Birdkill And Book Promo MADNESS

Of all the reviews on Amazon for my books, my favourite of the lot is for Birdkill: 

"This is a cynical negative, depressing book. Everyone decent died. I'm sorry I read it."

Well, it's been a very long while indeed since I did anything about promoting books around here. So I might as well make up for it with a mad raft of book promotions all taking place at the same time.

Why?

Well, no particular reason other than I've neglected things over the past couple of years. Beirut - An Explosive Thriller is 'permafree', which is driving a steady wee trickle of sales of the other books and generating the, very occasional, odd review or so on Amazon. These are generally very positive, occasionally sorta negative but, overall, customers have been provided with satisfaction. But it's generally a wee bit quiet and I'd like it to heat up a tad. SO...

For the next five days, psychological thriller Birdkill is a FREE ebook, saving you the trouble of parting with $4.99, the usual asking price.

You can get Birdkill FREE by clicking here!

Birdkill is about a teacher, Robyn Shaw, who suffered a massive trauma while she was at a school in Lebanon, in a town up in the mountains called Zahlé - it's a very lovely town, home to - among many other things, the very lovely wines of the Chateau Ksara.

Robyn's mind has shut down and she remembers nothing of the events at Zahlé, but she nearly died up there and goes through extensive physical and psychological rehabilitation in the UK. Back on the road to recovery, she gets a job teaching at a research institute for exceptionally talented children and it's there things start to go pear-shaped and Robyn's mind appears to start unravelling.

She realises she's losing her sanity and in desperation calls journalist friend Mariam for help. Mariam has to rush to uncover the hidden secrets in Robyn's horrific past before her friend loses her mind.

"McNabb's story of weaponized children and disastrous drug trials astounds and horrifies.."

"Has a visceral effect on you after having read it, the imagery is so vivid and real."

That sort of thing from the reviewers, thank you very much. So why wouldn't you a) download it FREE NOW for your own delight and b) TELL ALL YOUR FRIENDS ABOUT IT!!!

You might have guessed b) is the payoff line. Do it now before you forget, there's a good thing. Tell them all before it's too late...

ithankyou

The Passing of Paper

(Photo credit: Wikipedia)

I follow quite a few legacy publishers on Twitter and suffer from the not infrequent urge to block them as I stare, open-jawed, at their attempts at what they clearly think is 'marketing'. Where most self-published authors have worked out, often by trial and error, that 'buy my book' doesn't work, publishers are frequently to be found out there using Twitter as a broadcast medium.

My least favourite of an ugly bunch are the guys who have clearly logged into Twitter for their daily session ("Dave does Twitter from 4-5pm, then goes through the slush pile") who then retweet anything nice said about them or one of their authors. To the luckless recipient of this gold, a timeline suddenly packed with retweets of breathless praise for Dave's publishing house, event or client's book until Dave runs out of RT cruft. At this point, if you're really unlucky, you'll get Dave asking you what's your favourite colour or what book changed your life as he practices his 'engagement' skills.

The example that flashed across my disbelieving eyes last night, however, took the proverbial biscuit:

It ticks every 'shit use of Twitter by a publisher' box I can think of. What, you mean if I pre-order this book and send you proof that I have, indeed, placed a pre-order, you'll actually send ME a real whole honest-to-goodness PDF file containing chapter one of the book I can't read yet? I am SO grateful! I can't begin to thank you! Really! A whole chapter one of a book I just paid for but can't read as a crappy, bitty PDF (like the ones torrent sites serve) just for little me? Squee!

These are just a few examples of how legacy publishers are struggling to get their heads around marketing, promotion and distribution in a post-paper world. We're not quite there yet, of course - there's still a lot of papery stuff around. But anyone not habitually wedded to a paper-based business model can see that the consumption of ideas, information and narrative on mushed-up dead trees and bleached old knickers (paper) is moving to a diverse and often inter-connected ecosystem of devices with blinding speed. 

When we are using those devices, we are not pleased to be 'disrupted' and, in a device-centric world, the publishers' ability to use their market power - sales teams stocking retailers - is minimal. They're no better off than the rest of us. The Internet, as we have been seeing since 1995, is a great leveller.

The idea that there is value in selling information encoded in a 'book' or indeed any other conventionally printed product now belongs in a Cadbury's Smash advert. When was the last time you looked at a paper map? 

I fondly recall driving across Scotland in 1988, following a printout from Autoroute 1.0 and picking up some hitch hikers who, when they found out I was following a computer programme around Scotland, became very nervous indeed and wanted let out early. They clearly thought I was a madman. It's taken a while, sure enough, but the paper map today is (along with the dedicated GPS device, incidentally) a thing of the past. 

The ability to contextualise information based on a layer over the 'real' world is incredibly powerful. It's why Google has invested so much in building that layer with Earth, Streetview and the like. Apple is rumoured to be making a huge play in 'Augmented Reality'. 

Not only are we consuming information about where we're going totally differently, we can clearly see around the corner a world where we won't care where we're going. We'll just tell the car to go there and it'll tell us how long it intends to take and then provide us some entertainment of our choice as we travel. It'll probably be plotting to kill us, but that's another kettle of fish.

Newspapers are clearly in the throes of another aspect of the movement of information online. In their case they're having to struggle with the reduction of value in two ways - the loss of revenue from people buying papers and that of advertisers willing to pay to reach those readers. The problem becomes one of scale - the news gathering resource and reach of a quality newspaper is expensive - and when you devalue the good through information ubiquity, you lose the ability to pay for large teams of journalists. 

Who will custodiet custodes, then? Smaller teams working more efficiently - but also a slew of copycats, content farms and repurposers. Quality content has to fight harder to cut through the rubbish. It's messy out there, but there's one thing that's certain - nobody's interested in print anymore - and the revenue models for print don't translate online, the scale doesn't work at cents per click. Not only do you not have the resources for big newsrooms, presses and distribution networks, you arguably don't need them.

