Wednesday, June 27, 2012

Smashwords Adds Page Foundry as New Mobile Distribution Partner for Android Devices

Smashwords today announced a distribution agreement with Page Foundry, a developer of mobile ebook store apps for Android tablets and smart phones.

Below I've inserted images of how the app looks, using a test example of Phoenix, a YA fantasy novel by Smashwords author Jennifer Mason-Black, published by  Musa Publishing.

This new relationship will lead to distribution at the following four places:

Listings page
Book page
1.  ASUS:  Asus, a leading manufacturer of netbooks, notebooks and tablets, currently has about 8 million devices here in the US pre-loaded with the Page Foundry ebook store app, all part of their @Vibe media store.  Page Foundry is one of two pre-loaded ebook store apps on the Asus devices. 

2.  WIRELESS OPERATOR:  Page Foundry is powering the ebook store app for a leading pre-paid wireless services operator with 2.5 million smart phone customers (Smashwords authors/publishers will be informed of the wireless operator's identity in the author/publisher email alert going out today).  Starting this summer, all of this mobile operator's subscriber phones will ship pre-loaded with the Page Foundry app (previously, subscribers had to manually download the app from the operator's app store).

3.  VERSENT and INKTERA:  These are two sister e-reader apps, available for download to Android 
devices from Google Play (formerly known as the Android Market).  Versent and Inktera also sell books through their websites at http://www.versentbooks.com and http://www.inktera.com  Page Foundry set up these two sites as experimental showcases of their platform, though they've also started attracting some customers so they plan to continue operating the sites as indepedent ebook retailers.
Reader option settings

Page Foundry plans to add additional mobile operators and device-makers in the months ahead.

Like any new distribution channel, I expect the Page Foundry partnership to start small and then grow over time as their business grows.

As with all new Smashwords distribution partners, all Premium Catalog books will automatically go to Page Foundry unless you opt out, or unless the title is unpublished.  Visit your Dashboard's Channel Manager to adjust distribution settings.

 Learn more about Page Foundry at http://www.pagefoundry.com




Thursday, June 14, 2012

New Ebook Cover Image Requirements Coming to Satisfy Higher Resolution E-Reading Devices

Updated June 20 with additional examples.
Updated July 15 - B&N also now recommends larger images.

Heads up.  Effective on or about July 15, Smashwords will begin requiring higher pixel counts on ebook cover images.

Why the change?  Starting in August, Apple will require that all new ebook cover images be at least 1,400 pixels wide.  Their previous minimum was 600 pixels.

Why is Apple requiring higher pixel counts?  Most likely, it's because they want to provide ebook customers a more pleasing visual experience for their current and future higher-resolution iPads, iPhones and MacBooks.  Since we think the Apple's guidelines are reasonable (they help readers with next-generation screens enjoy your covers in all their glory), we'll adopt Apple's requirements as our new minimum standards for cover images.

Amazon recommends images that are 2,500 pixels tall, with the height 1.6 times greater than the width. In early July, Barnes & Noble notified me that they too are increasing their recommended (recommended, not a requirement) to a minimum height of between 1,200 to 2,000 pixels. This means that the new Apple/Smashwords requirements will help you create an image that's also more pleasing to current and future Amazon and B&N customers.  Three birds with one stone.


Let's dig into the math (eek!  math!):  Smashwords has always required vertical-rectangle-shaped images, where the height is greater (taller) than the width.  Most good-looking covers have heights that are around 1.3 to 1.65 times greater than the width.

Provided your cover is at least 1,400 pixels wide, you have flexibility here whether you prefer slightly wider covers or slightly taller covers.

Start with your width.  Although the new requirement is a minimum width of 1,400 pixels, I'd recommend a width of 1,500 to 1,800 pixels to be safe.  This will help you get closer to Amazon's recommended height, and will also provide you some measure of future-proofing for a couple years out when we might see pixel requirements increase even further.

Let's say you choose a width of 1,600 pixels.  If you want a 1.33 ratio, multiply 1,600 by 1.33 and you get a height of 2,128 pixels.  If you think that looks too short and squat, try 1.5.  Multiply 1,600 by 1.5 and you get a height of 2,400 pixels.  If you want 1.6, or 1.65, multiply by that.  Don't obsess too much over the ratio, though.  Focus on creating a cover that works best for your book.

Below I created some sample images to give you an idea of how the different ratios look from a width and height perspective.  These are thumbnails, so click the image if you want to see it larger.  When you enlarge the image, you won't get the full size (a limitation of how I uploaded them here), but the relative proportions are what you're looking at anyway.

The first image has a 1.33 ratio (height is 1.33 times greater than width).

The second image has a 1.5 ratio.

The third image has a 1.6 ratio.

Note how the lower ratio gives you a wider image, and the higher ratio gives you a more narrow image.

Apple's new requirement applies to new ebooks, and new cover updates.  If your book is already in the Apple iBookstore with a smaller cover image, you're grandfathered in, UNLESS you try to update your cover image in the future, in which case they'll reject it.  

Since Apple will begin enforcing the new requirements in August, we'll help our authors and publishers get ahead of the change by making the 1,400 pixel minimum a Premium Catalog requirement starting on or around July 15.  

The Smashwords FAQ and Smashwords Style Guide are now updated to reflect the new recommendations and requirements.  

Like Apple, we'll apply the standard to new titles and cover image updates.   If we previously shipped your smaller cover to retailers, we won't require the new cover image size unless you update your cover image or republish a previously unpublished book. The minimum dimensions do not apply to the images or cover image inside your .epub file.

How NOT to create a new cover image

Don't use a photo or image editing program to enlarge your current image.  That will cause pixelation (blur).

How to create your cover image

You'll find some tips in the Smashwords FAQ, though unless you're a professional graphic artist, my best recommendation is to hire a professional.  Send an email to list@smashwords.com to obtain my list of low cost cover designers and ebook formatters (they're all freelancers, we don't receive a commission or referral fee). Their rates range from about $40 to $100, a range I consider very reasonable.  Review their online portfolios so you can determine if their style and capabilities match what  you're looking for.  If they don't match what you want, post a note at the Smashwords Facebook page to ask your fellow authors for references.  There are many great cover designers out there (too many to fit on my list), and most are very affordable.  

Your cover image is the first impression you'll make on a prospective reader.  If you're planning to revise your cover image, use this as an opportunity to produce a cover that looks as good or better than what the big NY publishers are producing.  See my free ebook, The Secrets to Ebook Publishing Success, for comments on why a professional ebook cover image is so critical to a book's success.

Once you have your new cover image, click to your Smashwords Dashboard, then click "settings," and then upload your new cover image.  Smashwords will then distribute the update and the new .epub to all our retailers.

Please share this post with your fellow authors and publishers so everyone has ample advance notice.

Monday, June 4, 2012

Smashwords Delivers Faster Shipments to Apple and Kobo


Until recently, Smashwords "shipped" new book releases, new book updates and metadata updates to Smashwords retailers (Apple iBookstore, Barnes & Noble, Kobo, Sony, Diesel, Baker & Taylor, etc) on a once-weekly basis.  As promised in December, in the last couple weeks we've begun increasing shipment frequency for the retailers that can support it.

About one week ago, we began doing once-per-day shipments of new Premium Catalog titles and metadata updates to Kobo.  This means you can make a price change at Smashwords today, and it'll be reflected at Kobo likely within a day or two.

Today, we pushed the envelope even further by commencing near-real-time shipments to the Apple iBookstore.  This means you can change a price from your Smashwords Dashboard and the new price, in multiple currencies, will reflect across Apple's 32 iBookstores, often within an hour of your change.

Price updates will appear the fastest, especially at Apple.  New book deliveries or other book updates are subject to processing times at each individual retailer.  The holy grail - which won't be achievable anytime soon - is true real-time or near-real-time updates across all retailers from your Smashwords Dashboard.  It's the direction we'll always drive toward.  We know Smashwords authors and publishers appreciate the power, convenience and time-savings possible when they can centrally manage all aspects of their ebooks from the Smashwords Dashboard.  Faster deliveries mean faster time-to-market, and greater control over metadata and promotions.

These faster shipments are made possible by a development initiative here at Smashwords that has been underway for many months.  It's also made possible by the great work of our retail partners who share our same commitment of putting the power of publishing in your hands.  In the months ahead, we hope to increase shipment frequency at other retailers once they give us the green light.  Our new shipment systems are technically capable of shipping real-time.

In the old world of publishing it took a book 12-18 months (or longer) to reach market.  In this new world, authors, publishers and literary agents we serve want faster time-to-market, and more control.

On a related topic, we're increasing staffing in our vetting team to enable faster Premium Catalog approvals (we're backlogged now).  Ian, the latest member of our vetting team, starts Wednesday.

My thanks to the 44,000 authors, publishers and literary agents around the world who use Smashwords to publish and distribute over 125,000 titles.  With your support, today's exciting development is just the latest of many new developments to come at Smashwords in the months and years ahead.

