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!

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...

Birdkill, Space And Starting Writing

'What started you writing?' It's a question I've come to dread. I want to print out the answer on a sheet of A4 and have it ready to hand it over to the journalist asking that most lazy of questions to put to a writer. It's like when you get married and want to punch the 50th person who asks you what married life's like. And then I feel guilty, because someone asking you questions is a good thing. The alternative, nobody asking you questions, isn't so good for book promotion, capisce?

I love the story of Prince Philip, returning from an overseas trip, who is accosted by a cub journalist who somehow has made his way to the front of the scrum and attracted his attention.
'Prince Philip sir! Prince Philip sir!' Our hero has a recorder held out.
The bushy-browed figure leans down towards his tormentor. 'Yes?'
Our man is rather like a dog chasing a car, in that now he has his prize, he doesn't quite know what to do with it. He gathers himself manfully. 'H-How was your flight, sir?'
Philip smiles. 'Have you ever flown yourself, young man?'
Our man is puzzled. 'Yes, sir. Many times.'
'Well, it was just like that.' Says Philip, turning on his heel and moving on.

I didn't have an idea what I was going to write, really, only that I had a vague notion of spoofing those international thrillers where our man is chased across Europe by a shadowy cabal of evil wrong-doers, saves humanity and gets the girl. The book would be amusing, only because I am easily bored and essentially shallow and so thought myself incapable of writing something literary and nuanced. According to my Amazon reviews for the resulting novel, Space, I'm also incapable of writing a funny book.

And yet it still makes me laugh when I read it today. It's often irredeemably silly, it makes a number of errors I have since learned to spot and remove from my writing and it makes the, in conventional publishing terms, fundamental error of not taking itself - or its reader - too seriously. And yet there's a sort of cry of 'Yahoooooo' about it, think small boy kicking autumn leaves and you're half-way there. The book has energy, ambition and a delightful way of killing off cherished characters that I must admit I have rather retained.

There are a number of high points that still tickle me pink. The police interview with a suburban housewife who has lost the ten inch 'thing' from her bedroom drawer, sold to her by the gorgeous and pneumatic sex worker Kylie - who is without a single brain cell to bother her - still cracks me up (remember I'm fundamentally weak-minded). There's the divorced copper with a perspiration problem and the poor middle-class doctor who is the unwilling victim of 99% of the book's set-ups. The angriest policeman in England is quite fun, counterpointed by Ivan Litvanoff, a particularly evil Russian spy. His encounter with Nigel, a camp MI5 safe-house housekeeper with a Prince Albert, ends with a most satisfying gag. A particular high for me was black leather cat-suited CIA operative Neon Womb, who has a 'moment' every time she kills. She was my female side coming out. Oh, and I'm forgetting the house-cleaning spy from Vientiane, the vengeful Véronique. Not to mention former French resistance fighter René the Horse, the character who featured in the short story that was my first attempt to write a book. He had to have a place in Space, and so he does. Oh! And grumpy handbag-wielding galleon Mrs Bartholdy...

Oh, gosh. There's quite a lot in there, really. It's amazing what you can do with 100,000 words when you put your mind to it...

Anyway, I'm rambling. Space is free on Amazon.com from noon today for the next five days. So if you want a free copy (saving you £0.99, cheapskate) or want to let a friend know they can get a copy, fill your boots. I'm not claiming the book's perfect or representative of my later, more serious work, right? But you can let me know how it went for you by leaving a review and I won't mind at all. Even if you don't think it's funny...

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...

Web Strategies For Authors

(Photo credit: Wikipedia)

Ugh. Even the title of this blog post makes me want to heave. But, like it or not, as a writer you're going to need to work out how you define yourself on The Tangled Web. Remember that one - when the marketing nongs who gave us 'the cloud' and 'the Internet of things' coin that as the next bigbig thing, you can all queue up to give me the credit for inventing it.

Suit: "We're defining the solutions that will make sense of TTW and simplify the muddle of the interconnectedness huddle."

Lesser mortal: "Sorry, TTW? What's that?"

Suit (smugly): "The Tangled Web. Duh."

Wow. I haven't said a thing yet and I've already managed to completely derail myself.

