Dear Extra Squeeze Team, How Do I Price My Novel?
July 31, 2018 by The Extra Squeeze in category The Extra Squeeze by The Extra Squeeze Team tagged as ebook pricing, Marketing, The Extra Squeeze, writing
Dear Extra Squeeze Team, I’m ready to self-publish my first novel as both an ebook and a paperback. It’s a romantic suspense novel and about 90,000 words. How do I figure out what to charge? I don’t want to be too cheap, but I don’t want to be too expensive either. Help! How do I price my novel?
Rebecca Forster
USA Today Bestselling author of 35 books, including the Witness series and the new Finn O’Brien series.
I love that this author has provided so much information. Her query is objective, communicated the pertinent information and is focused. Kudos. Many authors – first time and seasoned – simply calculate how much money they can make at different price points and choose the highest one that they believe the market will bear. What they don’t take into account are market forces and there are plenty of them.
This lady is a first-time author intending to publish as an indie. It is clear that she understands her genre. I will assume her book is awesome. Now let’s look at what she is going to face. There are currently about 2,500 new books published through Amazon a day. She will be competing with seasoned, midrange and newbie authors all of whom are publishing books at the same time she is. Some will offer their books for free and others for $.99. Many will leave those books at these price points for promotional purposes with the objective of getting their books into as many readers’ hands as possible. They will be hoping to garner reviews. In my experience it takes about 100 downloads to get one review. That’s a lot of books you have to sell. If you overprice your work, no one will buy it. Spending $6.99 on an unknown will not be as attractive as receiving a free book or one at $.099. Many best selling authors (myself included) price their books at $3.99 and $4.99. Anything under $5.00 is considered a bargain book and is more easily promoted on advertising sites and book-dedicated social media sites. There are so many more nuances one can address regarding pricing but covering them all would be a novel in and of itself.
My advice to this author is to read over the above, take a look at the bestsellers in her genre and make a list of price points. I would include general thrillers in this list also because there is a ton of crossover between straight thrillers and romantic suspense. At the same time, assess how you are introducing yourself to the reading public. Do you have your website, your social media accounts, your branding in tip-top shape? Are book two and three almost done (indie publishing has taught me that readers will veer to an author with deep inventory because, if they like your work, they want to click for the next one). Does your cover scream quality? People pay a little more if it looks like the next big thing but not much.
To put this in perspective, I have published (traditionally and as an indie) over thirty books. I have experimented with many price points from $.99 to $6.99. $2.99 to $3.99 is the sweet spot (read Mark Coker’s blog post at Smashwords on pricing). You can make a good living at this price point but not without a heck of a lot of work.
Price this first book to sell, garner fans, ask for reviews, build up your profile everywhere and keep writing so that you have inventory. This is a long-haul profession. It looks like you’re ready for it. Good luck.
P.S. I price my paperbacks for minimal return. I might make $1.00 to $2.00. That is because I want them to be reasonably priced and I know that 97% of my business as an indie is in digital sales.
Jenny Jensen
Developmental editor who has worked for twenty plus years with new and established authors of both fiction and non-fiction, traditional and indie.
Two very successful authors and one savvy, marketer share this panel with me. I’ll leave the hard marketing advice to their tried and true experience and respond as a consumer.
I’m a champion of Indie publishing. I read a lot, all genres, and I love to discover new writers. Unfettered access to any voice that wishes to be heard is the outstanding feature of Indie Publishing. I know I’m not alone in this opinion so as a new, untested voice I salute your maiden voyage.
I download work by unknown authors at least twice a week. My price point for an unknown is from 0 to 1.99 and there are several criteria that prompt my choice: a compelling title, one that invites, intrigues or amuses always gets a second look at the cover and a close read of the story blurb. It’s that book description that’s the hook. It must be revealing to a tantalizing extent (no spoilers), descriptive of some feature that sets the book apart from the cookie cutter template of the particular genre — maybe a well-crafted sentence or two that reveals a great character, an intriguing setting or a particularly unique situation. It must include something of the challenge inherent in the plot — in other words, give me a reason to want to read the story.
