Marketing And Promoting Books

Writing a book is just the start of the journey to publication, whether you’re self published or taken on by a publisher. More and more people, including agented and published authors, are taking to self publishing as Internet-enabled tools to create and distribute books lessen the value of a mainstream publisher's contribution to the process. We’ve seen this process before, it’s called ‘disintermediation’, when an intermediary is removed from a process by the Internet. And Amazon is a great disintermediator.

This means I can find my readers anywhere in the world and get a book to them without having to physically create and distribute tens of thousands of books. It also means anyone who has written a book can now get on the Web and promote it. Including the lunatic on the bus who has an atom bomb in a corned beef tin, the author of a dreary memoir of life in Tuscany and the deluded nincompoop who’s penned a trilogy about a dystopia where dolphins are smarter than people. Oh hang on a second...

That clutter means authors – all authors – have an awful lot of noise to cut through. And we face readers increasingly barraged by needy wails of ‘buy my book’. And yet you need to get your book out there.

As they say here in Dubai: What to do?

There are a lot of people out there ready to help you in this endeavour, for a few dollars. I tried a couple but I never really believed in them and I was right. The recommendation of someone who sells recommendation is worthless. Honest reviews are gold dust, but only part of the formula. Social interaction is good, but you really have to balance promotion with content – some would argue I got that balance wrong with Olives – A Violent Romance, but I’m happy with myself overall.

The one critical lesson I’ve learned about book marketing is the lesson I learned when I first took a sales job in the early 1980s. AIDA – Attention, Interest, Desire, Action. People don’t just buy books. They have to have their interest piqued in some way – something has to catch their eye. And that something has to evoke enough curiosity for them to want to look under, literally, the covers. What they find has to make them want the book, because only then (and I have been amazed at how much pushing it takes to take the horse to water) will they actually click on that link to Amazon.

It’s worth looking at each of these four cardinal rules of sales:

ATTENTION

Your cover is critical. I love the cover of Olives, it’s a point of considerable pride that I could pick my own cover artist and that the talented Naeema Zarif brought her unique style to the book’s cover. But compare Olives to Beirut and you’ll find I was being self-indulgent. Appropriate to the book? Yes. Artistically valid? Yes. But that’s not what it takes. It takes immediate, in your face whambam.

As I pointed out in my workshop at the Emirates Airline Festival of Literature on book promotion and marketing, you need a ‘book hook’, something that makes the book stand out and attract attention. In Olives it was water rights and the drought gripping the Levant. Lead with this, build your content around it – and get that content out there.

Traditional media is key. Radio, TV, newspapers, magazines. Features about you and your book hook, reviews. Do signings, book clubs, conferences, book fairs, workshops, readings. Take every chance you can to get out there. Recruit supporters whenever you can. This can be exhausting, but it’s necessary. Build a media database and send out review requests to as wide an audience of reviewers as you can. The more you’re in front of people, the more attention you’re getting.

If you can’t bear the thought of all that attention, I’d consider whether you want to do this book thing. I fear in today’s world all authors are being forced blinking into the spotlights to face the audience and ‘engage the community’. And yes, that includes the conventionally published.

Talking of communities - I cannot over-emphasise the importance of communities in promoting books. If you're an active and contributing member of an online community, their help can get you off the ground in no time.(Anyone out there remember the deep joy of Klazart gaming Authonomy?)

A website for a book is critical – it’s somewhere you can point people (Twitter is great for attention, but you need to trigger a click somewhere – and that somewhere has to build interest) and tell them more about the book. The Olives website is probably too busy and contains too much information. The site’s not there to celebrate or justify your work – it’s there to trigger a link to ‘buy the book’. You also need to bear SEO in mind – the site is a discoverable asset: when I search your name, your book or even the topics your book is based around, I should find YOU staring at me.

The Olives website is hardly the Huffington Post – in the year it’s been around, it’s pulled 4,200 page views - some 340 visitors clicked on the ‘Buy Olives’ link. The majority of visits have been from the UAE and USA. However, it’s also been somewhere I could post some of the many positive reviews of the book, giving me credibility – particularly with book bloggers who can be resistant to self published writers. And good reviews are critical in building attention and desire.

The Olives blog has been a much bigger traffic draw with over 10,500 page views (about 500 of these were for the Olives is blocked in Jordan post – a wee whiff of controversy I refused to capitalise on and fan into flames. Looking back, I rather wish I had now).

