Showing posts with label e-books. Show all posts
Showing posts with label e-books. Show all posts

Tuesday 23 April 2013

Fake Plastic Souks - The Glory Years


Yes! It's the book of the blog! As I mentioned in one of last week's traffic-destroying booky posts, I was giving a workshop at The Archive's 'Day of Books' (nice to see HH Sheikh Mohammed dropping by and commending Safa Park's finest book haven and café) on how to use self-publishing platforms.

Trouble was, I didn't have a book to use as a sample. And then it hit me - pull the blog into a book format. It took a tad longer than I had anticipated, but resulted in the best bits of my first two years of bloggery being poured into a nice booky book shaped mould. So now you can buy Fake Plastic Souks - The Glory Years as both a print book or ebook.

I found the whole process fascinating. For a start, going back over stuff you dashed down five years ago means quite a few surprises - I enjoyed myself reading over posts from that time when Dubai was overheating like a lunar capsule re-entering earth's atmosphere and then noting the transition to abandoned cars and vicious, clueless articles in the UK's media about the Downfall of Dubai. I think that period of turbulence is quite neatly documented (but then I would, wouldn't I?).

For the workshop, we uploaded the book to Createspace - which means you can buy a printed paper booky book of the Blog from Amazon for £8.99 with next day free shipping. It then went up onto Kindle Direct Publishing, which means a Kindle book can be yours for £0.77 (Amazon's minimum price). And then we uploaded the files to Smashwords, which supports the important ePub format (Barnes and Noble, Kobo, Sony and iBooks), again pricing the ebook at $0.99. All in about 90 minutes.

One interesting learning for me was that the Kindle Direct Publishing people came back to me as a result of their validation process because they had found the content in my book was already available on the Web. They wanted to know why - and that I owned the rights to the content - before they would proceed with publishing the book to the Kindle store. They were the only one of the three platforms to do this.

I might play around with the booky book price a little, but you can quickly see how the production cost of a paper book forces the price into the stratosphere compared to ebooks. It's one reason why I now refuse to pay publishers the same price for a Kindle book they charge for a paperback. They're just being greedy and lazy. As most will know, Amazon pays a 70% royalty if you charge between $2.99 and $9.99 for your ebook, but otherwise (from $0.99 to $2.98 and $10 to $200) it pays only 35%.

It all goes to show something frequently overlooked, but actually, IMHO, quite important. You can create an ebook out of almost anything - content can make its way into peoples' hands in seconds flat and archive material, as long as it's of interest to someone, anyone, out there can be turned into a globally distributable and available asset for an investment of pretty much nada up front.

Anyway, you can now buy a bit of this blog to put on your mantelpiece or wherever else you display precious things. If I sell more than ten, I'll do a sequel!



Tuesday 24 July 2012

Is This Space Free?


From around about now, you can download your very own copy of the Kindle edition of my first novel, the highly chucklesome manic romp Space, for free.

That's right. 270 pages of scabrous madness can be yours for no remuneration whatsoever. Free. Nothing. Nada. Sifr. For 24 glorious hours, this most silly of books is, as Lynrd Skynrd are wont to tell us, as free as a bird.



Space will make youi laugh - guaranteed (or your money back). I posted about the book and my decision to hit the 'publish' button the other day, so I won't bore you with more detail. But I'd very much appreciate if you could share the word and encourage friends, family and followers to grab their bit of Space while it's still a no-risk buy. Tweet like canaries on crack. Let the world know. This Space is free!

Sunday 22 July 2012

Space - A Literary Lacuna


I sat down to write a book sometime in 2002. I'd given up smoking and it was annoying me. I reckoned I'd just dash down the first thing that came into my mind and London's literary scene would fall at my feet. Shockingly, they not only failed to fall as predicted, they rejected me. A lot. In fact, Space went on to pick up well over a hundred little photocopied slips that said something along the lines of 'Not for us, thanks'.

Space spoofs a genre that I have come to call the ‘airport novel’; that comfortingly large slab of silliness that you invariably turn to when you have to survive a seven-hour flight. Just like the Avian Obsession and the Maltese Balcony and those other man-in-race-against-time-against-unfeasible-odds-to-save-the-world-against-shadowy-cabal-led-by-megalomaniac books, Space is a fast moving page-turner filled with baddies and secret agent babes. Unlike the majority of them, Space is also intentionally and successfully funny.

Main character Dr. Ben Jonson is transformed from being a happy middle-class GP into a wilful killer, chased across Europe by police and various intelligence agencies. His odysseyette (it is so a word. I looked it up on the Internet) brings him together with a psychopathic CIA agent in a catsuit, a sex worker from Weybridge and a devastatingly effective computer virus that causes widespread societal breakdown. It all ends up with American bombers, the police and army, the Russian Mafia and a number of highly eccentric octogenarians coming together under a stone circle somewhere in Southern England.