So. Authors. Websites. Basically, you're going to have to work out what you do about websites and the like. For myself, it was all nice and simple. When I published Olives - A Violent Romance, I started a blog of the book and a book website. At the time I worried a little about whether that was the right move, or whether I should have an Alexander McNabb site that had the books in it, but I was greedy for SEO, in part because Olives is such a pants title for a book (long story) and in part because it doesn't really matter what you do for a day job, you're too close to things when it's your own work.

The blog of the book was a clear content-led promotion play and launched in January 2012. I kept it going until around May 2013, by which time I was so exhausted by book promotion I could barely look at an Olive, let alone write about the blasted things. The blog was basically an ongoing discussion of the book's content, quoting bits of book and discussing the ideas, concepts and situations behind each quote. In total it's pulled about 24,000 page views and is still averaging a little under 400 views a month. That's not bad, really, but when you take McNabb's Law Of Clicks into account, it's not a very big hill of beans.

The book's website was nice and easy to do: I used Blogger as a CMS (Content Management System), because it's the Barney of CMSs (Wordpress is immeasurably more powerful, but complicated. Blogger is all primary colours and simple steps) and the introduction of multiple pages meant it was just fine for simple sites. I had a little help from +Derrick Pereira who knows more about the under the bonnet stuff than I do - other than that, it's simple enough for an averagely connected person. The website's pulled about 17,000 views since December 2011 when I launched it, which isn't actually much as it was the landing page for most of my Tweets and Facebook posts - but it's nice to have somewhere to send people to get more information on your book before you launch them at Amazon to close the deal.

The Beirut - An Explosive Thriller website launched a year later and has pulled about 14,000 views, while Shemlan - A Deadly Tragedy has a measly 4,000 - a reflection on how increasing weariness has negatively impacted the amount of book promotion I've been doing, really. Perhaps interestingly, particularly as a test of the previously mentioned Law Of Clicks, Olives has seen 2,000 clicks on the 'buy Olives' page, Beirut has pulled a tad more (but possibly that's Lebanese politicians who thought someone else might be selling the city cheaper than they are) and Shemlan 1,000 clicks. Those clicks on the 'buy the book' pages have not translated into an equivalent number of book sales, believe me.

I decided on a simple common naming convention, olivesthebook.com and so on. Clearly I wasn't getting Olives.com or Beirut.com. And, of course, I put the address of each website into the books themselves, alongside alexandermcnabb.com.

Alexandermcnabb.com was originally just a redirect. I snaffled the domain (from whois.com, where I do all my web stuff) but didn't really get around to doing anything with it except redirect the URL to this here blog. After a while I bit the bullet and put up a simple, five-page site using Whois' Sitebuilder, which is a very simple to use but really quite powerful website template manager and CMS.

That 'strategy' has now run its course. I can't go on launching a new website for each book, apart from anything else it's costing me $9.98 a year in domain registration fees for each site. So over the weekend I pulled the primary content from each book website and put it all under alexandermcnabb.com, giving myself a 'proper' author website by taking Whois' 20 page package, rolling up my sleeves and structuring the site to be very book-centric. There are now six books up there (including the appallingly neglected, some would say justifiably, Space) and there's room to add more without increasing cost. The content is just as searchable as it was in the book sites and I'm not losing millions of links into those sites with the move.

If I could do it all again knowing what I know now (bear in mind that back in 2011 I had no idea I was going to go on to write and publish more books), I'd have gone straight for an author site with the books under its aegis. It simply makes more sense, introducing readers to other books I've written and giving a core property to link to. The Whois Sitebuilder product is actually pretty powerful and includes multimedia, social links and even a shopping cart if you're minded to go down that road.

I wouldn't have bothered with the Olives blog, either. I'd have abused this blog more and built links from it to alexandermcnabb.com rather than the Olives website.

If discussing all this has helped you to think through your own web presence as an author, I am glad. If it has bored you senseless, sorry about that but remember no refunds. If you want to pop over to my shiny new website, it's linked here for your listening pleasure. Please do remember to wipe your feet before you go in.

A Day In The Life

English: Ian Dury in concert. (Photo credit: Wikipedia)

Please note: this post is best read from the bottom up.

