paperback version of Highland Fling

The happy day when your print book arrives…

paperback version of Highland FlingAs most authors would agree, a print copy of our book has far more emotional pull on my heart than the electronic version. Even if all you ever do is order one copy for yourself, do it anyway. It cements that feeling that yes, you ARE a proper author—you’ve got the paperback to prove it.

Nowadays, you can even create hardbacks through IngramSparks. At some point, my ego might run rampant and demand such but for the meantime, the paperback suffices.

And, oh it’s a thing of beauty. Enni at yummybookcovers designed my cover for it. (My terrible photography ‘skills’ do not do the cover justice.) She really knows what she is doing when it comes to chick lit book cover design. I’ve written a chick lit book and if you hadn’t already guessed from the title, it’s set in Scotland…

Attracting rom-com fans

My tagline adds that the book’s a rom-com and the design, the font and the positioning convey the genre clearly. As an author, you want the people who typically love your genre to see your book and know at once it’s what they enjoy reading.

Note that you can’t see my heroine’s face? Enni can explain that—romance readers like to project onto a main character and it’s easier to do the less you know what they look like. She’s also used vectors, another common practice in this genre’s book cover design practice.

Because the title of my book isn’t unusual, there are plenty of other Highland Flings—my cover makes mine look like the traditionally published versions (Katie Fforde’s one, for example) rather than screaming “self-published”. While traditional publishing doesn’t guarantee quality, readability and enjoyment there’s enough of a sense that a trad-pubbed book offers some of those things to make a book look like a better bet.

KDP printing

I set up print on demand copies of my book through Kindle Direct Publishing (KDP). How did I find the experience? KDP replaced CreateSpace, the print book service Amazon bought some years ago. Some authors have reported issues with KDP, but I’ve used it three times and haven’t experienced any problems.

You supply KDP with an interior file and a cover file. This differs from the front cover you supply for an e-book because it has a spine and back, although KDP can create the spine and back from your e-book cover. I’d rather not. My design skills are negligible and if you’re going to go to the effort of creating a print book, why not it properly?

Five days to deliver

I uploaded the files, filled in the details bit and ordered a review copy on the Thursday night. The book arrived on Tuesday morning, ahead of the date Amazon told me. This is a common Amazon practice—managing the expectation of buyers so you are pleasantly surprised but I wouldn’t recommend relying on them to deliver early.

It did look beautiful. This time, I’d opted for a smaller size. The last book I ordered was 5½ by 8½, and I think the 5×8 version feels more ‘standard’. For the last book, I used IngramSparks for books bought outwith Amazon—I sold very few of them. In theory, I agree with IngramSparks. You will get much wider distribution of your books if you offer them via IngramSparks, but there is a set-up cost (refundable if you order 50 books) and it also requires the cover to be set up in a different way.

On the other hand, I did one version of that book through KDP too, and without a doubt the colours and design were much sharper. It’s worth noting KDP dominates the US and UK markets and therefore the service works best in these territories. I suspect it takes longer outside of the US, UK and certain European countries.

I will do the books via IngramSparks at one point, but only when I can afford it. This book needs to work harder for its money…

I’m incredibly pleased with my book cover and cannot recommend Enni’s services highly enough.

Amazon Ads: An Update

I set up an Amazon ad for a book of mine recently as an experiment. I’d listened to a webinar on the subject, hosted by Joanna Penn of the Creative Penn, and Mark Dawson of the Self-Publishing Formula.

As it’s relatively cheap—you only pay for the ads that get clicked on—I thought I’d give it a go. My Book Katie and the Deelans has not sold well on Amazon. There are millions of books out there, and the competition is fierce. I wanted to give the book a chance to stand out a little more.

I opted for the ads that appear when you type in certain search terms, such as ‘harry potter’ and JK Rowling, as my book is similar. I paid for fifteen keywords in total, $0.50 per keyword.

