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e-Novel: explorations in writing and reading

March 27, 2011 in Rapscallion | No comments

Last time, we discussed how different the novel might become – for writers and readers – if we start thinking in terms of writing for digital media instead of the printed page.

I’d be astonished in this didn’t result in a whole new way of entertaining people with stories eventually. Which way will it go? Some writers will surely work with creators of other digital content – artists, musicians, programmers – combining their creative skills. Another route will be writers who exploit technology to create a new kind of interactive experience with the reader. And then there will be the wordsmiths, people who still rely on old-fashioned tale-telling, but find ways to do it differently in digital form.

There’s also likely to be a much closer bond between writer and reader. As I wrote The Lebanese Troubles, I was privileged to work with a group of writers – some very experienced, some just beginning – at the author workshop site, The Next Big Writer. When we completed a chapter, we posted it for others to read and comment. Some reviewers acted as editors: they trapped errors and inconsistencies. Others read and left just a brief comment. But what I loved best of all was the group of fellow-writers who became emotionally involved in the story.

Emotional response became my litmus test. I wanted my readers to forget editing because they were having so much fun with the story. I wanted to know which characters they loved, liked or hated. I wanted to see if I could make them switch allegiances. When they guessed what might happen next, I wanted them to be wrong – but never to hear that the story was unbelievable. When I experimented with style, I wanted them not to notice. And I wanted the word to get around – that here was a story worth reading – to keep the readership steadily growing.

This incredible experience was like performing at a live event with the crowd’s support ringing in your ears. What you’re hearing is gut reaction. Applause for a great pass, a gasp as a character takes a (metaphorical) crunching tackle. Catcalls when you screw up. And pandemonium when there’s a touchdown.

Print writers never have any of that. They just get to read the match report the next day. Usually dispassionate, measured, analytical. I’m not saying that reviews aren’t important too, but when you’re a performer, you never forget the passion of the live audience.

But let’s remember this was a special circumstance. It wasn’t such a large crowd: we were playing behind closed doors at TNBW. Is it possible to maintain this rapport between readers and writer in the real world? Honestly? I don’t know – and won’t till I have a few more thousand readers. We certainly wouldn’t be able to use the TNBW way, where I responded to each individual reviewer.

But what we’re going to do – if you’re OK with this – is to try a live exercise now. In a moment I’m going to direct you to an extract from The Lebanese Troubles. It’s a scene where I’m deliberately experimenting with style, trying to take advantage of digital presentation and formatting. I’m not going to tell you any more than that now, but I will ask a few questions at the end of the extract, designed to get you thinking.

In the course of the next few days, I’d love you to post at the end of the extract any reactions or questions or complaints or criticisms you have. Anything that spurs you to write a few words. Let’s see how this develops into a conversation between readers and writer. And in about a week’s time, let’s take stock and consider what we’ve learnt – me included.

Are you ready for the jump. Here we go! (Or you can click on Writing Samples => The English Language Teacher.)

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Whisperings: birth of the e-novel

March 27, 2011 in Reflections | 9 comments

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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New cover design for The Lebanese Troubles

March 15, 2011 in News | 4 comments


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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The Most Unusual Book Promotion Ever

May 12, 2010 in Activities | 4 comments

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Laggan Cottage, Arran
The setting for Dreamwords

‘Stormbound and trapped in a desolate cottage with a beautiful stranger, an amnesiac boy discovers that he has been there before and that the ghosts haunting the place are there for him.’

That’s the trailer for Paul Story’s book, Dreamwords. And the cottage is real. Nestled beneath a 1000-foot hillside on the craggy Isle of Arran, off the west coast of Scotland, facing the mainland across an expanse of sea. Remote. A couple of miles from the nearest road, four miles from the nearest village. No electricity, no services, a lonely landmark for the island’s walkers.