6.30pm
What happened?

Setting out to live blog a day when you're clearly in the poo for time and have a brand new Samsung which you don't know how to use and haven't yet downloaded key apps for was never going to be quite the breeze it appeared at 9am. Boy did I time out.
We had starters, mezze thingies and hot fatayer. I love mujaddara. Just saying.
Main course was a rich North African style lamb thingy with couscous and vegetables. I couldn't tell Rachel this for obvious reasons, principally the fact she had a cold shawarma at her side when I finally got back to her at 4.30 just as the ExpatWoman Festive Family Fun Fandango was shutting down for the day. She'd been too busy to eat lunch.
After the main course Lara got up and moderated. Liz talked. I talked. We answered questions from the audience. People bought books and asked us to sign them. I sold out of copies of Shemlan which was kind of nice.
For my part I talked about MECAS and Shemlan, the magic of Beirut and the shittiness of sectarianism, both in Beirut and in Northern Ireland, where my next book is set. And where Gerald Lynch the evil spy is more than comfortable because he understands the sectarianism that binds these two magical countries.

It was late in the afternoon as Gerald Lynch hopped along the uneven paving that lined Gouraud Street, the heart of Beirut’s bustling Gemayze area. He wore jeans and a leather jacket against the chill spring air, his hands in his pockets as he squeezed between the parked cars.
Gouraud’s bars, as ever, welcomed those who wanted to party and forget the woes of a world where violence and conflict were a distant memory but a constant worry. Orphaned by Belfast’s troubles, Lynch appreciated Beirut’s fragile peace and sectarian divides, the hot embers under the white ash on the surface of a fire that looked, to the casual observer, as if it had gone out. Lynch scowled as he passed a poster carrying Michel Freij’s smiling face, encircled in strong black script: ‘One Leader. One Lebanon.’

From 'Beirut - A Deadly Thriller'

So, what with eating lunch and all that talking, the afternoon flew by and I abandoned Rachel like the low cur I am. I rushed back to the Ranches, but it was too late. We had a chat about our respective afternoons and wandered our respective ways home. We're doing it again at Repton, but more about that later. I missed The Goat, but appreciated his kind gesture in leaving behind a security camera picture of him emptying my cash tin.
I finish by driving home, exhausted and elated. Raucous: Blur's Caramel, Kaiser Chiefs' In My Life, Chili Peppers' Californication.
It's very odd to spend a whole day rushing around talking to people about your books and then taking money from them. But it's one of the best ways of spending a day I know of.
So a heartfelt thank you to the ExpatWoman team for hosting the Author's Corner and to Jane Northcote and the team at Dubai World Trade Club - and Lara, the moderator with the mostest.
And now to a Djinn and Tonic...

1.10pm
Going in for lunch now. It's all glittering tines and starched white linen around here. Chattering, unsuspecting audience members are having drinks poured. I'm trying not to think of the blazing sun and poor old Rachel flogging books to the hordes. I'm dealing with it.

12.25pm
Oh wow. Placebo's Bulletproof Cupid and Foo Fighters Burn Away seeing me on the pell-mell dash from the Ranches to the Dubai World Trade Centre. Dury's Apples still haunting the edge of what passes for my mind. Got here on time, bit sweaty and over-excited but I'm good and the calm, monied halls of the World Trade Club are taking the edge off the Hunter Thompson vibe.
Rachel's got a wee stock of signed books and I actually feel sorry for her (now I've sold a tranche of books) in the sweltering heat while I loll around talking to the leisurely classes in the air conditioned luxury of Dubai's oldest members-only club.
It's going to be fun getting back to the Festive Fair, it was packed as I left, parking spaces only available out as far away as Studio City.
And now to lunch...

11.40am
I have to dash to Trade Centre now. Books have been flying out of the door, which is lovely. I've been teasing Rachel about how much more money I make per sale than she does and she's pointed out that she only has to write 35,000 words to finish one of hers.
I'm working out how to do for her. Seriously.