If you haven't yet partnered with Smashwords, visit our How to Publish and Distribute with Smashwords page to learn how to reach more global readers.

Sunday, May 20, 2012

Alison Baverstock on Best Practices for Self-Publishing

This week, we are thrilled to be interviewing a good friend of Smashwords, Alison Baverstock, based in the U.K., about her book The Naked Author: A Guide to Self-Publishing, with Bloomsbury. As a former publisher herself, Alison brings key insights into the how independent authors can replicate the critical elements traditionally supplied by publishers in order to create successful ebooks.



[David Weir] Welcome! You've just published The Naked Author, a new book about self-publishing, what can you tell us about it?

[Alison Baverstock] There have been very useful books about self-publishing, but they have tended to concentrate on the how of the process rather than the why. I do talk about the practicalities of what to do and in what order, but first I spend a large chunk of time talking about why you might want to self-publish, what you can expect from the process, what it will take out of you, how you may feel when you share your writing and others respond – and above all, how to think about the associated writing. To me that’s crucial. Writing a book is a huge endeavour, and to spend all your time thinking about the packaging rather than the content is like producing a box of chocolates without considering what will go inside.

[DW] What are some of the major findings of your research into the world of self-publishing?

[AB] Although I used to be a publisher, and have written extensively about the publishing industry, these days I am primarily an academic – I am Course Leader for MA Publishing at Kingston University. The new book therefore began as a research project – with the objectives of finding out more about the scale of self-publishing; how the stages worked in comparison with traditional publishing; how the process was impacting on the role of the author and the availability/perceived value of reading material. So far, so relatively straightforward – although I have to say a view reached me that this was a not a particularly worthy use of my time.

As I explored, I discovered the variety of ways and circumstances in which self-publishing solutions are now being used – it’s a process, not a single product. Whereas the traditional industry has assumed that authors choose self-publishing when they have given up hope of a traditional arrangement, I discovered that there are many reasons for getting involved other than financial. The preservation of material and the self-validation that the process can bring are both significant – self-publishing is playing an increasingly important part in what as a society we both value and preserve, and usually feels good for the writer.

[DW] How did you go about this research and which groups did you work with?

[AB] I tried to talk to all stakeholders in the process: authors (would-be; self-publishing for the first time; serially self-published; those who have been traditionally published and then self-published – and those who have made a journey in the opposite direction); publishers; agents; self-publishing houses; self-publishing service providers (freelance editors, illustrators, cover designers etc); retailers; content purchasers and readers. I talked to members of the Society of Authors and to subscribers of the magazine Writer’s Forum, for whom I write a monthly column – as well as contacts made through other research projects. Phew!

[DW] How has teaching informed your research?

[AB] Teaching a subject is always the best way of ensuring you really understand, plus it gives you access to a broad and ongoing market research group of lively minds who will both challenge and extend your thinking (and make you aware of trends of which you previously knew nothing).

Right now there is a rather lazy school of journalism that regularly announces: ‘Publishing is dead.’ I think rather that Publishing is alive and kicking – it’s spreading out rather than dying, and is now being valued and used by many more people. What is more, the need for publishing services by those who decide to self-publish will create employment opportunities for our students in future, whether as part of self-publishing (full/part) service companies or the freelance market.


[DW] Is the growing trend of independent authors self-publishing restricted mainly to the U.S. and Europe, or is it a global phenomenon?

[AB] It’s a worldwide phenomenon, as I show in the book. Availability is almost boundary-less, although local cultural, economic and demographic factors will impact on how readily it is taken up.

[DW] What do you think are the best practices, i.e., the keys to successfully self-publishing ebooks?

[AB] This is interesting. Whereas the actual conversion of manuscript into ebook can take a matter of minutes, and so obviously the network and the supplier of services needs to be chosen with care, to me the thing that matters is the quality of the content you are making available – it needs to be worth the reader’s time. Ebooks offer the writer a linear process for making work available as readers can sample, buy and recommend within a very short space of time – and all in the same space. But this sheer speed means you need to take care that the work you decide to share is at its peak form, and is ready to represent the writer you want to be. Writing can go viral for the wrong reasons. A few top tips:

  1. Think carefully about the content that you want to preserve and why. The project must have value for someone, or you will lose heart.
  2. It’s not a short cut. If you want readers to invest their time in your work, you must make your material as good as it can be – and so all the same processes of manuscript preparation (editing in particular) will be needed. It’s possible to manage these yourself, but being objective about your own work is really hard.
  3. Nor is it a race. Take time to consider why you are doing this, what you want out of the process, and the resources you have available (time as well as money). List (publish) too soon and you may live to regret it – negative feedback hurts.
  4. Consider carefully who will manage the process for you. You could work with one of the one-stop self-publishing firms that now exist or you could use a range of suppliers, each handling a different stage (structural advice on editing; copy-editing; proof-reading – and it’s important to understand the differences between these three distinct and essential stages of content preparation; design for the ‘front cover’ image that will sit next to your title on the website where your work is available; marketing support). A frequent outcome of self-publishing is an appreciation of just how labour-intensive effective publishing is.
  5. A self-published book does not have to sell to be worthwhile, but if that is your aim, promotion will be needed. Marketing is an open-ended activity, which can consume as much attention as the writing. Do you want to be a writer – or a publisher instead?

[DW] What are some of the non-monetary rewards of self-publishing your research has identified?

[AB] This is really significant. Traditional publishers have assumed that only material that matches their exacting standards of text management could offer any measure of satisfaction, whereas many self-publishing authors are motivated by other things – like finally recording a story they have had in their head for years, or securing a family memoir from an aged relative that will be sorely missed if it remains uncaptured.

There is research to be done on the correlation of writing quality, format for sharing and associated satisfaction, but in general professional publishers should be wary of assuming that everyone can recognise the evidence of what they have added to the process. Indeed to me this is one of the real problems for the industry, that the effective application of publishing skills is only evident when absent. Most of the time, we don’t notice how well managed the text has been – it simply flows into us.

[DW] You've stated that "writing is good for us." Please explain how and why?

[AB] Effective management of content, through the reworking of material until you are really satisfied that it is as good as it can be, brings reflection, analysis, an appreciation of the value of order – and often a terrific sense of catharsis. Well managed writing is also good for the reader, and there have been some interesting studies lately that have shown the regular reader to be happier in all sorts of ways – as well as a more empathetic colleague in the workplace.

To me if there is one danger in the huge explosion of self-publishing, it is that as a society we stop reading. I don’t think you can be an effective writer without also being a committed reader; a relationship where both parties are always on send, can mean neither is really listening. Do self-publishers have a responsibility to ensure that what they present to the world does not turn people off reading?

There are also issues to do with boundaries and censorship that need discussing. Professional publishers have always played a role in providing/preventing access to material of dubious public interest, and have often ended up taking the rap for highly controversial content. So we need to think about who manages such curation now – or does it not matter?

[DW] As one who has been a traditional publisher yourself, what are the impacts you see on traditional publishing through the growth in self-published ebooks?

[AB] I think the availability of ebooks (whether traditionally or self-published) is having a profound impact on the market for publishers’ products. Today there are other ways of reading than the simple printed codex, and once people have got used to reading on a handheld ereader, they may stick with it. More reading may result! Plus of course ereading has benefits for readers that were excluded by traditional formats (those with poor eye sight who can now increase the type size to suit their needs) or those who saw carrying books as either uncool (some teenagers) or too heavy (frequent travelers in particular).

There are also subtler effects on the industry due to the changing balance of power within publishing – the decision making process is definitely shifting. Traditionally, authors were dependent on their publishers for communication with their readers – fans would write an appreciative letter to their publisher, who would pass it on. Today that relationship is largely unmediated as authors have websites, use social media to communicate their writing (often sampling it with loyal readers before making it wholly available), and make personal appearances – either in cyberspace through blogs or YouTube, or live at literary festivals. And as publishers delegated more and more of the marketing of their titles to authors (because the explosion of media made it very hard to predict how to reach their customers, and the authors were often more in touch), so in the process authors became firstly more confident, and then more demanding. This enhanced awareness of their importance to the whole process is not going to go away.

Finally, self-publishing an ebook has become a really good form of market research. It’s now relatively common for an author to prove the existence of a market for their work by producing an ebook – and then having identified the size of the readership, and how to reach it, returning to the traditional industry with a strong case for investment. Or not – and continuing to manage the process themselves.

[DW] You mentioned to me that indie ebook authors have an opportunity to better appreciate all the things that publishers have offered authors in the past. Can you elaborate?

[AB] I think involvement in self-publishing makes authors realise what traditional publishers did for them. Effective publishing is a lot harder than it looks.

[DW] You decided to publish "The Naked Author" through a traditional publisher, Bloomsbury. Why not self-publish it instead?