We’ve talked before about innovation on this blog. How it’s the fiercely independent writers who are most likely to exploit the potential of new media and find new routes to market. And you may remember how in an early post, I described how Cambridge author, Pimbo, sold 80,000 books door-to-door a couple of decades back. Well, here’s an approach to book marketing that turns Pimbo’s story on its head. Instead of taking books to the readers, Paul Story takes his books to a place where readers come to him. Where? Not a bookshop. Not an airport. Not even Amazon -- well not the print version anyway. Where better than the cottage on the north-east coast of Arran where the novel takes place? Laggan Cottage -- one of the most desolate places in the British Isles.

Paul has pitched a tent alongside the cottage, lays out his books every morning, carefully protecting them from the elements, and that’s where he intends to stay for the next two months, till early July. So who will his readers be? Walkers, hikers -- because Laggan happens to be on one of the favourite trails for those exploring the island on foot. People who are likely to be enchanted by the rugged beauty of the island, already captivated by its legends. Dreamwords adds another legend. And on the trail, how can they not be fascinated to find a real live author living out in the wild, and stop to spend a few minutes talking?

But innovation doesn’t stop there. A hiker stops, talks to the writer, gets interested in the book, wants to take one. What then? Chances are the walker’s not carrying cash. A credit card transaction then? Laggan’s hardly the place. There’s a different way. Paul calls it the ‘Honesty Edition’. If someone wants to take a book, they don’t pay now but later, through the Dreamwords website. No sales record is kept. Paul relies entirely on the honesty of the customer. In today’s world that’s astonishingly, refreshingly different.

The writer has no illusions: ‘Of course there will be some who don’t pay, others who forget. But on the whole, I think most people will remember the experience of meeting me at Laggan. They’ll think of me not as some remote unapproachable novelist, but as a living, breathing, working (and sometimes shivering) writer. I hope most will actually read my book, and that some will love it. I’ve printed 10,000 books. If I stay in the minds and thoughts of 1,000 readers, and they’re looking out for the next book in the Dreamwords series, then I can count this adventure a success.’

Crazy? Some will think so. But I don’t. What Paul Story has realized is that when tens of thousands of other writers, now freed from the shackles of traditional publishing, are competing for reader attention, it’s not enough just to have a good book. You need a good story (- and a good surname doesn’t hurt either!) What he’s done, in classic marketing terms, is to identify his niche -- he knows who will love to read his book, and he’s thought very hard about how to reach them. More than that, he’s found a way to engage -- not with a 20-second encounter at a book-signing, but by creating an event where readers can interact with the writer one by one and in their own time.

It’s early in the walking season, and as I write, Britain has just had its coldest May night in fifteen years. Yesterday a conversation with interested walkers was interrupted by hail. It’s not going to be easy for Paul, but it’s an extraordinary example of commitment to writing and left-field marketing. Follow along with Paul on his Facebook page, join up, and cheer him along.

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And now for something completely different -- and to put you in a Scottish mood -- here’s the story of Ewan McTeagle, a poet who took a more commercial approach to writing.

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How To Marry Off Your Maiden Aunt

April 20, 2010 in Rapscallion | 4 comments

After my last post, a number of you went Backword – and you clearly liked what you found there. A smart, professional, attractive site for writers crafting great novels. Certainly Rapscallion is going to need something similar: a permanent gallery for its writers, a place where readers can suck in the atmosphere, feel welcome, browse, hopefully buy, and promise to tell their friends to come by. If we could find a way to serve coffee on the site, it would help. And we’re going to need a place for coats. Putting that together may be a task for another Rapscallionista, with better design skills than mine.

But that’s not the only way to win credibility and attract attention.

Yesterday, the trade press was buzzing with news of a new venture by a publisher I’d never heard of before, and which appears to be a relative newcomer – Ether Books. Go to their web page and it’s iffy. Try the Facebook fan page and there are only 7 fans, including me. But to be fair, Ether have been busy, at the London Book Fair.

This is what they’ve announced. That the future of e-reading is not the iPad or Kindle or any of the heavyweight reading devices. No, they say, it’s the iPhone.