 In Space, the baddy spends most of his time with his hand up his pneumatic secretary’s skirt, the good guys are kooks and MI5 safe houses are staffed by pink-haired camp people. The book darkens a little when the action starts moving, but it never stops being irredeemably daft. By the time we’re ready to resolve things at the end, there’s lots of slightly strange sex going on. I always find that strange sex is so much more interesting than ordinary ‘boy meets girl and gets it on’ which, lets face it, has been done before.

It was a popular book on Harper Collins' Authonomy peer-review website, but never even garnered a 'full read' from an agent. Having taken a look at the original MS and edited some of the worst flaws out, I found myself rather enjoying reading it. I'll tell you one thing, it's damn funny.

So I've eventually (and with mild reservations) decided to publish it as a Kindle only book for $0.99 (or 79p to you). You can go here to buy it from amazon.com or here to get it from amazon.co.uk. If you've got Amazon Prime you can borrow it instead. If you haven't got a Kindle or Kindle software for your tablet, you're going to miss out, sorry. I'll plug it a couple of times here and there, but I'm not going crazy promoting it. If you enjoy it, you can do that for me. If you hate it, please feel free to leave a review on Amazon or a comment on this post! I won't mind, honestly!

I'd get it while it's cheap. If I sell more than a few copies or start getting good reviews, the price is going up faster than you can say 'nmkl pjkl ftmch'...

Warning - Space has got a number of rude bits in it. So if you're easily offended, please don't read it.

Wednesday 6 June 2012

Sonoran Dreams - The Desert In Us All

You're in for a treat today, if a slightly long read. Book editor and author Robb Grindstaff is a friend of mine, one of the feared and shadowy Grey Havens gang, and today marks the publication of his first collection of short stories, Sonoran Dreams. So here's a guest post from a very different desert to the one we in the United Arab Emirates call home, but perhaps a topic that expats might find provokes more than a passing thought...

 
Deserts and their exiles
    
    I live in Phoenix, Arizona, a major metropolitan area in the U.S., in the middle of a desert, along with a couple million more desert residents.
    Why?
    I have no idea. Deserts were not made to be inhabited by people. Many deserts around the world are uninhabited, but other deserts have clans, communities, cities, cultures, even entire countries that are completely engulfed by desert.
    Humans who choose to live in an inhospitable land.
    Who are these people? And why do they live where the planet doesn't want them?
    First, let's define desert. There is no single, precise definition that is accepted by all the authorities who decide these weighty matters. The most common, I suppose, is an arid land of climate extremes with so little rainfall each year that it supports very limited plant and animal population, including people.
    In the city of two million where I live, the water doesn't fall from the sky often. We receive about eight inches (200mm) of precipitation annually. But the people who chose to live here a hundred years ago built a series of dams in the mountains to catch the melting snow, and our water is piped in from these man-made reservoirs.
    Phoenix is the hottest major city in the U.S. Summer temperatures are similar to Riyadh and Baghdad, with temperatures over 100F (38C) about one-third of the year, and frequently 110-120F (40-50C). Ah, as my friends from other parts of the country and around the world like to point out, but it's a dry heat. True. A pizza oven is also a dry heat, but no one wants to live in one of those.
    Deserts come in many varieties, hot or cold, nothing but sand or with an abundance of plant and animal life that has somehow adapted. The Sonoran Desert of Arizona is filled with plants and animals not found anywhere else—exiled flora and fauna. Even the cacti and snakes and small rodents of the desert are not allowed to live in the lush valleys and fertile crescents and agricultural breadbaskets of the world.
    Most plants have thorns and spikes. Many animals and insects are poisonous. Nature in the desert does not roll out a welcome mat or a red carpet to greet humans.
    So who lives in a desert? And why?
    I have categorized desert dwellers into three general types:
   
1. Those who don't know any better
2. Those who aren't wanted anywhere else
3. Those who don't want to be bothered by anyone
   
