It’s finally up and available for pre-order on Amazon! The novel previously known as EyeCU when I was just working on it is now known as The Woodsman, and can be obtained for only $3.99 USD on your Kindle.
Right now, the book is exclusive to Amazon. The pre-order will reserve your copy, and enable you to be among the first to receive it on your Kindle on the book’s official release date: Friday, October 17! The Woodsman will also be available in Kindle Unlimited at that time.
Yes, the book will eventually go wide and be available from other retailers. Also, a print edition is coming, which may even be available on or before the book’s official eBook debut! (More details on that as they become available.)
But for now, don’t wait for all that: get your pre-order in now and be among the first to read the book that took me thirty-three months to write, polish, and complete.
I have great news!
I’m almost done with EyeCU, and it’s been given a new title and an official cover!
The new title is should set the tone better for the novel I’ve written: The Woodsman.
The cover design is courtesy of Victorine E. Lieske of Blue Valley Author Services; my talented business-partner there.
I’ve been laboring away on this novel in various stages of production for about thirty-three months: almost three years! Yet that journey is finally about to come to an end.
If all goes well, I’ll soon be announcing the book is available for pre-order on Amazon, perhaps as soon as this week sometime.
Furthermore, the book will also be made available in print via CreateSpace, for those who still love print over eBooks.
The pre-orders should start soon, but the official release will be on a yet-to-be-announced date in October; that’s when the book will go live and all pre-orders will be delivered automatically to the Kindles of those lucky pre-order fans.
I’ll post again when the book goes up for pre-order, with more details on The Woodsman.
Until then, enjoy this cover reveal!
No, the world’s not coming to an end; I’m just focused on becoming more productive.
As I write this, my latest creation has just gone live for accepting pre-orders on Amazon, here. It’s an eight-hour book challenge entry that came in at an honest eleven hours of effort. But I’m still proud of it.
It’s also book one in a planned trilogy called Spoiled Rotten. Spoiled is the tale of young Mike Yourchuck, how at an early age learns that he’ll never have to wait for anything he really wants … not if it costs money.
So, even as he suffers through the tragedies of everyday life, he’s never found wanting for anything important. His mother tries hard, in spite of his circumstances, to teach him values, ethics, and the worth of a dollar and a good day’s work.
But for a kid who can afford anything he wants, will it be enough to save him from himself? Or is he already SPOILED ROTTEN?
Ringing in at just over 10,000 words (around 40-some pages) of story, SPOILED is Book One of the Spoiled Rotten trilogy. It’s a suspense book that involves a dash of romance, a hint of the supernatural, and the potential for a whole lot of tragedy.
Join me for the journey. Pre-order Spoiled now, or buy it live when it is officially released on Friday, September 5!
Beginning today and through the weekend, my latest thriller, Nice Girl Like You, is free on Amazon.com.
So, if you wanna save $0.99, this is the weekend to do it. Go over there and grab it, as I’m not sure if I’ll ever put it on special again after this. (After all, it’s already a pretty reasonably-priced read at $0.99.)
But take advantage while you can! It’s a taut but brief little tale. And should you have the time, please feel free to put up a review over on Amazon.com, or even Goodreads. Things like that are always nice, even if it’s not your favorite book you’ve read this month.
Be aware, it is a short story; a mere 7,000 words, so it won’t take long to read; some folks can probably get through it in under an hour. But leave a kind word … or at least a civil word or two … if you can spare the time after you read it. I’d sure appreciate it, and thanks!
I just wanted to let you know that I’ve released a brand-new short thriller, Nice Girl Like You, which runs about seven thousand words in length. That’s equal to roughly twenty print-pages in traditional publication.
It’s a fun little read, and while some folks feel it’s still a bit short, others who have read pre-release galleys have been praising it! For example, my fellow horror-thriller-suspense writer, Michael W. Layne, had this to say about the story:
Hansen’s likable characters, dead-on dialog, and elegant prose lull the reader into a false sense of happiness that makes it even more powerful when he rips that comfort away and sends you spiraling along with his main character toward the end of this horrific tale. Highly recommended.
Anyway, back to Nice Girl Like You. While it’s only a brief tale, it’s a significant one for me, as it is the first tale I’ve written that is set in Oregon, rather than Hope, Wisconsin.
I first moved to Oregon in late August 2011, and I wanted to wait until I’d been here a while before attempting to pull off an Oregon setting. Hopefully I didn’t jump the gun.
