2020 Indie Publishing Predictions: Indie Authors and Marketing Collaboration

2020 indie publishing predictionsThe third 2020 prediction offered by Written Word Media is that authors will collaborate on marketing. I don’t think this is a prediction so much as it is them saying, indies will do more of it, or they will be forced to do more of it because it’s harder than ever before to get anywhere on your own.

This is where the evil networking comes in. A favorite marketing technique right now is newsletter swaps, but that comes with its own pitfalls. When you agree to recommend a book to your readers, you’re telling them, “I liked this book, and I think you’ll like it too.” You don’t want to lose trust of your readers because you swap with authors who may not be writing quality books. It takes time to read books by your fellow authors, and I would imagine it would be difficult for you to say, “I don’t want to swap with you. I don’t think your book is something my readers would enjoy.”

You also don’t want your book to be in a swap where the author has recommended a lot of books. Too many recommendations means fewer eyes on your book. Unfortunately, this advice is only good for authors who have a newsletter and you have hundreds to thousands of email sign-ups. Building a list takes a long time, and you may not be able to use this marketing technique for a few years.

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That number seems extraordinary if you don’t have a newsletter yet!

The article also suggests that group giveaways will be popular marketing technique. I can tell you as an emerging author with no email list or audience that posting or tweeting about a giveaway to no audience is a huge waste of time. Group giveaways only work if every author in that group already has an audience who likes their work. And those are the authors who don’t necessarily need to market – they already have a solid readership. They are just rewarding their readers for being fans.

If you’re an emerging author, you can always network, and maybe one day you can be invited into a giveaway with other authors doing better than you. I know from experience banding together with other emerging authors won’t do much.

With my series, I have the potential to put together a really cute gift box of Minnesota Untitled design-2items and include my books. I haven’t because anytime I try to give something away, I hear crickets. But that’s my fault. I haven’t cultivated an audience, I genre-hop under my contemporary romance umbrella, and I haven’t made connections with other romance writers. I don’t have a newsletter or reader group to announce my giveaway to. I could put together the cutest giveaway and no one will care. And that is the danger of emerging authors coming together. As an emerging author, you have to cultivate your own audience before you can market with others.

Another thing the article points out is that not everyone is trustworthy. In the era of scammers both on the publishing and author sides, you have to be careful who you work with. Everyone needs to do their share (time-wise and money-wise) and you have to market with authors who write good books or your book will be labeled terrible by association.

If you want any hope of being asked to collaborate in any way, your book has to be well-written, your cover must be spot on, and your blurb on point or no author will want to work with you.

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What can you do?

As an emerging author, don’t worry about this right now. Work on your own audience. Your loyal fans will be the most important thing to your writing career. Then start slow. Honestly recommend books you like without asking for anything in return. Build your relationship with your readers with trust and integrity. Keep writing and producing good books. All this marketing talk won’t matter if you don’t have good books in your back list and if you’re not producing regularly.

I’m at a place where I’d rather throw some money at ads than network, and that’s only half the problem. I’m an introvert and don’t like talking to people, but I believe that this prediction or some variation will eventually come true – especially since I’m writing romance. There’s huge potential in the romance genre for group projects, and I can’t let myself shy away from meeting people. I could let some really good opportunities pass me by.

This is one of my 2020 goals for myself – be more involved in my romance groups and start a newsletter. Have I done either? I’m researching newsletter aggregators and I have started to post more online. Not enough to help but it’s a start.

I’ve been busy writing books, and I’ll be releasing seven this year. But I do have to meet in the middle and find a balance among writing, marketing, and networking.

How do you feel about this prediction? Are you ready to collaborate with your fellow authors? Let me know, and thanks for reading!


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Indie Publishing Predictions for 2020: Audiobooks

If you read Mark Coker’s predictions back to back with Written Word Media’s, you’ll see they have two very different ideas about what audio is going to do this year for us indies. According to Mark Coker, audio for indies has come and gone. According to Written Word Media, audio will continue to grow and more indie authors will invest.

Which is it?

I guess the more important question is, do you have the money to care?

Audiobook creation is expensive, and there are a couple of things you need to weigh before choosing to spend thousands on an audiobook.