This short sell copy reflects the writer’s style and skill so it’s critical that the voice I’m considering spending my time with comes through loud and clear. Poor grammar, clumsy wording and typos are an immediate reason to move on, as is a dry recitation of plot points. If the cover matches the level of professionalism and care reflected in the title and the description, I bite. It sounds like my perspective buyer self takes in these criteria in an orderly way. Not so; it’s the blending of all the features that makes a work by an untried author enticing.
Considering just how fierce the competition is it’s great to have access to various platforms where you can stand out. Whether it’s an offering on a Bookbub-ish bargain site, a platform like Indie Book Nexus or a genre specific site, this is your chance to cut yourself from the herd.
There are degrees of how strong the attraction of a book offering is. I’ll always try a .00 price point book if the presentation interests me. I don’t view that as a cheapened offering, rather I see it as an invitation. If I’m going to invest up to 1.99 then I need an assurance of quality. The care and passion of the book sell copy is reflective of the care and passion in the work. It takes an excellent presentation to move me to my 1.99 limit. That hasn’t happen often for a new author with a stand-alone book. Of course, editorial reviews help — nice stuff if you can get it, but I don’t require that.
I’ll add that when I’ve fallen in love with a new author and she has no published work to move on to I am bummed. I vow to keep a lookout for a ‘next’, but it does not stay top of mind. A link to a mailing list for the next book’s release date is pretty good compensation.
You’ve made the decision to publish so I’m sure you’ve had the manuscript thoroughly edited and it is the best product you can provide to the reading public.
Invite every potential reader and if it’s a freely given invitation then know you’ll begin growing your audience. Wow me and I’ll pay for the next book. It’s an investment.
The Extra Squeeze Team is Taking Questions
June 30, 2018 by The Extra Squeeze in category The Extra Squeeze by The Extra Squeeze Team tagged as HO Charles, Jenny Jensen, Publishing Questions, Rebecca Forster, Robkin Blakely, The Extra Squeeze, Writing Questions
Taking Questions!
Ever wonder what industry professionals think about the issues that can really impact our careers? Each month The Extra Squeeze features a fresh topic related to books and publishing. Here are some of the questions they have answered in 2017 and 2018. Sensitivity Editors, How Much Reality and Is the F-word a Bomb.
But now they need YOUR questions. Is there a publishing or writing question that you want the answer to, but don’t know who to ask?
Let Amazon mover and shaker Rebecca Forster and her handpicked team of book professionals offer frank responses to your questions from the POV of each of their specialties — Writing, Editing, PR/Biz Development, and Cover Design.
Ask the Extra Squeeze Team a Question
Rebecca Forster
USA Today Bestselling author of 35 books, including the Witness series and the new Finn O’Brien series.
Jenny Jensen
Developmental editor who has worked for twenty plus years with new and established authors of both fiction and non-fiction, traditional and indie.
Robin Blakely
PR/Business Development coach for writers and artists; CEO, Creative Center of America; member, Forbes Coaches Council.
Dear Extra Squeeze Team, I Finished My Book, Now What?
May 31, 2018 by The Extra Squeeze in category The Extra Squeeze by The Extra Squeeze Team tagged as publishing. marketing, writing
Rebecca Forster
USA Today Bestselling author of 35 books, including the Witness series and the new Finn O’Brien series.
After thirty-five published novels (and a few that are still under the bed) the best advice I can give an author is to step away from the book. Leave the house and do something physical for a few days. Play tennis, jog, or get a massage. When your body is energized, so is your mind. You have also now made a break with your creative responsibilities and are ready to tackle your administrative one. Here are the next steps that I think are critical. These steps will make it easy for readers to sign up for your mailing list and help you get reviews – the two most critical things for successful marketing.
- Construct your front and back matter. This will include:
- Carefully worded reviews request linked to relevant bookstore (front and back)
- Links to your website, BookBub and Amazon page follows. (back)
- Information on your lead magnet with a link to your sign up page (front and back)
- Backlist with title, one line blurb and a few books covers (can be front and back) If you have a zillion, limit to ten and then offer a link ‘for other works by this author’
- Short author bio (back)
- Check every link to make sure they are live and go to the right place.
- Reread the entire book including all the additions to catch last minute mistakes.
- Publish the book.
- Wait a few days before aggressively marketing so that the book establishes itself within the Amazon algorithms.
H.O. Charles
Cover designer and author of the fantasy series, The Fireblade Array
That depends! Do you want to self-publish or try the traditional route?
