Mike Resnick on old school porn novels -- Jules

One of the links that turned up on my feed this morning was a friend linking to Mike Resnick's article about his days in the 1960s/1970s porn novel business. I don't think Emily's linked to this in the past, and it's an interesting (and entertaining) article about that niche and time in publishing.

number-crunching -- Jules

Just putting my December royalty figures into the spread sheet -- the statement arrived just before Christmas but this is the first chance I've had to do more than glance at it. Time to throw out a few numbers that might be of interest.

My best-selling book is still Dolphin Dreams, which has now reached 2151 copies sold since it went on sale. Yes, very much small press numbers, but not bad going for a small press book. For the curious, around a thousand of those came from direct sales from the publisher's website before it went made available through the distributors, and about 3/4 of the total number since release is from direct sales. For distributor sales, Fictionwise has around double the numbers going through All Romance eBooks.

Second best is the first Lord and Master book, which has sold 1829 copies. Again, around 3/4 through the publisher website, but this time three times as many from Fictionwise as from ARe.

That's the general pattern on my books -- major share is through Loose Id, with the largest chunk of distributor sales coming through Fictionwise, but a significant fraction of distributor sales through ARe, and a tiny trickle through others. (My ebook titles aren't on Amazon, so I have nothing to report one way or the other there.) That's one author, through one publisher; other authors report different experiences.

The second Lord and Master book has now sold 1020 copies, almost as many as the first book had after the same number of months on release. That's pretty pleasing for a sequel, as it suggests that a lot of people liked the first one.

Promises To Keep is the oldest of my titles which are still in print at Loose Id, having been released for Halloween 2004. Yes, more than five years ago, not long after Loose Id opened. It still sells half a dozen copies a month -- not a great deal of money, but rather gratifying nevertheless that people are still interested in buying an old backlist title.

A couple of points to note here: a) my books typically sell 500-1500 copies in the initial 2 year contract, b) that's a two year contract taking only the rights the publisher has a reasonable chance of using, not a life-of-copyright contract grabbing all rights, c) I get a detailed monthly royalty statement, on time, that breaks down exactly which titles sold through which venues, and how much money I got for each venue and title. Now, obviously I'd like to be in mass market paperback and looking at numbers with another zero or two on the end -- but even in the small press market, there are good and bad publishers. Anyone with a zero fewer on the end of their sales numbers should be asking themselves if there are better options. Ditto if your publisher claims that it's too difficult to provide detailed royalty statements so that you know what they owe you. As for life-of-copyright, that's not automatically bad, but they had better be offering something worthwhile in return.

But... even someone who can sell ebooks consistently at that level can have the occasional "sink without trace" title. I've got one that barely scraped past 200 after two years. I have an idea as to why, but no hard evidence. There are no guarantees in this game, just ways to improve the odds in your favour.

Back to work on the accounts. One of the joys of wandering from country to country is that one ends up having to file tax returns in more than one of them, and they have different rules. Blech...

{Note: all numbers in this assume me not cocking up entering the data into 1-2-3...)

[Mirrored from my personal blog.]

First thoughts on the Cybook Gen3 -- Jules

This is mirrored from my own blog -- there's 2000 words of it and I don't know how to do a cut tag in blogger, so you'll find the whole thing on either my WordPress blog or my LiveJournal.

I bought a second-hand Cybook Gen3 ebook reader from my writing partner last month, and I've been using it long enough now to have some initial thoughts about it. This isn't a proper review, as I haven’t been exploring all its features. What I *have* been doing with it is simply reading some of the books she’d loaded on it, mostly on the bus to and from work.

And the obvious question is - do I regret spending one hundred pounds on this thing? After all, I could buy quite a few paperbacks for that money. To which the answer is "no", and for a specific reason I'll get to at the end of this post. And it's not one of the obvious reasons, like saving shelf space or being able to carry a hundred books with me at all times, although I can see the advantages there.

Would I buy one at full market price? (Currently 269 pounds if shipped to the UK.) Probably not, but mostly because the wee beastie is physically fragile, and I fully expect that I'll manage to break it within a year or two given my current usage of it. I can see why other people would pay that for it, and why I might in other circumstances.

( read more about the pros and cons in the full post at my book blog )

And the killer app for me? I can read it on the bus without feeling car-sick.

If I try to read a dead tree book on the bus, I start feeling sick after a few minutes. I can read if I'm careful, but it requires a certain amount of thought and stopping as soon as I feel in the least bit queasy. I took the Cybook with me on the bus the first week I had it, mostly because otherwise I’d have to wait until the following weekend to have time to play with it - and was still reading at journey's end. By the end of the week, it was clear that this was not a one-off. In the month since, I've found that if the bus is *really* bumpy I need to put the Cybook down for a minute or two, but I can usually read it without problems. I don't know why there’s a difference (my guess is that it’s at least partly to do with the Cybook being completely rigid), but since I spend around an hour a day on the bus at the moment, something that lets me read during that hour is *well* worth the hundred pounds I paid for it. While I'm doing that commute, you will have to prise my Cybook from my cold dead hands...