  1. Where? Amazons ACX will trap you in a seven-year contract, and you do not have control of your own pricing. Seven years is a long time. You can create an audiobook through ACX and opt out of exclusivity to Amazon, but your royalties are lower through Audible. Findaway Voices is another place for audiobook creation, but once again, if your audiobook is wide, you’re looking at lower royalties from Audible, though there are more places to sell audio than ever before.
  2. How much will it cost? Lots to consider here. How long is your book? I’ve heard you want to give listeners their bang for their buck. Credits on Audible will buy any book, so listeners are more inclined to spend their credits on longer books. But for indies, these are more expensive to produce. It makes no sense to pay a narrator to narrate your novella because production will be cheaper for you. Audible subscribers won’t waste a credit on it.
  3. Distribution and marketing. You decide to go wide with your audiobook and opt out of exclusivity with ACX (Audible). That’s cool, but if you’re strapped for cash and you were searching couch cushions to pay for your voice actor, you won’t have money to market your audiobook. If you can’t market it, no one will know about it. Kind a like your ebooks, huh?

Written Word Media predicts the audio market will grow. Mark Coker says the audio market will become saturated and indies just starting out have already missed the boat. What does that mean? Audio will likely remain out of your reach until you start making money on your e-books. If an average indie can’t make a regular income until they have 20+ books published, audio in the near future isn’t likely.

Finding a narrator who will do a royalty split with you instead of being paid upfront is getting harder and harder. As Bryan Cohen, on a recent episode of the Sell More Books

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Voice actors have their own audience and have to take care of their own reputations.                     Photo by The Teens Network Daytime Show Studios on Pexels.com

Show says, voice actors are becoming savvy. They know they won’t earn their time/money back if they do a royalty share and will only do work paid upfront. Voice actors have their own wallets and reputations to look out for. If your e-books aren’t selling, you’ll have a difficult time finding a reputable narrator to work with you.

What does this mean for an indie starting out? For audio, at least for now, we feel rushed because we are. If the audiobook industry is saturated now, what will it look like in 2025? There’s no way to know, but you’d be better off writing than worrying about trying to find a foothold you can’t afford.

What if you really want to get in on the action? You don’t have to be completely left out, but even if it doesn’t cost money, it will cost you some time. As an emerging author, you have to decide if it’s worth it, or if you’d be better off writing.

  1. Do live recordings. Go on Facebook or YouTube. Save the recordings and post to your social media and blog. True, you’re not going to make money with free recordings, but at this point you’re building your back list and audience and/or hoping for a newsletter subscribers. My son is listening to free Witcher readings on YouTube. Sometimes it’s not all about sales but exposure, which at this point is what you want.
  2. Create your own. Joanna Penn used to narrate her non-fiction in a closet. Winter jackets can create a soundproof room. But you’ll still have to figure out some kind of editing software because a listener isn’t going to want to hear you flubbing every other line. (By the way, ACX and other platforms have quality control. Even if you happen to have the patience to read your whole book aloud, that doesn’t mean it’s good enough for sale.) Narrate your book in chapters and put it on Patreon, or hope for traffic on your blog. You don’t have to be left out of the audio loop, but you’ll be going about it in a different way.
  3. Explore AI. Audiobook distributors don’t accept text to audio files right now, but that’s not to say you still can’t create an AI file. Be careful using text to voice software because sometimes they aren’t available for commercial use unless you pay their fee. I tried to find something to link up to this blog, but the voices  sounded bad, or the fee was too much to bother with, usually both. Maybe you’ll find something if you decide to go this route.
  4. If you want to offer different mediums, publish your books in Large Print and hardcover. Find someone with Vellum; Large Print is a formatting option with that software. Adjust your cover to a larger spine, and you’re done. KDP has a Large Print box you can select when publishing, and your book will be labeled that way on your book’s product page. Pretty simple to offer your book in a different way. If you buy your ISBN numbers, you can publish your book with a hardcover on IngramSpark. Not necessarily a HARDCOVER that requires you also design a jacket, though that is an option, but you can publish your books with a harder cover like a children’s book. You don’t have to offer audio to sell your books in different ways.

I haven’t done anything with audio yet. Anyone who knows me knows my favorite part of all this is the actual writing and anything that takes my attention away from it I have no use for. The pragmatic side of me knows I need to explore more ways to sell books, but my stubborn side says screw it. I can’t afford audio, and even if I could, my books aren’t selling well enough to warrant it. Maybe in my case, Mark Coker is right – I missed the audiobook opportunity. Or maybe something else will come along. At some point AI text to audio will be acceptable. Us poor indies can wait for that day.