Print books are a good whose price is set entirely on its own inefficiency. The cover price of a book consists entirely of percentages based on the cost of print - including the author's royalty and distribution. A tiny proportion goes to editorial costs. Oh, and profit. Let's not forget profit. An author is remunerated on a percentage of the revenue generated by the book as, indeed, is a distributor - the latter gets a whopping 50% of cover price. 

You could perhaps see how publishers would be wedded to this model - it has been thus for the past century or so. That's the way we do it around here, see?

When you go online, you not only rip out the costs of print and distribution and sales returns/stock loss but you also tear down the sales network publishers have depended on for so long. Bookshops are dead, sales are taking place on platforms the publishers don't own, control or influence. And so that most passive of sales environments (the long shelves packed with attentive soldiers of stiff-spined papery joy, the tick of the clock, Mildred sitting behind the till, reading and leaving you to have a nice, long browse) has been transformed into an online nightmare of conflicting shrill demands for people's time and attention.

In this brave new world, publishers no longer offer the significant scale they used to. Even the media they retain privileged access to are less powerful. Physical book retail is on a massive decline, despite constant announcements by 'the industry' that ebook sales are under pressure. These are mendacious and statistically skewed to an amazing degree - and they're quite poignant, in their way. 'It's going to be okay, chaps, you'll see' - that brave last sentence nobody quite believes, but they're all grateful for as they all walk into the hail of enemy gunfire.

The one thing publishers had to offer authors was scale. Scale of marketing, distribution, recognition. That's a product of marketing. Rip out the sales channel and go online and you've got some serious problems on your hands unless you can get your head around building serious online scale. Legacy big-hitters like JK Rowling or Neil Gaiman have made the leap and brought their audiences online with them and have massive reach on platforms like Twitter.

Publishers haven't. And they really don't know how to do it. They can't believe they need to do it. And they won't resource to do it properly because they're still clinging on to that last log in the sea.

Or, as an old pal once said to me (of literary agents, but never mind, it fits today's legacy publishers too), "They're like eunuchs in the Ottoman court. They see it happening all around them; they know what it is that's happening. But they're totally incapable of doing it for themselves!"

Croutique. Books. Gifts. What's Not To Love?

Croutique is a sort of Middle Eastern Etsy, a place for crafters to sell their crafts to people who value something a little off the usual beaten track of marble malls and shiny brands. We're talking individuality, personalisation, a splash of quirkiness and perhaps even a dash of difference.

It's a CRafters bOUTIQUE, really. Croutique. Geddit?

The site comes to us thanks to the marriage of global expat community website ExpatWoman.com and their acquisition of deal-tipping site Cobone, which added transactional capabilities to one of the region's most successful pure-play web publishing sites. ExpatWoman has always been strongly about communities and long supportive of the UAE's 'crafter community'. Sounds a bit hipster, like a mad sort of tax-free Amish, doesn't it?

As a vendor, Croutique lets you easily set up a web store within their store, with easy to build pages that let you sell items with varying degrees of personalisation and choice. I should know, I've built one myself. Yes, you can now buy my books - signed and dedicated as you fancy, and have 'em delivered to your home anywhere in the UAE without even letting go of your beloved mouse. And all for a mere Dhs17 above the retail cover price.

The link's here. 

No more Christmas present dilemmas! Have a book dedicated to your loved one and signed by the author! Get the whole Olives/Beirut/Shemlan trilogy for a never-to-be-forgotten gift. Or A Decent Bomber for your father in law who's interested in Ireland and that sort of thing.

Or Birdkill for anyone who likes reading really quite screwed up psychological thrillers. Or, better, for that over-sensitive aunt you loathe who suffers dreadfully from her nerves.

Requests for 200,000 word dedications beginning 'It was the best of times, it was the worst of times' will clearly not be considered...

These could be yours, as unique seasonal gifts, signed and dedicated personally by the author to your loved (or hated) ones and delivered anywhere in the UAE. 

If you'd prefer global delivery, that can be done, too. Only without a signature. 
Just click here! :)

The ExpatWoman Festive Family Fair And Selling Books. Live As It Happens.

It's become sort of traditional to live blog the ExpatWoman Festive Family Fair, which I usually share with madcap children's author Rachel 'Poo Pants' Hamilton and winsome author of 'domestic noir', Annabel Kantaria. Annabel can't make it this year so it's just me and the lunatic. And I'm ill. This could get twisted.


08.30
This is not starting well. I've been sick as a dog for the last two weeks and its showing no signs of abating. Up all night in a terrible state, shivers, sweats, yarking up boluses of phlegm and generally gibbering. My stomach's not good, I've got a head like Oliver Plunkett. Thank God I loaded the car yesterday. Coffee is making things better but I guess I don't really need a day standing in the sun right now. I hope to God Hamilton hasn't remembered the bloody gold dinosaur.

10.30
I have set up next to Hamilton's mad empire of tottering popups and branding, a huge display of THIS IS RACHEL HAMILTON GIVE HER YOUR CHILDREN'S MONEY. I'm not well. There's a lady shouting at us over the tannoy which makes talking to people quite difficult. Hamilton is running around banking money and screaming CHING CHING.

11.30
It's warm enough but we're nicely shaded. Books have been moving which is nice and there's been a lively run on Birdkill. Chatting to Hamilton about Jamalon's POD operations, she suddenly breaks off and dances around the table. There's a small child looking at her books, face illuminated in awe. Two seconds later, small child has been relieved of money. It's terrible...

12.30
People are funny, they really are. I just sold a copy of Beirut to a Lebanese lady who doesn't read in English. She's off to try the experience and has promised to let me know how it goes for her. It's hot. I'm still alive, the waves of nausea and misery have receded, probably burned off by the sun like morning mist. Hamilton is on a massive run of book sales. Depressing, really...

1.00pm
Rachel's daughter Jodie has been sent on a leafleting mission with 100 flyers promoting Poo Pants and me. This is a cunning scheme indeed!