Your groans have already reached me, in advance. Don’t these people have any respect for literature? Don’t they understand that the proper place for words is in a book? Well, just stay with me for a minute and I’ll tell you why it’s such a good idea. After a short history lesson.

A long long time ago, back in the 1980s, I had the frequent pleasure of traveling on the London Underground. What was pleasurable? Well, I’ve always loved the way London Transport – or whatever they’re called these days – arranges their passengers: sitting facing one another. We humans love to watch, but we hate to be seen watching. And so for fifteen minutes, we need a place for our eyes. In a newspaper, in a book, pretending that we need to check the route, reading the advertisements so conveniently placed above eye level. Anywhere the people opposite won’t notice that all you really want to do is study them.

I was cured of my annoying habit of trying to outstare my fellow-travellers (if it was you, then I apologize) when I first spotted, mingling with the advertisements, a poem. A Shakespeare sonnet. The next train I was on, there was another: Roger McGough this time. Then Keats. Then someone I’d never heard of. And before long, the first thing I did as I entered the carriage was to seek out the poem and make sure I sat or stood somewhere I could read it. I’d always loved reading poetry, but somehow I’d fallen out of the habit. This was a re-discovery. I bought my first poetry book for many years – a collection called ‘Poems on the Underground’. It’s still a treasured book. All the years I was traveling, I always made sure it was with me.

What someone had spotted was that there was a market for poetry in those in-between moments we all have. And that’s Ether’s brainwave. They’re not planning to publish novels for the iPhone. There will be poetry. But the headline news is that they’re planning to revive the short story – ‘the elderly aunt of the literary world: almost impossible to marry off to a publisher’ as The Guardian puts it. Launching yesterday, 200 shorts were available, from well-known writers including Booker prize winner Hilary Mantel and literary luminary, Sir Paul McCartney. But, say Ether, they’re talking directly to new writers too, to find enough material for the ‘time-poor commuters, or workers grabbing a 10-minute break’ ready to cough up between 50p and £2.39 for the privilege.

Think of it. At the bus stop. In the doctor’s surgery. Waiting for the kids to come out of school. And your phone is always with you, no matter who you are. Brilliant!

This is exactly what I meant a couple of posts back, when I wrote about innovation. Taking the new publishing media, thinking about the means we have of accessing and interesting readers, and shaping or reshaping our output to set the market a-buzzing. Interestingly, it’s a small publisher who’s come up with this idea. My experience in business is that innovation is almost always led by the small guys, because the big guys have too much invested in existing technologies, and the chain of command almost inevitably means that change is slow.

In your responses to my last post, there’s been a lot of discussion about the shape and size of Rapscallion, the command structure. What I’m sure of is that we’ll need critical mass, enough talented writers to cause more than a ripple of interest. I’m equally sure that we’ll need to be small and nimble enough to stay innovative, and to seek out market opportunities, just as Ether Books has. In the next post I’ll tell you exactly what I have in mind.

But just to round out the iPhone story, I thought you might be interested to take a look at the competition. Ether aren’t in fact the first into the iPhone market. Wattpad, for example, describes itself as ‘the world’s most popular ebook community’, and you’ll be pleased to know that all its titles are available on your mobile. Let’s take a look at ‘what’s hot?’ today – the numbers in brackets show the total of ‘reads’ then the number of ‘votes’:

  • Dinner with a vampire. Did I mention I’m vegetarian? (1,808,720 – 31,566)
  • Came home to find a hot guy in my bed. WTF?! (444,715 – 8,528)
  • Pride and Prejudice (22,404 – 95)

And since I believe in diversity and innovation, here’s an extract from one of their most popular stories.

Stigma? What stigma?

Note to myself. Is my blog iPhone-compatible?

Related:

Poems on the Underground is still around today, I’m happy to see.