The blog was intended to create a stream of content that was, again, discoverable and also to engage potential readers with the book, taking excerpts from the book that touched on some of the issues it’s built around – the water conflict in the region, nationality and identity and the Palestinian story. It also discussed issues brought up by book clubs and reviewers – including the book’s treatment of alcohol and sexuality in the Middle East. It also gave a steady source of content that went beyond ‘buy my book’.

The Beirut- An Explosive Thriller website is, by the way, much cleaner and faster to get to the point.

INTEREST

So you won the click. Now you can sit back and enjoy yourself. Not a bit of it. Now you have to build interest. I’m interested enough to give you my consideration, how do you hold me? In today’s world, when every movement of our online eyeballs brings a new skateboarding dog or man with five nipples, that’s a big ask.

The big tool here is your ‘blurb’, the summary of your book’s content that graces the back cover. Writing blurbs is a skill in itself – what do you leave in, what do you take out? How do you describe your story enticingly and draw the reader in? I’m not about to write a piece on how to write blurbs, it’d turn this already long post into a book in itself. But précis, précis, précis is the key. And, as in your writing, try and make one word do the work of ten. A quick example from the blurb for Beirut – An Explosive Thriller:

Michel Freij is about to become the next president of Lebanon.

One of the feared Grey Havens Gang suggested:

Michel Freij is poised to become the next president of Lebanon.

See? That one word is so much more dramatic. It’s detail like that has to go into your blurb. And you should learn it off by heart, because when people ask you ‘What’s your book about?’ you have their attention, your answer will dictate whether you have their interest.

The content you create, including the content of your book site, should build on interest, deepening people’s engagement with your work. This is desire at work.

DESIRE

I was attracted by the cover, liked the sound of the book and enjoyed what the author said about it/what I read on the book’s website. I think I’d like to read some more of it. The extract made available by Amazon (you MUST enable sampling on Amazon, Smashwords et al – and have a sample, say an opening chapter, on your website) was well-written. Hell, I’m going to do this thing.

This is desire.

For most of us, desire is tempered by price. I’ll give you an excellent and personal example. I am re-reading the paperback of Evelyn Waugh’s ‘Scoop’. I’ve had that book for years, this was the first time I notice Penguin hadn’t bothered re-setting the book – the margins are massive and if that had been my book, people would have complained to me. Whatever, I simply can’t settle down with paper these days so I tootled off to Amazon to get me a Kindle copy. £7.99. I couldn’t believe it. The Kindle version of a 1938 book is £1 MORE than the paperback.

I really want to read Scoop on my Kindle, but I’m not paying a greedy, stupid publisher (listening, Penguin?) £7.99 for it. It’s simply not happening.

Book pricing can make you or break you. And that’s another post right there.

ACTION

It all leads to this. The click on your 'buy my book' link, the click through to Amazon or iBooks or wherever else your book is available from. It goes without saying that each site needs to be well populated with good, well-edited content, properly tagged and your author pages etc available and updated. Don't shrug this advice off - Olives was filed under 'theatre' in iBooks for almost a year because I tagged it in Smashwords as 'Fiction - Drama'. I only found out after my Mum bought me an iPad for my birthday!

It doesn’t end with action. That click to buy your book is a chance to engage your readers as components of your marketing campaign. Encourage reviews, seek feedback, enrol evangelists. Now, if readers are telling you your book sucks, there’s valuable input for you. It might hurt, but thicken up your skin and suck it up – if you need to improve your game, there’s no better way to do it than listen to your customers. If multiple readers have a problem with a character or point out a flaw in your dialogue, you’d be mad not to re-evaluate that work.

There’s no more powerful marketing tool than third party endorsement - if readers like your work, get them to tell others. Encourage reviews on Amazon, Goodreads or Shelfari. Repost these to Twitter (not in a constant stream, mind) and host them on your book blog. Post ‘em to Facebook. Get the good news out there. Because you won a click on ‘Buy with Whispernet’ and now the eternal, Sisyphean cycle starts again. A happy reader buys you attention. A happy reader makes you interesting. A happy reader builds desire. A happy reader can provoke action.

I love happy readers.

(You can become one too, by clicking on this link to the website for Beirut - An Explosive Thriller and then wandering over to the 'Buy Beirut' section!)

If you want to talk books and have a drink or three, the celebration of the launch of Beirut takes place tonight at Billy Blues in Satwa, Dubai. The invite's here.