Five minutes later she's back, all dispirited. They're all really rude,' she complains. She's been given 50 shades of 'No, thank you, we don't want your leaflet little girl now go away' from the general public. Cunning plan thwarted, then. That's a new one for the marketing things wot I learn at ExpatWoman Festive Fairs list. I'm melting. Someone's cooking sharwamas and I hate them. The person, not the shawarmas. The shawarmas, I want.

There's something of a lull on. Hamilton goes for a wander around, but a small child approaches her table. Quick as a flash she does a double take from way over on the other side of the courtyard and there's a Matrix-like blur and stop-motion emergence from hyperspace aaaand she's back. One small child relieved of funds later, she takes off for her wander. Honestly, it's beyond belief.

2.00pm
I've just put something strange and wrong in my mouth. It's supposed to be a hot dog, but it reminds me of something out of Terry Pratchett. I remember Elton John once describing a gustatory experience with, 'I've had stranger things in my mouth.' Well, while Elton (or Reg, as he should really be known) and I have different tastes, I can honestly say I can't recall anything quite so odd passing my lips. It was very kind of Hamilton to take a few seconds out of vacuuming money from small children to get them, but they are very, very strange.

A lady has just told me she loved Olives so much she lent it to all her friends. I managed to keep smiling, I'm not sure how, with my heart so black and murderous. Oh, I loved your book so much I photocopied it and put it up on a torrent site. Yvette and Flora from the LitFest have swung by to laugh at Hamilton and I being slowly reduced to sweaty, crumpled heaps. It's just struck me how much I've earned today compared to my hourly fee in my day job. I am now in a deep depression. But it's all about the readers, honestly. Truly, really, honestly. I mean it. Most sincerely. My lovely, lovely readers. I burp an aftershock of turgid pink proto-meat sausage, HFCS laden tomato gloop and scabby mustard and think of all those super, wonderful readers.

2.30
I'm on the downward spiral here, I'm running out of energy and things have slowed up a bit. Reckon I'll hightail it in a while. Even the madcap Hamilton has become less assiduous in her thieving of innocents. The Christmas music in the heat and hacienda style architecture of the Ranches Polo Club is endearingly odd, perhaps even slightly surreal. This is starting to trigger visions and this is probably not a good thing.

3.30
That's it. I'm out. Totally done. Sold some books, met some people, chatted with some nice strangers, watched Hamilton's mad pop-up empire come tottering down around her ears like a great metaphorical thing, caught in the breeze and dominoing disastrously. I manage to laugh long and loud enough so she notices.

It's funny how people are with books: how much convincing they take to pick up something new, how people will come back for more if they like what you've done before. As usual, the seminal importance of covers and blurbs reinforced but, oddly enough, how many people will just walk past books with absolutely no curiosity at all - anecdotally from today, at least, I'd say the majority of people don't actually, you know, care about books. And that's hard for me to say.

Sick, exhausted, sweaty and shivering, I retire with a few thousand Dirhams in my pocket and only one box of books left to carry to the car. Which is just as well, because I don't have the energy for anything else.

Until next year, then... Yay.

Psychological Thriller Birdkill Kindle Ebook Free Shock Horror

So my newest novel is free on Amazon in all flavours for the next 48 hours or so. Enough time to nip off over there and download it: enough time to tell friends.

Get Birdkill FREE from Amazon.com

Get Birdkill FREE from Amazon.co.uk

The book could do with some more reviews so if you do download it (and I heartily recommend you do) or recommend it to friends (and I heartily commend that course of action, too), then do feel free to leave a review. That review, BTW, shouldn't by any means be sugar coated or anything: your honest, full and frank opinion is fine by me.

Enjoy!

Blooming Brilliant Book Buyer's Bonza Bonanza

My books are now ALL on sale at WH Smith branches across the UAE in paperback. As of now, they're all in stock. I'm reliably informed Shemlan - A Deadly Tragedy is listed as a best seller at the WHS branch in Abu Dhabi International Airport.

So a big fat 'Yay' for that...

WH Smith, as eny fule no, was the official bookseller of the Emirates Airline Festival of Literature 2016 and so I imported a whole shedload of books for 'em to sell there. The unsold balance they were going to put on sale in their retail outlets, but needed permission to distribute three of the titles in the UAE.

Olives - A Violent Romance and Beirut - An Explosive Thriller already had that permission in place. I had never bothered applying for the other three titles, preferring instead to sell 'em only on ebook platforms or Amazon for paperback. I'd bring a few tens in for events like the ExpatWoman Festive Fun Festival or LitFest author appearances. So WHS, armed with a 'no objection' letter from me, went and got the permissions. They never did tell me, despite a whole bunch of emails, that it had all gone through. It took a pal flying out of AUH to notice the books were on sale.

So why weren't they on sale anyway?

Well, Olives has sold out its conventional print run, as has Beirut. This left me with an online-only sales strategy, limiting my reach to my 'home' market quite considerably. The UAE is still overwhelmingly the land of the paperback, assisted in no small part by Amazon's refusal to service the Middle East market. They're not alone - B&N, Kobo and the rest can't be bothered, either.

It does mean, though, you can buy the sparkly new edition of Olives with its spangly new 'on brand' cover and many corrections to minor errors in the text. And Beirut is now similarly corrected. Shemlan is the 'author's edition' - I have restored some 20,000 words my editor excised because I want to. So the copy of Shemlan you'll get from WHS is 'my' Shemlan, the way I wanted it.

Now anyone can just schlep on down to WHS and pick up a copy of any of my five books - including the latest two, which aren't even set in the Middle East but set in Ireland and the UK. With perhaps a hint of Middle Eastern connection in each of 'em.

You can find out more about them all using this here handy link. Do feel free to buy them for yourselves, spouses, friends, family, strangers and passers-by. The more the merrier.

IF you have a Kindle, or a friend who has a Kindle, do remember both Olives - A Violent Romance and Beirut - An Explosive Thriller are currently FREE on Amazon in the US, UK, Germany, France et al!