[AB] One of the real issues for writers is how to boundary your writing time, and I mean being conscious of the time you spend on writing-related activities, as well as all those displacement temptations. As there was a professional publisher willing to edit my work, commission a stylish cover, take the financial risk and then bring it to market, [I decided] it’s a better use of my time to work with them rather than learning how to manage the whole process myself. I meanwhile can move onto my next book (I am writing about how to manage fame, basically through the eyes of the 1970s heart-throb Marty Kristian, member of The New Seekers, and his greatest fan – who happens to be my cousin).

[DW] You invited Mark Coker, the founder of Smashwords, to contribute the foreword to your book.  Can you tell us why you invited him to provide this?

[AB] This has been a rather odd project in that it crossed so many boundaries: a traditional publisher producing a book on self-publishing; a university academic exploring a subject that had been considered beyond respectable notice for so long; all against the background of fast-developing change.

I was observing however that as an awareness of self-publishing was spreading, so entrenchments were hardening. So while it is true that professional publishers did sometimes miss writing that turned out to have a much wider appeal than they had envisaged, that does not mean that the industry as a whole should be dismissed - nor that everything that is made available through self-publishing is worth sharing. In my view a technical ability to share content brings with it a responsibility to make the content as fine as it can be, and the faster that dissemination is possible, the more care needs to be taken.

It was my friends at Anthemion who suggested I look at the Smashwords site and in the way Mark wrote about the process I recognised my own values and ethos and so got in touch - initially to ask him to introduce a conference on self-publishing that I was running at Kingston University (which he did at 2 a.m. his time via Skype) and later to discuss current developments. Asking him to write the foreword was a natural extension of the initial empathy and later friendship that evolved.

[DW] How did your publisher feel to have a sometimes-critic of traditional publishing supply the foreword to their traditionally published book, and what was their impression of his message?

[AB] Well as always with content to be formally presented in published form, the material went back and forwards a few times until we were all happy with what was going to appear in the document of record. But good publishers are fully aware of the challenges ahead, and are seeing this as an opportunity and not a threat. I salute their imagination in seeing Mark's involvement as the former rather than the latter. We are united in our belief that while all writing is worth doing, it's not all ready for sharing and the long term goal of all stakeholders has to be to offer material that is worth the investment of the reader's time.

[DW] Thank you!

[AB] Why thank you, this has been most interesting. And I am delighted to have been asked to participate.


The Naked Author is available in both print and ebook at Amazon and Barnes & Noble.

Friday, May 11, 2012

Novelist Phyllis Campbell Illuminates the New World of E-Publishing for all Authors

This week we're profiling a new Smashwords author, mystery writer Phyllis Campbell. From the moment we met her, we were inspired by her courage, commitment and confidence.  Like many Smashwords authors, she has been publishing through traditional channels for many years.  

Unlike most writers, Phyllis has been blind since birth.  

When we learned she was blind, we offered her special hand-holding to help her navigate the Smashwords publishing process.  She politely declined.  She could do it herself without special treatment, thank you.

She has been writing and publishing since the age of eleven. As she describes below, blind writers face unique challenges not faced by sighted writers, yet technology old and new helps bring their important talent and voices to light.  What a gift to all of us. 


David Weir: You started writing at a young age. Why do you think this happened in your case?

Phyllis Campbell: My earliest memories are of my parents and sisters reading to me. My sister, Inez, who is also blind, and I often acted out stories based on characters we read about. I think it was only a step from there to creating my own characters and plots.

[DW] At what age did you start school and what role did your love of writing play in your education? 

[PC] I was six in December and started school at the residential school for the blind in January.  I drove my parents mad, I'm sure, begging to go. My sister was there, and I wanted to learn to read and write Braille. Certainly my love of reading and composition helped me tremendously all through my formal education. 

[DW] When did you begin publishing and selling your work, and where did you publish?

[PC] I started selling my work in the 60's. My first sale was to the weekly magazine published by the Salvation Army, and the second to a delightful inspirational magazine, Sunshine Magazine. Following these first two sales my work appeared in various inspirational magazines such as The Standard, The Lookout, The Lutheran, Christian Herald Lutheran Woman, and in the romance publications of McFadden's Woman's group. I also did both fiction and nonfiction for Dialogue, a publication for the blind. My two books appeared in soft cover and hard cover in the US, and one of them was published in China and the UK. I have done a true crime book under contract with the family of the victim. I currently write two bi-monthly columns, Handicrafts, and Hobbies And Such for Our Special, a Braille magazine published by National Braille Press.

[DW] You mentioned that one editor encouraged you to write your autobiography. Can you tell us about that?

[PC] Barbara Brett of Brett Books, asked me to write a book about my life and my animals, including my guide dog, Lear. I was hesitant, but she urged me to do a rough outline, and a couple chapters, and to my surprise the book began to take shape. It was difficult to write since all of the animals except one, and many of the people, walked with me only along the road of memory, but I'd be lying if I said I wasn't pleased with the results. Certainly the book didn't make me rich, but I was thrilled when it was published in China and in the United Kingdom as well as the US. I like to think of people far away in places I'll never go, reading about the simple things that made up my life, from the time I was four until the time we bought our first house, and adopted our little Lady Gray cat. No matter where my writing takes me, I feel that I would have never gotten there without Barbara's encouragement.

[DW] When and why did you decide to start publishing digital books and work outside of the traditional publishing industry? 

[PC] The decision was made slowly, I think. It can't be denied that the face of publishing is changing for a number of reasons, not the least of them being the current economic climate. Certainly digital books are less expensive to produce, thus less expensive to purchase. The author's fate is determined by the readers, not an editorial staff or agent. I feel that a digital book will sink or swim on its own, rather than to flounder out there [and grow stale as publishers decide how or if to release the book]. For me personally, I am pleased that the digital market makes it easier for other blind people to buy my book. Although some digital formats aren't accessible, many are. Definitely digital books are opening doors for the blind.

[DW] For those readers who have not yet seen your book at Smashwords, “Who Will Hear
Them Cry,” please tell us a bit about it.


[PC] For a while now what I call minority sleuths have dotted the writing landscape - African American, Native Americans, hearing impaired, paraplegics - but so far I haven't run across a major one who is blind.  Meet Kate Talbot, who is blinded by the psychopath who kills her husband and unborn child. She makes a good adjustment physically, but is filled with guilt because the killer warned her not to testify against his son. She fears reaching out to others for fear she will cause them hurt. This shell starts to crack when she becomes the owner of a large orange tom cat, and breaks when her partner persuades her to investigate a series of fatal accidents at a private school for disabled children.

If readers have preconceived ideas about the blind obtained from popular movies or TV, I'd advise them to cast them to the winds. All too often these are written by those who have no first-hand knowledge of what it's like to be blind. Kate is neither “super blind woman,” nor a sweet wise little lady, offering comfort and inspiration to those around her. She's outspoken, kind in spite of herself, funny, and yes brave.  In short she's human. She solves the mystery, using her wits, and her senses, even imagining what a scene looks like to the eye of her mind. I haven't asked her to do anything that a reasonably fit, adjusted blind woman of her age couldn't do. A friend took a slippery walk along a narrow ledge, minus the cat, to prove it could be done, although she didn't know at the time it would appear in Who Will Hear Them Cry, years later.

[DW] What are the main challenges that visually-impaired authors face? For example, how do you come up with descriptions of things you cannot see?

[PC] Of course we face all the same challenges faced by the sighted author, but up until I decided to go digital the main challenge for me was marketing, choosing the right publisher. It can be a bit hard studying a given publishing house's listing to determine if my work is appropriate. Because I've always been blind, description can be tricky, but since this book is told in first-person by a blind protagonist it's simply a matter of "thinking" myself into the scene. Before the coming of the Internet, research was a huge problem, at least for me, but here again the playing field has been leveled.

[DW] How do you go about writing your books, i.e., what is your process?

[PC] At first comes the idea. I play with that idea, moving scenes and characters around in my mind until I get the feel of the plot. Often I use music to help me in this preliminary phase. I like to plot the beginning, and the end I want to achieve. Then I go to the computer that has a synthetic voice reading the screen through my sound card, and begin to do the dreaded outline, filling in the middle. Of course by the time I reach the end the plot has changed, and may change several times before the book is actually finished. I like to put the second or third drafts of the work into Braille so that I can find errors, and what I call faulty rhythm of the writing. To say that this isn't a lot of work, and that it doesn't take longer than it does for a sighted author wouldn't be true. It is time and energy consuming, but for me it's worth it. I'm a firm believer in, and user of Braille, and although technology plays a big part in my working life, I can't stress the value of Braille too much.

[DW] When you create a blind character, such as Kate in “Who Will Hear Them Cry,” how do your own experiences inform her behavior and feelings?

[PC] I think if they're honest, all writers call on their own experiences in creating their characters. I've taught and counseled with blind adults as well as children, and this experience has been invaluable to me in writing this book. I've listened to parents' guilt and fear, I've listened to the adult's cry of, "If only, I'd acted differently, maybe this wouldn't have happened." I know the joy of accomplishment, and the despair of failure. The trick, of course, is giving these emotions to my characters in a believable way, a way that will make the reader say, "I can understand that!"