A Year In Self Publishing

 (Photo credit: Wikipedia)

Now Beirut – An Explosive Thriller is out, I thought I could afford to sit back a little and take stock of the past year and perhaps share some of the things I’ve learned since I decided to take the law into my own hands and publish Olives – A Violent Romance myself. I started to document them, then realised I was going to end up with a book about publishing books! I've put some of the top line things down here, but will post separately tomorrow on book promotion and marketing because it's such a huge topic in itself.

People are nicer than you think.
For someone with a generally low opinion of humanity, this has been a real eye-opener. The supportiveness and positivity I have encountered from total strangers has been breathtaking. I have been genuinely surprised at peoples’ reaction to learning you have written a book – it’s generally seen as something of an achievement. The next question is invariably ‘What’s it about?’ and I cannot stress enough how important it is to have worked out a snappy, crisp answer to that question.

Publishing online is easy.
Once you’ve got your head around things, it’s really just a few clicks here and there. While this is neat, it’s also dangerous, because you can get pretty glib about things – then find you’ve posted a document stuffed with errors. The great news is that it’s just as simple to upload updates – the bad news is you can lose hours or, in the case of print books, even weeks of sales availability.

Publishing offline isn’t.
The Middle East lags many other markets in e-commerce and this is very true of ebooks, with zero support for the region from retailers such as Amazon. This forced me to produce a ‘Middle East Edition’ of Olives, getting government permission to print a book in the UAE, finding a printer who could print novels and arranging distribution. I’ve lost a significant amount of money on that edition – printing 2,000 books has resulted in something like 300 sales (I still haven’t got sales returns from retailers beyond disitributor Jashanmal’s own stores, so can’t be sure of the exact number. Likewise, I haven’t got any money from them a year in!). I've made more money (and as many sales) with the online editions, by the way.

Editing is key.
The printed edition of Olives is a flawed work, with some awful errors in it. Apparently the average traditionally published book contains over 70 errors, but one is too much for me. The worst of these, IMHO, is two paras in which Lynch’s eyes change from green to blue. For the record they’re blue. Although the book was edited extensively, including an edit from pro Robb Grindstaff, it was also tinkered with post-edit. Send your final version to the editor and then leave it alone. This resulted in one snarling review on Goodreads – the only truly negative one I’ve had – which suggested Olives was a great story told by the wrong writer. Which was nice.

Book clubs are cool.
Don’t get me wrong – I could never belong to a book club. But they buy your book, read it then invite you to come and spend a couple of hours talking about yourself and your work (my two favourite subjects) then thank you for coming! Amazing. They’re also core readers and significant providers of word of mouth recommendation, so are worth assiduously courting. They are also a great way to get to understand your work from a reader’s point of view which, in my case at least, resulted in a totally new approach to the whole process of writing. It's scary when you first realise that people are actually reading your work, analysing your characters' motives, getting immersed in the world you made - and getting pitched unceremoniously out of it if you've made an error or flub. This has led to something of a catechism for me - there's a relationship in reading a book and it's two-way. The writer is an unwelcome guest in the room and it's his/her job to be totally invisible.

Book marketing is a bitch.
 Traditional publishers are struggling with book marketing in the e-age and I have some sympathy with them. I should stress when I say ‘some’, you’ll need nano-scale measuring equipment to quantify that. The good old days of stuffing bookshops have gone, you have to find new ways to bring your work to the public’s attention. Most of that involves putting yourself out there (so it’s lucky I’m not shy, isn’t it?) which can be unbelievably rewarding but is also exhausting.

An online presence is critical.
 Twitter, book websites, blogs, posts to Facebook. These things are wearying to maintain but critical to building engagement and pulling people in to your book. I’ll talk about them more in that post about book marketing tomorrow, but you absolutely need an online strategy. While I have come out of this with a huge amount of respect for the role of book reviews, I remain unimpressed by ‘blog tours’ as a tool for finding readers and selling books.

Book bloggers and media are frequently wary of self-published authors.
A professional, crisp approach and a website packed with glowing reviews help to get over that, but some simply won’t countenance self-published authors and I can actually relate to that because there are a huge amount of needy voices out there and, worse, there’s a great deal of dross. Finding the good stuff, however, is surely what book reviewers are there for, so it’s a shame that the volume defeats some. That volume is unlikely, BTW, to diminish!