At any rate, enjoy the new release. It’s currently exclusive to Amazon, though I’ll get it out to other venues eventually. Enjoy the day.
Once upon a time, in a universe in which eBooks and indie writers never existed, talented storytellers weaved bold tales with risky, controversial plot-lines. Readers grew close to characters, wept if they died, but soldiered on through the book when it was well-done and came away richer for the experience of living through a tale that took them on an emotional roller-coaster and made them wonder if they’d survive the journey.
Flash forward to the present day: that universe does not exist anymore. And I’m about to pull back the curtain and tell you why.
Pay No Attention to the Old(-School) Writer Behind the Curtain!
Recently … very recently, in fact … I visited an online writer’s hangout I frequent and one of the topics getting batted around centered on this: a first-time author was bemoaning receiving a three-star review, and had some writerly-types all riled up about getting Amazon to connect real names to book reviews and maybe even shut down reviewers like this who were “obviously just trolls out to damage my sales and career.”
Seriously. You did not misread that. All that, over the three-star review.
Not even a one-star review. Three-star. Oy!
To make matters worse, the author in question didn’t even seem upset or, frankly, to even have read the review itself. They were just upset that the three-star review hurt their average, pulling their book below a four-star average.
Yup. Still serious.
Now, this all might seem rather petty and small-minded on the part of the author, but let me assure you, this one author is not the exception to the rule, and there is an entire generation of indie authors who long not for thoughtful reviews, but desire nothing less than an endless stream of four-star and five-star reviews and anything less upsets them.
Perhaps not quite so much as to call the reviewer a troll, but still, they’re not happy.
Are a whole generation of novelists and short story writers losing their minds?
Now, here’s the real shocker for the uninitiated: Nope.
The must-be-loved attitude among modern indies is completely new territory over the past three or four years, a mental space many of us have been dragged to by another force: book promotion sites.
I’ll Gladly Pay You Wednesday for a 5-Star Review Today
In the world of modern eBook book-selling, Amazon reviews hold a lot of sway over a lot of customers. Understandably, many readers don’t desire to read sub-par books. So Amazon reviews, they feel, are an aid to that end.
But another factor is at play: the rise of eBook promotion sites and services.
You know the sort of sites I mean: Kindle News Daily, BookBub, other less-prominent sites of that ilk.
And also, popular book bloggers with large followings play a role, too: they understandably don’t want their time wasted on sub-par books, so to avoid a deluge of review requests, popular book bloggers, as well as promo sites like KND and BookBub developed some “minimum standards” to separate the wheat from the chaff.
Review and promo sites want a basis upon which to reject books of obviously low quality, so that they can assure their customer-base that they only promote/advertise “quality books.” That’s understandable. You need a set of standards that apply to all books, so that no one can accuse these sites of personal motivations for rejecting dreckish “masterpieces.”
So the question becomes, how does one assure that?
All Around the Kindle Fire, the Writer Chased the Review…
Well, one way to go is to read every book before accepting it to be advertised or reviewed. Yet that’s time-consuming and requires a huge staff. Most places won’t do that, because they’re not the NY Times Review of Books. Who can afford that?
Another way to go is to only advertise books that have passed editorial muster somewhere. That’s faulty, however, because that cuts out all indies… and more than a handful of indies are producing good work that sells well.
And if they have money because they sell well, they want to spend some of those funds by reinvesting back into their book’s success, to keep the sales rolling in. So, if you’re a book blogger or book promo site, how do you justify saying no to books that are good and do sell well, simply because they don’t come from a Big 5/6 house, or a small press? So that won’t work, either.
So the next idea is you outsource the quality control on indie books. That means requiring a minimum number of reviews (usually, on Amazon only) and a minimum star rating, to qualify for your book to be worth a book-blogger’s time, or a book-promotion site’s ad space.
Most sites currently require somewhere between five to twenty-five Amazon reviews. Some sites even require “at least one or two” of those reviews to be from “power reviewers.” In other words, other well-known book bloggers. The other requirement, and this tends to be universal, is that your indie book must receive an average score of 4.0 out of five stars.
Yes, really. I bet some of your never knew that before you read this article, unless you’re an author yourself.
