Amazon shut down @jcroft’s lovely Lendle. Yesterday’s futurist is today’s future obstructor.”

Wasn’t it really inevitable that Amazon would yield to the publishers’ demands. Unlike Godin, publishers don’t peddle ideas; their bottom line is sales. And right now, immediate, short-term sales. Remember Amazon’s statement? They talked about their “principal purpose of driving sales of products and services”. So we know which camp they’re in. Not that I’m blaming them for trying to make money.

But there’s another issue. Here’s Jason Kincaid at TechCrunch:

It isn’t terribly surprising that Amazon is shutting Lendle down as it could conceivably lead to people buying fewer books, but it’s another reminder of the frustrations associated with DRM-laden content — you may have just paid $10 for a novel, but you don’t really own it.

Here we come to the real point: who owns our ebooks?

When I chose to be an independent author, I did so because I wanted to retain control over every aspect of my book’s publication. The cover, the pricing, the line-spacing, the distribution method, the relationship with my readers. Everything. Perhaps I would make mistakes along the way, but if I did, they would be mine too. Perhaps you’ll think me arrogant, but I’m not saying I won’t listen to advice, or ask for help, or listen to criticism. It’s just the same as being an employer, not an employee. If I get it right, I may win; if I don’t, I’ll fail.

I’m not saying either that any other writer has to make the same decisions as me. Some will want to encourage book-sharing; others may completely disagree with me. But that’s their choice. The point is, we have a choice.

One of the choices I’ve made is to allow my readers to share with other readers. I’m giving them the right to OWN the books they buy from me, with all the rights that ownership confers.

As I write, there’s still no sign that Amazon will try to snuff out Booklending.com too. Early days – I sincerely hope not. But if that were to happen, it’s not the end of the story. Seth Godin has shown us that we can still poke the box: if we want to allow our readers to share, we just need to use our imagination.

And there’s something else. Technology is inevitable. So we might as well embrace it.

24 hours after this article, Lendle was reinstated by Amazon and the service is now fully restored (- see my post “We’re Lendle-ing again – but maybe not in Japan“). However, the points I made in this post about ownership are still valid … so I’ll leave the post here.

References
The official announcement from Lendle
Seth Godin talking about The Domino Project at The Kindle Chronicles. (Find the audio clip below the fold, just above comments, and start listening at 20:00.)
Godin’s Poke The Box
Techcrunch: Amazon Gives Kindle Book-Swapping Service Lendle The Axe
A List Apart
Booklending.com – still operating – and waiting for you to share The Lebanese Troubles!


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Forbidden to lend

Do you feel you’re treated as a potential criminal every time you download an ebook?

That’s how Andy Woodworth feels. In his eBook User’s Bill of Rights, he writes:

I am a reader. As a customer, I am entitled to be treated with respect and not as a potential criminal. As a consumer, I am entitled to make my own decisions about the eBooks that I buy or borrow.

And what makes him feel like this? The copyright notice that most of us add at the front of our ebooks. Thousands of us have followed the excellent Smashwords Style-Guide as we make multi-format versions available, using the suggested wording:

This ebook is licensed for your personal enjoyment only. This ebook may not be re-sold or given away to other people. If you would like to share this book with another person, please purchase an additional copy for each recipient…

So who reads copyright notices? Well, clearly some people do, and you can understand Andy’s indignation. Just imagine if the same rules applied to print books, and you needed a separate copy for every member of your family. A library in every room!

But it’s not just that the demand is unreasonable. We indie authors need sales and income, certainly, but that’s unlikely to happen unless we can first create a buzz. What’s the best way to do that? With family members and friends. I remember 20 years ago, when my son was about 7, I spent weeks reading Lord of the Rings to him. He doesn’t hate me for it, although he still thinks he’s Aragorn today. We shared our delight in Pratchett together. And later, he introduced me to Wilbur Smith and Jason Fforde. Now, as adults we each buy our own copies.

So, maybe our copyright notice should be active, not passive. Not just allowing sharing, but encouraging it. Here then is my new copyright notice:

Treat this ebook as you would a printed book. If you enjoy it and want to share it with friends and family – as we hope you will – then please do so. The best support you can give is by helping to spread the word about a Rapscallion author or book. All we ask is that you respect the author’s right to make a living from his art: so please do not re-distribute this book in any format for commercial purposes, or modify the content in any way.



If you distribute through Amazon you might have noticed a new checkbox that appeared at the turn of the year as you upload your masterpieces. By default, you opt in to Kindle’s lending program. So, in effect, unless you uncheck the box, you’re probably nullifying any restrictive copyright notice anyway. (To set your mind at rest, if you’re worried this could mean you’ll never see another dime for your work, Amazon only allows each purchased book to be lent once.)

Again we can be pro-active about this and actually encourage our readers to lend. Booklending.com is a free site, not affiliated to Amazon, that makes lending and borrowing Kindle (or Kindle for PC) books a breeze. You log in and enter the details of the book you want to borrow. As soon as someone’s ready to lend it, the deal is done, and like all matchmaking sites, you both live happily ever after – well, for 14 days at least, until the title is automatically transferred back to the book owner’s Kindle.