11am
Golly but it's hot. The sun's out, the smell of BBQs in the air and the crowds are out, people milling around and much chatter. The catering's a disaster, grinning staff who don't understand the words tea or sugar makes for an interesting service experience. Dhs 10 for an Aquafina, 18 for a coffee. Rachel's sold thousands of books, I haven't sold a thing. I hate her but have to be nice to her because she's looking after the stall at lunchtime. When I get back this afternoon I'm going to kill her and hide her body behind the clubhouse.

9.30am
Guy at the gate stops me. I announce I am an Expat Woman but he doesn't crack a smile. He tells me there are new rules and I can't have pets or feed the horses. That's fine, then.
I meet the team behind Eva Lilly and the Three Toed Snooch. They have t-shirts. Rachel has brought a big yellow pop-up stand with The Case Of The Exploding Loo on it.
I feel I am building well on my positioning as a serious author of Middle East spy thrillers.

9.15am
I'm on the road, having wiped out ADNOC's cash reserves by emptying their ATM and then buying a bottle of Masafi. They're going to go bust now but I've got a cash float and I don't care. Spiritualised's Broken Heart helps to erase Dury's Apples but it's going to take more than that. Feeder and System of a Down, Placebo and then Blur. That's done the trick. The MBZ road is clear and I'm flying along - I'd allowed an hour for the drive and I'm at the Ranches by 9.30.

9am

The idea of noting down the day comes to me. I've got Ian Dury's 'Apples' in my head and Sarah has just handed me a tin cashbox. It occurs to me that I'm actually going to handle money today. True to form, I've double booked myself. I'm selling and signing books at the ExpatWoman Festive Family Fun Fair AND I'm doing a literary lunch event at the Dubai World Trade Club. Kids' author Rachel Hamilton asked if she could pitch in a couple of weeks ago which was fine by me. And then I realised about the double booking thing, which made her my lunchtime stand-in. For two hours or so today she gets to be me and speak all gruff.

Book Post - Promotion And All That

(Photo credit: Wikipedia)

I've just been working on slidesets for next week's series of workshops on how to write, edit and publish books. In the last of the three, I look at getting an agent and also self publishing. And that invariably leads to the knotty issue of book promotion.

It's something of a conundrum, this promotion thing. I threw myself into promoting Olives - A Violent Romance like a particularly relentless lunatic, taking every opportunity to make a fuss, create content, repurpose, share, link and generally hoon around. Given the day job, I had a relatively good go at using my platforms and reach to nag, annoy, bully and generally beseech anyone who had ever come within my relatively wide ambit.

I did interviews, LitFests and ran a very extensive online reviews and outreach campaign. I published the book in October and by the following June was so exhausted with the whole thing I never wanted to see another book blogger again. Ever. Even the words 'I love books' used to bring me out in a cold sweat.

Picking up the energy to promote Beirut - An Explosive Thriller was a big deal. I never really managed it that well, beyond a cool launch event and some interviews/workshops and other stuff. I simply didn't have the energy left. And one thing that was becoming clear was there was a law of diminishing returns at play here - social media wasn't having the same impact it used to.

Everyone talks about getting an 'author platform', but what happens when those outlets become jammed with authors abusing their platform to promote books? Or when that platform is no longer seen as crucial or important to the people using it? What if everyone's just, you know, moved on?

I really haven't promoted Shemlan: A Deadly Tragedy that much. IMHO it is by far the best of the three books but hasn't even drawn ten Amazon reviews. Because I haven't printed an edition in the UAE as I did for the last two books, it's not being bought by its 'core audience' in the main because Amazon doesn't serve the UAE, the adoption of e-readers is generally miles behind in the Middle East and few people seem to be buying books online.

Book bloggers, who used to be relatively accessible, have TBR (to be read) lists stretching ahead months. A lot of book blogs have just ground to a halt, are no longer accepting self published books or simply aren't taking on more reviews. It's getting harder and harder to get your voice out there and have it heard.

And when you do, McNabb's law applies. You have to kiss an awful lot of frogs to get one buyer. And even then, they probably won't read the damn thing for months.

It's starting to get problematic. There HAS to be better way to get good books into people's hands (and no, it's not blasted GoodReads) than this trilling and primping on social media - because that's simply not working.

If you know the answer, clearly I am more than interested in your views. Because I, for one, don't...