I Like Big Buts, and I Cannot Lie…
Here’s a brief list of well-known, popular authors who’ve produced great books that sell well, but do not currently meet that 4.0-star minimum rating, and would thus be rejected by the standards KND, BookBub, popular book bloggers, and other such sites require of indie books:
Cell by Stephen King (Current average score: 3.5 stars, despite selling well and being a rather different take on the “zombie novel” genre.)
The Body by Stephen King (Current average score: 3.9 stars, despite being the basis for the movie Stand By Me.)
London Bridges (2.8), Cross Country (2.7), Roses are Red (3.6), and Violets are Blue (3.3) by James Patterson. (Patterson’s Alex Cross series is mostly pretty popular, but not these four installments.) Sorry, Jim, you sell millions, but you can’t bring this dreck to BookBub!
Anything by John Irving written since 2000. While his classics, like World According to Garp and Hotel New Hampshire are safe, none of Irving’s more recent work, from Widow for a Year forward, have received the vaunted 4.0-star minimum threshold.
Dead Ever After by Charlaine Harris (3.0). Readers can’t forgive Harris for ending the Sookie Stackhouse series, it seems… or agree with the way she ended it, even though the series turned her into a New York Times Bestseller’s List standby. In fact, from Dead and Gone forward, the series has rated below 4.0 for its duration, and the post DEA follow-up, After Dead (1.7) has been the subject of readers’ wrath.
Robert B. Parker was a standby hard-boiled detective novelist in the 1980s and 1990s. He passed away a few years ago. But at least half of his Spenser books, as well as pretty much all of his Jesse Stone and Sunny Randall novels, fail to pass the 4.0-minimum muster.
I could go on and on. And I half-suspect some publishers have taken note of the recent emphasis on 4.0 Amazon score minimums, too, because some of the books I know were below 4.0 even last year at this time are now just at or slightly above 4.0 ratings now. Indies are not the only ones gaming the system.
Pack Up Your Troubles In an Old Kit Bag, and Smile Smile Smile…
Now, most sane authors, prior to the eBook/Indie era, didn’t pay attention to their reviews if they valued their peace of mind.
Or they paid obsessive attention to them and got emotionally all a-quiver over them, riding the emotional highs and lows of good and negative reviews.
Either way, the emphasis was on what was said, not on a somewhat arbitrary rating system review score.
But we’re not in that era now. There is a whole generation of readers who, like these book promotion sites, expect high ratings before they’ll even consider buying someone’s book. Book promotion sites like BookBub love to scream, “Has 500 5-star reviews on Amazon.com!” in as many of their listings as possible. Which is silly, but it is what it is.
The reason it’s silly, though, is because the emphasis is not being placed on the idea that one’s novel has been read by real people. Instead, the emphasis is now on people not just reading, not just liking, but absolutely and uncritically LOVING your book.
So any review that’s not a 4-star or 5-star review is seen as a dis, rather than an honest opinion from someone who actually read your book and formed an opinion of it. Having your book read by someone who cared enough to form an opinion on it used to be regarded as being as precious as heavenly manna.
These days, it must be a 4-star or 5-star positive opinion and few authors care about what the review even says, unless it might be perceived as critical and therefore “damaging to sales.”
That’s wrong-headed thinking for authors in many, many ways. But it’s how a growing number of writers think, these days. Readers are no longer an audience you want to connect with, but are increasingly regarded, disrespectfully, as a “barrier to my success!”
Because if you lose that 4.0 minimum review rating on Amazon, all sorts of promotional doors begin closing to the struggling indie author.
Bedtime for Bonzo
Well, if authors are now in the business of earning only 4-star and 5-star reviews, what type of literature are they producing?
Certainly not literature that takes any creative risks, by and large.
This is why frightened inexperienced authors go on message boards to ask more-experienced authors if it’s “okay” to kill off a character, or have a less-than-joyous ending, or any number of other things writers are terrified to do, these days. Especially in indie-land.
Even in genres where character deaths and grim endings make sense, like horror.
And this is bad news for everyone involved.
I would almost (but not quite) go so far as to suggest that paranormal romance/urban fantasy exists primarily because of this desire not to tick off readers in any way that would potentially lead to lower review scores.
Oh, wait, you LIKE my vampire? Okay, he’ll sparkle in the sun and be your ideal chaste boyfriend… and he’d never dream of biting you without permission, let alone feeding on and killing you, because characters should never die. Ever. Which makes vampires so ideal… they live forever, so long as they keep feeding. Which… they can’t do in order to remain an ideal boyfriend, and… oh wait… something’s breaking down here… I guess plots shouldn’t make sense…
So, the tail is wagging the dog a lot these days.