You may not be a best-selling author yet. You may not have thousands or even dozens of your books in circulation yet, with people willing to lend. People may not be clamouring to get a copy of your book. So much the better – that’s why you need Booklending.com to help build reputation.

Just tell both the readers you have – who love your book of course – that you want them to think of someone whose life would also be forever changed after reading The Lebanese Troubles (er … you can substitute your title here of course, although I’m not forcing you). They both go to the site. One lends; the other borrows. Oh and you might also mention that the owner is welcome to leave a short Amazon review, and that the borrower can at least click the ‘Like’ button and check the content-tags at the bottom of the Amazon page – so that other potential readers will know you’re getting popular, and won’t be shy to buy.

I won’t detain you. You can start now.


Links:

Booklending.com’s FAQ page
The Smashwords Style-Guide
Andy Woodworth’s eBook User’s Bill of Rights

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Limited edition potato

‘Worth more than my novel?’
Answers are not required in ‘Comments’

A year ago, as I was getting ready to publish my first novel, I set myself a target. If I was going to be a real writer, then I had to be able to make a proper living through writing. So how have I done so far?

In English English: ‘Not quite as well as I might have done.”

In any other language: “Total wipeout”.

Smashwords: Sold – 121. Earnings – $65.35
Amazon – US: Sold – 33. Earnings – $29.66
Amazon – UK: Sold – 3. Earnings – £0.78

So that’s 157 copies and around $96 earned for the year. Call me cautious, but somehow I don’t think I’ll be able to give up the day job just yet. I’ll need to do better: about 500 times better. Excluding taxation.

So one solution could be to increase the price by a factor of 500. ‘That will be $495, sir. Thank you.’ You know, I have a funny feeling that might just work. I could make it a limited edition, probably grab a few headlines for the most expensive book in the world, and I bet I’d get a few takers.

But that’s not what I’m going to do. I’m going to leave the price exactly where it has been for most of the year – $0.99 or £0.74 (+VAT). The price of a large potato.

Is that what my novel’s worth? I guess it depends how hungry you are. A potato’s certainly more nutritious. It fills a spot. Even if 157 people seem to have opted for my book instead.

Actually, that’s not quite true. The vast majority of my Smashwords ‘sales’ have come when I’ve offered a free copy as part of a promotion – there were 70 just last week during Read An Ebook Week. So these readers probably didn’t have to sacrifice their daily potato. And I suspect that some – maybe most – will be book-hoarders, accumulating books just in case they need them some rainy day. They’ll probably never read mine.

This is why there’s huge debate about what an ebook price ought to be. My Facebook friend and fellow-Brit-lit-author, Ali M Cooper, fulminated recently against price-cutting:

My UK kindle sales continue to drop as the market is flooded by under £1 ‘bargains’ as authors try to undercut each other … My personal guideline is that if I don’t think a full length novel is worth the price of a pint of beer then I shouldn’t be publishing it.

Several other writers agreed with Ali that price-cutting writers should take account of the ‘long-term perceived value of books’ and encouraged a firm stand on pricing. Selling at a low price implied a lack of confidence in your own book, they said.

But then there was another point of view expressed by Carolyn McCray, founder of the Indie Book Collective, in a post this week on understanding the Amazon book-page. You need to get at least 5 – 10 reviews, she said, and fill the ‘Customers-Who-Bought-This-Item-Also-Bought‘ bar. Her advice is:

Price your book at 99 cents (the lowest allowed by Amazon) and drive as much traffic as you can during your ‘soft’ launch window. Once you have the bar filled you can re-price your book.

There’s my problem. My amazon.com page has fantastic reviews – but only three of them. And the books other people bought with mine? A book on Lebanese cuisine, three books on quantum physics and .. oh yes, this is bound to bring the customers flooding in – The Grand Jihad: How Islam and the Left Sabotage America. Unfortunately, Amazon doesn’t allow me to re-design my ‘associated books’ bar. I’ll just have to wait until some future customer chooses better bedfellows.

And as for my UK Amazon page. No reviews. No book-links. Nada.

So you see, I’ve got a way to go to establish any kind of credibility. Pricing is just one way I can persuade people to take a peek, maybe download the sample.

Free is probably not the best way – not for novels anyway, although there may be a case for free short stories to introduce people to your work.

But working at the price of least resistance does seem sensible, at least until my reputation begins to grow outside my immediate circle of friends and acquaintances. Perhaps that time will come with The Lebanese Troubles. Perhaps it will be the next novel. Or the third.

If it was just about pricing it would be easy. Unfortunately, it isn’t. A year on, I’m still learning about how to position and present my book, and this week I’ve been busy updating my promotional pages, and even the book content. You may have noticed changes in this blog too – all designed to make it easier for the potential reader to say ‘Yes’, and inspired largely by Carolyn McCray’s article.