It takes an awful lot to make people buy – and read – a book.
You’d have thought ‘buy my book, it’s nice’ would be enough, wouldn’t you? But it takes a great deal more than a single ‘touch’ to get people moving. In fact, it takes seemingly endless and relentless promotion, reminders and pushing. You’ve got to be like a literary Modhesh, popping up and wobbling your tentacles (sausages, whatever those things on his head are) at people. And it’s a fine line between engaging, nagging and irritating.

The most important book sales tool in the world is...
Word of mouth.

Beirut - An Explosive Thriller

Michel Freij is poised to become the next president of Lebanon. The billionaire businessman’s calls for a new, strong regional role for the country take on a sinister note when European intelligence reveals Freij has bought two ageing Soviet nuclear warheads from a German arms dealer.   

Maverick British intelligence officer Gerald Lynch has to find the warheads, believed to be on board super-yacht the Arabian Princess, before they can reach Lebanon. Joined by Nathalie Durand, the leader of a French online intelligence team, Lynch is pitched into a deadly clash with Freij and his violent militia as he pursues the Arabian Princess across the Mediterranean.  

Beirut – An Explosive Thriller sweeps through Lebanon, Hamburg, Prague, Malta, Albania and the Greek Islands on its journey to a devastating climax...

Well, you can now go here to the Beirut - An Explosive Thriller website and buy the book.

Buy Beirut here!

You can get either a printed book from amazon or an ebook to fit any reader device. Many people have expressed a desire to buy several copies and this is something I would heartily encourage.

Beirut is the book that landed me (finally) my very own literary agent. Friends and family had to put up with at least a week of me answering any given question with 'speak to my agent'. I admit, I'm hard to live with. Tragically, the book was subsequently rejected by editors at fourteen major publishing houses. That was the point where I decided to self publish my books - having previously resisted the idea robustly.

I am very glad indeed I took that decision, the past year has included many milestones, but the reception my first book, Olives - A Violent Romance, got from readers and reviewers alike was a wonder to me. I can't pretend I'm not worried about how Beirut's going to go down - I'm munching keratin. But that's all part of the fun.

In the meantime, I'm off down to favourite haunt Billy Blues this Wednesday to celebrate. You're more than welcome to join me - there won't be any readings or even any books. Just some pals having a few drinks and perhaps indulging in the guilty delight that is the Blues Platter. The Twitter invite thingy is linked here for your RSVPing convenience.

Platforms For Self Publishing

 (Photo credit: Wikipedia)

Sorry, long involved book publishing post warning...

The final edits to Beirut - An Explosive Thriller are done now that editor Robb Grindstaff's comments and changes have been incorporated. A few tweaks here and there, a few last squealing adverbs eliminated and we're on the home straight. I must reiterate here, you HAVE to get a professional editor - budget $1,000 to $1,500 for one. But don't for one second think you can self edit your way out of this one, buddy. And no, your talented friend who is a magazine editor/writer/English teacher won't do.

What platforms will I be publishing on? The plan is pretty much the same as for Olives - A Violent Romance, although there is a question mark over a UAE print edition, not least because the parcel containing the MS I sent to the National Media Council to obtain my Permission To Print in June has gone missing and nobody can find it. Which is not helpful.

Just in case you need a reminder, BTW:

The Olives - A Violent Romance website

The Beirut - An Explosive Thriller website

And yes, I would recommend you do a book website!

Olives was published on Amazon.com's KDP, on CreateSpace and Smashwords. Space, which I published more as a bit of fun than a serious novel, was only published to Amazon's KDP Select, of which more below.

Managing multi-platform publishing.

Things can get out of hand pretty fast with file management and so on, so I suggest keeping a separate folder for the core MS and a different folder for the files required for each platform (Kindle, Smashwords, Createspace, Print etc). One hard-earned tip here; DO NOT spin the files out from the core MS until you are 1001% sure you're looking at the last version you will ever create. You really don't want to end up making line corrections across four or more different sets of files for every niggly thing you missed. It's time consuming and, perhaps more importantly, dangerous - you've got four or more multiplications of that invitation to Mr Cockup.

You'll also have to change the copyright page on each version to reflect the ISBN or identify the edition. Do NOT, by the way, use your print book ISBN across other formats/editions.

Those folders can also contain the different versions of your cover - again, each platform will have a subtly different cover requirement.

Polish that blurb!