Authors are afraid to take even minor risks with plot. The complete emphasis is not on telling a great story, so much as telling a story that ticks off no one, because if you tick readers off, they might give you a 3-star review or lower, and then you can’t promote your book, and…
…See what I mean? It’s all upside down.
But… but Joss Whedon said… JOSS FRICKIN’ WHEDON SAID…
In a DVD audio commentary on the Season 6 package for Buffy the Vampire Slayer, now-famed director Joss Whedon shared his theory of how to handle character deaths. And this is a man with blood on his hands already by then, having killed off Buffy’s mom the previous season.
But when sitting down with such now-famous talents as Marti Noxon, Tim Minear, David Fury, and David Greenwalt, among others, to break down the big story points of season six, Whedon said, “Someone big has to die this season. Someone who means something to Willow, to explain her descent into the dark side.”
Several names were bandied about, but Whedon’s crew (as Joss tells it) was adamant about one thing: the one person other than Buffy herself who was untouchable was Tara, Willow’s then-girlfriend. “There’s no other relationship like it on television,” their logic went, “and viewers would hate us for it.” I guess Xander was the leading candidate, but everyone’s firm opposition to it being Tara is something that perked Whedon’s ears up.
“From the moment I was told, ‘It can’t be Tara,’ she was dead meat,” Whedon recalled. “That’s when I knew it absolutely had to be her. No loss would be more personal, or better motivation for Willow to give herself over to the darkness.”
It was a bold and risky choice, the type which Whedon has developed a reputation for making. In fact, don’t be surprised if Whedon someday decides it’s time to kill off Iron Man in Marvel’s The Avengers. He has a history.
And to be honest, as painful as the loss of Tara was for fans, I absolutely agree with Whedon’s choice. Losing anyone else, like Xander or Giles or Dawn, would not have motivated Willow’s transformation into Dark Willow more understandably than the death of Tara. “You killed my best friend’s sister!” just doesn’t ring with the same sense of tragic loss and thirst for bloody vengeance the same way, “You killed the only person I’ve ever loved!” does.
And without something huge, like the death of Tara, to motivate her, Willow’s transformation into Season 6’s Big Bad would have felt completely contrived, rather than an organic outgrowth of a terrible loss.
If I Show You, Then I Know You Won’t Tell What I Said, Because Two Can Keep a Secret If One of Us is Dead…
Like the death of Tara in Buffy Season 6, great books also take risks, including but not limited to the death of beloved characters. Because great books are less concerned with reader wrath (despite the well-known reluctance of J.K. Rowling in her Harry Potter books) and low review scores, than with telling a great story.
Some of the best reads I’ve ever enjoyed had characters die, or do something controversial, or featured downer endings.
For example, in the book version of Cujo, Tad dies. Donna confronts the rabid dog too late to save his life. Her survival had a cost. It was an ending so controversial at the time, that they changed it in the movie version.
Yet in the more-recent Doctor Sleep, also by King, only the bad guys die. And rather easily, at that. Not a single good guy snuffs it as a price for victory over the baddies.
If King were to re-do The Dead Zone today, it’d become a ten-part series. Johnny would never sacrifice himself to save his ex-girlfriend’s kid. He’d successfully assassinate the evil Greg Stinson, but somehow live on to have “many other adventures.” Thus ripping the emotional core and tragic heroism out of the novel, which is what made The Dead Zone one of my favorite books among King’s early works: sometimes life just doesn’t play fair.
Great theme. Epic theme. But it’s guaranteed to tick readers off.
But at least no one would give King a 3-star review or lower. And that’s the name of the game today. Not great-storytelling, just a lack of ticked-off readers.
You Can’t Be Bought Without Awareness, You Can’t Raise Awareness Without Being Bought
The whole dynamic here becomes a tad incestuous. Similar to the whole “we only hire people with experience, but you can’t get experience till someone hires you” conundrum teenagers face when looking for their first job, it’s hard to get a foothold as an author.
See, if people are unaware you exist, they can’t even begin to consider buying your book. But promotional sites won’t give you access to greater audience awareness via their promotional punch (and some book bloggers popular enough to have a following won’t review you, either) until you’ve sold enough to meet these minimum standards they’ve set up.