    In the first category—those who don't know any better—are the large groups of people who were born in the desert, whose family has lived in the desert generation after generation, and they've likely never visited anywhere else. These folks think the entire world is just as unbearable as their home, so it never crosses their minds that there might be places with cool breezes, flowing water, green plants, and a need for socks. Or maybe they have visited somewhere else, like Norway or Wisconsin in January, and wondered how anyone in his right mind would live somewhere so unbearable.
    The second and third categories I combine into one overarching description: Exiles.
    Exiles have either been removed from their homes and natural habitat, or they have chosen to remove themselves.
    In today's world of global mobility, the idea of someone being exiled against his will seems a bit arcane. Governments don't arrest dissidents, political enemies, and troublemakers and then banish them to Patmos or Elba or Australia much anymore.
    But sometimes, a person packs up and moves to the desert. Self-exile. Sort of like self-deportation, only instead of returning to his home country or region, he deliberately, intentionally, on purpose moves to a desolate land where he doesn't know anyone and the earth makes it clear he's not wanted.
    Who are these exiles?
    In Arizona, there were the pioneers of the Old West who moved across the wide-open expanse of an unpopulated America in search of a new life, land, a fresh start. They traveled until they found the hottest place on the continent, just a few hundred miles shy of California's moderate climate and beautiful beaches, and said to themselves, "Let's stop here. I gotta pee." Then they couldn't get the wives back into the covered wagon, and so they told the children, "Yes, we are there yet, so stop asking."
    Hardy folks. Individuals who wanted out of the big cities back east. People who wanted to scratch out a life for themselves in rock-hard dirt with no water and bugs that can kill with a single bite. The 'Don't Tread On Me' folks.
    That streak of independence and individualism still runs thick in the residents of the American Southwest desert, whether they've descended from the original pioneers of 150 years ago, or if they sold their house and their snow shovels, gathered their life savings, and moved here in the past few years of unprecedented growth. They left the suffocating density and stifling social norms of major U.S. cities back east and staked a homestead (or a condo) in the suffocating heat and overwhelming urban sprawl of a city in the desert.
    Exiles move to the desert to escape the tentacles of family obligations. "Oh dear, we'd love to come see you and the grandkids, but we have no one to look after our lawn, and all our landscaping will die if we don't stay here to water it every day. Besides, Friday is Bingo at the lodge and Saturday is wife-swapping in Sun City West."
    Exiles seek new opportunity for economic prosperity. From entrepreneurial start-ups like solar power, to scams and frauds like government-funded solar power, to migrant workers looking for a better life that includes things like a paycheck and food.
    Exiles want to disappear. Fugitives from justice. Fugitives from crazed ex-wives and restraining orders. From credit card companies. From life.
    Some desert dwellers are nomads, and that's true here in the Sonoran as well. They gather only the belongings they can carry with them, such as clothes, food, and a poodle, load their caravans—perhaps a Dodge Caravan, but more likely a Winnebago—and travel across the plains every October, just in time to escape the blizzards and ice storms and freezing temperatures of the north. They travel to Arizona and spend the wonderful winters where it never snows, seldom rains, and the temperature rarely drops below light-jacket weather. Six months later, when Edmonton and Minneapolis are starting to thaw, and Arizona's springtime sun starts to blister the paint off the motor home, they return from whence they came.
    Snowbirds, we call them. Retired folks mostly, they fly south for the winter, then migrate north again come spring, avoiding the extremes of weather at each end of the country.
    Temporary exiles.
    As a writer, there aren't many places better than the desert. Writers are naturally exiles. A writer can banish himself to the spare bedroom that's set up as a makeshift office, shut the door, and tell the family, "Hey, leave me alone. I'm working in here."
    The desert is full of characters waiting to be captured in the pages of a story. If it wasn't so hot, I might go meet some of them.
    "Yes, I'm working. I'm developing a character. No, not for me, smart-mouth. For my novel."





More about Robb
  
Following a career in newspaper journalism and management, Robb Grindstaff now writes and edits fiction full-time. Newspapers took him from Arizona to North Carolina, Texas to Washington, D.C., and five years in Asia.
Robb has two completed novels in preparation for publication while writing his third and fourth. He has had short stories published in anthologies, print, and e-zines, and his articles on the craft of writing fiction have appeared in writer magazines and websites in the U.S., Europe, and Australia.
His editing clients include traditionally published, agented, and high quality indie authors from the U.S., Europe, Australia, and the Middle East.

Robb's website: http://robbgrindstaff.com
@RobbWriter on Twitter
Robb on Facebook

Wednesday 8 February 2012

The Newest Profession


The blog is littered with writer types this week, sorry. Today comes a guest post from deepest Cornwall as mustardy-shirted author Simon Forward takes the helm and tries to crash into the nearest landmark. I leave you in extremely unsafe hands indeed...

The Newest Profession? Independent authors, of course! They’re everywhere these days. Loitering on every virtual corner, peddling their innermost thighs – I mean thoughts, for a few pennies and bringing the internet into disrepute. As rampant and desperate as a sexbot, their responses are almost as automatic and you could be forgiven for not realising there’s a real live person on the other end of that Tweet.

They weren’t getting anywhere through the traditional route, so zealously guarded by agents and publishers (the two faces of an industry Janus, albeit both are wearing blinkers and looking backwards). So they removed the gatekeepers from the equation and struck out alone.