Before you start thinking about uploading books to platforms, make sure you're ready to start. Finished, professionally edited MS, clear idea of what you've got (is it a thriller, historical romance or what? And what tags would you put on it to make sure it's searchable?)? Got a GOOD cover that'll work as a thumbnail and still stand out? And have you polished your blurb so it DOES NOT contain ONE silly error, reads like a dream, is short and crisp yet will make people want to dip into your work and, gasp, even buy it? Then let us proceed!!!

Publishing to Amazon KDP (Kindle Direct Publishing)

Uploading books to Amazon's Kindle Direct Publishing is pretty easy, assuming your MS is in Word. You need to download a natty little piece of software called Mobi Pocket Creator (MPC, just to save my fingers). Here's a link. Now you export your Word file to an HTML, Filtered format file and then add it into MPC. You can also upload your book cover to MPC - note it should be a colour file to fall in line with Kindle Fire capabilities. Cover art works best for Kindle as 2500 pixels high by 1600 wide or thereabouts.

When you're working on MPC, don't forget to add the metadata - blurb, BISAC category and keywords. These all help to make your book more discoverable.


You can add inline images, glyphs or other logos and picture content by embedding a link to the file in the text, the image file should be copied to the same directory as the source file. Use the img src HTML tag, the image file needs to be in the same folder as the text you're linking from - the syntax is <img src="filename" middle /> - the 'middle' centers it, of course.

Correcting formatting glitches (pages that kick over, that sort of thing) will involve getting lightly involved in editing HTML, but nothing too daunting. The most helpful simple HTML tags for this sort of thing (all tags are enclosed between < and> are:

<br /> inserts a paragraph break

<b> at the start and </b> at the end bolds it - <i> for italics </i> but don't forget to close the tag or your whole book from that point on will be bolded.

<mbp:pagebreak> inserts a pagebreak. Note this is not 'proper' HTML, but a Kindle specific tag.

You can now connect your Kindle to your PC and upload your book file to view it and make sure it works fine and dandy. Just drag and drop your built book file into the 'documents' folder on the Kindle (Windows sees a Kindle as a memory key).

The rest of the KDP process is pretty straightforward - follow the prompts on screen. When you get to book pricing, note the different royalty rates - and note unless you enroll in KDP Select, you'll only ever get a 35% royalty out of India, irrespective of how you price your book (The 70% royalty doesn't apply below $2.99 or above $9.99).

Amazon has a program called KDP Select, in which you only upload your book to Amazon for a duration of at least three months (and not to Smashwords, iBooks or anyone else). This way, you get to give your book away for up to five days in that period and also qualify to share in the monthly pot of money (currently $600,000) shared between authors depending on how many times their books have been borrowed by subscriber to Amazon's Kindle Prime service. Space, for instance, has been enrolled in Select and I've so far run two giveaways, which have resulted in hundreds of books being downloaded. I have to say, that hasn't resulted in hundreds of reviews.

I won't be doing Select with Beirut - An Explosive Thriller as I consider Smashwords to be an important additional platform. As I shall explain below.

Publishing to Amazon Createspace

Createspace is Amazon's POD (Print On Demand) platform and it's pretty smart - it means anyone, anywhere in the world, can buy your work as a printed book. There are a number of considerations to using Createspace, I'll try and deal with the 'biggies' here, as it's a relatively straightforward service to use.

Creating a file to upload is simply a matter of formatting your MS to suit the size and format of book you pick. I found the most sensible (and smallest) to be the industry standard 5" x 8". You can download the standard Createspace templates and then run your MS text into it. Before you do, make sure your MS is sensibly formatted - 0.5cm para indents, bar the first of each chapter, 1.15 line spacing and text set at 9 points is a good start. When you've run your text into the template, you can start to experiment with fonts. At the basic level, stick to a nice 'standard' font like Garamond (my choice), Palatino or Times. POD printing is slightly different to offset printing and fonts will reproduce slightly differently. If you know what you're doing with fonts, you can obviously make your own choices, but POD books set in Comic Sans are really something the world doesn't need.

You can play around with margins, but note Createspace is very picky about gutters and the usable type area as POD printers are less accurate about stuff like trim sizes than offset. If you significantly alter the margins from the Createspace template, you might fail file review and have to go back to the drawing board.

You can buy your own ISBN or you can opt for a Createspace assigned one. I go for the Createspace one. Some things you must know about ISBNs include the fact they are purely a stocking code and give away no rights or other attributes. The ISBN is unique to this edition of your book - if you produce another format, even size of book, you'll need a separate ISBN. If you opt for Createspace's expanded distribution (It costs a few dollars, but just do it), anyone will be able to go into a bookshop, cite your ISBN and place an order for your book.