I let the advert run for ten days. In that time, it made 134,212 impressions (i.e. the number of times it was seen), resulted in 49 clicks, and cost me $12.97. No sales, though!

I did learn from my experience. Not that many people clicked on the ad in the first place, suggesting it wasn’t that appealing. Was the wording wrong, or as I suspect, the cover not attractive enough?

Those who did click didn’t buy. I did re-write the blurb half way through the campaign, but that didn’t make any difference. I also got rid of the book’s prologue, as it didn’t relate entirely to the whole book so anyone sampling the contents might not have got the right feel for the book.

What about social proof? The book has five-star reviews, but not enough reviews in general. Reviews are what most buyers want these days, especially if you’re an unknown quantity.

I’ve known for a long time the book needs sorting. It needs rewriting, and it needs copy editing. It could do with a new cover and a different blurb. The Amazon campaign reinforced all these points.

Would I use Amazon ads again? Absolutely. I certainly plan to use it for the next book. I did find out what were the most useful keywords from my list of fifteen (JK Rowling, harry potter and Rick Riordan). The campaign didn’t cost me a lot of money, and it was worth finding out about.

*Pic thanks to the Blue Diamond Gallery

 

Tango-ed

This week’s inspiration came from a fellow Friday Flash Fictioner who wrote a story about getting inspiration for writing; an author who had found words suddenly leaping together on his page.

Two of the words were ‘holiday’ and ‘tangerine’; as a long-term resident of the west coast of Scotland, I could not resist.

tangerines

 

“Are you sure about this?” Teenage girl 1 asked teenage girl 2.

“Yes, you always need a lot to get a decent colour. The whole bottle will do the job. Keep rubbing it in.”

Teenage girl 2 eyed the product suspiciously. It didn’t half stink. Still, a holiday tan was a holiday tan. Guaranteed to knock a half-stone off one visually AND attract the attention of hot lads.

Half an hour later, teenage girls 1 and 2 regarded each other with horror. Bronzed beauties they were not. Tangerine, they most definitely were. Whose stupid idea was it to use Cuprinol?

 

Photo thanks to flickr.

 

 

How Much Money Can You Expect To Make On A Book?

 

Power of Words

When you stumble clumsily into the world of writing, you soon realise that out there are a lot of people who want to help you. Thank you one and all…

That said, I am guilty 90% of the time of a great deal of naivety. “Ooh yes,” thinks I to myself, “writing’s the career for me. I’ll write a book and we’ll see how that goes.” Common sense reasserts itself on many occasions – ‘better have a plan B Ms B, don’t unsubscribe to those email job alerts just yet and remember just how many people attempt to write a book every year…’

100 hundred million? More? 200 million Americans?

Just to clear up some areas of naivety, I’d like to borrow some wise words of wisdom about the costs of publishing. I’m borrowing them from the excellent resources section of Comely Bank Publishing and its founder/owner Gordon Lawrie: just how much money can you expect to make on a book? (Or rather, just how much money can you expect to lose.)

The Finances of Books

Many authors don’t realise that it’s extremely hard to make a profit from “conventional” books, especially in the modern economic climate. Until around 1996, books in the UK – nowhere else, though – were protected by the Net Book Agreement, stipulating that books had to be sold at their cover price and not discounted.

This protected many small book shops, but it also made it possible to make large profits on best-selling titles and use the proceeds to cross-subsidise newcomers. The Net Book Agreement collapsed in the mid 1990s, under pressure from supermarkets and Waterstones.

So, good for picking up three for two bargains and £3 books with your groceries, but what did it mean for publishers and writers?

Take a 350-page fiction paperback novel, for instance, which is priced at £7.99 (rounded up to £8 for ease)…

Large chains such as Waterstones insist on buying only through one of the big wholesalers/distributors (Gardners). Every book on their shelves has to go to Eastbourne first, then to Waterstones hub and then to the individual stores. Gardners ask for a 60% cut of the book’s total costs, 40% goes to the shop and they keep the other 20% which pays for their costs of storing, distributing and profit. The remaining 40% goes to the publisher, which in the case of an £8 book is £3.20.