Unfortunately, even with the gatekeepers out of the way there’s this massive fence to climb. And it’s getting higher. Readers are building up the walls against the rabble. And who can blame them, with an mob of whores scrambling to find some way into their personal library? Pick me! Pick me! It’s like the X Factor audition stages out there. Tens of thousands of hungry souls – Zombies Got Talent. There’s a reason ITV show an edited version of the competition – who wants to sit through that lot of hapless wannabes? I pity the readers, I really do.

As a reader, I’m hugely selective. A book’s something you invite into your life, after all, and spend a fair chunk of quality, intimate time with. I’m very fond of my Kindle (if you turn that around you get kind of my Fondle, but I digress), so I’m very fussy about what I put on it. (In fact, I’ve ended up with a collection of reads queued up from people I know, so there’s a strange kind of non-industry nepotism going on there. Luckily, most have been good, but I’ll admit it’s possibly not the best filter for buying books.)

Currently, I buy hardly any traditionally published books except for firm, established favourites. I don’t buy into the notion that the backing of a traditional publisher is an integral stamp of quality. I’ve seen too many bloody good manuscripts passed over and too many not-so-good ones passed through the system and excreted onto the bookstore shelves. Too often it’s a stamp of mediocrity. It’s safe. It’s the soft option. It’s selling wool to sheep, which is what large parts of the industry are good at. Trouble is, any readers who are looking for something new may well be inclined to turn to the independents. But a brief scan of the internet will turn up a baffling array of authors bleating for attention, with way too many press-ganging a small army of friends and relatives into posting 5-star reviews on their Amazon listings. Trying pretty much any trick, in fact, just to turn a trick.



Readers, be afraid. Be very afraid.

But, on the other hand, as an author, what’s a whore to do? I’m reasonably sure batting my eyelashes and hitching up my skirts is not going to do me – or anyone else – any favours. There’s a great scene in the movie Glengarry Glen Ross where Alec Baldwin is lecturing a bunch of losers on what it takes to succeed in sales. He reaches into his suitcase and produces a pair of brass balls. I’m not sure how far those would get you on the streets of Babylon, but it seems to me you need them for this business.

As a Doctor Who author, once upon a time, you could sit back and let the brand sell your books for you. And I remember attending two different conventions, one in the UK, one in the US. In London, the writers were like B-list (I’m being charitable) celebs, we had some fun on a discussion panel in a relatively small room tucked over on one side of the hotel. In Los Angeles, we were A-listers, welcomed and celebrated as near as damnit on a par with the stars of the show. I’d sit on the signing panel with fellow authors and fans would come coyly over to me and ask if I’d sign their copies of my book. One even brought a bag full of all the Doctor Who output – books, audio dramas, a novella – I’d written at that point. Sigh. I’ve come over all nostalgic for those days now.

Part of the reason I’m getting misty-eyed is because I wasn’t there to sell books. I was there to enjoy myself. Which has a lot in common with why I write. But yes, I’d also like people to read my books because, you know, I get exponentially more enjoyment out of other people’s enjoyment of the things I enjoyed writing. Still, for all my desire to share, I’m preternaturally shy. I pour my heart and passions into my stories – why the hell would I want to pour myself and my opinions out all over the internet? Yuck. I hate myself a little bit more every time I do it. Those virtual street corners are far from my natural environment – well outside my comfort zone. I have this conviction, you see, that anything interesting I might have to say is limited to my works of fiction.

Today I would rather be back in my shell, writing my latest sci-fi adventure. That will be of interest to readers. But the poor thing’s being (temporarily) neglected again in favour of promoting my latest release.

If a book is released on the internet and no-one’s around to see it, does it make a sound? Simple answer: no. Authors have to advertise on Facebook and Twitter and all the rest, and beg for a simple RT or a wall post to pass the message on, spread the word. And like wealth, the bulk of Retweets and FFs generally flows upwards to those who least need them. So authors have to work harder to make themselves heard, which in turn drives more folks away because, let’s face it, do we really want our Twitter streams flooded under a deluge of #PleaseReadMyBook?

So it would seem that while publishers, agents and self-whoring authors are all keeping good books safely out of the reach of readers, we authors are also keeping ourselves away from (writing) good books. Where, I’d venture to suggest, our time is best spent.

Back in 2008 when I first signed up on the Harper Collins’ authonomy site, there was so much wild abandoned pluggery it’s a wonder God didn’t step in to strike the whole thing down. The funny part is, there were two key figures most known for their shameless plugging. One Alexander McNabb and, er, me. Him in his field of sunflowers, me on my Cornish cliff top in my (then-infamous) mustard shirt. When it comes to whoring, he taught me everything I know.