Your book cover will require a little skill and may well be worth outsourcing. I'm lucky in that I have long used graphics software, so I do my own with a little help from talented artist friends for the images. You'll need to create a single image file with your back cover, spine and front cover all in one. The spine is sized depending on your pagination - Createspace gives you the relevant multipliers depending on the paper you decide to use. Createspace will also generate the barcode for your book or you can create your own (using one of many websites that offer free barcode creation) and integrate it into your artwork.

Your files then go through automated review and then a manual check. At this stage you can order your proof copy. Although you can skip this step, I recommend strongly that you do not. It'll take a few days (one of many reasons why Aramex' Shop n Shop service is cooler than cheese), but you'll get the chance to physically check the product you'll be selling to people. Now you're good to go. Select your book pricing (you get to see how royalties and so on work at different price points) and take the expanded distribution option (just do it) and about five days later, your print book will be on sale at Createspace.com, amazon.com and then over coming weeks other outlets and vendors including, importantly, the Book Depository which will sell and ship books affordably and internationally.

Publishing to Smashwords

Smashwords is important because it supports spinning your book out into multiple e-book formats and publishing to a number of important platforms including Barnes and Noble's Nook, Kobo and iBooks. Smashwords is relatively simple to use and powerful. Founder Mark Coker has written much sense on the topic of ebooks and I do strongly recommend reading his excellent 'secrets to epublishing success'. Another must read document is the Smashwords Style Guide - you really need to digest this so you get your head around the requirements for Smashwords' 'Meatgrinder'. Meatgrinder is the engine that takes your Word file and multicasts it to Kindle, ePub, PDF, .txt and other formats - you can pick which formats you want, but the ePub one is vitally important as this is the format for Nook, iBooks and Kobo as well as many other outlets/readers.

Basically if your MS is sensibly formatted to begin with (Times 12 point double spaced, 0.5cm para indents and no use of spacebar to create tabs), you should have no problems. Meatgrinder does NOT support text above 18 points and will reject any document that contains more than four concurrent paragraph returns (you can check your MS using the 'show document formatting' button in Word).

Double check you choice of tags on Smashwords - Olives - A Violent Romance was filed under Theatre on iBooks because I used a 'drama' tag on the book - remember, Smashwords is populating multiple platforms with your work, so you have to be super careful to get it right - an error means updating could take weeks.

And that's it for now. Beirut - An Explosive Thriller is uploaded and sites are populating pages even as we speak - we're on track for that October 1st launch date now.

In the meantime, if you have any platform questions, I'll try and help if you pop 'em in the comments. And I'll try and put up a 'Olives one year on - what I learned' post soon. For now I'm off to carry on polishing up my book blogger lists and get those review copies of Beirut - An Explosive Thriller out there. Wish me luck! :)

Beirut - An Explosive Thriller

 Now the website's up...

You can now go here and find out lots more about Beirut - An Explosive Thriller!!!

Beirut - I Got It Covered

Isn't this all exciting? So the final edit of Beirut - An Explosive Thriller is back from proofreading and ready to be formatted for CreateSpace, Smashwords and Kindle. I promised Jordanian tweep John Lillywhite a post on platforms for self publishing, so I'll do that later this week as I work on putting the book into its different formats.

In the meantime, here's the cover. It's a wee bit more stark than Olives, isn't it? I'm also now looking at a refresh of the Olives cover to come into line with this style. It ticks my boxes for a cover, which are as follows:

Thumbnails
A book cover these days needs to survive as a thumbnail. While the real estate of publishing in the age of the bookshop was shelves (and spines were vitally important), these days an idle click on catchy icon is what you seek.

Impact
Your book will rarely be presented alone on a screen, so if you can make it thoroughly eye-catching, so much the better.

Mono
On an e-paper Kindle, it'll display in mono, on a Kindle Fire or other tablet, colour. (It has to work in a 1.6 to 1 ratio and be 2500 pixels high for a Kindle cover) So, ideally, it should also work in mono.

Sell the book
This is where I had huge problems: many of the cover treatments I had considered just reinforced the annoying and outdated 'Looks like Beirut' syndrome - choppers over the mountains, revolvers et al just brought 'war' to mind. So I was looking for a cover image that was cleverer than that. I came up with a crude lipstick  bullet, but art director pal Jessy came up with this much more sophisticated image. It's supposed to make you do a mild double-take, to resolve clearly as lipstick and bullet. It's about sexy and violent, which are two words I would definitely pin on Beirut. And Beirut, come to think of it!