Unsolicited advice: Number crunching -- Jules

I've just finished putting this month's royalty statement numbers into my spreadsheet. As predicted after last month's figures, another book has gone over 1500 copies sold. I've received almost exactly $4000 in royalties on that title since it was released in April last year. The bulk of the sales came from the publisher's own website, but the book was also released through Fictionwise and All Romance Ebooks some months after its initial release, and both sites have shifted some units.

This is why I have a day job.

On the other hand, that's rather more than the price of a round of beers. It's a lot less money than I'd get if I'd been steadily selling books to Tor over the last four years, but it's a lot more money than I'd get at some publishers. Even if you're writing in a genre that New York won't touch, do your homework before submitting to a publisher. Money isn't the only factor, of course, or I'd be putting more effort into writing something that I could sensibly submit to Tor (who I'm using as an example because I *would* like to submit something to them). But it's a really good idea to submit first to a publisher that has a sane contract and has a reasonable chance of both staying in business and making you more than beer money. There are no guarantees in this business, but there are elementary precautions you can take to reduce your risk of getting burned.

MARKET: Daddies -- Jules

This one's a print erotica anthology, and thus out of our usual remit. But since our Glorious Leader has been whining about the lack of silver fox porn, I thought I'd point it out as encouragement to you all to write some. :-)

DADDIES: GAY EROTIC FICTION
Editor: Richard Labonte
Publisher: Cleis Press
Deadline: Aug. 15, 2008

For the erotic anthology DADDIES: Gay Erotic Fiction (Cleis Press, Spring 2009), I'm looking for short stories (max 6,000 words) about the lust and the love of younger men for older men, of twinks hankering for silver foxes, of young men drawn to sexual Daddies, of spunky lads just coming out who want to learn the erotic ways of the world from a man with the meat of years on his bones. Everything goes, from sexually playful to hardcore S/M, for this collection about relations between men of different generations.

Deadline: Aug. 15, 2008. Submissions to: Richard Labonte ; please put "Daddies" in the subject line. Original stories preferred, though reprints will be considered.

Found at Erotica Readers association. No pay rate given for this one, but there are a lot of other Cleis anthologies listed at the moment, and the rate is typically $50 plus two contributor's copies. Speaking of which, I did a trawl of ERA's anthology listings, and arranged them by closing date at my LiveJournal.

Scalzi talks about self-publishing, so I do as well -- Jules

Scalzi has a good post up about going with a publisher versus self-publishing. One of the things he addresses is the idea that self-publishing is good because you get to keep 100% of the money. As he explains in very clear fashion, this is simply not true. There are costs involved in putting out a professional product and getting it sold to the public at large, and if you're the publisher, you'll be paying them.

This is a conversation I get to have every so often. I'm epublished, and a lot of people think that epublishing must have very low costs because you don't have to pay to print, store and ship physical copies. Thus, the suggestion goes, I should self-publish and get 100% of the cover price instead of 35%.

Well, no. Because the cost of creating and handling the physical item is a relatively small fraction of the cost of bringing that book to market. Good cover art costs money. Good editing costs money. These and other things are necessary if you want people to look at the first book, and then to buy more books. Running a commercial website costs money as well.

And then there's something that you can't measure in cold hard cash, but that is vitally important -- reputation. My publisher has a good reputation in its own little niche. Readers know that they can try a new author, and have a decent chance of getting a book they'll enjoy. A book that has had someone other than the author's friends look at it and say, "Yes, this is competently written," and then work on it with the author to make it even better. That's why I can put out my next book through them and reasonably expect it to sell a thousand or so copies over the course of the initial two year contract, without having to spend large amounts of my own time and money trying to get people to look at the book.

A thousand copies doesn't sound much by the standards of the mass market paperback market, but it is still well above the average sales for a self-published book (around 75-150 copies for print books from the major POD vanity presses, by their own publicly stated figures on titles and total copies). Maybe I could do better than average, especially as I have an established fanbase now. But really, I'd rather take my 35% on 1000 copies and let my publisher do the hard work of publishing it. I've *done* my stint at being a publisher, back in my zine days, and while I got a lot of enjoyment out of it I'd rather spend my time writing. If I feel the urge to scratch that itch again, it'll be on a project that doesn't fit the commercial needs of my publisher.

[I wrote this and posted it to my personal blog on LiveJournal a month back. Alas, when I tried to post it here, I discovered that Blogger had gone from making me try several times before deigning to upload my posts, to refusing to talk to me at all. Hence lateness. Sorry.]

On dealing with bad reviews -- Jules

I'd been meaning to do an "unsolicited advice" post on the subject of how to cope with bad reviews, but hadn't got to it in the aftermath of Eastercon. And then a week or so ago an enormous blogstorm erupted over one author taking bad reviews far too seriously, giving an example of authors behaving very badly indeed. It's a *very* touchy subject at the moment, so I'm simply going to pull up a comment that I posted at Dear Author back in January, in a completely different discussion.

On the topic of less-than-rave reviews, I don’t like getting them any more than the next author does. But one of the useful bits of advice I’ve had out of hanging around more experienced writers is this:

There is no book written that is going to appeal to everyone who reads it, because people have different tastes. So if your book reaches a wide audience, sooner or later it’s going to get a bad review, no matter how good a book it is. If it reaches a really wide audience, it’s going to get the sort of review that strips paint from walls. The thing to worry about is when you *don’t* get any bad reviews — because it means that not many people have read the book.