Whichever you choose, it is worth getting someone you trust (and who is supportive) to read it through for basic errors at this stage, if you haven’t already. If you plan to self-publish, find an editor or proofreader to clean up the final draft. Next, you’ll need to choose your distributor, a formatter and a cover designer. It is possible to format e-books and paperbacks yourself (and really not that difficult) but learning anything new takes time. Choose your cover designer carefully (!) and make sure you communicate exactly what you want to them as clearly as possible. Again, it’s possible to do a cover yourself (I did – do!), but I would recommend first looking at your online competition and honestly questioning whether you can create something that meets those standards (this sounds soooo harsh, but unfortunately so is the bookselling world).
Both your formatter and cover artist will need to know which distributor you are publishing through. There are quite a few choices out there, but beware that the more you use, the more complicated updating each version of your book will become, because you will have to upload it to each distributor each time! I currently use KDP, Smashwords, Createspace and sometimes Google, but I wouldn’t want any more distributors than that.
If you decide to go the traditional route, then my advice has to be based on the experiences of two friends who write non-fiction. Both of them had to try several agents before they found a good one to represent them, and both already had significant success in the journalistic and broadcasting world (a background you don’t need in self publishing!), which helped them achieve good publishing deals.
Finding the right agent was what really landed them the deal to provide the income they needed. Their previous agents were happy to take them on, but in both cases the agents did very little work in promoting their books to the publishers.
Alternatively, you can go directly to publishers (depending on who they are). Remember that publishers are looking for something and someone they can sell and make lots of money from, so you need to present them with a good investment opportunity. Therefore, consider everything about yourself that might reassure a publisher you are a ‘safe bet’, and also consider how large a market your book might have. Choose your publishers and/or agents carefully. Research them. Make sure they will put in the same effort to promote your work that you would if you were self-published.
Good luck!
Jenny Jensen
Developmental editor who has worked for twenty plus years with new and established authors of both fiction and non-fiction, traditional and indie.
Fine. El Fin. La Fin. Fund.
You’ve typed The End. An amazing accomplishment. An awesome accomplishment. Awesome by both hipster-speak and actual definition!
But you’re not finished.
You’ve invested untold hours, sweated buckets of emotion and given a piece of yourself to the story. Next step is to protect your investment: have the manuscript edited. What type of edit is up to you. It’s time for some harsh and honest self-analysis.
If you are not completely confident that the book will read as well to the public as it does to your ears, arrange a content edit. At the very least get an Editorial Assessment. Then act on that advice from a neutral party. Finessing and polishing a completed manuscript is – and always has been – a part of the process.
If you are certain every detail is consistent and every word is worthwhile and imminently readable, and you’re sure your premise, characters, action, story arc are all as strong as they should be, then hire a professional editor for a line edit. Last line of defense is to have the manuscript proofread. If the product you present the world is rife with misspellings, typos, ungainly sentence structure etc. it will not sell. Unless you offer a clean manuscript it won’t matter what marketing effort you invest; you won’t get the positive response needed to make an indie book stand taller than the millions of competing books in the Indie forest.
When you are 100% confident that your book is as perfect as you can make it then it’s time to get your production ducks in a row.
Cover designer
Formatter
ISBN number
Front and back matter
Marketing (a nifty one word concept that sums up volumes of effort)
Fortunately, The Extra Squeeze features two brilliant published authors and one outstanding PR/Marketing guru. Their experience and guidance will speak to marketing strategies much better than I can. There is a trove of support available on line – a lot of it for free. From Shewrites.com to Mark Dawson’s selfpublishingformula.com, the resources are there if you seek them out and take the effort to implement.
Remember, the product you offer to the reading public, the product that represents everything about you as a writer, the product that will make you new friends by the hundreds (aka fans) – and not a disappointment that will manifest itself as bad reviews and no sales and a stinky digital reputation that never really disappears – must be polished, professional and perfect.
From the time you type the first The End to when you’ve got your marketing efforts in place, your investment will be gigantic. Don’t squander your investment. Have your manuscript edited before it ever sees the light of day. A pitch perfect product is your best first step.
Robin Blakely
PR/Business Development coach for writers and artists; CEO, Creative Center of America; member, Forbes Coaches Council.
There is a rumor that Robin has gone fishing. Where ever she is, we’re pretty sure she’s wearing her tin star.