[DW] What are some of larger messages about being blind you would like to get out to the sighted world?

[PC] The most important message is to realize that this person is a person, who is blind. We have the same hopes, dreams, joys, sorrows, successes and failures as everybody else. Of course many of our challenges are of a different kind. Understand that we may have to approach a problem from a different angle. Don't hesitate to ask questions. Most of us welcome a chance to educate the public, especially someone who may be losing their sight or have a friend or relative who is facing the problem. This education process is one of the reasons I write using blind characters. As I said before, my characters are drawn from real life, and I feel are a fun introduction to the world of the four senses. I welcome questions, and like nothing better than to be able to say, "but of course you can still do that!" It is a long hard journey into that world for those who have just lost their sight, but trust me, it's worth it.

[DW] How have you found the process, technologically, publishing and distributing your digital writing?

[PC] I found the process easier than I thought. I did pay someone to do the book cover and the specialized formatting, and strongly advise any person using a screen reader to do the same. This is a small cost, and although my book has only been out around two weeks I've already made the amount I put out, and don't forget it's deductible as a business expense. It took me much longer to upload my title than it would a person with sight, because I had to listen carefully to my screen reader, but I had a tremendous feeling of satisfaction when I heard the words telling me that it had been done successfully. So far it has been a rewarding experience, and hats off to Smashwords for having such an accessible site!

[DW] Do you have any specific advice to would-be authors who have not yet given it a try?

[PC] To those who may be sitting there on the garden wall, I say jump, and this goes for all writers blind and sighted. If nothing else it's a heck of a lot of fun, and offers many rewards. Just remember to give your manuscript the best you can. Take digital publishing seriously, remembering that you are an ambassador in a way. If you have rushed through, thinking that standards are less than in the print market, think again, and start to re-write again, and again. People will judge not only you, but digital publishing by such things as the believability and accuracy of your plot, believable dialogue, and of course the technical things such as grammar.

[DW] What about future work – do you have another book under way at the present?

[PC] I want to turn Kate into a series character, and feel that with hard work, and loyal readers, she can perhaps find a place in the roster of women sleuths, giving the reader a new dimension as they enter her world.

[DW] Thank you, Phyllis!




Who Will Hear Them Cry is now available for purchase at The Diesel eBook Store and
Smashwords, and will soon be available via Smashwords at the Apple iBookstore, Kobo and Sony.

Wednesday, April 25, 2012

Can Ebook Data Reveal New Viral Catalysts to Spur Reader Word-of-Mouth?


In my new best practices ebook, The Secrets to Ebook Publishing Success, I explore at great length a concept I call Viral Catalysts.  Think of viral catalysts as the virtual knobs, dials and levers attached to an ebook that an author or publisher can tweak to increase reader word-of-mouth.  Viral catalysts make books more available, discoverable and enjoyable to readers.  See Secret #19 in the book for a full discussion of viral catalysts.

Earlier this month at the RT Booklovers convention in Chicago, I decided to approach the viral catalyst challenge from a completely new angle for a presentation they titled MONEY MONEY MONEY, with the subtitle, "How Data Driven Decisions *Might* Help Authors Reach More Readers." 

I analyzed a nine-month chunk of Smashwords sales data, aggregated across multiple Smashwords retailers, to determine if there were potential data-driven metrics that might reveal new viral catalysts that authors can put to work.  The data encompassed millions of dollars in book sales for a collection of slightly more than 50,000 books.  My study began with a series of questions that I thought could reveal potentially useful answers.

These questions included:
  • Do authors who change prices frequently sell more books?
  • If ebooks are immortal, how do sales develop over time?
  • How do individual titles develop at a retailer?
  • What's the ideal word count for ebooks?
  • What word count do romance readers prefer?
  • What word count do erotica readers prefer?
  • What impact does price have on unit sales?
  • How are Smashwords authors pricing their books?
  • What are the most common price points?
  • What price range earns the author the most money?
  • What does the indie ebook sales distribution curve look like?
  • What's the optimal price per word? 
To learn the answers to these questions, I presented Henry House on our technical team with a massive wishlist for data dumps, and then I crunched his numbers in a spreadsheet.  Some of the findings were eye-opening and useful, and others were simply fun. 

I uploaded a modified version of the presentation to Slideshare, embedded below. 




As I caution in the presentation, data-driven decision-making is no substitute for writing a super-fabulous book. Write the greatest masterpiece you can, and then review the data for ideas that at best might enable you to add incremental improvements to reader enjoyment, accessibility and word-of-mouth.  Viral catalysts are all about incremental improvement.

Much of this data has never been shared with authors before.  If you find the data useful, please consider sharing it with your friends. Facebook it, tweet it, Google+ it.   Embed the presentation in your blog (click here to access the presentation at Slideshare, then click the "< > Embed" link to obtain the code you'll cut and paste into your blog).  Talk about which aspects of the data have the most relevance to you and your publishing.  Does your experience differ from the average?  No problem, this is to be expected.  Every book is different.  Share your experiences.  When authors help authors advance best practices, all authors and readers benefit.  Enjoy!

Sunday, April 22, 2012

Author Bill Dicksion On Telling True Stories of the West

Bill Dicksion is 87-years-young, and the author of seven novels. He stands as an inspiration for anyone wanting to become an independent author. He's been with Smashwords for almost two years, and his sales have been growing each quarter as readers discover his books (when we see strong organic growth like this, we know we're looking at a future bestseller).  He and his wife, Millie, live in Hawaii, where he is hard at work on more books about the American West.

[David Weir] I want to get to your novels, but first, you've had such an interesting life, can you tell us about your childhood and where you grew up?

[William Dicksion] I was born in Wewoka, Oklahoma, on August 25th 1925, the fourth child in a family of ten children. I went on to obtain a degree in science and worked as an industrial chemist for two major manufacturing companies, assisted in doing pioneering work in purifying rare earth metals, and did post-graduate training in marketing. I obtained licenses to market real estate, stocks and bonds, and operated a successful landscape contracting company on the island of Maui, Hawaii.

I’ve held a commercial pilot’s license with a flight instructor’s rating, taught many people to fly, and then became an air traffic controller and worked at six different facilities. I helped train many air traffic controllers, some of whom are now ranking members of the Department of Transportation. I’ve traveled in almost every state, including the territory of Guam. I’ve traveled in Canada, Mexico, Europe, and Asia, and returned many times to Oklahoma, where I have two surviving brothers and numerous nieces and nephews. I have three children, six grandchildren, and six great-grandchildren. My wife and I now live in Honolulu.

I’ve published seven novels and a memoir, with a collection of poems, musings, and essays. Some of my stories have been included in anthologies published by the Honolulu Chapter of the National Writers Association. With the assistance of Smashwords, my books are being read throughout Polynesia and in locations in Asia and Europe. I remain interested in science, history, geography, and philosophy, and my writing expresses these interests.

I grew up in central, and western Oklahoma. My father was a farmer/rancher. Farmer/rancher more accurately describes what most people call ranching. Cows have to eat even when the grass is covered with snow, so somebody has to grow feed for both animals and people. I learned about farming and ranching by helping my father. I had lots of help because my father raised children as well as cattle. I had seven brothers, and two sisters. My father was a loving man, but he was a stern disciplinarian; when he gave us a job to do, we’d better do it right. Excuses were not accepted. If we didn’t know how to do a job, he’d say, “Don’t you think now would be a good time to learn?” If we said, “But I don’t have the tools,” he would say, “You have a hammer and an ax. Make your own tools.”

[DW] You mentioned that your father and grandfather were great storytellers; how did they influence you and your deep interest in the West?

[WD] Winter nights in Oklahoma are long and cold. We followed a tradition set down by our ancestors. Even primitive people sat around their campfires and told stories. We didn’t have TV or even radios, so we sat around our fire listening to stories told by our parents and grandparents. My grandparents were true frontiersmen, and the hardships they faced make the worst of mine seem mild in comparison. I grew up steeped in the lore of the West, and I try to share those stories because they are real, and they are history. When I tell stories, I don’t pull any punches. I tell it like it is. I don’t like innuendos, hints, and sly references-- if it’s worth telling, tell it as it is.

[DW] I know you fell in love with science when you were young. How did this help to shape your outlook, your career and your writing?

[WD] Science and scientists are, I believe, misunderstood words. You don’t have to wear a long white coat and work in a laboratory to be a scientist, although I have done both. Real science is done by people looking for answers. Growing up poor forced me to look for answers, and science showed me the way. I truly believe there are no unanswerable questions, and no unsolvable problems. Like most people, I encountered some real doozies, but like my father told me, “If you don’t now how to solve the problem, now is a good time to learn.” I carry that philosophy into my writing. I started writing professionally at age 77. I had written reports, and letters, of course, but nothing creative. I didn’t know an adverb from an aardvark, so I read everything I could find that would help me learn.

I think one of my best stories is, “A Button in the Fabric of Time,” about an American engineer being selected by an advanced civilization from a planet in another galaxy, to represent them in negotiating with Earthlings one thousand years into the future. The future is not glum, my friends, it is bright beyond compare.