The duelling reviews on Dear Author and other sites occasionally demonstrate the truth of that. What one reviewer adores, another loathes, and sometimes for exactly the same reason. Bad reviews are part of the job description. You don’t have to learn to like them, but you do have to learn to live with them. And an honest review of the book isn’t an attack on the author, even if the reviewer didn’t like the book. A thumbs-down review may help sell the book to someone with different tastes, if the reviewer sets out clearly why the book didn’t work for her.

And I said something along the same lines a year ago in a comment on an EREC thread. I can't even remember now what outbreak of angst we were referring to, because authors regularly get in a public snit about less than glowing reviews.

Bad reviews hurt. But they're part of the job. And yes, I put my money, or at least my review copies, where my mouth is. I don't send out many review copies, because my publisher handles the routine review copies, including all the ones sent to the fluff review sites. But the few that *I* send out go to reviewers who are willing to say that they didn't like a book and why they didn't like it. Reviewers like Mrs Giggles, or Jan (the manga reviewer) at Dear Author. I know what sort of reviews I take seriously when I'm looking at reviews with my reader hat on, and that's the sort of review I want for one of my books, even if it means taking the risk that they'll shred it.

My book was a number 1 bestseller on Amazon! (and why it doesn't mean anything real) -- Jules

My book was a number 1 bestseller on Amazon earlier this week. Yes, really, it was. But before you rush to congratulate me, I'm not posting this to fish for compliments. This is a lesson in how an author could honestly tell you that they're an Amazon bestseller, on sales numbers that wouldn't pay enough royalties to buy a cup of tea on British Rail.

As it happens, this particular book has done reasonably but not outstandingly well by small press standards, and has sold nearly 1300 copies if you look at the combined ebook and print figures. But it's been out for some years, and is now well down the long tail when it comes to copies shifted each month. In fact, it hadn't sold any copies at all on Amazon UK for over a month before this particular sales bonanza. Want to guess how many copies it had to sell to push it to #1 on a bestseller list?

Two.

That's right, two copies sold put my book at #1 on an Amazon bestseller list. On two such lists, in fact, and #4 on another. And that's the key to how this works. Amazon doesn't just have one bestseller list. It has lots of them. It has the books bestseller list, but it also has a bestseller list for each of the many, many categories it puts books into. So the book was #1 on

Any Category > Books > Fiction > Gay > Lesbian > Erotica > Gay

and #1 on
Any Category > Books > Fiction > Gay & Lesbian > Fiction General > Gay

and #4 on
Any Category > Books > Gay & Lesbian > Literature

Amazon's ranking is based in part on both how many copies the book has sold recently, and how fast it sold them. So if a book sells two copies within an hour, that can push it well up the rankings on the chart for a sub-category where even the top sellers don't sell that many copies a day. It may even get to #1. It won't stay there for very long, of course (mine stayed there for about ten hours, helped by a third copy selling a couple of hours later), unless it keeps on selling copies. But the author or publisher will be able to say that it was a #1 seller on Amazon.

The other thing feeding into this is that there are multiple Amazons, and some of them have very slow sales compared with the US one. The UK one sells books briskly enough, but nowhere near the volume of Amazon US, so it takes fewer sales to achieve chart-topping status on Amazon UK.

I didn't game this at all. What happened was that I was talking to friends on irc, and one of them said that it was time they read something of mine. I gave the url to the page on my website with the blurb and links to free sample chapters, and someone else said, "I like the look of that, I'm buying it." I checked the book's page on Amazon a little later, and in fact two of them had bought it. I know this because the book happens to be low on stock at the moment, so the page had the thing with "only X copies in stock, more on order". I have a morbid fascination with how Amazon rankings fluctuate with time, so I checked later to see when the sales fed through into the ranking (it usually takes about an hour), and was surprised to find that book's page now reporting that it was on three of the bestseller charts, as detailed above.

Now, this was pure accident -- I didn't encourage anyone to buy the book, and the only deliberate aspect of this was that I knew that someone had just bought a book, so I looked at the chart at the right time to catch a very short-term blip in ranking. Imagine how easy it is for someone to deliberately manipulate the system. In fact, people do. There are groups dedicated to helping to push each others' books to #1 on some Amazon chart for publicity purposes. A lot of the time it's possible for the dedicated to do this on even the "all books" chart. If they time it for a day when overall sales on Amazon are slow, and are well co-ordinated, it may not cost an awful lot in terms of money spent on books.

Remember this the next time you see someone pushing a vanity publishing scheme with the proud boast that they had a #1 bestseller on Amazon. Ask the questions, "Which Amazon chart, and how long was it there for?" Because the answers may reveal the sad truth that "Amazon bestseller" isn't always equivalent to "big sales". If someone can say that the book has consistently stayed in the top 25 books out of hundreds for weeks on end, that's a *lot* more indicative of true interest in the book than a brief dash to #1 from the bottom depths of the chart.