So there you go. Easy to access paperbacks, special editions never before seen in the wild AND free ebooks. What more could you possibly want to get from a blog post?

Beirut - An Explosive Thriller And The Dynamics Of Free Vs Amazon Advertising

Warning. Very long post about book marketing.

So here's the skinny. In Mid-March, I dropped the price of Beirut - An Explosive Thriller and Olives - A Violent Romance to FREE on Apple, B&N, Kobo et al.

This then forced Amazon's Amazing Algorithms to 'price match' the books and make them free on Amazon. This is not something Amazon lets you do otherwise, only letting you make a book free for 5 days per quarter if it's enrolled in Kindle Unlimited and therefore exclusive to Amazon.

Note, as per my previous post on this, you have to change to the 35% royalty to do this, otherwise Amazon gets shirty.

Amazon's big machines decided to chop Beirut and Olives in the US store (.com) but only Olives in the UK store (.co.uk). The volumes are markedly different: 30 free Olives downloaded in the UK compared to 700 in the US.

As of today, Beirut is now free in the UK store. You can go here and get it. Do please feel free to share the link on Facebook, Twitter, Instagram or another other platform where you think your followers, friends and family might enjoy a fabulous international spy thriller packed with guns and bombs and babes and stuff. [endplug]

So what has all this 'free' told us?

For a start, people have found Beirut a lot more attractive than Olives: 3,000 downloads compared to 700. As you can see from the covers side by side above, the title and cover of Olives don't really cut the mustard. Not sure what I can do about that, to be honest. However, it would appear Beirut got a bit of a lift up on some unseen list or another, because its early trajectory was amazing, speeding it to #1 free thriller on Amazon.com for a few halcyon days.

What has the knock-on effect been? A handful of Shemlan - A Deadly Tragedy sales have been bubbling along, 14 copies in April and so far 4 copies in May. Sales of A Decent Bomber and Birdkill have also slowly started to lift (6 and 7 copies respectively). However, Beirut's downloads have slowly declined, dropping from a relatively steady couple of weeks at 30-50 copies, then a couple of weeks ranging from 15-30 copies and now running at 5-15 copies per day.

There have been a couple of additional reviews of Beirut and Olives alike on Amazon, 4* and 5*, thank you. But the maths is amazing - almost 3,000 downloads to drive 10 book sales and two reviews.

Generally, as my books have got better (IMHO), their sales numbers and therefore number of reviews has declined. Which is wonderful, really.

Amazon Advertising

I've also been running an advertising campaign for Birdkill on Amazon over the past week. This has been interesting, particularly compared to the experimental Twitter campaign I ran. I have kept relatively quiet on other platforms to better isolate and judge the results and impact of the Amazon campaign.

$100 of my hard-earned spent a while ago on Twitter was targeted not so much at keywords as at followers of a number of book promoters, publishers and book recommendation accounts. That resulted in 29,707 impressions and 90 clicks. I think I sold one book, so we're doing better than McNabb's Law of Clicks would have us believe should be the case.

I thought Amazon advertising was likely to be more impactful. Here, you're targeting people at the moment of browsing and purchase and you can target by genre. If you think about it, that's nigh on perfect. It's like being on someone's shoulder in a bookshop with the ability to whisper, 'That one. There. Birdkill by McNabb. Do it.'

Amazon lets you serve up a number of ad formats, placing the ads on other book pages, newsletters, into Kindles and so on. Like Google's Adwords, you bid for your clicks. In my genres for Birdkill, (Literature & Fiction: Action & Adventure; Mystery, Thriller & Suspense: Conspiracies, Mystery, Paranormal as you ask) the bidding was in the range US$ 0.40-0.50. In reality, I had to raise my bid to $0.55 to start getting impressions and eventually raised it to $0.60. My average cost per click has come in at $0.53.

The bidding works just like Google: your bid is accepted above the second highest bid, rather than just topping all bids.

So far, we're not quite done yet, Amazon has yielded 22,057 impressions, 118 clicks and two book sales and we're about 60 bucks into my budget. That's better than Twitter and again better than McNabb's law of clicks, but it's a pretty impressive catalogue of fail - Birdkill is a well packaged book and to see 118 clicks turn into 116 bounces is pretty depressing.

There has been no appreciable impact in the sale (or download) of any of my other titles since the campaign started. Unless you count one copy of Space...

Here are the Birdkill ads in the various formats Amazon supports, all auto-generated out of the base data you supply them - you don't have individual control over each creative:

 245 x 250

Didn't know those paltry two reviews would show. Five stars, mind, which is nice, but not enough reviews really. Funnily enough, that doesn't seem to have affected the CTR (Click Through Rate to you, mate), which has been just over 0.5%.

270 x 150

I like this one best of all. Those reflections are right classy...

270 x 200

300 x 250

402 x 250

980 x 55

And, finally, I is in ur Kindle...

It's worth bearing these in mind when you look at your advertisement format and the text you're planning to use... The 'astounds and horrifies' line did quite well on my Twitter campaign, which is why I decided to re-use it here. Do people want to be 'astounded and horrified'? Who knows? All this stuff is merely trial and error. If it were a science they'd teach it in school.

And so at the end of a two month campaign of experimental free offers and advertising campaigns targeting keywords and followers on Twitter (as well as messing around with a lot of organic Twitter targeting: ads.twitter.com/user/yourusername is a powerful dashboard for measuring the impact of tweets) and a genre-targeting campaign on Amazon, I am none the wiser. Although arguably better informed.

If you know anything wot I don't, or have any new angles on the above, please do feel free to share.

And don't forget to drop an Amazon review when you've read your free books!

'Olives - A Violent Romance' And Flirting With FREE

Olives - A Violent Romance is now FREE on Amazon, iBooks, Kobo, B&N et al

I've been playing around a bit with this here FREE thing and so Olives - A Violent Romance is now available across ALL ebook platforms as a free ebook. That's right - you can now download my first, acclaimed thriller novel for nothing. Nada. Sifr. It's all yours. Fill them boots.