[DW] I heard you had some exciting adventures moving west to make your way in the world?

[WD] Indeed I did. I hesitate to tell this story because it seems implausible today. I was 13 in the spring of 1938 when, due to droughts and dust storms, my father lost everything--the ranch, the animals, everything. There was no welfare in those days, and we were going hungry. I had to try to earn money to help. I was told that California was my best bet, so I hitchhiked west. I had six dollars in my wallet, the clothes on my back, and 1,500 miles to go. I slept on the prairie, ate whatever food I could find, and my ceiling was the sky. I was a child completely alone, but I wasn’t afraid. . . . I tell that story in my memoir, “A Brief Moment in Time.”


[DW] Did you try and enlist in World War II as a teen?

[WD] I worked in California all summer and sent money home, and then returned to western Oklahoma to finish high school. Western Oklahoma grows wheat and lots of it. I drove a combine to harvest the wheat, and then drove a truck to haul it to the railroad to be shipped overseas to feed American and British soldiers who were fighting Germans. It was World War II. I had dreamed of being a fighter pilot, but it wasn’t to be. The recruiting officer saw the scar tissue on my lung X-ray and turned me down flat. I had inhaled too much dust, and it left scar tissue on my lungs. That was the lowest moment in my life and probably the luckiest. Many men who enlisted as fighter pilots didn’t make it home. Since I couldn’t serve my country in the military, I went back to California, enrolled in college, and paid my way by working in defense plants. . . .I could write a novel on that experience. Hmm, maybe I will.

[DW] What about your other career as a pilot and air traffic controller?

[WD] I guess watching birds fly made me want to fly. In my spare time—which I had damn little of—I went to the local airport and washed airplanes, or did anything I could do, to get an hour of flying time. I finally got a license to fly, but I couldn’t afford to rent an airplane; so I got an instructor’s rating, taught students to fly, and got paid instead. I got my degree in science and wanted to use what I had learned, so I got a job as a chemist. Most young men and women were away somewhere fighting a war, so I advanced quickly to a supervisory position. One thing led to another, and I ended up doing research in rare earth metals. Most people didn’t even know what rare earth metals were. I wasn’t paid much, so I applied for and was accepted as an air traffic controller. I liked the work and did it well enough to train other air traffic controllers. I transferred to Hawaii, where I met my wife, who was a secretary to the facility chief. We married and transferred to the island of Guam, where I controlled the aircraft flying missions over Vietnam. Yep, I could tell a story about that, too.

[DW] So, on to your writing -- when did you start, and who were those who influenced you along the way?

[WD] I got into writing through the backdoor. Like the troubadours of old, I was always a storyteller, but I did it orally. I reiterated the stories I had been told, to my children, grandchildren, nieces and nephews. They sat spellbound as I opened doors long closed. My niece suggested I write the stories for others to read, but how could I, my penmanship is illegible, my spelling atrocious, my typing skills limited, and I had a business to run. But fate found a way. I suffered a heart attack and had bypass surgery. Recovery takes time, and I was bored. My wife and my children bought me a computer. Mystery of mysteries, how do I use the thing? As my father taught me, if you don’t know, now is a good time to learn. I had stories to tell, and the computer had spell-and-grammar check. The computer made it possible to write legibly. That computer released a monster.

[DW] Tell us why you write Westerns, and what the difference is between the inauthentic Westerns out there and a true Western?

[WD] I’m not a genre writer, but I grew up in the West, I love the West, and the true stories of the West are as interesting as any fiction ever told. That is why I am so disappointed by the stories being told about the West. When I write western, the history is right, the geography is right, and my stories are valid. The stories of Frank and Jessie James have been told so many different ways, that who knows what really happened? A few historians have recorded the true story, but it never saw the light of print, because publishers print what they believe will sell.

[DW] Did you publish through traditional publishers first or start with ebooks?

[WD] Did I publish through traditional publishers? No, emphatically No.
I am an unknown writer; therefore, I have no name recognition to draw readers. Publishing is a business, and publishers want to make money. They don’t give a damn about good writing, and for sure they don’t give a damn about writers. They butcher the writing, pay the writer a miniscule, and then throw them away. Nope, I don’t need traditional publishers; they need me, and if my guess is right, ebook distributors like Smashwords will show them that.

[DW] What do you like about independent ebook publishing?

[WD] When writers publish their writing, they own it, and no one has the right to alter it to suit their purpose. If it doesn’t sell, then the author can alter it until it does. People love to read good books, and the best and cheapest way is as ebooks. Ebooks save time, paper, storage, shipping and handling, so they cost less. I give some of my books away. It costs me almost nothing and for every book I give away, I sell a few.

The best thing that ever happened to me as a writer was meeting Mark Coker and his lovely wife Lesleyann. They are writers; they understand writers. They have opened the door, and now writers can be true to their art. I believe it will produce some good writing, and who better to distribute it than Smashwords.

[DW] I understand your wife, Millie, helps you in your work; can you tell us about that?

[WD] Millie sparkles like a jewel among the rocks. Praise embarrasses her, so I will limit mine by saying, “I couldn’t write without her help.”

[DW] How often do you write, how long per writing session, and do you generally know where you're going with a story before you write it?

[WD] That’s a three-phase question. I’ll try to answer them one at a time. I write something every day, and I spend about eight hours in front of my computer. I don’t time myself; I write until I’ve completed whatever I started. I have a thousand stories to tell, and each day more come to mind. I don’t plan a story. I don’t outline a story, I just write the story as I would if I told it orally. The advantage of writing is, if I need to verify, I can search for what is real. Being real is important to me. I never plan an ending. I just tell the story until it’s told, and I like happy endings. I don’t want my readers to walk away feeling glum; I want them to feel uplifted and wanting more.

[DW] What's your favorite part about writing these novels?

[WD] Finishing them and then reading them aloud. I improve my writing by reading it. When I read it aloud, the mistakes slam me in the ear. I have to be patient with myself – there’s always rewriting and rewriting. And if after finishing it, I can say, yeah! that’s what I was trying to say. And that makes me walk away feeling good.

[DW] Do you have advice for first-timers who may be trying to work up their courage and emulate what you've accomplished?

[WD] My vanity is enormous, but I don’t feel qualified to give advice to accomplished writers. I will, however, share some things I’ve learned. If you write journalistically, you must write with honesty, sincerity, and brevity. The same is true if your intent is to inform or educate, but if you write fiction, you are writing creatively, so create characters that never were, and put them in places that never will be, doing things no sane person would do, and make both so real that they seem more real than that which is real. Make those characters so real that when they cry, the reader cries with them. Robin Hood is a case in point. Everybody knows who Robin Hood was, yet in reality he never existed. I could cite more, but you get the point.

Don’t ever give up. Ask yourself, “Why do I write?” and there are probably as many answers as there are writers, but whatever your reason, continue writing, the world needs good writers, and with Smashwords, every writer can be published. Who knows, you might write something that will resonate throughout all time. And that’s your legacy.

[DW] Finally, do you have other books in the pipeline?

[WD] Only three. One will be published in a month or so. The other two are only half done. I have dozens more just waiting to be written.

[DW] Thanks!

[WD] Thank you, David, and to all who labored through this, Millie and I bid you a fond Aloha.


Interested to read Bill Dicksion?  Download Sagebrush for free at Smashwords or at any of the fine retailers below.

Smashwords Distributes Bill Dicksion to the following retailers:

Apple iBookstore
Barnes & Noble
Diesel eBook Store
Kobo
Smashwords
Sony

Wednesday, April 18, 2012

Sarah Burleton On Her National Best-Seller "Why Me?"

Sarah Burleton grew up in the Midwest, the daughter of an emotionally disturbed woman. Her book, "Why Me" chronicles the abuse she experienced at the hands of her mother. It has proven to be a remarkable success and has been on The New York Times bestseller list for an extended time now. She has made it her life's goal to get her story out to the world and to become an ambassador to children who are experiencing similarly frightening childhoods today.

[David Weir] When and why did you decide to write "Why Me?"

[Sarah Burleton] “Why Me?”, basically the accounting of my abusive childhood, seems like it took my entire life to write. I tried many times over the years to write down my story but didn’t know how to start. I also didn’t know how anyone who read my story would react. Would they laugh and say that I really wasn’t abused and that I deserved what I got? Or would I be criticized for putting my “dirty laundry” out for the world to see? It was a very scary thought–the idea that I would be “abused” again by people I didn’t even know. But, at the urging of my husband—who believed that getting my story out onto paper could help me heal—I decided to write it without even thinking about publishing it. So I wrote.

[DW] What made you to decide to publish it?

[SB] As I was writing my book, each word, sentence, paragraph, and chapter I completed made me finally realize that I had been feeling guilty my entire life for no reason at all. I had been carrying around a weight on my shoulders and a shame for being abused when nothing I had done had ever justified the abuse I endured. When I felt the weight lift off of my shoulders after completing my story, I felt compelled to put my story out there for anyone who was like me in the hope that they would read it and realize that they too, were victims of their loved ones. I wanted to help one or two people if I could – never expecting that I would be helping thousands.

