All self-published writers know that the hardest part of the whole process is not the writing, which is creative and challenging and satisfying. The bit we struggle with is getting our books into the hands of readers, and having those readers pay a price commensurate with the effort and energy that’s gone in to the book.
Obviously, much will depend on the mode of publication you choose. With an ebook there’s no physical product, but readers still have to know where to find your book, and choose it over the masses of others that are available, especially in the crowded market of genre-fiction. Some ebook authors use price as the come-on, but that quickly turns into a race to the bottom and the pressure to charge a derisory amount or nothing at all.
If you choose, as I did, to create a physical book as well as an ebook, there are more routes to sales, but most of them still fundamentally depend on ‘visibility’. I advertise my books on my website and on all the flyers and bookmarks I have printed. I also get orders through Amazon, and through the major book distributors such as Gardners Books in Eastbourne. In Cumbria, where I live and the books are set, distribution is handled by Hills Books of Workington, which supplies almost all Cumbrian bookshops and other outlets, but beyond this region getting my books onto bookshop shelves is almost impossible. Readers can order them of course, and do so, but the supply chain is long with discounts at every stage.
The bookshop contacts their wholesaler, who contacts me, who posts off the requested amount, which then goes back to the wholesaler, then to the bookshop, and finally into the hands of the reader. With postal charges rising all the time, any supply chain that relies on the self-published author fulfilling such orders by post means precious little profit.
An efficient and profitable selling route for me is via my website direct to the reader, using Paypal for payment. I could invest in a card reader, but that in turn relies on a good mobile signal which can never be assumed either in my home or when I’m out on the road meeting potential readers. Maybe it’s something I need to investigate again.
The main problem is the very slow traffic to my website and how to increase the website’s ‘attractiveness’, a task so far from my original passion for writing that I constantly put it off. Everything I know about the internet and how to use it I’ve had to learn in the last twenty years, and much of it still frustrates me. I have a Twitter account with over a thousand followers, but won’t play some of the games that seem to required to grow that number. I use FB too, but am wary of it and share only with a limited number of people already known to me. The key issue may be that the generation that reads and loves my books is, like me, a pre-internet generation. Why else would people sometimes tell me that my books are ‘hard to find’ when a ten second online search using just my name would give them all the information they need?
Why do they go to a bookshop and order, when they could go straight to my website and its online ‘bookshop’ in half the time? Of course I’m keen to preserve local bookshops, but I wish more of them would stock good self-published books like mine.
Fortunately, I really enjoy doing presentations about my books to groups large and small, meeting readers and potential readers. Almost all of these are in Cumbria, but that’s where my books are already known. Without a publisher or an agent, it’s well-nigh unheard-of to be asked to present self-published work at any of the major events and book festivals, unless you’re very well-connected, which I am not. For me, an added frustration is that after thirty years as a professional presenter I know I could do as good a job as most of the authors I hear talking about their work, and better than some. Even with a restricted field for selling, however, direct sales account for a major part of my sales every year, and the most profitable.
Of course I’m contacted regularly by people offering to improve my website’s effectiveness, at a price. Is it worth it, in terms of time as well as cost? Life’s too short to spend too much time on things I really don’t enjoy. My problem is patience: I couldn’t be bothered trying to find an agent after the first few generic rejections. Nor, I fear, can I be bothered to spend precious hours growing my website traffic when I could be crafting another story. So, I’m a bit stuck. My books sell, but not as well as they should!
With the ms of the new book with the copy editor, I’m thinking ahead to the upcoming stages of the book’s production. I’ll be using the same cover designer as on the previous five novels, and have a brilliant photo image already bought and paid for: now I’m wondering about the ‘back cover blurb’ so that the designer can get started.
All of which brings me to the business of finding a ‘quote’ ie. a brief endorsement of either the book, or me as the author, taken directly from a credible source who is willing and able to provide a phrase or two and put their name to them. Amazon readers’ reviews don’t cut it, I’m sorry to say. I’ve used ‘quotes’ on only two of my previous books: the first, on the reprint of ‘A Good Liar’, was hardly effusive, but its source was impeccable in Margaret Forster, an icon of the literary world and a famous Cumbrian. She told me when we started to correspond that she didn’t normally do any kind of endorsements, and I was both surprised and delighted when she agreed to this…..
‘Historical background is convincing, and an excellent ending’
‘A thrilling tale of corruption and exploitation’
The second was from William Ryan, a very successful historical fiction writer, for my first crime novel ‘Cruel Tide’. I’d met him on a course and appealed to him directly, not through his editor or agent, and again was very pleased when he agreed. I’ve not managed – until now – to get a ‘quote’ on any of my other books, but that’s not through lack of effort.