While this is nice and easy to do with Smashwords (which populates iBooks, Kobo, Barnes & Noble and so on), Amazon doesn't support free books unless you've enrolled in KDP Select, which limits you to selling only on Amazon. So - this is a million dollar question for authors - how do I make my books free on Amazon for Kindle without enrolling them in KDP Select?

Here goes:

First you pop over to Amazon and set your royalty rate to 35%. This is important, because at the 70% royalty, you undertake to Amazon that you won't sell elsewhere at a different price. So when you start messing about with prices on other platforms, Amazon can (and has every right to) get a bit tetchy. At the 35% royalty, there are no such restrictions.

Now you set the price to zero in Smashwords and wait for that change to impact iBooks and the other stores served by the multi-publishing marvel. Amazon picks this change up and at its discretion will match its own price to that of iBooks, Kobo and Barnes & Noble. If Amazon's price crawlers don't pick it up after a few days, there's a little button against the book's page on Amazon that allows you to request a price match by providing a link to the competitive store where the other pricing (ie: free) is offered. Note it doesn't work if you provide a link to Smashwords. It has to be a retailer.

My first, silly, book Space is, and always has been, enrolled in KDP Select simply because I wanted to play around with the platform. KDP Select allows you up to five days' free promotion every three months but does have that terrible drawback of only letting you sell via Amazon. And only five days' free promotion isn't quite enough to really make an impact, in my humble opinion. Olives is now perma-free so I can provide a sampler to an increasingly skittish and wary book buying public. And if they like that, they can buy Beirut - An Explosive Thriller for $0.99 and Shemlan - A Deadly Tragedy for just $1.99!

Does 'free' work? Well, in the first 24 hours, I've shifted over 500 books. Will it win me readers, reviews, accolades and plaudits? We'll see. I'll let you know how it goes if you sign up for my occasional freebie, hints and stuff emailer... See what I did there?

Oh, by the way, A Decent Bomber and Birdkill will still cost you a reasonable $2.99. You ain't getting them for free...

PS: Amazon also picked up a momentary blip on Beirut's pricing as I was playing around and made THAT free too in the US, although not the UK. For some reason, downloads of Beirut have massively eclipsed Olives and it's now #2 in the Thrillers & Suspense, Espionage listing of the Kindle store. Which is nice...

Twitter Ads, Book Sales And Promoting Birdkill

You know I've got a new book out, right?

Right.

I've been playing about a bit with analytics and Twitter ad campaigns. I'm a big fan of Twitter and thought it would be interesting to see what I could get up to in terms of promotions and generally try a couple of things out. I've run Google adwords campaigns in the past and was particularly interested to see how Twitter stacked up against Goog.

Twitter offers a pretty powerful set of dashboards allowing you to analyse your tweets, as well as run promotions to audiences you select. There are a number of ways of slicing and dicing this, by behaviours, interests or contextually based on actions. You can also target other people's followers, which is a bit 'Google' - at the same time mighty handy and also a little creepy.

Generally, book promotion tweets invite lower engagement rates unless they mark real milestones or events or contain some element of wit, news or opinion. Nobody would be surprised to know that 'buy my book' doesn't really cut it.

Timing is also... everything. First thing in the morning, elevenses and evening tweets tend to do better. And so do book tweets that follow a wider non-book tweet, typically an interesting content share.

I ran a campaign over the past weekend which targeted a range of key words, principally 'read' and 'book'. I limited it to the UAE, US and UK and ran it over two days with a total budget of $100. The campaign was based around two tweets and two 'cards', which are a graphical element with a link displayed. Here are those very cards:

Each card graphic is 800 x 320 pixels. So each ad gives you a call to action opportunity with a tweet, a graphic and a clickable link. It's quite a neat wee package. The above turned into the below when I'd finished with 'em:

 The above got $79.29 of my spend, generating 25,970 impressions and 126 clicks.

This one got just $20.71 of my spend, but generated 13,690 impressions and 35 clicks.

Both ads performed similarly, costing around $0.60 per click. So in total my two-day campaign generated 39,660 impressions and 163 clicks to my Amazon page.

What happened? I hear you asking. How many books did you sell over this period?

One.

And I can't even be sure that one came from Twitter, because Amazon doesn't offer the same sort of analytics to authors. It shouldn't really come as a surprise, it's pretty consistent with McNabb's Law of Clicks actually.

I'm running a second campaign now, which targets a number of local UAE handles connected to reading, literature and culture with a much wider selection of creatives. That's costing more per click but getting more clicks per impression. Generally, I found Twitter easier to get my head around and more diverse than Google, but to be honest I'm not really a dashboard kind of boy...

And I'm clearly just playing around here, but there's room to explore a great deal more, leveraging different routes to find, attract and convert readers. That all costs money, of course, and at $100 for one book sale, I can see the route to bankruptcy is not only paved with gold, but also quite comprehensively greased.

Are the messages wrong? The creatives goofy? The targeting atrocious? These are all subjective and yet the dashboards available mean you can refine these, testing what is working and what isn't, increasing your success rate with each iteration. What fascinates me is how 163 people clicked on a link to Amazon and didn't click on 'Buy now'.

Anyway, it's been interesting and I'll continue to play around with it all. I hope the above is useful to someone, somewhere. And if you have any comments, views or insights, you know where to find me: @alexandermcnabb...

And Now the Hard Part: Getting Your Book Into Print And Onto Shelves

That's the title of the publishing type panel session I'm sitting on at the Emirates Airline Festival of Literature 2016. The other gig I'm doing is also about acts of murder: I'm talking crime fiction with fellow criminal minds Christ Carter and Sebastian Fitzek.

I swear they just put me on these panels to cause trouble, but it keeps going wrong. I got put on one a few years ago with Luigi Bonomi only to find my plan of whacking him over the back of a head with a tyre lever washing up against the uncomfortable fact that he's one of the most pleasant, smiley people in publishing.