[DW] When did the book first start attracting reactions from people and how did that affect you?

[SB] I first started looking at getting my book traditionally published and was immediately discouraged by the long query process and the hoops one had to jump through to even get an associate editor to view a transcript. So during an online Google search one day I stumbled upon the Amazon KDP program and uploaded my book in September 2010. I had a trickle of sales for the first couple of months and then at the end of December 2010, sales of my book took off and reviews started coming in on my Amazon page. I was so honored that people were taking the time to read my story and even more honored that these same people were taking the time to leave such kind and inspiring reviews on my book. I remember sitting with my husband at night and wondering out loud who was reading my book at that moment and what they were thinking of it – it was all a very overwhelming experience.

[DW] Other than distributing your book to the major retailers, did you do anything to market the book?

[SB] I have done no outside marketing of my book; it felt very odd to me to ask people to read a story about my childhood abuse. I felt that it was a story that certain people would need to read and would find on their own – they would have to be looking for it for their own personal reasons. I did utilize the tools provided by Amazon and Barnes and Noble (the Author Central page, author description and the “From the Author” sections). I “talk” to the readers in these sections of my page – I want them to know me a bit even before they read the first paragraph of my story.

[DW] When did you realize your book was on the New York Times best-seller list?

[SB] Soon after I made the top 100 at Barnes and Noble, I did a Google search on my name and my book and saw that one of the links that popped up was to the NY Times and I was listed on there at #23. I’ll never forget seeing my little book and my name listed among the giants in the publishing industry and I am continuously amazed to see my name on there week after week.

[DW] Can you tell us about the offers you've gotten since from traditional publishers and other types of media companies?

[SB] In March 2011, I was listed on Good Morning Americas “Top 10 Self Help Books” for the Amazon Kindle. Soon after, I was contacted by Raw Television Productions and was asked to be part of a series they were developing about women who had overcome adversity that was going to be pitched to the OWN Network. Unfortunately, the OWN Network didn’t think that the series was right for them at that time, but we are revisiting sometime in the future. I also was approached by 3 major publishers who were interested in obtaining my print and e-book rights, but in the end, I decided to remain indie and turned down each of those offers. The only rights I have signed away are my audio rights to Brilliance Audio and my audio book will be released on May 1st of this year!

[DW] What do you now see as the advantages of remaining independent rather than signing on with a traditional publisher?

[SB] I am a control freak, so the thought of not being able to log on and see what my sales were doing during any point of the day really bothered me. I also, probably like many authors, hold my little story near and dear to my heart. I was extremely concerned that my message of strength over adversity would be lost in flowery language and edits once a publisher got their hands on it. I didn’t want my message to be lost and my story to be put on a backlist for a year. I love that I have all of the say on the editing, distribution, and pricing of my book and it would be very difficult for me to give up all of that freedom I enjoy as an indie.

[DW] What's your opinion of exclusivity options like KDP Select?

[SB] I am not a fan of going exclusive with anyone - I don’t see the value of putting all of your eggs in one basket and hoping for the best. I would imagine that for an author, exposure is everything, so why cut out so many readers by only publishing on one site or device? It seems very counterproductive in my opinion.

[DW] Yours is a deeply personal story, of having been abused by an emotionally disturbed mother. How difficult was it for you to tell this story?

[SB] It was extremely difficult for me to tell this story. I only wrote about what I could clearly remember; the incidents in my life where I could still see the scar Mom left on me or remember the way Mom’s breath smelled in my face. I had many more things I could have written about, but I couldn’t remember what house I lived in at times or what exactly happened on a particular day that set Mom off on one of her tirades. I didn’t want to make anything up or fill in “holes” so I only relived what was still giving me nightmares and what was still making me sad in my adult life. Reliving these experiences word for word was extremely difficult and there were times I would write a chapter and weep for hours afterward. I went through every emotion possible while writing my little story – and I believe that emotion is what made my book so powerful.

[DW] How long did it take to write it?

[SB] Once I sat down and actually wrote it – it took me about a month and a half to complete it. I gave it to a former professor I had in college to edit it for spelling and grammar with the specific instructions that I did not want the tone of my story changed. Looking back – I should have probably asked for more advice on adding meat to my story or making the tone of certain parts sound more “adult,” but at the time – I was not thinking of any of those things.

[DW] Were there people who encouraged or helped you along the way?

[SB] The only person who knew I was writing the story at the time was my husband; he was the one who encouraged me to write down my nightmares just for my own piece of mind. He was absolutely wonderful throughout the entire process and I couldn’t be more grateful to have someone like him in my life.

[DW] How did you feel when you were done writing it?

[SB] I felt this enormous sense of guilt lift off of my shoulders and a wave of relief wash over me. I never realized how much I punished myself for the acts of my mother over the years – I always assumed that I had done something wrong or terrible for her to act the way she acted towards me. It is hard for many people to understand how a mother can hate her child – it’s even harder to understand it when you are the child and it’s your mother who hates you. By the end of the book, I realized that I really had no answers to the behavior exhibited by my mother – but what I knew was that I was not going to let my past dictate my future anymore. I had finally made a huge step in overcoming my childhood.

[DW] Since you've heard from others who suffered abuse as children, how has your story affected them?

[SB] Some of the emails I get from readers bring me to tears – there are so many of “us” out there; those of us who have suffered abuse at the hands of a loved one. The overwhelming theme I hear from my readers is that they realize that they too cannot let the past dictate their future. They realize that they cannot change who their parents are but they can change the way that they themselves react to situations in their lives. I have received emails from teenagers who tell me that they appreciate their mothers more; emails from mothers who want to reach out and offer me a motherly hand of love; and emails from people who were abused or are still being abused – using me as a venting board to tell their story. It is quite an honor to be trusted with such personal information and I pray nightly for those readers still suffering.

[DW] Usually success attracts critics also. Have you faced much criticism and if so, has that been like to deal with that?

[SB] My book has been called, “Boring, Poorly Written, Unbelievable, Fiction” and many more choice adjectives on numerous reviews and chat boards. At first, I was extremely insulted by these opinions, but then put myself into check and remembered that they were just opinions – nothing else. I know the truth, my family knows the truth and that is all that matters. If someone wants to knock me down for the way that my book is written or because they just don’t believe someone could be abused like that – then they are entitled to express that. It’s OK – I don’t let it bother me anymore and I make it a rule to never respond to a negative comment or review.

[DW] Are you working on another book, and if so, can you tell us what about?

[SB] I am working on a bullying book specifically for the Young Adult readers. I was bullied in school and can relate so much to what kids feel and what it is like to feel like there is no one in the world out there supporting you or understanding you. I hope to have it published onto all venues by Christmas – right now I am 6 ½ months pregnant so that has been slowing me down a bit!

[DW] Congratulations!

[DW] Do you have advice for others who may wish to write non-fiction, but haven't worked up the courage to do so yet?

[SB] I would suggest writing the book without the intent to publish – but for your own personal reasons. If I knew I was going to publish my book onto global platforms like Amazon, B&N, and Smashwords, I may have written it differently or let the fear of customer reviews and critics cloud my judgment when writing it. Write what you feel, write what you know and remember, and once it is all done, then think about publishing it. If you have an abuse story like mine and you want to write about it – then do it! Even if you don’t publish it, seeing your story on paper makes you realize things about yourself that you never knew before and you will realize what a strong individual you really are.

[DW] Thanks Sarah!


Smashwords distributes Sarah Burleton to the following retailers:

Apple iBookStore
Diesel eBook Store
Sony
Smashwords

Tuesday, April 3, 2012

Author Nicky Charles on Why All Her Books Are Free

Nicky Charles is one of the most popular authors at Smashwords and at our retailers, yet she won't show up on any bestseller lists. At the Apple iBookstore, her four books have earned nearly 25,000 ratings, all averaging over four stars. Her highly-rated paranormal romance books, each over 100,000 words, are free to download and read. Her pure love of writing is inspiring. She suggests those who want to financially support her writing contribute to charity instead.

[David Weir] Why don't you charge for your books?

[Nicky Charles] That’s probably one of the questions I get asked the most by readers and there are several ‘layers,’ if you will, to the answer.

First of all, it’s important to point out that I’m very fortunate. Unlike some, I already have a good job and don’t have to use writing to supplement my income. While I’m not rich, I have sufficient [income] to live on and don’t need the money. (The bills are paid, I have a roof over my head, food on the table etc..) Many authors aren’t that lucky. They have to sell their stories to try and make ends meet. I’d rather let readers pay those who actually need the funds than give the money to me.

Second, writing is my hobby and I don’t want to turn it into a job. If I charge for my books it will start to involve foreign income tax and paper work and hiring an accountant to sort it all out. (Finances give me a headache!) At this point in my life I’d rather not deal with all of that.