Print
It's got to be sensible as a print book cover, too - that means for POD like Createspace, a clear 5mm around all page edges for trim, unless you're 'bleeding' (material that's designed to run over the cover edge), in which case you need a 5mm margin all around.

It also ticks a rather esoteric little Font Nazi box for me - it uses Eric Gill's stunning Perpetua, a true serif 'stonecutter's font' and a true design classic by that most fascinating of typographers and artists.

For those who care about such things, the slug's a 9mm parabellum, which would be nicely compatible with Lynch's weapon of choice, the versatile Walter P99. The lipstick is a... just kidding.

I also tested the cover with quite a few people to guage reactions - I'd love to know yours, so do feel free to drop a comment!

A Mountain Of Book Reviewers

English: Open book icon (Photo credit: Wikipedia)

Honestly, you've no idea how many book blogs there are out there. After trawling through them for a few hours, they start to morph together into a plastic gloop of Blogger and Wordpress templates, a putty of garish backgrounds and glittering widgets that eventually goes the way of school plasticine and turns into a dull, brownish purple.

Yes, we're in promo mode...

I missed a trick with Olives - A Violent Romance, in that I didn't focus early enough on the global online community. That's partly because I had a printed edition of the book which was targeted at the UAE. Later on, I shifted focus from 'traditional' and Middle-East focused online media to book bloggers and reviewers and had compiled a sizeable database of sites after a while. For Beirut - An Explosive Thriller, which will launch as an online-only book (both ebook and print), that online community is even more important. In fact, it's crucial.

That means trawling through, literally, hundreds of book review blogs to find appropriate reviewers. What makes a book blog appropriate? Here's Alexander's handy ten point book blog selection filter:

1) Is the site well formatted and readable?
Purple 6 point text on a cyan background with ebulliently serifed fonts, illustrations that 'crash' on the page and thousands of buttons, awards and widgets? If you find it hard to read, so will visitors. It just takes a quick check for 7) before we move on.

2) Is it updated?
If the last post was in July, we move on.

3) Is it well written?
I'm not talking about the odd literal, but you're putting your work into someone's hands and accepting their review of it. If they clearly aren't able to express themselves, it's not going to be as smart an investment in time as finding someone who - even if they don't like your work - can effectively reason a conclusion regarding that work. The vast majority of book blogs don't fall into this bucket, avid readers tending to be literate, but there are some that do and I choose to avoid them.

4) Does the site review in your genre?
If the last ten reviews have young men with eight-packs on the covers and titles like Love in Wyoming, I can't quite see Beirut floating the reviewer's boat. Olives was easier in this respect as it did wander into romance crossover territory, but Beirut is a pretty hardcore international spy thriller. A nip into the 'Review guidelines' to check the reviewer's preferences and we can both save ourselves some time.

5) Is the reviewer accepting reviews?
Closed to submissions means just that. Quite a few blogs have put this up as the reviewer drowns in the weight of eager, breathless little books scratching away at their skin. Ignoring it just wastes everyone's time. You can always put these in a separate list to check back in a couple of months. Often you'll find 5) and 2) signal that the blogger has decided to go back to reading for enjoyment rather than being hassled 9-5 by authors shrieking 'review my book!'

6) Does the reviewer accept ebooks?
I can't stress enough how much time and hassle is avoided by reading the review guidelines - and conforming to them. And when a reviewer says no ebooks, they mean it.

7) If not, does the site have significant reach?
For about $8, I can put a review copy in anyone's hands, anywhere in the US and Canada. For about £9.99 I can cover much of the rest of the world via the Book Depository. Now the question becomes how many of these outlays do you want to/can you make? And then, when you have a budget defined, where is it wisest to spend it?

How do you tell whether a blog has reach? That's  whole piece in itself, but comments and followers are a start. Bear in mind these days that Twitter and Facebook form a part of any site's 'reach', but as a rule of thumb few followers, lacking likes and a quiet blog are probably not where you want to spend your bucks.

8) Does the site have reach?
Does it matter? Unless you're eking out your print promo budget because of 7) above, you're looking at the cost of an email or two and a Kindle/epub file. If the blog gets 50 visits a day, that's 50 more people that knew about your book than yesterday. A hundred emails will take you a couple of days to send out, but net you 5,000 eyeballs. Anything above that is bunce. Many book bloggers also post to Goodreads and Amazon, so there are also signficant multipliers there. And, of course, you can share the review with your own followers. So reach be damned!