In the meantime, keep writing. You can only have an audiobook if you have a book in the first place. When it comes to this prediction, keep your eyes on your own paper and don’t worry what other indies are doing. As an emerging author, you can only do what your situation allows you to do.

As for me, I don’t care. I can’t afford audio. I listen to my book through Word’s text to voice during my editing process so I know how it will sound spoken aloud if I can ever afford it. At least lay the groundwork for a successful audiobook in case the opportunity ever presents itself.

For more resources on audiobooks, Joanna Penn is coming out with Audio for Authors, it’s on preorder right now, and you can take a look at it here.

She is also interviewed by Lindsay, Jo, and Andrea on the 6 Figure Author podcast, and you can listen to it here.

If you’re interested in tips on how to vlog, or do live videos, in the past I’ve recommend Amy Schmittauer’s book, Vlog Like a Boss. She gives you lots of practical tips for looking and sounding good on camera.

Next we will explore Written Word Media’s second prediction – indie authors and organic reach.

See you then!


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Being a Career Author. Do you have what it takes? Wrap Up!

In this blog series we’ve been going through a survey by Written Word Media, and what it takes to be a career author. They surveyed authors who are emerging authors, authors who make 60k and authors who make 100k from their writing.

I went through their points as an emerging author who has six books in her library and I make less than $2,000 a year from my books. They went through how much authors spend in editing and covers. It’s no surprise that they found authors who put out quality books make more money.

They went through how they marketed, with easy and affordable promo sites heading the list.

They surveyed authors about being wide or exclusive and found it didn’t matter – authors still need to take time to build a readership no matter where they publish.

They also went into the time authors write, which not surprisingly, revealed at 60kers and 100kers spent the most time writing. In that blog post I tried to hammer in to the emerging authors that to make the leap from emerging author to 60ker, you still need to put in the writing work, no matter how many hours you put into your day job or how tired you are. Career money requires career time.


There are some variables as to why some authors make more than others, and the bonus material revealed some of these differences.

But first if you were curious about the amount of money an Emerging Author makes, take a look:

The difference between the emerging author and the 60ker. It’s quite a leap to be sure. If you’re single, you don’t need to make 60k to support yourself. At least in my area, you can get by okay on $30,000 a year. You’re not living in the lap of luxury, but a nice two-bedroom apartment with its own washer and dryer runs about $700/month. As an emerging author, even if I made an extra $300 a month, that’s a car payment on a newer car I desperately need. You can take a look at the graphic to check how much an emerging author makes.

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Now for some of the reasons why one author would make more than another:

  1. Audiobooks. While audio is on the rise and it’s easier than ever to hire a narrator and get your audiobook out into the world, there’s no point in spending the money if the e-book isn’t selling. It makes sense to invest in audio if your book takes off, but if it doesn’t, there’s no point in spending the money to make an audio version. So while audio is a great supplement for 60kers and 100kers, they were already selling books and the audio is a complement to their library. Also, when audio finally fits into your publishing plan, indies now have their shit together and release the paperback, ebook, and audio all at the same time.

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  2. Genre differences. I’m surprised they didn’t add this to the original survey because the genre you choose to write in is really important. As you can see by the graphics, authors made the most writing commercial fiction. Romance took the lead, and mystery, science fiction, and fantasy follow closely behind.

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    Children’s books are a hard sell as they depend heavily on print, bookstore and library sales.

    Young adult is broken into lots of sub genres like fantasy and romance, and broken down further into sub sub genres like coming of age, new adult, or college. I don’t see many indies right now writing plain YA like Five Feet Apart or The Fault in Our Stars. They tend to lean more toward dystopian or fantasy like the Hunger Games or Harry Potter. At least, that’s what I get from seeing what others on Twitter are writing about. (Agents turned authors are the ones writing vanilla YA like Eric Smith’s Don’t Read the Comments. Maybe because they have their fingers on the pulse of the market and they’ll write what sells. Who knows.) If you look at indie romance YA, they tend to lean toward paranormal or urban fantasy. Paranormal Academy is hot right now and that usually includes a younger MC. It’s difficult to completely separate the genres, especially since indies like to mash as many genres together as possible.