Some people seem to think that offering my books for free is part of a gimmick or a convoluted sales ploy, but it’s not. Quite simply, I love to write. I love to paint pictures with my words and to make people feel emotions. I love building a new ‘universe’ and filling it with details to the point that readers actually start to believe that such a world exits. I love sharing my stories with others and hearing from fans and ‘meeting’ people from all around the world. That’s my payback.

When people insist that I deserve to be making money off my books, I try to direct them to donate the value of the book to an animal shelter or food bank. (If I was paid for the books, I’d likely be donating most of the proceeds there anyway.) I suppose I have a ‘pay it forward’ type of philosophy. I enjoy writing and getting feedback, people enjoy reading my books, they can pass that joy forward by helping out a charity... Everyone wins this way.


[DW] Did you set out specifically to be an independent author or did you fall into this?

[NC] I never planned on being an author at all! And I still don’t ‘feel’ like an author and have trouble believing that my books have reached this level of popularity. If you want the long version of how I fell into this, here it is:

It all started when I broke down and upgraded to high-speed Internet. I was exploring the wonders of YouTube and discovered some clips from an old TV series called Scarecrow and Mrs. King. The show wasn’t out on DVD at the time, so I began scouring the web for episodes and during that search stumbled upon the world of fanfiction. I never realized people wrote fanfiction and started to delve into that genre.

I still recall with stark clarity the day I wrote my first story for that show. I was in the basement doing laundry when I suddenly thought, ‘Hey, no one’s ever written Lee (an SMK character) as going undercover as a biker.’ I quickly jotted the story down and posted it on a whim that very night. Surprisingly, it was well received so I wrote another and another and another... I hadn’t realized how much fun it was to write. Thoroughly hooked, I even joined a fan group for Bruce Boxleitner (the star of the show) so I could share my stories with like-minded individuals.

About the time I posted my fourth story one of the group moderators, Jan Gordon, sent me a private message and pointed out that while my stories were good, I was making several mistakes with regards to switching point of view and dialogue tags and, heaven forbid, I was using Canadian spelling and no one did that! (I haven’t bent on the spelling point, lol!)

Dialogue tags? Point of view? Whatever was she talking about? I had absolutely no training in writing beyond the basics we all learn in school, and those topics hadn’t been covered to the best of my recollection. I questioned her extensively, did some research and began to try to hone my skills with the sole intention of becoming a good fanfiction writer. After all, what else was there? I never considered the possibility of writing original stories. That was for authors who worked for big publishing houses.

Unbeknowst to me, however, Jan was about to unwittingly catapult me into the position I now find myself in. She’d been working on an original story – "Black Silk" – and began posting it on the group we both belonged to. One day, as we were discussing her story, an idle comment stirred my muse and I thought, ‘if Jan can write an original story, maybe I can do the same.’

In my mind, I was going to write just that one story and then return to my beloved fanfiction. However, once I started I found I enjoyed original stories as they allowed for greater freedom and creativity. One story led to two and, well, here I am!


[DW] How did you discover ebooks and indie publishing?

[NC] Again, I have to tip my hat to Jan Gordon. I was very naive about ebooks and indie publishing. Quite honestly, I’d never even heard of such a thing! When Jan said she was publishing "Black Silk," I was sure she must have been referring to a traditional publishing house and had submitted her manuscript to one of them. It was quite surprising to learn that she had actually self-published her book. And even more surprising was that this wasn’t a novelty. A number of people were accessing self published books and reading them, not only on their computers but on ereaders, a device I was unfamiliar with at the time.

I couldn’t believe that an ordinary person now had the ‘power’ to create a book and distribute it all on their own!


[DW] Tell us about your first book, how long did it take to write?


[NC] Amazingly enough, my first book was written in only about two months! I’m a fast writer and at that time, I was simply interested in getting the story down on paper (or hard drive, if you want to be exact) and I didn’t really focus or even understand some of the finer points of writing. My mind set was write, publish, done.

Now I spend much longer working on my books. My stories are more complex, the characters have greater depth and, since each "Lycan" story builds on the others, I have to cross reference my earlier works to ensure my ‘universe’ stays consistent.

The editing process has also become more rigorous. I’ve been perusing writing websites and picking up tips on what qualifies as ‘good’ writing. Jan Gordon—who now functions as my editor—reads over my work numerous times and we have lengthy discussions about punctuation, spelling and grammar. Neither of us are professionals but with each book, we’ve tried to improve our skills and keep raising the bar. "Bonded" took ten months to write and publish!


[DW] Do you remember your first readers/fans and their reactions, and if so, what effect did they have on you?

[NC] The first time I received a review, I was so excited. To think that someone had read my story and taken the time to leave a comment! It was a heady experience. I remember reading the message over and over, not quite believing what I was seeing.

Then, when fan emails began to trickle in, I was even more amazed and the volume of mail has just continued to grow! "Bonded" was published near the beginning of January and I’ve been averaging about 100 fan emails a week for the past three months not to mention the posts on my Facebook site (I have almost 3000 ‘likes’) and the messages left as parts of reviews. For a while I was almost in tears, it was so overwhelming. I try to answer all messages and there just isn’t enough time. Poor Jan, I was crying on her shoulder several times claiming we’d created a monster and I couldn’t handle being “Nicky Charles, the author.” Thank heaven, she’s good at pep talks!

Now, don’t get me wrong, I love hearing from my readers even if the number of messages is staggering. Some simply express how much they enjoy the books and ask to join my mailing list. (I currently have over 2600 people on a mailing list for a newsletter that I send out when a new book is published.) Others share personal stories with me, saying that reading my books provides them with a temporary escape from a busy life or difficult situation. I’ve had soldiers in Iraq tell me they read my books between missions, busy moms with triplets claim the stories provide a much needed respite, people who have survived bad relationships say the books give them hope...

I recall one person who said she was so grateful she had my books to read while waiting at the hospital for her daughter’s transplant. It helped take her mind off how worried she was. Wow. The fact that she took the time to write and tell me that was so moving.

Some emails make me chuckle. Readers have stated that the books have helped spice up their marriages, or made them see their husbands in a whole a new light. Some have even claimed their spouse is thanking me for inspiring ‘frisky’ behaviour, lol! I have people in their twenties writing to me, grandmothers in their seventies (and even a great-grandfather just last week!)

I’ve made so many new friends through writing these, too. There’s a group of ladies on Facebook who I’ve become close to, a photographer in England who corresponds with me occasionally, several readers who’ve asked for advice on establishing their own writing career, one lady drops me a line now and then to keep me updated on her schooling—she’s going to be a vet technician.

People have contacted me from all over Canada and the USA as well as Spain, England, Australia, Germany, France, Mexico, Ireland, Brazil, Japan, India, South Africa...more places than I can recall. It is truly astonishing that I can sit in my little corner of Canada and touch the lives of people all over the world through my words. And the fact that in some small way I’ve helped people truly warms my heart.


[DW] You've described your books as "steamy werewolf novels." Why this particular genre?

[NC]
Basically, I write what I’d want to read. Real life can be hard. The news is full of tragedy: hunger, war, natural disasters, intolerance... When I manage to find a few spare minutes to sit down and relax, I don’t want to revisit those themes in a book. I want a story that ends HEA—happily ever after. And if the story has a few scenes that make you curl your toes and a bit of a mystery or some suspense, all the better.

As to the werewolf part... Well, I’ve always been fascinated by the paranormal. The concept of extrasensory perception intrigues me. I like to think that there is life beyond our planet (I grew up on Star Trek reruns.) When I was younger I had a vivid imagination and thought that witches and genies were real...

However, I never considered writing about werewolves until after I posted my first original story on a site called Fictionpress and only a few people read it. I was a bit disheartened and wondered why some stories on the site were getting so many reviews when mine wasn’t.

I began to look for themes, to see what was popular, and discovered that vampire stories were all the rage. (I’d never heard of Twilight back then – I truly am ‘out of the loop’ when it comes to pop culture – and still haven’t had time to read that series or see the movies.) Not being too keen on the ‘undead’, I tried to decide what else I could write about that might appeal to readers. For some reason, possibly because Jan had written about were panthers, the idea of werewolves popped into my head.

I wrote the first chapter of "The Mating" and posted it as a short story to see if anyone would read it or not. Well, the response was overwhelming. Readers on that site loved it and wanted more so I decided to continue the story.

Near the end of the book, a supporting character named Ryne made an appearance and captured my imagination. While I’d really only planned on writing one werewolf novel, my muse had other ideas. I wrote Ryne’s story in "The Keeping" and then, near the end of that book, a character named Cassie appeared, so of course I had to deal with her and thus "The Finding" came to life. Before I knew it, a series had been born!


[DW] As you start a new book, do you have a pretty good idea how the plot will go, or does it emerge as you write?

[NC] I generally have an idea of how it will start and end but the middle of the book is often quite vague and poorly formed. Certain scenes might be floating around in my head and I’ll try to jot the plot down in point form. However, the finished product is often very different from the original plan. Things I thought would work, don’t fit, or a new scenario pops up. In a way, writing a story is almost like reading a book—you never know what might happen next.