9) Is there a clear review policy?
Most book blogs have clear review policies that are straightforward and common sense and generally my submission package would conform to these. Where this isn't the case, it's important to reflect the policy and make changes. A personal touch is always appreciated, of course. In a few cases where I've come up against stringent and onerous review policies (such as extensive online forms) I've passed.


10) What's the TBR like?
Most book bloggers have a very long To Be Read list and it's not unusual to see reviews three or even six months out. So the sooner you get out to them, the better.


And what about paid reviews, listings and other services? I avoid 'em like the plague and will continue to do so unless I get some very clear recommendations from writer friends that a given service has worked. And so far I haven't.

If you've got a blog and you'd like a review copy of Beirut, BTW, do just leave a comment or ping me @alexandermcnabb.

Reading

I'm doing a reading tomorrow - and for a change, it's not from Olives!!!  Dubai based editor Meghna Pant is launching her first novel in the UAE. The book's already been a success in India, where it was published by Westland Books. It traces the story of Amara, an Indian girl struggling with modernity and tradition through a move to America and the collapse of her marriage to millionaire stock market man Prashant and her return to India to struggle with the conflict between modern independent-minded thinking and the duties of tradition.

Do pop along to the launch and join us -  it's tomorrow at Jashanmal in Mall of the Emirates at 6.30pm.

Rule 118

Mini-ature Parking Space (Photo credit: Wikipedia)

Rule one: Do not act incautiously when confronting little bald wrinkly smiling men!
Lu Tze

The traffic laws of Sharjah are legion and best among them is Rule 118, which states that it is illegal to part with your car reversed into the parking space. All parked cars must be placed backsides out to the road. Headlights must not be presented to passing traffic. You go in frontwards, in other words.

Today's papers carry the news, without even cracking a smile, that such seditious behaviour will result in a Dhs200 fine and three black points slapped on the offender's license. That's out of a total of 24, rather than the UK's stricter 12, so you can park backwards a few times before you lose your license.

Khaleej Times quotes Col. Ahmed bin Darwish, Director of Traffic and Patrols at the Sharjah Police, saying, “Drivers have to park their vehicles in the same way they are told to do while in driving schools. Street parking is not designed for reverse parking and those doing it cause inconvenience to other road users and the traffic in general as the driver has to first drive and then come backward while other cars on the road wait all the time.”

The move is part of a campaign to curb 'parking space abuse', we are told...

TRA Calls for Innocence of Muslims Block

The TRA (Telecommunications Regulatory Authority) has directed the UAE's telcos, Etisalat and Du, to block access to the film trailer for 'Innocence of Muslims'. The trailer has been the cause of widespread and often violent protests around the world which have led to over seventeen deaths.

I checked just before mid-day but YouTube access to the film trailer wasn't blocked. Google has resisted suggestions it take down the content, although has supported legally backed blocking requests in Malaysia, Indonesia, Egypt, Libya and India.

It's an unpleasant little film and, in my humble opinion, is quite clearly in contravention of Google's guidelines, which allow it to block content if it constitutes 'hate speech'. The film and its intentions are clearly hateful in the extreme. I for one would hate to be the person who decided this wasn't hate speech, because they have seventeen deaths - and rising - on their hands.

But the film, judging by the trailer, is also clearly the result of a deranged mind. It is laughably acted, woefully directed and amateurish in the extreme. It's quite, quite potty. However, it purports to depict the Prophet Mohammad, which is at the core of the anger the film has caused.

You can clearly hear dialogue spliced in, supporting the actors' claims that the anti-Muslim content was jacked in at post production. The result is a school project gone wrong - but crucially, a film that has met the desires of its maker. Because, of course, we have that reinforcement of Islam as a violent, antipathetic religion - certainly at odds with my twenty six years' experience of travelling, working and for the past twenty years living in the Arab World. And the many, more reasoned, online objections expressed by Muslims all over the world to the trailer have, of course, not made the headlines.

Is blocking it the answer? I suspect not. Supporting its takedown is one thing, but stopping people accessing content that is having such a profound effect on our world means stopping people being able to make up their own minds and make informed judgement while others around the world continue to enjoy that privilege. Even if that content is hateful to us.