Is it any wonder, then, that some inexperienced writers are tempted to game a system rigged against them?
Then Count the Votes Until They Add Up Right…
The trouble with all this emphasis on reviews of four stars and five stars is, it’s an easily-gamed system, if you have the money. And it doesn’t take as much money as you might think.
Ever since John Locke confessed to buying reviews for some of his early books, it’s been a poorly-kept secret that there are services out there that will produce Amazon reviews for you, guaranteed to give you whatever review score you desire.
It’s fraudulent, sure; but people mostly only complain about those who get caught at it. I’ve known for a long time that five bucks could net me five five-star reviews on Amazon, over on Fiverr.com. I’ve never bitten. Why? Because I’d rather accumulate reviews the honest way.
Old-school writer that I am, I care about real people reading my books and giving their genuine opinions on them. Heck, a three-star review from a widely-followed book-blogger gave one of my books, Most Likely, the biggest one-day sales-boost it ever received. A review doesn’t need to be uncritical praise to help you. It just needs to be a review by a book blogger who has a following. If they can write a balanced review, so much the better. Who cares how many stars that means? I got quotes off that review that I still use today.
But then, I struggle to meet basic expenses each month while John Locke sells millions. So which of us is the dummy? Also, Locke’s books are actually entertaining reads that have gone on to earn quite a few legitimate five-star reviews, so… does it matter, ultimately?
The answer will largely depend on your personal ethics.
And That’s the Bottom Line, ‘Cuz Stone Cold Says So!
I think readers should be entitled to whatever opinions they have of a book. And I mean the entire range of opinions, from one-star to five-star, from Hated It to Loved It, from Thumbs Down to Thumbs Up. And anywhere in between. Writers need to remember that reviews are just opinions, and it’s not the reader’s fault that their opinions are now being used as a gatekeeper at book promotion sites or by popular, in-demand book bloggers. Those sites and bloggers are just doing their job, and readers reacting to your work should be treasured no matter what their opinion of your work is.
Readers never asked to have their opinions made into a sales tool. Stop blaming them.
And writers should stop catering to the whims of the most reactionary readers, write what’s best for the story, and cease worrying whether someone might get upset about it. Remember, this is just words on paper, folks. If you created a story that crafted a compelling enough tale that when one of your characters die, it inspires a reaction … even if it’s hate-mail and a one-star review … why, you’ve done your job. Rejoice and be glad, for tomorrow we all may perish.
The current eco-system of advertising being linked to reader opinions has everything all out of whack. But it’s not the reader’s fault or their doing. And promotion sites and book bloggers need some way to screen out stuff so they don’t get overloaded. If it weren’t a minimum number of Amazon review scores and minimum star ratings, it’d be something else.
It’s a system. Accept it, because you can’t make it go away just because you don’t like it. Be bold in your storytelling and stop the catering. That’s the key to producing stories that will be remembered for the right reasons, not just because no one got upset while reading it. Do what’s right for the best storytelling possible, always.
With no apologies.
It’s here, people! In time for the winter holidays!
I’m told it’s also on iTunes.com, but I don’t know how to link to that, so you’ll have to fire up iTunes and search for me by name and book title there. Get yours now: Jennifer’s performance is outstanding!
It’s been a long time coming, but I have finally been brought to the point where I can make this announcement: the audiobook version of Most Likely will debut soon, with professional narration by the talented Jen Harvey!
Jennifer Harvey, who can be found here, has rented her voice out to books as varied as The Enemy We Know, Spinning Blues Into Gold, Rescue Me, Saving Tristan, and Saying Goodbye.
Now she’s giving voice to the very first novel I ever published, Most Likely, and her work is a home run, in my biased opinion. I’m hoping the title will debut before the Christmas holidays, but it’s all in the hands of ACX right now. It should be listed on Amazon.com, Apple iTunes, and Audible.com soon, though.
Harvey joins a tiny but talented club of voice artists who’ve brought my works to life; the first was Chrissy Swinko, a little over a year ago, with the audiobook version of Shada.
Look for the debut of this long-awaited title, coming soon!
I’m proud to announce the release of my latest short story, The Devohrah Initiative. It’s a tale that combines elements of high-tech horror with humor, and while the setting and topic are different, the tale is in the same vein as my popular freebie short story, Under Contract.
I wrote this book on a dare. The dare wasn’t personally directed at me, but was a general dare by Joe Konrath (which you can find here) to all independently-published writers to start having more fun with their careers.