Similarly, last year I shared a stage with Orion supremo Kate Mills who turned out to be rather a love and not the mean old harridan I had psyched myself up to confront. We got on rather well, as it turns out, and agreed about a great deal more than we disagreed about.

When I started this here publishing journey, I was full of wide-eyed surety. I have posted before about the Dunning-Kruger effect and my long, slow realisation that publishing didn't want me. It used to make me angry, certainly self-publishing Olives - A Violent Romance was an act of fury triggered when my own agent couldn't be bothered to look at - let alone shop - the book.

But I've had so much fun since then, I don't really have that anger any more. Mainstream publishing doesn't want me and that's just fine: we can co-exist, ploughing our respective furrows in the rich soil that is the reading public. I'm a tad weary of promotion these days and really could use some help with marketing and getting 'reach' into markets outside the UAE, but I didn't even wait for my small test sample of agents to reject Birdkill before deciding to self-publish the book. I'm sort of done with the old cycle of submission and rejection. I have a life to lead.

For myself, I now believe that publishing doesn't want me because I don't sit comfortably topically. It's not about the quality of writing, characterisation and other technical stuff. It's because the things that interest me don't immediately scream 'mainstream appeal' - the Middle East, the grey areas of morality, bad guys you empathise with, good guys who are weak-minded, men dying of cancer and betrayal and retired IRA bombers don't top agents' lists of books just made to sell themselves. And yet I clearly have a readership - the sellout local book sales, rave reviews, feedback from book clubs and all the other good stuff that's been happening tell me that.

I think the million dollar question facing this panel is not really so much 'how do you get an agent and publisher', there have arguably been too many words thrown into the wind about those two topics for any of us to have anything more useful to say on the topic.

For me the question is more, 'What's the secret sauce? What makes book A a soaraway bestseller and book B a guaranteed dud?' Century and Arrow publisher Selina Walker, who gave us 50 Shades of Grey, and Jonathan Lloyd, who heads major agency Curtis Brown, should certainly have some answers. And our fellow panellist Sean Fay Wolf, whose Minecraft themed fan fiction got him picked up by Harper, has undoubtedly tasted of that elusive sauce.

The question is finding it and amplifying it. And that's where I think this panel will be so interesting. The publishers on the panel will either have cracked it or be foundering, as clueless as I as to how you do this thing in the atomised world of the Web and its Medusine long tails. Finding out which of the two states they inhabit are itself be a thing of great fascination.

I'm not setting out to misbehave this year. But I can promise you this panel will be nothing less than mesmerising and insightful. This based on the other panellists, clearly...

The panel is linked here if you want to buy tickets at Dhs70 each. If not...

Talking Of Books Reviews A Decent Bomber

 (Photo credit: Wikipedia)

In a little under half an hour, Dubai Eye Radio's 'Talking of Books' program will review A Decent Bomber. Half an hour after that, they'll be interviewing me about the book.

I can't pretend I'm not a little nervous. For a start, this isn't really a great time to be talking about terrorism in your novel. But beyond that, it's a very public grilling for the book. Will they love it? Hate it? Be 'meh'?

I can't get a thing done. I'm just marking time. *sigh*

Time. Ulp. Listening in. Here we go. Oh golly, they liked it...

A book of real quality. Sensitively drawn characters. A book of real style and you find yourself experiencing, smelling Ireland. This is tangibly plausible. I love the complexity of the character of Pat. What I liked particularly about the book was that the plot never stopped to explain characters, the dialogue and plot carry their development. The dialogue is very natural, he has a very fine ear, McNabb. It was real and honest, the dialogue was true to the characters. They're frightening, the characters. It's a white-knuckle ride and a real page-turner.

This isn't a light book. It's a line-up of misery and pain. There's no plot humour, but the dialogue has lovely touches of gentle irony, very Irish humour. This is an extremely good book, more than a thriller, you could draw parallels with Le Carré.

Clearly a book to buy, people... :)

The interview was fun. They didn't like Boyle and Mary's shenanigans and I explained I wasn't so happy myself, two of my characters just ran away and did stuff they weren't supposed to.

Did I pick the name Pat O'Carolan for a reason? As it happens, yes, the troubador was a knowing reference and Pat was Sarah's Uncle Pat, whose wee farm up in Cummermore started the whole scheme going. Orla wasn't supposed to have the romantic involvements she ended up with, either.

How come conventional publishing hadn't picked me up? Dunno, these days don't really care that much either. I explained how Shemlan, my last book, had been about a man dying of cancer whose life is revealed to have been utterly pointless to him, about how I'm cruel to my characters. And about how that - or a book about an ex-IRA man - might not gel with what a risk-averse publisher's idea of a self-marketing book was.

Why thrillers, there are elements of literary fiction in here? That was nice of them to say, but I like to think I write a smart thriller. thrillers are fun, although Birdkill - my next book - is a little more complicated on a psychological level and perhaps a little more screwed up generally.

I told about how my developmental editor/reader for Beirut had told me to put more 'gunplay' into the book and how I regret having taken that advice, now preferring to rebel rather than produce formulaic books that are 'on genre'. They liked the interplay between Driscoll and MacNamara, the politicians in A Decent Bomber who are trying to pretend this stuff isn't happening. I confessed I had enjoyed playing with the idea that they are conflicting with the PSNI where before they had fought the RUC, but this time they were denying themselves rather than last time when they had been asserting themselves.

It's amazing how quickly half an hour can pass when you're talking about your books, but pass it did. I'll post the podcast when it comes around. So far I've sold a tad over sixty books in all. We're hardly troubling the NYT list here, people...

Book Marketing And McNabb's Theory Of Multitouch

(Photo credit: Wikipedia)

I clearly want to tell the world about A Decent Bomber. This is perfectly natural, it's my latest book and took two years to write, in all. It's taken a lot to get it 'right'. A little shouting from the rooftops is therefore perfectly in order.