    And with Amazon allowing you to choose 10 categories for your books, there’s a lot of space to move around.

    We can all agree that while you can make money writing nonfiction, it’s a lot different than writing fiction and it takes a different set of skills to market it. Authors like Bryan Cohen who wrote How to Write a Sizzling Synopsis, Mark Leslie Lefebvre who wrote Killing it on Kobo, and Brian Meeks who wrote Mastering Amazon Descriptions, all have solid foothold in the indie community and pretty much have a built-in audience. They’ve been a part of the indie community for many many years, and they have the platform required to succeed.

    In my experience many indies who venture into non-fiction write creative nonfiction also called memoir. Let’s face it. Everyone’s life is hard. I could write a book about how I survived my divorce, but that wasn’t anything special. I just joined the 50% of other American couples who also have divorced. Hardly book worthy. Unless you have something super special to say, it will be difficult to be the next Michelle Obama.

    Most emerging authors have no platform, and that’s what you need to get a nonfiction book off the ground.

    When you’re an indie, it makes a difference what you choose to write, and, not only that, what you keep writing. Genre-hopping has never done an emerging author any favors, either, something I am finding out subgenre-hopping under my Coming soon!-2contemporary romance umbrella. From what I can see, the most successful indies stay within the same sub-genre like Aidy Award and her curvy girls or Alex Lidell’s academy books. Even Jami Albright writes romcoms and makes a killing with her Runaway Bride trope.

    Mystery, too, is seeing more segregation with subgenres, and authors who choose to write run-of-the-mill detectives might always want to stay with that, only moving the setting to other states, different police departments, and other tragic backstories.

    Indies do like to go their own way, though, and I like to write the stories I like to write as well. Hopefully we can all find a happy medium between writing what we want in writing what sells.

  3. The last point they went into was if the authors had a job outside of their writing. It’s not surprising emerging authors worked. Bills need to be paid somehow. The problem with needing to work is that sometimes your day job is so emotionally draining you don’t have any emotional energy left to write. I’m lucky that I can write and read at my job and that it isn’t emotionally draining. But I do trade that luxury with a lower wage and only because I have help paying bills can I continue to do so. I’m working hard to write as fast as I can to build my backlist so I can eventually hop from emerging author to 60ker. Eventually the sacrifices I’m making to put so much time into my writing will pay off. I’ll make sure it does.

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Even though they did add some additional data, they did leave out some other variables that I find are important in making an author successful.

  • Newsletter. The survey mentions newletter swaps saying that swaps aren’t an effective marketing tool. But that’s only swaps. Swapping implies an author has one to begin with, and I’m willing to bet there is a large gap between emerging authors who don’t have a newsletter and the 100kers that do.
  • The cost of ads. While the survey did go into how authors promoted their books, it’s not often authors reveal how much they’re spending on ads. If you make $50,000 a year but you’re spending $10,000 in ads you’re still doing well obviously, but the amount that author is claiming to have made is a bit deceiving. Bryan Cohen, when he does his mini ads courses, says any profit is good profit. At the core that is true. But if you have to babysit your ads so you make $2.00 for every $1.75 you spend, at some point you have to decide if you’d be better off writing. Ad creation takes time, especially when you need to take the time to write (or learn how to write) catchy ad copy. If you start a newsletter and add the link and call to action in the back of your books and pay for a promotion now and then, you may find that a bit easier, and a little less terrifying, than learning an ad platform and watching your ads like a hawk so overnight you suddenly aren’t $50 in the hole because people hated your blurb.
  • Writing in a series. I hate to keep harping on this, but this is also another component that the survey didn’t go into. Readers like series. They get invested in the outcome. They fall in love with the characters they follow through all the books. 60kers and 100kers know that and they capitalize on it. Emerging authors write what they want, and that isn’t always a series. But I would’ve liked the survey to ask its authors how many emerging authors versus how many 100kers write series. I doubt I would be surprised by the answer.
  • Frequent publishing. The survey didn’t go into how often authors publish. It stands to reason that the faster you put out books, the faster you can make money. But emerging authors have a hard time with timely output. They have their jobs. They are probably still learning craft and the critique partner/beta-reading stages they go through slow them down. Besides Jami Albright, I haven’t heard of an author who is not prolific making $60-$100,000 a year. And she admits she has to rely heavily on ads and other marketing techniques between releases. She knows her limits and embraces them. But you have to wonder if she could write more than one book a year, what that would do for her bottom line. I write as fast as I can, but I am not 100% confident in my ability. So the beta-reading stage slows me down as well, as does making sure of consistency and wanting no potholes in my stories. Maybe one day I won’t need so much reassurance. But I’d rather do it right the first time than pay for my haste with bad reviews.