The general concept was this: to write a story, edit and proof it by yourself, create your own cover, format the book, and upload it to Amazon.com, all in the space of a single work day. It’s a challenge that’s come to be known as the “eight-hour book challenge.”
Now, due to my odd schedule, I had to split the eight hour time limit over two evenings.
The first evening, I wrote my 3,500-word story, including using Google Earth and other resources to get details somewhat accurate. I also searched out an image I wanted to license for the cover on Shutterstock that night. I hit my four-hour window Saturday night, then waited until Sunday night to finish up.
On Sunday, I almost bit off more than I could chew.
Using the licensed image from Shutterstock, I built the cover in four sizes and my interior title page in just under an hour. Then I went over to Scrivener, compiled the story into an .rtf file, and then copy-pasted it into InDesign, where I could work on the formatting.
I brought in the necessary back matter and front matter elements, got it all squared away, began to export to Kindle … and my PC froze up. Fortunately, I had just saved my work in InDesign, but still, the clock was ticking…
After a hard reboot, I finished the job and uploaded the book to Amazon with only minutes remaining. I wrote the blurb on the fly.
It was a very near thing, and I almost gave up when my PC froze, but it was indeed fun. If you try out the story, which is an Amazon exclusive at this point, I hope you’ll agree. (And it’ll be free on Amazon between August 30 through September 3.)
The Devohrah Initiative is an idea that occurred to me as recent debates about government-controlled drones have been discussed. De-voh-rah, by the way, is a Hebrew word that means “bee.” It can also translate into the feminine name Deborah, since both words are derived from the same Hebrew root, dalet-bet-resh, although that’s largely peripheral to the story I’ve written.
Anyway, using the transliteration for the Hebrew word for “bee” fit into the story and allowed me to give the tale a title a bit less on-the-nose than “Plan Bee” or something like that.
So, there you have it. I’m not sure how often I’ll repeat this sort of eight-hour challenge, but it was nice to inject a sense of fun back into writing. I’ve spent almost a year and a half working on a long horror novel, so coming up with something I could get out on the market in under eight hours was definitely enjoyable.
Hope you find pleasure in the results.
SHADA, the novella that kicks off the EMBER COLE series of books, is now officially available as an audio book. The running time is only two hours, thirty-nine minutes, so it’s also an easy listen.
Get to know her now, because once word gets out about her, she’s going to pop big in the audio book world. She’s a talent.
Oh, one more note: I’m hoping to announce the audiobook version of MOST LIKELY before the year is out.
And both EyeCU and EMBER won’t be making their appearances until 2013. Sorry about that, but for books to be well-written, sometimes it takes time.
Well, I finally jumped feet-first into the latest and greatest in social media, Tout.
Tout is to YouTube as Twitter is to blogs. I’ll be updating through Tout when I don’t have time to post a longer article from now on.
I mean that.
By choosing this path, I don’t have to wait for overworked, underpaid, over-the-transom acquisitions assistants to recognize the value of my writing and convince his superior to at least look at it. Or wait for that process to repeat up the editorial chain of command until someone finally says, “Maybe we should tell the writer this thing doesn’t completely stink. It’s postmarked 2005, so he’s probably wondering.”
Instead, I can come directly to the reading public and present something for their consumption. They might like it; they might not. But it’s out there.
When I first came into the world of eBooks, the most common bit of advice being tossed around was, “Give your story two years to be published the traditional way. If it’s not picked up by that point, then go ahead and ePublish it.”
Less than two years later, the advice given has almost reversed itself. “Put it out there as an eBook. It might draw the attention of an agent or publisher if it does okay.”
Regardless, the publishing world has seen a seismic shift in the past couple years, and not all the rules are the same. Good authors who struggled to get anything in print are now able to draw an audience and make at least a meager income. Better writers can even achieve a semblance of earning a living from their writing.
And is there a lot of junk out there, too? Yes, but that’s what innovations like Look Inside and downloadable previews are for. The bad stuff sticks out like a sore thumb.
It’s a popular misconception that all independent writers are publishing substandard stuff. In fact, some of the best writers in history were self-published. For example, who do you think told Benjamin Franklin that Poor Richard’s Almanac was “ready for an audience,” hmm? Gentle Ben himself, that’s who.