I would dearly like people to buy it, read it and - ideally - enjoy it. And then I would like them to pester their friends to buy it, read it and enjoy it. By repeating this process, a number of happy people will, in turn, make me happy. It's a virtuous cycle.

There is, however, a large, green-skinned and particularly gnarly troll-thing in the way. Book Marketing.

How do you get people to buy books? It's a problem I don't have a single, elegant solution to. This has surprised me a little, because marketing and communications are very much a part of the day job, so you'd have thought I'd have some clue. And I don't. Any more than publishing companies do. And, believe me, they're pretty much utterly clueless. It used to be nice and easy, but their world has changed. The seasonal catalogues and sales reps thing is no longer the force it once was. I'd shed a tear for 'em, but you know how it is...

Over the years, I have come to realise that books aren't sold with a single 'touch'. Rarely do we see a review of a book and go 'Gosh, I really must have that book right now!' In fact, I can trace the immediate results of reviews reflected directly in my Amazon sales the day they 'break' and I can assure you positive reviews in national media or on popular book review websites result in not one direct book sale. Dittoes for interviews. As for 'book blog tours' I shudder at the very thought of the device, let alone would I consider undertaking one. Like promoting books on writer's sites, it's the blind screaming at the blind.

So all is lost, then? Well, not quite. It's not that reviews are useless per se. They're part of the wider picture. A reader sees a good review, then hears about that same book from a friend, gets caught by another mention of the book and then, ideally, either is persuaded to click on a link or views the book in a physical location. That could be a bookshop or another book-buying opportunity such as an author event - a signing or some such. I have come to believe that three to five 'touches' are needed, ideally one having some form of call to action, before a book sale takes place. I have often said, the last 'touch' should ideally be from me in your ear as you're standing in a bookshop wondering what to do next.

This is not easy to accomplish. Believe me, I've thought about ways you could do it and, reluctantly, drawn a blank. A halfway house would be ensuring that I 'feed' that positive review back into my marketing channels. What you may find depressing is that if you are in any way connected with me, you have just become a 'marketing channel'. So if I haven't stolen your runaway nasal hair or braying laugh to use in one of my characters, I've abused you at the marketing end of the process. One way or another, if you know me, I'm going to use you. And the fact I have not lost one wink of sleep over this tells you what an irredeemable shit this whole book writing thing has made me become.

So, existentialist angst apart, how do you scream 'buy my book!' at someone five times without them punching you?

That's the million dollar question. Clearly, I've been following a 'content strategy' in building awareness of A Decent Bomber. I've done this to a degree with all four books, although Olives got far more attention, including a 'blog of the book'. While this was enormously time consuming, it did have an impact on overall awareness and therefore a smaller but discernible impact on sales. The amount of effort invested vs returns in terms of sales was ridiculous, one aspect of occupying a small market where scale doesn't really count. And McNabb's Law of Clicks applies, depressingly.

So we have reviews out with reviewers (the first one's already in, in fact: "The plot is complex. You must pay attention. You will reap a lot of enjoyment if you do. This is a great story... I thoroughly enjoyed this book. Most readers will jump on the thrill train and get the ride of their lives. In this genre, who could ask for anything more?") and posts about the book and its 'book hooks' (Bombs, the IRA, things Irish, new terror vs old terror. That kind of thing) have been appearing here on the blog. Occasional reminders have gone out to the mailing list and we're building up towards launch. Blog posts get pimped across to Facebook and Google+, Twitter is, as always, a great link-pointing machine.

We are, in short, ticking all the boxes, using a content-led approach to gain your permission to witter at you and wear you down until you resignedly pop off to Amazon and click on that A Decent Bomber pre-order link. Once that pre-order date is past, the book has to generate buzz and recommendation from people - it has, in short, to stand on its own two feet.

What amazes me, to be honest, is how I've found the energy to do all this again. It's Sisyphean, it really is. But found it I have and as a consequence you, you poor thing, are being subjected to new levels of outrageous book pluggery...

The link's here. You know what you have to do...

Book Marketing - The UAE, Stunts And Social Glue...

(Photo credit: Wikipedia)

I have, as you may have noticed, a blog. I also have a number of followers on Twitter, Google+ and a few people occasionally keep in touch on Facebook and Instagram. I have an 'author website', which I happen to think is quite natty. And I have a mailing list of quite a few people who have given me permission to share stuff about books with them. You can join them, if you like, by using the simple, easy to use form to the right of this post.

There are a few people out there who review books who have enjoyed my previous work and so have been keen to review the latest. That is a small and steadily growing resource of people who are treasured because they represent a network effect. A review tends to reach a wide audience and have the benefit of providing recommendation.

This, then, is my 'author platform' - my very own marketing machine. All of these people have, for one reason or another, given me permission to talk to them. Not all of them want to talk to me about books, a lot have been attracted by my ranting and other unstable behaviours. And so when I do talk about books, I see a drop in blog traffic and, with an increasing frequency of promotional tweets and posts, provoke a mixture of reactions from disinterest through to mild amusement, bemusement and, when an unseen line has been crossed, even mild irritation.

The balance here is clearly to try and provide interesting, thought provoking or amusing content on these platforms to increase engagement and stretch the elasticity of the Line of Follower Irritation. When it comes to book marketing, I am clearly without morals. And while I'm not quite reduced to screaming 'Buy my book!' in the faces of strangers, there have been times when I've thought about it. The trouble is, of course, people don't automatically go away and buy books just because they're asked to or told to. Oh, how much simpler my universe would be if that were the case! No, there's something else that makes us click on that 'Deliver to my Kindle' button. And I wish to God I knew what it was. I don't even recognise it in myself as a stable or discernible pattern of behaviour.

It's interesting to see how little strength there is to 'social glue', as well. People will 'like' at the drop of a hat and generally make nice, supportive noises. But getting them to take an action, beyond a click, based on social media interactions is not easy - or even a known, defined science. We basically do a number of things we think might result in that (engagement and all that stuff) and hope it's worked. Clicks are not a measure of action - as I've explained before.