The £3.20 pays for:

The cost of printing, which can be anything from £6 per copy for a small print run, to 20-50p for a mass market paperback. The publisher has to guess how many books they are going to sell.

Storing the books. If you want them looked after properly (and who wouldn’t?), then storage costs are not cheap. A local example in Scotland is Booksource in Cambuslang, which stores books for £49 per month, plus 16% per copy of the cover price.

Getting books to their destination. Hold a book in your hand – is it really light and slim? No? Unsurprisingly, if Gardners will take them, doing it in bulk is good, but more often than not they’ll only order books one at a time. The current postage by Royal Mail is £2.60.

Publicity. People don’t buy books that they haven’t heard of, so that means advertising, leaflets etc or sending authors to do events all over the country.

The costs of giving books away. As many as half of your first print run might go for free – review copies, complementary copies and proof copies to check for errors.

The publishing company and their staff.

Oops, we’ve missed out the author’s cut… Ah, no we haven’t. Honestly, for a first book you will be very, very lucky indeed to get £500 in advance. And advances are just that – you are entitled to a percentage of each sale, but if the book doesn’t sell enough copies then you do have to return the advance. (Although in practice that doesn’t happen often as it is easier for the publisher just to cut its losses and run miles from your book flop.) And of course, as the author has been obliged to go through an agent in the first place, his/her gross earnings have to go there too.

So the likelihood of making money as an author who writes one or two books? Slim indeed. The real money is made on the extras – the film and TV rights, toys of your book’s characters, perhaps additional work as a journalist/reviewer, or making author appearances for fees and selling signed copies.

Ian Rankin, Edinburgh’s second best-selling author (after JK Rowling) famously sold about 250 copies of his first Rebus novel, Knots and Crosses, and not many of the next one either. It was only once he’d written a few more that his popularity took off and people wanted to read the earlier books.

This means that commercial publishers need to be very, very convinced of a book’s selling potential. They want to be able to sell 30,000 copies at least. If the book gets poor reviews, they might pull it and decide not to sell (this happens far more often than people think). In such a situation, the author is allowed to keep the advance, but the book is gone for ever because the publisher has the rights.

Can you imagine how awful that situation must feel?

Even if they decide not to withdraw it, the publisher can opt not to spend money on promoting/advertising the book – which amounts to the same thing.

This is why anyone in the business will tell you that there are three stages to any book:

1. Writing the book

2. Getting it published

3. Getting the book properly promoted.

Take a guess what the hardest bit is? Yup, number three. No matter how good you think your book is (and your lovely family and friends are sure to back you up with this), there are millions and millions of other good books out there too. Your book doesn’t just need to be good – and you could argue that there are plenty of turkeys out there which have still managed amazing sales – it needs to persuade plenty of people to buy it.

Are you filled with despair? Do remember that modern technology has opened up new routes. The first is ebooks, which generates good profits if you get lucky. 50 Shades of Grey is one of the better-known versions, but Amanda Hocking was a multi-millionaire at the age of 22 publishing her horror books as ebooks only. And you shouldn’t sneer at self-publishing, which isn’t the same as vanity publishing – you are in control. You pay for the costs*, admittedly, but you keep all the profits.

The whole publishing business changes almost weekly. It’s 2014, but who knows what publishing will look like in 2018? Close your mind to nothing at all.

It is very unlikely that the first thing you write will make you a fortune. Making a living from writing requires hard work, a willingness to keep going back to try again after repeated rejections but if you are good enough, you try hard enough and you are lucky enough. Your time will come.
©Gordon Lawrie.

*Comely Bank Publishing helps people minimise the costs of doing this, but the work has to be up to its standards.

The original article was first published on Comely Bank Publishing. Image courtesy of wikipedia.