In conclusion, the money is out there. There are different paths to the pot of gold at the end of the rainbow. But whether anyone wants to admit it or not, some paths are easier than others. Write commercial genres. Publish quality work. Publish often. Start a newsletter. Use promos like Freebooksy and Bargainbooksy to promote your work.

If you’re not doing these things, success may take longer to come. We all make mistakes and maybe telling your story the way you want to tell it is more important to you than money. That’s cool too, but be honest. Writing the story you want, with no editing, using a cover that’s not professional, and tweeting it out day after day won’t earn you any sales. So no whining when it doesn’t.


Thank you for joining me in this blog series where we broke down the Written Word Media Survey and the bonus material they later released. I hope the information given can steer you in the right direction to a productive and lucrative writing career.

Thanks for reading!


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Being a Career Author. Do you have what it takes? Part 7: Pricing

My Book

In this blog series, I’ve been going through results of a survey by Written Word Media conducted in September of 2019. In it, they surveyed Emerging Authors who make less than 60k a year and have 6 or less books in their catalog, 60kers who have 22 books in their catalog, and 100kers who have 28+ books in their catalog.

The last point in the survey is pricing.

In their findings, they discovered 20% of emerging authors have a book priced at $10.00 or more. I’ve come across this attitude many times, even from some of my writer friends. Their attitude is this: I spent a lot of time writing that book. I want to be compensated for it. The first book is always the hardest. Sometimes it takes the longest to write. But, unfortunately, a first book is usually the weakest of the collection as well.

Usually, after not selling a book for a while, or after more than a handful of people telling them that they’re crazy, those authors drop their prices to something a little more competitive. I mean, if you can sell an ebook for $9.99, would you rather sell one copy, or sell three copies at $2.99? The amount you earn is the same, but you have two more readers who may end up being lifelong fans.

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graphic taken by survey linked above

The survey also says that 50% of emerging authors think a free book is a good marketing technique, whereas 63% of 60kers and 100kers think giving away a free book is a good idea.

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graphic taken from survey linked above

Of course, that makes sense. The reasoning is the fewer books you have, the less likely you are to want to give them away.

Authors who are wide and have several series out are more likely to have a permafree first-in-series. If you’re exclusive with Amazon, if you want to do a free book, you can only do a promo with the free days KDP allots you.

Pricing low or free is helpful for a first in series, proving your first book is strong enough to entice your readers to read the rest.

It wasn’t until recently that I learned that traditionally published books will have a higher ebook price because those publishers want you to buy the paperback or hardcover edition. Their whole business model is based on print. So if you’re looking at trad pubbed pricing, keep that in mind while pricing your book.

I would say the easiest way to price your book is to do what other successful indie authors in your genre are doing. A 100k word epic fantasy is going to be priced differently than a 25k word romance novella. Readers won’t show you any mercy, and they’ll be quick to give you a bad review if they feel like you’ve ripped them off.

What can you do?

  1. Price competitively. Do research and find the most popular price point in your genre, then stick with that.
  2. Realize readers don’t care what you went through while writing the book. They want a good read at a fair price.
  3. If you don’t want to give your book away, then don’t. No one’s forcing you. You may not like the idea of KU either, and that’s fine. Do what is best for you. It takes 24 hours for a price-change to take effect on KDP; you’re not bound to a decision.

As for what I do? I’ve learned giving my standalones away won’t do too much. The survey implied readers will read your other books, but that’s not always true. Especially a reader who has never read you before. They don’t feel a connection to you, or a loyalty to you yet.

Probably the most successful time I’ve ever gave my book away is when I used a free day in Select and paid for a Freebooksy. Because the book I gave away was the first in a trilogy, I made the promo fee back with KU reads over all three books. I broke even which is better than losing money, and I got some reviews out of it, too.