There appears to be some unwritten protocols and other barriers that stand in the way. First, it’s very hard to find a way of approaching an author to ask if they would be willing. I’ve recently been reprimanded because the approach wasn’t made indirectly by my editor. If I had an agent, the approach could presumably have been made that way. Authors don’t widely share their email addresses, understandably, and it is not in the interests of an editor, agent or publisher to have their precious ‘client/commodity’ distracted by a gesture of support to another author, especially – horror! – a self-published one.
Secondly, authors who are successful enough that their name counts for something are obviously going to be very busy people. A recent approach to one was rebuffed by a litany of the pressures that the person was currently having to deal with, which meant that there couldn’t possibly be time to glance through a proffered manuscript and offer a few words. I had used the phrase ‘a quick read’, which was been batted back to me as if it denoted a lack of respect.
The third possible reason for my relative lack of success in my efforts has been the suspicion that authors are asked (or expected?) by their agents and/or publishers to offer quotes only to writers from the same ‘stable’ as themselves. Heaps of ‘quotes’ appear routinely in newly published books, inside as well as on covers: presumably the people who provide them have been able to find the time for the ‘quick read’ or whatever it takes to enable a few phrases to be offered for this purpose. There are ‘insiders’ who scratch each others’ backs in this aspect of publishing, and there are ‘outsiders’ like me, and possibly some of you. As a self-publishing author of what is still known as ‘genre fiction’, I’m accustomed to being treated as some kind of low life, but it still rankles occasionally.
In my darker moments I wonder if this reciprocal endorsement accounts for the stellar ‘quotes’ that sometimes appear on the covers of books that are really not that good, or not up to the usual standards of the author. In my even darker moments I wonder how some of the books on the shelves ever got published at all without apparently being subject to a properly critical edit. Could it be that once your name is known and will sell a book on its own, you can get away with mediocrity?
On a more positive note, my latest book will have a quote on the cover from a well-respected writer in the crime fiction business. It will be what’s known as a ‘generic’ quote, speaking to my books as a whole rather than the new one in particular, and the person providing it – for which I’m very grateful – is someone I happen to know a little from sharing a book festival panel. We’d met and talked, and I could approach him directly without offence. I did, asked politely, and he agreed. Hurray.
Arriving on a Caribbean island is an object lesson in slowing down. It didn’t help that four planes arrived at once, but the line for passport and customs checks took nearly two hours. Friday night traffic jammed the road from the airport, and by the time we had walked to a local restaurant, the meal on the plane – surprisingly good – was a distant memory.
We were a large party and the young man serving us struggled to keep track of orders. He came back twice to check drinks, and three times to check the food order before anything arrived. You could feel people getting more fretful as the time ticked by. When it finally came, the food disappeared fast, but dessert was abandoned as we trudged towards our beds, four hours on from local time and more interested in sheets than sweets.
Today while the rest of the group went sight-seeing I stayed behind to rest my injured leg, and practiced doing everything more slowly. I swam in the pool slowly, did some slow washing, lay languidly on a lounger and drank a bottle of beer one small sip at a time. Delicious. And I also did something I haven’t done for too long – read my copy of ‘The Author’ (quarterly magazine of the Society of Authors) from cover to cover. Normally I skim the headlines and read whatever looks most interesting, but in the spirit of a slow day I started at the beginning and read on to the end. All sorts of unexpectedly good things revealed themselves, most memorably a piece by a Turkish author currently imprisoned about the life of the mind which nourishes him in the bleakest of circumstances. That helped to put things in perspective
More prosaic, but still important, were references in various articles to the choices that minor novelists like myself face. Fundamentally, what are we really trying to do? It’s a question I put right up front when I do workshops on ‘Successful self-publishing’: what constitutes success? Every author will have their own answer, and these days whether you’re self-published or part of the mainstream commercial publishing world, writing just for profit is increasingly problematic. We know that most commercially published fiction actually makes a loss, and even if you keep outgoings to a minimum by self-editing and going for ebook only, the result may not financially justify the hours of time and effort invested in the project.
From my slow reading of various reports of events, the advice to fiction writers seems to be ‘Be true to yourself; enjoy the reactions of readers, regardless of how many there may be; find a community of writers (and agents, publishers etc for those who have them) to engage with and be supported by.’ Nothing new there then. No blinding flash of revelation, just a message of internal efficacy and relatively low expectations. Of course close scrutiny and replication of commercially successful books, and assiduous courting of the ‘blogsphere’ might pay off financially. But who wants to spend their precious time doing that? Not me.
The zen of the art of writing seems, ultimately, to be about doing what pleases and satisfies you, and letting go of the urge to borrow other people’s definitions of ‘success’.