And what about one of the best-loved stories of all time, Charles Dickens’ A Christmas Carol? Yup, Sir Charles did that one on his own, too.
It’s not so uncommon as people think, going the indie route. Even in recent times, folks like John Grisham got their start by hawking their own wares, only to get their books in front of the eyes of the right people and catch on with a traditional publisher.
To step outside of pure book analogies, Trey Parker and Matt Stone, creators of the long-running Comedy Central animated hit, South Park, got their start by self-producing and self-distributing an animated short entitled The Spirit of Christmas, which eventually evolved and morphed into the cartoon we know today.
The point is, going the independent route has a bad reputation lately, but it is by no means a guarantee of subpar material, nor is it an indicator of a lazy creator willing to put out bad content for a pure ego rush. There may be dross out there, but there are nuggets of gold as well.
Whenever I prepare a book I’ve written for release, I do all I can to ensure my readers are buying a professional-level product. I have professionals handle my book covers and edit my books. I’m just as thorough on revisions and using the tools of the trade to make sure I have a properly-written and developed story, as I would be if I were submitting it to a traditional publisher. More, even. Prior to release, I run my fiction past the eyes of test readers and revise based on their feedback.
What it comes down to is this: Are some independent authors putting out subpar stuff and being lazy? Sure. But that’s true of traditionally-published stuff as well, and the line of demarcation often comes down to personal drive, the desire to create something of quality.
A writer either wants to make a quick buck, or they want to create a lasting and worthwhile piece of entertainment that will attract to them a more sustainable level of success. I count myself among the latter. Whether I should be will ultimately be up to readers to decide.
My latest effort at achieving these goals as been unleashed. Under Contract: A Tale of Horror and Satire will offer up some biting satire, a few giggles, and hopefully a shiver or two.
The most common question authors are asked, aside from “Who are you, again?” is, “Where do you get your ideas?”
In this case, my inspiration came from my fellow indie authors as a whole. When this whole subculture developed, some who chose the independent route had never been published before, while others had been. Understandably, some of them had tales to tell about their experiences being published by traditional book publishers.
At first, there were the legit complaints, such as writers whose books were scuttled off shelves without a big push when they failed to sell well immediately; or whose second or third books were not accepted after first breaking through as a published author. Gripes about poor copy-editing, improper covers, and editorial changes became commonplace.
But somewhere along the line, former trad-pubbed authors became a little, shall we say, bitter? Their tales grew alongside their dissatisfaction with their prior experiences being traditionally published.
Some of their complaints grew to the point of exaggerations, such as conspiratorially suggesting that their publisher worked to impede, rather than encourage, their books’ sales figures. Even to outright kill their books off and ruin their career.
Claims that, as they grew in paranoia, became harder and harder to believe.
The point has now been reached where a formerly trad-pubbed author can make their previous experience sound like a country song; as their story progresses, they lose more and more, from their authorial rights to their house to their car to their wife to their dog, until they have nothing left but the blues.
And even though the exaggerations become increasingly transparent, some folks take such claims seriously and offer condolences.
Being a creative type, and with a mind that sometimes explores the dark side of imagination, the proverbial light bulb went off inside my head. All these stories amounted to an admission of fear; fear of being published by a traditional publisher, fear of one’s work being mishandled, fear of losing one’s career due to machinations beyond their personal control.
We read in the popular news media all the time about the evils of Big Tobacco or Big Fast Food or Big Banking. Basically, if it’s big, it’s bad. Evil. Corrupt.
And so, the idea of Big Publishing as a source of malevolence began to grow in my mind.
What if the evils of Big Publishing were far bigger than even the most paranoid author had ever imagined?
What if all of publishing was a lie, a front, a PR machine that ate talented young writers up and spit them out?
What if most of the writers we know today as “brands” were actually just front-men, while underpaid and maltreated nobodies were actually tasked with the real work of producing the next big blockbusters?
That very question is the genesis of most good story ideas. Those two words are “where we get our stories.” Ask any author, and if they’ve thought about it at all, “What if?” is the actual source of all creative storytelling.
So, out of the complaints and exaggerations of real writers, my latest tale was born. I have a few others like it percolating in the back of my brain, too, wherein I could further explore this theme.
For now, however, start with Under Contract: A Tale of Horror and Satire. It’s not a long read. You can probably finish it in a half hour or so; a nice little escape that will whet your appetite for something more.
Besides, what’s $0.99 between friends?