In truth, set a book or two at 2.99 or 3.99 depending on genre and word count, then go write more books. Worrying about the price of one book isn’t going to do you any favors, and paying to give one book away if it’s your only one doesn’t make sense.

Save the strategy for when you have a few more books in your library.

In the next blog post, I’ll wrap up this series, and we’ll explore the extra data WWM supplied after the survey came out.

See you then!


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A Rocky Point Wedding Series Update

Hello from chilly Minnesota! I’m glad I’m a writer with stuff to work on, otherwise I don’t know what I would do while I wait for the weather to warm up. According to weather.com, we’re not looking at higher (and by higher I mean, actually comfortable) weather until the end of March, but if the temperatures they’re predicting for that time of Spring holds true, I’ll be one happy camper. (Not literally. I hate camping.)

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Releasing this series is definitely giving me something to do.

I haven’t give you all an update for a while because I didn’t want to bore you, and I’m sure you all know I’ve been working diligently to get these done.

I just did the cover for book four. Books one and two are completely done. I’ve proofed the proofs, added the changes, tweaked the covers. Book three is almost done. I’m waiting for the second proof to come in the mail so I can look it over. None of the books are published yet, and I’m still wondering what kind of launch I want to have. Put them all on pre-order? Publish book one and put the others on pre-order? I’m not sure.

I do know I’m going to publish them three to four weeks a part and write like crazy on something else between releases. Whether I schedule those or drop them manually, I’m not sure yet. I don’t know if a pre-order will do me any good. I don’t have an audience, no one is really waiting for these. Book one isn’t going to create a huge splash, though I do plan to throw some money at it in some way, shape, or form. Since it is a series, and I have a little more faith in them than I do my trilogy (which is misguided, but it is what it is) I’m going to market these to an older audience and hope for page reads in KU.

Keywords for the Amazon ads will be important. I don’t want to target books written in first person. I don’t want to target books with young, coming of age/college-age heroines. My books have older characters (middle thirties) some of them dealing with divorces and second marriages. Some raising children as single parents. But I do have to find some middle-of-the-road comp authors because simply targeting Nora Roberts won’t work. Romance is competitive. I can’t spend a dollar a click to compete with other authors. So in the coming days I’ll be researching comp authors and putting together a list of authors and book titles to target in ads.

This is part of the reason why it’s important to be a voracious reader in your own genre. You need to know who you’re competing with. You need to know where your book fits in so you can target those readers.

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Ignore the cat hair on my bed. I know for book three I needed to zoom in more on the couple, and that was one of my tweaks besides correcting the typos I found while proofing the proof.

I did get some feed back from a FB Book Cover group and they did say that they like these. I’m always making sure (lesson learned) that my covers fit in with what’s currently out there. There are so many sub-genres now, and these are going to be categorized as small town romance along with the plain contemporary romance. Amazon will let you put your book into 10 categories, but you do you have to email or call them and ask.

I’ll be happy when these are done. I feel like I’ve been working on them forever, though it’s only been 13 months. A series is a pretty big undertaking–especially when you decide to hold them all until they’re done.

What am I going to work on next? I do have my first person stuff I need to finish for a spring release. I’ve been going over books one and two so I can write three and make sure I have all the loose ends tied up. This is more of a romantic suspense and as I edited I made a list of everything I needed to remember for the last book. These first person ones are a bit on the long side–the second one, after a first sweep of editing, is clocking in at a crazy 89k. It’s the longest book I’ve written.

It’s different writing in first person present, though I feel like I adapted my writing style to it without much trouble. The first book sounds a bit choppy, and while I was editing, part of that was smoothing out sentences and paragraphs to make them sound more conversational.

Otherwise, I don’t have much to report. My back/neck/arms are doing well. I’ve been having a string of really good days. But it does take a lot of maintenance on my part, checking in with my body to give it what it needs. I wear my elbow compression sleeves a lot, also my wrist splints. I don’t often wear them at the same time, though. I haven’t had to shovel much this winter, which has been a blessing as well, so I hope the weather continues to cooperate with me.