But that’s the thing: it was funny. To start with, I was there to enjoy myself, to have a laugh – and laughs we had aplenty. And why not? It was a game. Until I suppose we all discovered there wasn’t a prize. But it was also, as I wrote in a post for the authonomy blog, something of a microcosm of the indie publishing universe. The experimental authonomy world was flat and when we all travelled to the edge we fell off into a bigger version of the same old circus.

Readers, authors, publishers. We’re all losers in this game, the way it’s currently being played.

Maybe what’s needed is some kind of convention. An organised virtual event or one-stop shop, a meeting point for readers and authors and publishers. Somebody is at least talking about something of the sort:
Is it the answer? I’m not sure what shape this new model should take. I have no idea - because that, like the whole whoring business, it’s outside my remit. It’s not my cup of tea. All I know is, something needs to be done by somebody.

“Change, my dear, and not a moment too soon,” says the Doctor at the end of the Doctor Who story, The Caves Of Androzani, and at the beginning of another regeneration. Of course, what was needed to trigger it was Peter Davison’s Doctor keeling over and dying.


I’m not sure what we should learn from that.

Meantime, if anyone needs a whore I’ll be the shy, reluctant one still trying to wear his author hat while accessorising with something sluttier.
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Wednesday 23 November 2011

Rejection. An Author's Guide

Detail from photographic portrait of Charles D...
Image via Wikipedia
The very nice piece about me in The National last Sunday did  contain one or two teensy-weensy mistakettes, one of which was that Olives - A Violent Romance had been passed up by 250 agents and 12 publishers. That's not actually the case, that's my total rejection count, not just those notched up by Olives.

It's mostly my fault - for the first few years I pursued my writing goal in secret and flung myself repeatedly against the same wall, the Dunning Kruger Syndrome coursing through my veins. I'd send off batches of manuscripts, four or five at a time, convincing myself that all sorts of things were possible. That it was a numbers game. That agents further up the alphabet would be easier. That this edit was the one that'd make it through.

My first rejection was from an agent at big agency Peters, Fraser and Dunlop (PFD to you), who had made a big noise online about how he loved to help new authors. I remember cursing and shaking my fist at him (from 4,000 miles away) as his form rejection showed me how little he, in fact, cared for us unsung geniuses.

I've already said several times that I now consider my first book, Space, was badly written. It was funny, but really lacked the technique to cut the mustard. I realised that in 2007 when I finally 'came out' and made contact with other writers. I was still 'shopping' Space then, hopeful that whatever quality had got it to the 'Editor's Desk' on Harper Collins' peer-review site Authonomy would be seen by someone who would take it on and get it a nice editor. It was not to be. I had finished Olives and started submitting it to agents before then, but Olives too had been notching up rejections from agents, some of whom had said odd things like 'The British public isn't interested in the Middle East' and 'We see enough bombs in the world without wanting to read about them.' I took these statements seriously at the time, but have since learned not to - literary agents and editors alike will cast around for the nearest glib phrase to decorate a rejection, these aren't thought-through guidance, but a brush-off. They do an awful lot of rejecting, they reserve their time and effort for the stuff that gets through.

So Olives must have racked up another 100-odd rejections (in batches, in between major editing runs and re-writes) before one request for a 'full read' came back with 'it isn't dramatic enough'. I stomped off with gritted teeth and the determination to give them dramatic if they wanted dramatic. Beirut, an insane, pumped up international spy thriller on crack, the result of that particular temper tantrum, was certainly dramatic.And it was also rejected time and again before a cheeky correspondence with the very kind agent Andrew Lownie resulted in my getting a professional reader to look at the manuscript - his advice taken, I resubmitted to Robin Wade and it was Robin who signed me up and took Beirut to 12 of London's Finest.

Who all rejected it.

It's certainly a remarkable tale - 250 rejections is quite a tally. Many of these are completely my own fault - for going it alone, for thinking this was a numbers game, for sticking with it and for beating my head repeatedly at the same wall. But a good number of them are the fault of an industry in its death throes. Agents are gatekeepers for publishers, filtering out anything they don't believe is a dead cert winner. Agents get paid 15% of authors' revenues and like nothing more than a nice, fat advance. If you can land a £100,000 advance once a month alongside some strong residuals, you're in the moolah, no? So there's a strong trend to support the well-trodden path, to be mainstream and not take risks. Added to that, the sheer number of hopefuls submitting to agents means manuscripts will be rejected for the most arbitrary reasons - bad formatting, an unconventional beginning, a difficult topic. And then there is the faddishness of safe publishing - if African Memoirs are this year's Big New Thing, then they're not going to be too open to a Sweeping Russian Drama. Sorry, Leo.