Without a doubt, word of mouth has a huge role to play. Reviews, as I have mentioned above, take the form of recommendations* and so have the power of word of mouth - but I haven't seen them create notable spikes in sales. This is hard to track in terms of physical book sales because physical book distribution is such a slow and placid process. On Amazon I get day by day data and analysis and so can see spikes when they occur. They're usually of a binary nature, by the way. I'm not quite in the hundreds of books a day game!

But my experience has been that people, even when they have thoroughly enjoyed, even 'loved' a book, don't necessarily go around berating their friends about it. And a single recommendation isn't enough to send people jetting off to the nearest bookshop, either. Scale has a huge amount to do with it. If you see a positive review, have a friend or even two recommend it and then see it on display in the bookshop, then you may well act. But any of those in isolation will likely not do the job. My personal theory is the average punter will act on a book purchase after five 'touches' - and then only if the last touch is while they're actually in proximity to a BBO - a Book Buying Opportunity.

It's that scale that is the issue, of course, in the UAE - where, incidentally, much of my 'author platform' is located. The market here is relatively small (Olives - A Violent Romance sold out its run of 2,000 copies and is considered consequently to have done really very well here) and also underserved by all the major platforms - Amazon won't play here, Google and Apple have limited offerings and B&N and Kobo are non-existent. And people here will buy my books from me at signings and other events, but they'll tend not to buy a paperback from Amazon to have delivered here.

Which is why at last year's LitFest, I sat next to Orion's Kate Mills and explained that, as a self-publisher, I was weary and recognised that I actually could really do with the scale that an operation such as hers offered to reach into a market like the UK where I cannot, for all my 'platform', reach. It's there where the scale lies that brings quantum effects into play and starts to launch books towards the exosphere. Of course, in order to make that stellar journey, the book has to have 'that' quality, the something that has people interested enough to pick it up, flip it around, scan the blurb and go, 'Hmm. Sounds interesting. I'll give this little puppy a spin.' Or whatever it is they say at that sublime and subtle moment when a complete stranger decides to exchange value for your book...

Meanwhile, I'ma gonna keep plugging away on the A Decent Bomber pre-order campaign. Once November 5 is past, it'll be all about reviews and events. Up until then, I'm quietly nagging people to email their friends to ask them to email their friends with a link to the book. Because in the world of 1,000,000 clicks to get one sale, network effects are king, baby.

See? I got through a whole post without linking to the pre-order A Decent Bomber link on Amazon.com! Oh...

* Unless they're stinkers, of course! I have so far in the main avoided these, although I do say this with the feeling of mild dread that accompanies pronouncements such as 'I've never had a car accident in my life...'

Pre-Orders, Book Marketing And, Ahem, A Decent Bomber

(Photo credit: Wikipedia)

Quinlan passed out; a merciful release.

He should have expected them, should have seen the signs of quickening interest in his daily movements. The tailing moped; the sallow, bearded fellow he never saw before and then glimpsed all too often.

They came when Deirdre took the girls for a sleepover with their wee cousins. He had just poured a whiskey when the doorbell rang. His hand flew back from the latch as the door burst open. Their silent, brutal assault buried him under a flurry of expertly dealt blows. They pinioned his hands with nylon ties.

The torture was methodical. Quinlan shrieked himself hoarse, flailing around tied to the kitchen chair until he hurled himself to the floor. They righted him and beat him as dispassionately as they’d pulled out his thumbnails.

And not one word. Not a question. It made it all worse, to think there was nothing they wanted he could give them to make it stop.

They started on his fingers. He called to God, he called to his dear, dead mother. He begged them. Dear Jesus, how he begged. They beat him again to shut him up. His mind slammed down to buy him respite.

And so starts A Decent Bomber, my fourth serious novel and the first not set in the Middle East. I've been making a wee fuss about it being on pre-order and (sorry if you follow, know or are somehow linked to me. It'll go away if you buy the book, honestly) will continue to do so for a while.

Why am I so bothered about pre-orders? Because on the 5th November, when the book publishes, every pre-order will count as an order on the day. If you collect enough pre-orders, the book rockets up the sales charts and comes to the public notice. Briefly, probably not in a chart topping sort of way, but nevertheless in a more attention-getting way than shouting 'buy my book' from Dubai will do.

Book marketing in general is something of a nightmare for the self-published author. And, actually these days, for publishing houses, too. There's a lot of noise out there with all this self-publishing lark and a lot of people trying to find ways of getting their book in front of people. As the 'traditional publishing' model breaks down (catalogues and sales teams knocking on bookshop doors to flog this season's new offerings), even quite large publishers can be found on Twitter retweeting every time a reader says a given author's book is quite nice. There's a hint of desperation in the air.

It's hard to get horses to water and drinking, especially in today's online world. McNabb's Law of Clicks refers - thousands of impressions don't necessarily mean sales. Book bloggers have 'To Be Read' lists stretching for months ahead. It's amazing how many go out of business, breathless blogs with 'I love to read' in their headers shuttered and strewn with cobwebs, that aspiration to share great reads submerged in tottering piles of desperate authors pushing their dubious wares. Tracking coverage in Middle Eastern 'major media' shows a distinct lack of correlation between media coverage and book sales - even rave reviews in national media.

One challenge in marketing A Decent Bomber is that the book is set in Ireland and the UK. Without a Middle Eastern angle, its target market is really in the Western world - where I am not. Anything I can do to get people in the UK/US talking about the book, sharing it, recommending it or otherwise focusing their attention long enough to click on an Amazon link to swap $2.99 for 350 pages of mayhem will be considered.

Funnily enough, you can help. Tell the folks back home about it. Encourage them to tell their friends and family about it. Share a link to the book on Facebook. Let's face it, the sooner you do, the sooner it'll go nice and quiet around here again...