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Indie Writers – Freedom To Innovate

April 17, 2010 in Reflections | 4 comments

Over at the Kindle Boards site – where Kindle readers and writers exchange views – there’s been animated discussion in the last 24 hours about ‘How to get rid of the indie stigma?’.

Smashwords, Amazon (i.e. Kindle) and others have made it possible for writers to e-publish their books without the intervention of agents and publishers. Writers have responded with enthusiasm: Smashwords has published just over 10,000 books and half a million words to date, and they’re forecasting that the totals may double by the end of 2010. Readers too seem to have jumped onto the ebook bandwagon, particularly for budget books. In an illuminating article, mid-list author J.A. Konrath reports that he’s selling 180 $1.99 ebooks a day, and that although published research says that ebooks are only one-tenth of the total market for books, his ebook sales are keeping pace with his print sales.

But the problem is that if anyone can publish, then what happens to standards? Yes, inevitably there will be some great books self-published by great writers who might otherwise have been lost in the slush pile. But there will also be other books that should have been burnt before they even reached the slush stage. Who will protect the reader? And what if a reader comes across three appalling books in a row, and swears never to read an indie book again. There’s the stigma. If we ally ourselves with failure, might we not be labelled failures ourselves? Can anyone take our work seriously if it doesn’t have a proper publisher’s stamp of approval?

I saw the problem at first hand last night. I’d been telling an old friend about my novel – it turned out that he’d already bought it after spotting my LinkedIn announcement. He then wrote: ‘Have you ever come across XXXXX.com? Its a web-based bookshop site partially owned by a friend of mine – good ideas – but they need stuff that is already published – don’t know if it may offer a channel?’ Did you spot the stigma? He wasn’t meaning to be unkind, but because I’d released my novel as an ebook, he considered it still unpublished.

For a few seconds I was hurt. But not for long. Because this whole venture is not just about independence. It’s about innovation – about embracing innovation. And throughout history, innovators have always been treated with a wry smile, suspicion or outright hostility.

What happened when the printing press was invented? The Church felt threatened. Suddenly the world of knowledge and learning wasn’t their exclusive domain any more. Anyone could read books. There was a demand for Bibles in the native language for Heavens sake. Not in Latin, the language of the Church. Surely this was opening the floodgates too far – the democratization of learning was a threat to the status quo. Today they’d call it socialism – and we all know how dangerous that is, don’t we? The Church tried to get books banned – and burned printer/publishers at the stake. And we’re worried about a little stigma?

From that media revolution, the novel was born. And from today’s media revolution – electronic publishing – who knows? At the moment, we still think of the book like a printed book, and everyone’s trying to replicate the experience. For example, when we publish an ebook we include a static book-sized cover with the file. But when will someone realize that we don’t need to do that. Why does it need to be that size? Why does it need to be static – why not a sequence of images or a video, or like the Harry Potter’s photographs why can’t the characters on the cover be waving or chatting to each other? Stupid? Perhaps. But let me pose another question. Why does the book need to be a one-way experience, from writer to reader? Why can’t it be interactive, since e-publishing would easily allow that? And why oh why, has the iPad used the cheesy page-turning icon when you move from one page to the next? It would drive me mad … if they ever release the iPad here in the UK.

Who’s going to lead innovation? Not the traditional publishers, I’m almost sure of that. At a time when anyone familiar with the web knows the power of free and the impact of viral marketing, the big six are fighting to raise prices and are delaying their e-editions to protect the time-honored print model. Surely it makes sense to release the e-version first, make sure there is a market for a book, and then release the print version. Perhaps then they wouldn’t make losses on so much of their fiction list.

So I’m happy to live with condescension as I retain my freedom to experiment. But I’m not sure I’d go quite as far as Margaret Lake on Kindle Boards, who’s waiting, tongue in cheek, for the time when “we’ll be saying to authors with publishers and editors and agents and publicists … Couldn’t make it on your own, huh?” Retaining your independence doesn’t necessarily mean going it alone. There are advantages to hunting with the pack, as we’ll see next time.

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