In the UK today, books are going straight to paperback and straight to discount - 3 for 2s and half price deals stacked up in supermarket bins as publishers try to find new ways to hit the popular pocket for money as they struggle with a public becoming ever more indifferent to full length linear narrative. People today are consuming so many streams of content and entertainment in such easily digestible media - and of course, e-readers are now part of that world, which rather confuses those used to thinking of the dynamics of publishing in terms of percentages of the hugely inefficient wodge of dead tree that is a booky book. E-book sales are going through the roof as the prices asked for by authors are going through the floor - publishing is finding it ever harder to map out its relevance in this scenario. And so only the very safest, most obvious decisions get made.

I'm sure someone in publishing will drop by and say, no, that's not the case - we just back quality. But I don't think the protest will carry much conviction these days.

So how can an author today handle rejection? First, remember it's not personal. Second, take any feedback as a hugely positive thing (remember, they're focusing on the stuff that gets through, so if they spare you a comment or two, they've done you a big favour). Third, don't let 'em pile up to 250. If you notch up just ten of those nasty little photocopied slips, assume the next ten won't be any different and get your ass off to www.kdp.com and sign up to Kindle Direct Publishing.

Because that, my dears, is where the party is.

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Thursday 17 November 2011

On Kindles and Olives

Cover of "Kindle Wireless Reading Device,...
Cover via Amazon
When I first started out on this whole book writing thing, to my ever-lasting regret, I kept very quiet indeed about what I was up to. It was to take five years before I told anyone I knew that I had written a book, let alone that I was submitting it to agents in the hope of finding a publisher.

Why? Simply because I have always loathed people who announce they're writing a book. If it ain't in print, it ain't worth a damn, was the way I thought at the time.

Although I had shared the MS of Space with a couple of close friends by the time I found authonomy, I had stuck to my guns. When I finally let the cat out of the bag, I was shocked by people's kindness and supportive response.

Not as shocked as I was by the goodwill and support from everyone around me yesterday. The day started on a high when I heard from the National Media Council that I have the go-ahead to print Olives in the UAE. The team at the NMC have been wonderful - quite the opposite of my experiences of their predecessor, the wittily named Ministry of Information.To come out of that process having won fans for the book was a complete and welcome surprise.

This means I can provide a Middle East edition of the book for all those here who can't easily get on Amazon (because Amazon doesn't support the Middle East). I have distribution sorted out for the UAE, Jordan and Lebanon. All I need do now is finish my quest for a printing press that has stocks of the right grade of paper (booky books are printed on a particular type of lightweight but bulky paper) and I'm on track to be in the shops for the beginning of December. My first job this morning is to go to the NMC building in Qusais and get me an ISBN number for the UAE edition.

But yesterday really hit its stride when I tweeted the link to the Kindle Edition of Olives. My heartfelt thanks to everyone for the messages, congrats and the like. Putting the book on Kindle was the first thing I did when I made the decision to self publish - there's a natty piece of freeware called MobiPocket Creator, which I've posted about before, that renders the process pretty simple. You then sign into Amazon as an author and select your preferred distribution channels and then it's pretty much hey presto!



Now all I need to do is sign off my CreateSpace proof (winging its way to me thanks to Aramex' natty Shop and Ship service) to get the print edition up on Amazon and pack the UAE edition off to the printers.

I cannot begin to tell you how liberating it feels to finally get my work out there. I can't say I regret not doing it sooner, because I think we all have to take our own paths to things. But I'm very glad I've done it now.
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Sunday 13 November 2011

The Book Slog Blog

Broken typeImage by vial3tt3r via FlickrActually writing a book is easy as pie. You just take 75-100,000 words or so and put them down on paper. The order in which you place them can be a bit of a bugger, but the principle’s simple enough.

Most writers will knock up an average of around 1,000 words a day, so that’s a good three months to crack off a novel. Allow for procrastination, cunctation and a few other ations and you could easily (and advisedly) take 5-6 months to finish the first draft of a manuscript. You can work faster than that – I wrote the original MS of Olives in just over four weeks, but I’ve been seven years in editing it. Some people will write their book in four weeks and create a work of tear-jerking genius without having invested a second more. These are not, you understand, people to whom I talk.

Having finished the MS, in my case usually with the reward of a snappy Martini or two, you can breathe a sigh of relief before getting down to the real work. Because actually spending months writing a book is nothing. The real work starts when you’ve finished the damn thing.