There’s another important requirement. Hard work. Talking to your friends and supporters constantly, not necessarily beating your author-drum all the time, but just communicating. Let me return to Ali Cooper. I don’t know how she’d describe her last 12 months, but I’d call it a success.

Ali published her first novel, The Girl on the Swing around 12 months ago, at about the same time as me. It’s a beautifully-controlled, tightly written psycho-drama, the sort of novel I enjoy reading (especially since it follows in the Hardy/Fowles tradition of featuring Lyme Regis). But since Ali’s book is entirely devoid of vampires, cops and wizards … and is not priced at less than a dollar … it’s pretty unlikely to knock Amanda Hocking or J.A.Konrath from their perch at the top of the indie popularity list.

Carefully, steadily, Ali has nurtured her readership, maintaining the writer contacts she built while developing the novel, making new friends (like me) through the various Kindle boards, maintaining a daily presence through Facebook. In all of this, Ali has been much more consistent than me, and now her hard work is really beginning to pay off. Just look at the reviews she’s accumulated. From results she’s mentioned publicly over the past couple of months, I should think that she has a very real chance of achieving my target, self-sufficiency through writing, as she releases her next novel, Cave, at Easter. And from a potato’s-eye view, that’s inspiring!

Useful links:
Ali Cooper: The Girl on a Swing, Amazon USAmazon UK

Carolyn McCray: Best Practices For Amazon Ebook Sales

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The Dog River – Nahr Al Kalb

Our little rubber boat swirled and twisted in the boiling, ice-cold water. Circling above us dizzily, the thick green pines and the mountain peaks, here and there flashes of snow gleaming in the spring sun. The Dog River – Nahr al Kalb. Somewhere up here last year, they said, a father had hacked his daughter to death because she’d run off with her lover. Now that same blind fury was sweeping us down from the primitive heart of Lebanon, down towards its narrow rich Mediterranean plain.


Well I’ve finally gone ahead and done it. Changed the cover design for The Lebanese Troubles. And this is it. I’ve left the original cover over on the right for you to make comparisons.

Why not until now? Two reasons. First, I absolutely love Tom Young’s painting which I used on the original cover. When I first saw ‘Twenty Years’, it seemed almost to have been painted for TLT, perfectly reflecting the mood at the end of the book, even if it shows a scene that never actually happens.

But what I’ve learned in the past year is that artistry and appropriacy is not enough for a good front cover, especially for ebooks. The reader normally only sees a thumbnail sketch of the cover; nevertheless the impression it creates will very often determine whether the purchase is made or not.

My problem was that the original cover was bleak, and it seems that readers don’t buy bleak. Worse, it gives the impression that the whole book is about war. Today’s readers want blood and guts, that’s true, but only when the perpetrator is a vampire. Reading for many is a form of escapism: they want to suspend their disbelief, not be confronted with grim realities.

I haven’t managed to slip a vampire into the story yet. But if you’ve read the book, you’ll know that there’s a good deal of humor and energy, and that was not reflected in my cover.

The second problem was that I couldn’t find a good alternative. But today I found it – the picture I’ve used – license free, in that great resource, Wikimedia Commons. A little bit of work to do with the titles, using the free design tool, Paint (here’s a tutorial on how to create your own book cover), and we were good to go.

Several readers told me they thought the book would sell better with pictures of Monique and Claire on the front cover. As you can see, I didn’t. I thought long and hard about it, but in the end decided that I just didn’t have the skill, the time or the money to do it well. I’ll consider that again in the next iteration.

Another thing I didn’t do was to change the title of the book, despite frequent criticisms. Again I thought about it: “Sinners in Paradise” perhaps; or “The Land of Nod”. My favorite was “East of Eden” … but that’s been done before. What about “An Apprentice Hero”? In the end I rejected them all. The things is that I’ve spent months building brand recognition and getting “The Lebanese Troubles” to the top of the Google listings. If I change the title now, all that good work will be lost … and I’ll immediately invalidate those oh-so-important reviews. And besides, TLT is really quite a subtle title, exploding into a new meaning towards the end of the book.

Back to the cover design, and you’ll see a new Rapscallion logo at the bottom left. Thanks here to my good friend from TNBW, Greta Stone, who kindly developed four alternative designs for me, all with a spiky humorous touch. At thumbnail size, we’ll hardly see the logo, bur at full size I think it works, don’t you agree?

Let’s hear your views on the changes. Will the new cover make customers more likely to stop and look again than previously? How does it work for you? And in the coming days, I’ll let you know whether it really does make a difference to sales.



Please note that TLT will not be available at Amazon for a few days while their version is updating. But Smashwords has already made the changes, and the book is available there as normal – just follow the link in the sidebar.

I posted yesterday a longish sample from TLT, describing the mood in Beirut on the first day of the civil war. It seemed particularly appropriate as Bahrain seems to be headed in the same direction. How I wish people would learn to accommodate and celebrate their differences instead of using guns to enforce a point of view. Anyway, if you’d like to read the sample, you can either click here, or use the ‘Sample’ tab at the top of the page.

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