Anyway, that’s about it for now. I’ve been having a lot of fun with the Written Word Media survey and dissecting that as a new author. I’d like to do more youtube videos about book covers, too, but it’s hard for me to find quiet time. I have to threaten the kids to leave me alone for an hour. They ignore me any other time, but when I want to record, they’re all up in my face. Goofballs.

I hope you have fun weekend plans! Catch you here next time!


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Being a Career Author. Do you have what it takes? Part 6 Exclusivity vs. Wide

Hey writers and authors, welcome back to my blog series that is breaking down Written Word Media’s survey from October of 2019. In it they surveyed three groups of authors: Emerging authors who earn less than 60k a year from their writing and who have six books in their backlist, 60kers who have 22 books in their backlist, and 100kers who have 28+ books in their backlist.

Enrolling your book(s) in KDP Select will always be a tough decision. Have access to all the readers with a KU subscription (in a different article, WWM estimates that to be around 2,488,000) or have access to readers who read on other devices like a Kobo reader, Nook, or an iPad (one would assume readers are reading on the iBooks app, but there is a Kindle app available for iOS devices).

When Written Word Media surveyed their authors, 91% of Emerging Authors said they make the most money from their books sold on Amazon while 93% of 60kers and 100kers say Amazon is their top retailer.

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taken from survey linked above

According to the chart, that income may or not be due to KU page reads–38% of 100kers are in Select, 33% of 100kers have a mix of books in KU and Wide, and 29% of 100kers have absolutely no books in Select.

What does this mean for you? If you’re an emerging author, it makes sense to focus on one platform. Even Joanna Penn who is a multiple-streams-of-income cheerleader admits that KU has its place, and the Penny Appleton books she co-writes with her mum are enrolled in the program. If anyone in the whole world can make wide work, it would be Joanna. So even the top indies can see the value of being exclusive.

I went wide for a little bit, but I became too sales-focused and I put a lot of pressure on myself to sell books. I didn’t like feeling like that, and after two months I went back to KU. It felt like a weight being lifted of my shoulders, and I started to enjoy writing again.

There is money to be made on other platforms, but it takes time to build an audience. You need to think about what your long-term plans are.

I like having page reads. Right now I’m trading being wide for earning a couple bucks every day in KU. This might not be a sound business decision–especially since my goal is being a 100ker author–but it makes me feel better to know a couple of people every day are reading my books versus the absolute nothing I was getting being wide.

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The KDP royalties estimator says I’ll make about $12.00 from January 1-11, 2020 and while that’s barely anything I should be making with the amount of books I have out, I don’t advertise, I don’t have a newsletter, and $5.00 week is more than I was making wide.

There are cons being exclusive though:

  1. It makes marketing tricker. It’s hard to give your book away after already enrolling in Select. You can’t participate in some promotions on Bookfunnel and Story Origin, and it’s tough to give your book away on review sites and still stay in line with KDP’s terms of service. That also means if you have a book in KU and you’re asked if you want to put it in an anthology, you have to pull your book out of Select to participate. That might not be a big deal . . .  but I have a short story in an anthology, and the author who put it together enrolled the collection into KU. She didn’t buy my rights from me, so the story is still “mine” but because my short story is in KU I can’t do anything else with it. Not unless she takes the anthology out of KU.
  2. You’re not in the library system. That was probably the most disappointing thing when I took my books out of wide. Draft2Digital also had to pull my book out of Overdrive. With the crap Macmillan is pulling with keeping new releases out of the library system for the first few months of a book’s release, having my ebooks in the library system was important to me. That’s not to say you can’t order author copies and donate them to your library.
  3. You might be missing out on other audiences. There are people who read on other devices other than a Kindle. Enrolling your book into Select will keep you from finding those readers.

 

But obviously, there are pros to being in KU as well:

  1. Easy to upload onto one platform. Only dealing with KDP is nice. But when I went wide, it didn’t take that long to set up accounts and upload my books. There’s just a lot of copying and pasting. Setting prices in other countries is time-consuming because on other platforms you set the price yourself–KDP does this for you.
  2. You can get page reads almost right away.
  3. KDP gives you Kindle Countdown deals and free days to use as marketing tools. These can help boost sales. I don’t use them nearly enough and I need to make them a part of my marketing strategies moving forward.