First off is the editing. Dashing down 80,000 words of story is all great fun, but then you have to review it and make sure you’ve spelled everything right, avoided awful continuity errors, remained consistent to your characters, maintained your storyline and honed your writing so that the dialogue works, the action fizzles and the moments when two people go ‘ping’ actually go ‘ping’ and not ‘splot’. There have been whole books – a great deal of them, in fact – written on this subject. Writer’s forums constantly buzz to questions of POV (point of view), the passive and active voice (oh, puhlease!), characterisation, plot elements and all that sort of stuff. And we haven’t even started talking about sentence structure, ‘showing rather than telling’ and the myriad elements that stalk the furrowed brow of the harried writer editing his/her manuscript (or MS, if you want to use ‘the lingo’).

Now, don’t forget, you’ve just written tens of thousands of words – editing them all over again is a real trial. By the time you finish, you sort of hate those words. The bastards have no right to be so demanding, so imperfect. But finally you’re done. The MS looks good to go. (It rarely is at this point, but let’s not pee in the firework box too early, hey?)

Now you have to write a synopsis of your book. This is a one or (at most) two-page summation of what your book’s about, what actually happens in the thing. Any agent or editor wants to see a synopsis to find out if the thing makes sense as a whole. So your synopsis not only has to represent the key movements of the plot, it should ideally show your ability to write as well. This is a hellish thing to ask someone who has just written a book, then edited it to shining perfection, to do.

But it must be done.

What happens to your character? Who influences the development of the storyline and who is just there for colour? Chances are, by the way, if you can cut a character out of your synopsis, you can cut him/her out of the story and are better off doing so. The synopsis is a straight story-line, a compelling narrative from a to c that validates quite why b was ever involved. Take your story down to five pages, then halve the word count, take it down to a little over two pages. And then you can start playing hardball with those cowering little words. Eliminate, and do it like a Dalek with a really bad hangover.

It’s like swimming through molasses with 10lb weights tied to your bits. It’s an awful, sorry slog of a task.

And we’re not done with you yet, matey. Now we want a ‘blurb’.

A ‘blurb’ takes your synopsis and hones it down to under 400 words or thereabouts. Here’s the blurb for Olives:

[BlurbStart]

When Paul Stokes runs out of choices, his only path is betrayal. 

The fragile peace is holding. Behind the scenes, the Israelis are competing for dwindling water resources as Jordan and Palestine face drought. Daoud Dajani has the solution to Jordan’s water problems and is bidding against the British for the privatisation of Jordan’s water network. 

When journalist Paul Stokes befriends Dajani’s sister, Aisha, British intelligence agent Gerald Lynch realises Paul offers access to Dajani - the man threatening to drain Israel’s water supply and snatch the bid from the British. Blackmailed by Lynch into spying on Dajani, his movements seemingly linked to a series of bombings, Paul is pitched into a terrifying fight for survival that will force him to betray everyone around him. Even the woman he loves.

[EndBlurb]

That’s not the only blurb for Olives, but let’s not complicate things. Note it’s not a contiguous description of events in the book – it’s a summation of the action and points of action that are intended to evoke interest in what the work’s about. (You can judge whether it works in the comments, and please be my guest!)

Now you have a ‘blurb’ you can work it into your ‘pitch’. A blurb and pitch are two different things, although they are necessarily interrelated. The blurb is the text you’d slap on the back of a book. A pitch is what you’d say to a top London literary agent if you got one minute of his/her attention. The best way to do this is crash their lunch at the Athenaeum holding a Scalectrix controller wired to a lumpy belt around your waist and screaming ‘I’ll take you bastards all with me’ before you start pitching. This might seem extreme, but don’t worry. Agents are used to authors doing this. The worrying trend emerging is agents are now doing this to editors as the world of conventional publishing slowly collapses into itself like Michael Moorcock's Biloxi Fault.

Not even the Athenaeum, it must be said, is a safe haven these days...

Anyway, now you have a book, a synopsis, a blurb and a pitch. You've also likely got RSI and a rocky relationship. Next comes the hard bit. I'll come on to that tomorrow...
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Tuesday 4 October 2011

Of Books

Books BooksImage via WikipediaThere have been a couple of recent moves in the Wonderful World of Publishing that may be of interest. Bloomsbury has launched its own e-book and POD imprint, 'Bloomsbury Reader', while in the US, publisher Perseus Books has launched a new company to publish e-book and POD editions for agented authors called, snappily, Argo Navis Author Services.

The main difference is that Bloomsbury is only targeting out of print books where the authors' rights have reverted, while Perseus is definitely more focused on the living.

Bloomsbury, JK Rowling's publisher, has done a deal with The Rights House (made up of mega-agency PFD and Rights House Talent) to publish a number of titles and launches Bloomsbury Reader with some 500 titles on Kindle, with other platforms to follow. The biggest name in the first tranche is Edith Sitwell, although Evelyn Waugh's brother Alan features (he was a scandalous bestseller in his time). Just in case you thought you were in for some quality bargain reads, by the way, think again - the books will be priced at $8.99. That's stiff for an e-book of an out of print work, in my humble.