Send us your questions!
Ever wonder what industry professionals think about the issues that can really impact our careers? Each month The Extra Squeeze features a fresh topic related to books and publishing.
Amazon mover and shaker Rebecca Forster and her handpicked team of book professionals offer frank responses from the POV of each of their specialties — Writing, Editing, PR/Biz Development, and Cover Design.
Dear Extra Squeeze Team: Do I HAVE to Keep Writing in the Same Genre?
April 30, 2018 by The Extra Squeeze in category The Extra Squeeze by The Extra Squeeze Team tagged as The Extra Squeeze Team
Rebecca Forster
USA Today Bestselling author of 35 books, including the Witness series and the new Finn O’Brien series.
Switching genres is not a black and white issue but a function of the writer’s objective.
Writers by nature are a curious, opinionated and creative bunch. That means there is a tendency to write about whatever inspired them. Sadly this impulsive creativity wars with, and can undermine, the business of being creative.
So, if you are a writer whose primary concern is to explore all levels of your craft, writing in many different genres will be fulfilling. But if your primary concern were to use your writing to build a creative business, it would be wise to stick to one genre. Here is why:
1) Concentrating on one genre creates a dedicated fan base.
2) One genre allows the author to create a cohesive personal brand
3) Readers will know where to find you on the bookshelf whether it is in a brick and mortar or a digital bookstore.
4) Writers usually excel in one genre. To write in a completely different genre that is not as strong as your primary one only serves to dilute your brand.
This is not to say you can’t have diversity in your writing career. If you’re a thriller writer, it can take months to craft a 100,000-word novel. Writing shorter genre romantic suspense might satisfy your desire to write in a separate genre, allow you to bring out more books each year, and your output will still appeal to your fan base while growing a cross-over fan base in romantic suspense. Do you write fantasy? Then try magical realism. Do you write romance? Cross over to women’s fiction or sagas. Just remember to make your secondary market tangential to your primary.
New writers may want to try on different genres for size to find out where their strengths lie. Established authors who want to try a completely different genre may want to consider a pseudonym. Either way, the first thing to do is decide what your career objective is and then make a genre plan to meet it.
[tweetshare tweet=”Dear Extra Squeeze Team: Do I HAVE to keep writing in the same genre?” username=”@A_SliceofOrange”]
Jenny Jensen
Developmental editor who has worked for twenty plus years with new and established authors of both fiction and non-fiction, traditional and indie.
No, of course not. You can write in any genre you desire. The outcome of that would depend on how much weight you place on each side of art vs business of writing equation.
If you weigh in about equal between writing as your expressive art and the business of making that art pay (either recognition or income) you’re well aware of the importance of branding your work for a particular audience. You know the effort involved in creating an online author presence, beginning with a body of solid work, which is publicized and supported by blogs, reviews, interviews, twitter, newsletters, Face Book etc. It takes time and consistent work to build an author platform and a fan base. Your fans find you and stick with you because they want to read the genre you’re writing in, they expect to read that genre and because you are good enough at that genre to either be building, or have built, a solid following.
Traditional publishers shy away from letting an author branch out into a different genre. They don’t want to upset an established cash cow. In that respect the traditional marketing model is similar to the Indie model. Poor A. A. Milne — he really wanted to write murder mysteries (he published one: The Red House Mystery) but his publisher would never let him taint the image of Christopher and friends. There are major exceptions; J. K. Rowling and Anne Rice are two. Both of these fabulous authors had a huge, loyal fan base before they made the genre jump. When you write that well most of us will follow blindly! I know I do and I’ve not been disappointed.
If you know you have great stories in you that cross genre typing you can always publish one genre under a nom de plume. That’s very common. Eventually a well-known writer gets outed as the person behind the false moniker but by that time she’s hooked a whole new audience so everyone is happy.
Writing in different genres is, I think, an excellent way to exercise and grow your writing skills. Just the difference in voice between the lady of an Edwardian romance and the female warrior of a dungeons and dragons fantasy would require a major stretch of skills. Add plot mechanics, atmosphere and secondary characters and you’re running a writing marathon. That’s the kind of practice that really sharpens a writer’s eye. I’d never discourage that.
The important thing to remember if you want to successfully write in more than one genre is to be sure you can excel in one of them first.