[DW] How do you create the characters in your stories; are they fairly pre-formed, or do they take surprising turns during the writing process?

[NC]
When I create my main characters, it’s often a certain personality type that catches my attention; maybe someone young and naive, or an impulsive person or perhaps a strong individual with an inner sorrow. I want to explore how they’d react to certain scenarios.

As I begin to write, I have a general idea of what the character will be like with regards to major personality traits, job, where they live etc. Sometimes I’ll scour the Internet looking for a picture of someone who matches my mental image, so I have an ‘anchor’ to refer to when writing about their appearance. Then, as the story progresses, the character’s background emerges and it can form the person in unexpected ways. And, of course, some characters can become quite demanding in what they want!

For example, "Bonded" was supposed to be a novella that provided a back story for Damien (a character introduced near the end of "The Finding.") Reno was supposed to be a minor character but whenever I tried to write a scene, he wouldn’t stay on the sidelines and kept becoming the main focus. After several attempts to force the story to go the way I’d planned, I threw up my hands in despair and concentrated on Reno.

It turned out he wasn’t just the tough guy he appeared to be on the outside. The more I wrote, the more I realized he had inner scars that shaped him and affected the choices he made throughout the story. By the time I was done with the book, he’d moved from a one dimensional, secondary character to one who was quite complex.

I can honestly say that I love all my characters. When I’m writing their parts, I become them, thinking as they do, feeling their hurts, their anger, their excitement. Sometimes I catch myself as I’m typing away and realize my face is contorted or tears are spilling from my eyes because that’s what the character is doing in the story in that particular scene. It can be quite emotionally exhausting. By the time a book is completed I know them so well they are like close friends or family. I think that’s one reason why I have characters from earlier books make cameo appearances in newer stories. I don’t want to let them go!


[DW] How has your personal writing process changed as you've gained experience?

[NC]
I can’t believe how much I’ve learned over the past few years. As I said previously, I’ve had no ‘training’ in writing per se. But I take what reviewers say to heart, not just the good but the bad as well and try to grow with each book. If someone doesn’t like my book then obviously something isn’t working. At times it’s just because my style doesn’t fit theirs, but other times it can actually be a problem area I wasn’t aware of. I like to think I’m a reflective writer who is always trying to improve.

In the beginning, my writing was all about plot. I didn’t really care that much about the proper use of commas or how many times a character explained their thinking. Now I’m watching for ‘thought-a-logues’ and ‘showing not telling’ and trying to write more realistic dialogue. I never realized there were so many ‘rules’ with regards to writing fiction. My manuscripts are read over and over and I’m constantly tweaking here and there, bumping up the description—I love description!

On the other end of the scale, I hate editing with regards to grammar, spelling and punctuation. Commas are evil and their proper use drives me crazy! And spelling—oh my! I want to use Canadian spelling because I’m proud of my country and want to promote that fact. However, Canadian spelling is a strange mix of British and American and with the US being right next door, a lot of Americanisms have filtered across the border and into my daily repertoire. Jan and I have spent countless hours researching certain words trying to determine which spelling is the ‘most’ correct.

(A few readers, especially those from the US, find the Canadian spelling strange, but those abroad such as the Irish or Australians have written to say they find it refreshing.)

Working with graphics is a skill I’ve also developed through all of this. For "The Mating" I simply used a textured background but now I’ve become much more experienced. Since this is a hobby I try to keep expenses to a minimum and search for public domain, royalty free images rather than buying cover art. I then alter the pictures using my favourite programs Corel Draw and Corel Paint and have become quite adept at layering images, adding transparencies, altering the colour balance, applying hues, cropping etc.. It’s actually quite fun to see what you can do and to try and get the perfect look. I believe that for "Bonded," I had over thirty mock ups before I got it right!

There is one area of ‘learning’ I’ve experienced that I wish I hadn’t and that is copyright law. While it’s a good thing to know, the reason I had to expand my knowledge base wasn’t. Since writing "The Mating" it has been plagiarized over ten times on various writing websites. The plagiarists, I believe, are usually teens—it’s sometimes hard to tell from their profiles—who want the attention of having people think they are authors. Some change the name of the characters while others just copy the text word for word. I even had one enterprising individual photoshop the cover of The Keeping and insert her own name to use as her profile picture!

These are more annoyances than real problems and I regularly do a Google search for my books and send out DMCA takedown notices when needed. I think because my books are free some people believe I don’t care what happens to them, but I do. They are my books and while I might give them away, I’d at least like to be acknowledged as the author!

However, recently a bigger problem has come to my attention and that is ebook piracy. Three times in the past few months I’ve found copies of my free books being sold by someone pretending to be me. I’ve never received a penny from these sales and feel badly that my readers have been tricked into purchasing something they could have received gratis elsewhere. I’m currently in dialogue with the site’s representatives trying to ensure that my readers have received refunds and that steps are being put in place to prevent a recurrence of this situation.

Ebook piracy is a growing problem not just for me but for all authors. Smashwords author, Ruth Ann Nordin, even wrote a book about the subject (They Stole My Book) which is a free download on the site.

All authors need to be vigilant and regularly search the Internet for illegal copies. They should also become familiar with the Digital Millenium Copyright Act and know their rights with regards to their intellectual property.


[DW] In the future, will you start charging for any of your books?

[NC]
Not for the foreseeable future, however I’ll never say never. Perhaps when I retire it could be used to supplement my income. Or if I lost my job or had some other form of economic reversal, I’d use my writing to help pay the bills. At times I think I could use the money to help my community build a new animal shelter—they’re in desperate need of one—so it’s a thought in the back of my head, but right now I don’t see myself acting on it for the next few books.

Several people have asked for print copies of my stories and I’m starting to explore POD publishing. If I ever go that route, then of course, I’d have to charge to cover the expenses.


[DW] Do you expect to continue writing in the same genre in the future, or explore others?

[NC]
I think I’ll always be writing some form a romance—I’m not into horror or crime or historicals. However, I won’t necessarily stick to werewolves or even paranormal. It all depends on what strikes the fancy of my muse. I’m very visual and when I see a picture or scenery or ‘people watch’ it often sparks an idea and then I’m off jotting down notes for a possible plot. They don’t always involve shifters.


[DW] Any advice for others who would like to try writing and publishing indie books?

[NC]
I get lots of emails asking this very question and I always tell them that if they have the desire to write and share their work, then go for it. Having others read your work is incredibly rewarding and indie publishing is actually quite easy.

Sure, you can try to get accepted by a big publishing house but the statistics aren’t encouraging. Many don’t accept unsolicited manuscripts. I read somewhere that less than one percent of submitted manuscripts are ever read and only about one percent of those are ever published. If you are one of the lucky ones, you have to work within the publishing house’s guidelines for the number of words, what content they want you to add or delete, meeting preset deadlines etc.. And when your book is finally ‘out there’ you earn less than ten percent royalties and could very well lose the rights to the characters.

As an indie publisher however, you are the boss. You decide the book length, the content, the cover image, when you publish, what price you’ll charge, where you’ll distribute. Every step of the process is under your control.

Of course, before you consider publishing, make sure you have a good product. I encourage aspiring authors to try and find someone who will give honest feedback. I was fortunate in that Jan found me and pointed out my short comings as well as my strengths. Too often friends and family try to be kind (or don’t know what to look for) and simply say, ‘hey, this is good’ when in reality the story needs a lot of work. Join one of the many online writing sites and find a good, knowledgeable person to critique your work.

Then, be prepared to write and rewrite and rewrite again so that you are publishing the very best book you are capable of. Do some research on writing forums so that you avoid common pitfalls like “telling rather than showing”, or mixing up points of view. Watch out for punctuation and grammar and don’t just rely on spell checkers.

Once your work is ready, download Mark’s Style Guide. If you’re not familiar with all the features of word processors, it might seem daunting at first but the book is actually an easy read and outlines step by step how to format your book for publishing. Also be prepared to promote your book through social media such as Facebook or book blogs. Smashwords has a marketing guide as well.

Be careful. There are a lot of self-publishing websites out there that just want your money and some will charge you for services that should be free. Smashwords is an excellent company to go with. It’s reputable and really cares about the authors that publish through them. They also have an excellent distribution network and I know one of the main reasons my books have gained so much popularity has to do with the fact that they are available through popular sites like B&N and the Apple iBookstore.

Once your book is published, sit back and enjoy the experience. When the first review or fan mail arrives, it is one of the best feelings in the world!

[DW] Thanks, Nicky!


Smashwords distributes Nicky Charles to the following ebook retailers:


David Weir is a veteran journalist who has published three books and hundreds of articles in various publications, including The Economist, Rolling Stone, and The New York Times. He currently covers technology for 7x7.com.

Coming up: Interview with an up-and-coming writer of authentic westerns, and an interview with a New York Times bestseller!