The Perseus move is perhaps more relevant to today's authors. The company will be offering an e-book and POD service, publishing to multiple e-book platforms and offering marketing and distribution support while only taking a 30% cut. In the Argo Navis model, the author remains the publisher while Perseus is the distributor. Perseus has already signed with agency Janklow & Nesbit, is talking to Curtis Brown (according to the New York Times) and is in discussions with a number of other agencies.

So what does this all mean? Well, in the Bloomsbury case, we have a traditional publisher reviving a number of classic out of print works and making them available using the new efficiencies of e-books and POD. That's only a good thing, although you'd wonder why more publishers haven't gone this route already. With agents and publishers alike (Don't forget Ed Victor has already launched a 'reverted rights' e-book and POD imprint) looking to backlists and out of print titles, we're going to see an awful lot of 'old' books flooding the 'new' platforms. It's already hard enough for authors to stand out - it's about to get an awful lot harder.

It's perhaps interesting that with the future of publishing being so crammed with uncertainties, so many publishers and agents are looking to the past.

The Perseus move is much more interesting. In focusing on agented authors, the company brings a qualitative guarantee of sorts to the books being offered by its service. The percentages on offer are certainly eye-catching ('traditional' publishers are offering 20-25% of e-books, which most agents are arguing should be 50%) at 70% in the author's hand (less, presumably, the agents' 15%). But the platform is reportedly offering a 'basic' marketing service for free and will offer more advanced marketing services at a fee. In this, Perseus is going to have to do a lot to justify quite what value it offers authors over services such as Lightning Source and CreateSpace.


Meanwhile, Amazon has just announced availability of the most basic Kindle (Note NOT the 'Fire') in the UK at a whopping £89 - at today's rates that's $138!!! It's $79 in the US. How they can justify that is truly beyond me...
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Wednesday 6 July 2011

Amazon Acquires The Book Depository. And a Little Bit of Egypt!

NEW YORK - FEBRUARY 09:  Amazon.com founder an...Image by Getty Images via @daylifeAmazon.com's decision to acquire Guernsey-based online book distribution company The Book Depository was announced in a terse press release over PR Newswire from the online retailing giant. The move is subject to British regulatory approval, but would see a small online retailer gobbled up by the behemoth. Many people have seen it as a sort of David/Goliath thing.

Interestingly, the man behind The Book Depository, Andrew Crawford, has done it before - he was part of the startup team at bookpages.co.uk which was acquired by Amazon way back in 1998.

Even more interestingly, there's a Middle East angle to the acquisition - The Book Depository is the majority holder of an Egpytian business process outsourcing company, elkotob.com, which provides back-end solutions for online book sellers but which also has expressed an aim to "to lead the Arabic book market, in the Middle East region as well as becoming the biggest Arabic books supplier in the world."

Will the move bring Amazon, finally, to support readers in the Middle East with Kindles and content? Will we now be able to access amazon with Middle East addreses and accounts? Will Amazon start to support Arabic in a big way? Will Amazon's e-commerce engines replace elkotobs? Will the 65 staff be expanded or replaced by Amazon? Will this see Amazon outsourcing some of its own massive development and server infrastructure to Egypt?

This could be an interesting move indeed...
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Monday 11 April 2011

Kindles - The Luddite View

Cover of "Kindle Wireless Reading Device,...Cover via AmazonI have been arguing at some length with young friend Eilidh about the merits of Kindles. As many will know, I am something of a Kindle fanboy, but Eilidh (the older sister of godson 'The Jack') has been holding out in favour of the smell of an honest book.  Eilidh and The Jack have been down in London staying with us over a weekend of blue skies and visits to steam railways and aerodromes and the argument has been raging throughout the idyll.

Eilidh's Parthian shot was delivered after her departure for the train taking her back to Scotland - a fleeting knock on the door and delivery through the post box ensured I had no chance to refute her outrageous claims this time around.

So as she has gone to such lengths to have the last word, I shall present her argument here for perusal  by the intellectual elite that occasionally sees fit to ramble past these parts.

Eilidh's Ten Reasons Why Books Are Better Than Kindles

1. You can't get a signed copy of a Kindle book.

2. You can't get picture books on a Kindle.

3. You can't get First Editions.

4. You can't read in the bath or the poolside in case it gets wet.

5. You can't break the spine.

6. You can't make paper aeroplanes with a Kindle when you're bored.

7. You can't light a fire with a Kindle in an emergency.

8. You can't give all your old Kindle books to the charity shop.

9. I can't get Kindle books from the Alloa library.

10. Books smell good, Alex, face it! :P

She is, of course, quite wrong...


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From The Dungeons

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...