Robin Blakely
PR/Business Development coach for writers and artists; CEO, Creative Center of America; member, Forbes Coaches Council.
No, you don’t have to keep writing in the same genre. But, why would you leave?
Over the years, authors have privately shared many reasons for making big shifts in their writing careers.
- Sometimes you start out in the wrong place, and your efforts just aren’t working.
- Sometimes you change so much as you grow professionally that your story interests carry you to a new genre.
- Sometimes the original genre changes and you no longer feel at home creating the types of stories you once enjoyed.
As a writer, you are a talent-driven brand, and talent-driven brands are fueled by passion. So, it always makes sense to follow your passion. However, passion can sometimes be mistaken for a whim. So, think hard about the shift you are contemplating. Prepare for what could be ahead.
From a PR, Marketing, and Sales perspective think about desired outcomes before you decide to leave your readers and move.
- Consider the risks and the benefits to the business side of your creativity.
- Take a critical look at what you are building—there is more than your written work at stake.
- In addition to the books you are creating, you are also steadily building a community of readers. Jumping ship to another genre will be like moving from your beloved neighborhood to a new community. The readers you got to know over here may not go with you over there when you leave. They may like you enough to come visit, but it is likely that they won’t come by often.
PR-wise, you are starting over when you begin to write in a new genre. Even if you keep writing for your original genre, you will still be starting over reader-wise with your new work. Still, just like in the real world with an apartment or a starter home, a simple move can be just what you needed to live happily ever after.
H.O. Charles
Cover designer and author of the fantasy series, The Fireblade Array
When you find out, please let me know because I am about to publish a(n) historical fiction novel (after years of writing in fantasy!).
There’s no reason why an author wouldn’t have the *ability* to write in another genre, as long as the enthusiasm and skill for it is there. The main thing that I’d be concerned about is audience. The audience you build up whilst writing for one genre may not enjoy your new genre, and it may be that only die-hard fans will want to make the crossing, so to speak. And if they did, the resulting reviews and sales could go either way. Essentially you’d be back at square 1, or perhaps square 1.43, in building a readership for your books.
I wonder if JK Rowling’s endeavour with crime fiction (Robert Galbraith) might serve as a useful source of information. The books were released under a different pseudonym (just as Nora Roberts’ publisher insisted), although this was at JK’s behest since she wanted to “go back to the beginning of a writing career in this new genre, to work without hype or expectation and to receive totally unvarnished feedback.”
On one hand, she received positive reviews as a ‘debut author’, but only sold 1,500 copies in the three months before her true identity was revealed (I say only – that’s not bad going for many authors out there!).
When it was revealed that Galbraith was Rowling, sales shot through the roof, but still only half as many people have written reviews for those books as have done so for the Potter series. From that, I would suggest that if your performance in your first genre is good, then it can only help build a readership for your new genre, but don’t expect sales to match those of your first genre. However, if your foray into your new genre is flawed for any reason, I suppose *potentially* it could negatively affect your existing reputation.
Without having published my non-fantasy book yet, I say go for it. It’s a great way to learn and explore new techniques, approaches, worlds and really grow as an author. I’m really enjoying doing something different.
Ever wonder what industry professionals think about the issues that can really impact our careers? Each month The Extra Squeeze features a fresh topic related to books and publishing.
Amazon mover and shaker Rebecca Forster and her handpicked team of book professionals offer frank responses from the POV of each of their specialties — Writing, Editing, PR/Biz Development, and Cover Design.
Dear Extra Squeeze Team, How Do I Know When to Stop Writing?
March 31, 2018 by The Extra Squeeze in category The Extra Squeeze by The Extra Squeeze Team tagged as editing, first drafts, writing
Dear Extra Squeeze Team, How Do I Know When to Stop Writing?
Rebecca Forster
USA Today Bestselling author of 35 books, including the Witness series and the new Finn O’Brien series.
This is an interesting question because it implies that the problem is with the end of a book. If that is the case, then I have never had a problem knowing when to stop writing. Before I begin I know the end. I even know the last sentence I want to type. But when it comes to overwriting, there’s more to the story (okay, pun intended)
In the thirty plus years I have been a working novelist I still overwrite the middle of the manuscript. I intrude on my own work with asides, philosophy, research information, angst and whatever else comes into my mind in the throes of creation.
Thanks to a wise editor (our own Jenny Jensen) I have learned to recognize this problem and deal with it as follows:
1) Don’t worry about it during the first draft.
2) On your first self-edit identify and cut what you believe to be extraneous information and place this in a file in case you wish to reinsert it later.
3) Read again. Keep cutting or reinsert information with an objective eye.
4) Send to your editor who – intimately knowing the author’s propensity to overwrite the middle – will identify anything that slows the story, creates questions or bores the reader.
Overwriting is not just a function of the end of the book but of the book itself. A story always has a beginning, middle and a resolution. Do not start writing before you know what that resolution is because it gives you a point on your literary horizon. That is where you must stop. The problem for me is that getting to that point is sometimes messy. Instead of writing that straight line from A-B, I zig-zag and overwrite.
P.S. In the years since I adopted the cut and save file I have never once gone back and used anything, but it sure makes me feel better to know it exists.
[tweetshare tweet=”Dear Extra Squeeze Team, How Do I Know When to Stop Writing?” username=”A_Slice of Orange”]
Jenny Jensen
Developmental editor who has worked for twenty plus years with new and established authors of both fiction and non-fiction, traditional and indie.
When the story is told. The rest is editing.
The goal is to tell the story that lives in your head. Keep writing until you get it all out and down on paper (or pixels). Length doesn’t matter at this point; it’s the story that counts. Once you type ‘The End’ and find yourself with 40,000 words you may have a novella. If the tally is between 80 and 90,000 it meets the average length for a novel in most genres. When the word count tips to 120,000 + you may have an epic (Sci Fi and Fantasy are often longer) or the need to lose 20 – 40,000 words. You’re now at the stage of the brutal self-edit.
There are no rules for how long a novel should be, but readers do have some expectations. Given those expectations of length the choice is yours as to which literary format you want. Regardless of bulk all successful fiction shares one characteristic: good structure with clean flow. A successful novel has a beginning where the characters and the problems are introduced, a middle where the characters evolve and the problems are dealt with, and an end with confrontation and resolution. That path is smooth and enjoyable for the reader because the flow is good – it carries the reader along seamlessly.
Overwriting is usually the cause of a too long word count and the cause of disjointed story flow. It’s all right – we all do it. You had to get it all down on the page. Now it’s time for some honest self-editing.
Dialog tags are a common cause of overwriting.
“Don’t,” she said with a fierce glint flashing in her eyes. Eleven words that flow so much better as three: “Don’t,” she hissed.
Too many words dampen the impact.
Do you have descriptive passages meant for mood and setting that are so elaborate they distract from the action? Cut, tighten and move the story along. Do you find you’ve written back-stories and sidebars meant to enlarge on character or setting but are actually an unnecessary detour? If you’ve got your heroine on a dark country road when her tire blows and then she falls into memories of a frightening slumber party from her past you’ve broken the flow of the tension for something that doesn’t add to the story. Delete it. (Oh I know, it’s hard to kill your children but you can always copy it into a file marked for future use.)
Read your work with an editor’s eyes. Every word, every scene must help carry the story along; it must add to the plot, build the tension, build on a character. Make certain your words all carry the necessary function for the story to flow so smoothly that the reader can’t look away. If you don’t get an editor, get a strong beta reader to help you peel away the extraneous dross. Once that’s been done correctly, what you have is the best your story can be.
Robin Blakely
PR/Business Development coach for writers and artists; CEO, Creative Center of America; member, Forbes Coaches Council.
When to stop writing—is that just when completing one book or…forever?!
With one book, I don’t think it’s a problem for most writers because they tend to construct their books out of order, and the end is often completed long before the middle. For me it is, anyway! From there, it is just a case of connecting the dots and making sure there aren’t any incomplete subplots or character resolutions. If your book is overshooting 300,000 words and you’re not writing epic fantasy, however, then it’s probably time to stop!
Ever wonder what industry professionals think about the issues that can really impact our careers? Each month The Extra Squeeze features a fresh topic related to books and publishing.
Amazon mover and shaker Rebecca Forster and her handpicked team of book professionals offer frank responses from the POV of each of their specialties — Writing, Editing, PR/Biz Development, and Cover Design.
Do you have a writing or publishing question?
Send them to the Extra Squeeze Team!
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