Enrolling doesn’t have to be forever. You can always pull your books out. Just remember going back and forth between wide and Select won’t help you find readers and will only make the other platforms mad at you. D2D and Kobo are run by real people, and you’ll look like a waffling idiot if you try to go back and forth too many times. I fully admit that the two moths I was wide wasn’t enough. But I tried going wide when I wasn’t ready. When my backlist is bigger I may do what a lot of indies do–have a mix. But for now my main goal is building a readership in KU.

Personally, I don’t think Amazon is going anywhere, and some of the bigger traditionally published authors think that, too. Dean Koontz and Sylvia Day are just two of a list that is getting longer of authors who like the direction Amazon is going and the money that can be made there.

I wish the Amazon imprints were available to query without an agent. For the disdain Amazon seems to have for the traditional publishing industry, I’m surprised they won’t deal with an author directly. I wouldn’t turn down a book deal with Montlake, that’s for sure.

Anyway, being exclusive or going wide is a choice you need to make for your business and as the survey suggests, there is no wrong way to publish. Building a readership takes work, no matter where you publish.

Consistency is key. Stick with with the path you choose, find an ad platform that works and write a lot of books. It’s easier said than done! Good luck!

The in the last point they touch on, we’ll talk about pricing to market. I hope you stop in. Thanks for reading!


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Happy New Year! A quick update on my goals for 2020.

Happy New Year!

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Photo by cottonbro on Pexels.com

Social media has been inundated with lists, lists, and more lists. I won’t bother with the best books I’ve read of the decade, or what all I’ve accomplished or not accomplished. I’m not going to bother ruminating about how 2019 was a dumpster fire in every way (actually, it wasn’t for me) or the million ways I’m going to make 2020 “my year.”

It’s silly to use January 1st to reinvent yourself. You are who you are, and a new date on the calendar won’t help. But that’s not to say I don’t have a few goals I’d like to tackle this year.

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Photo by bruce mars on Pexels.com

In past blog posts I’ve written about the slow sale of my books. It’s difficult to keep up your spirits when you work so hard for so little in return. But this year I’m going to take responsibility for some of that. Instead of being a trout fighting my way upstream, I need to stop resisting and go with the flow.

Part of that is realizing I’m not doing 100% of what I need to do to sell my books, and I have to admit that part of the reason is I’m scared. I don’t have faith in my Tower City trilogy. It’s the first three books I count in my contemporary backlist and somehow I’ve gotten it into my head that they are not good. Book one was chopped and diced to the point I probably should have written it over from the start. But the reviews indicate they’re pretty good, and I should get over the idea that they’re not. Sure, I may have gotten strong as a writer since I published them, but I have to stop thinking they’re bad books.

I have a few reviews of Don’t Run Away on Amazon, and I remember this is the first review from someone I didn’t know. It was a proud moment–there’s even a ToC in it now thanks to formatting with Vellum:

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I need to have faith in my ability and not be scared when people read my work.


I also need to start a newsletter. I’m not very active online. My unanswered notifications on Twitter are months old. I don’t update my Facebook author page, and all I post on Instagram are pictures of my cats. (As cute as they may be, they don’t sell my books, dammit!) I need a hub for my readers. Either a newsletter or an active reader group on Facebook where I’ll actually post something, probably both. I know I’m doing myself a disservice not having a newsletter. This means focusing my attention on readers and not spending time on Twitter or using Canva to make pretty Instagram posts the same 10 people will like over and over again.


This year I also want to do more networking in the romance/indie-publishing space. I’ve been writing and publishing for three and a half years. I’ve made a lot friends in that time, lost some too, and some of the writers I know have been in the same place they were three years ago. I’m constantly learning about the industry, always listening for the new thing, I like listening to podcasts and keeping up with industry news. I need to start chatting with like-minded people who understand the value in that. Who treat their writing like a business and put in their 20-40 hours of writing time a week. Writing is really lonely. You’re by yourself with a laptop for hours and hours at a time and I need to find peers who know what that’s like and still do it anyway.

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Photo by bruce mars on Pexels.com

I like the phrase, “Never be the smartest person the room.” I also feel like lately I’m the only writer in the room, and it will be nice for that to change.


These aren’t life shattering revelations, but they’re what I need to focus on moving forward if I want to start selling the books I spend so much time writing.

It’s not a secret that these next few months are a little hard on me. Winter in Minnesota is long and dreary. It’s hard to want to go anywhere because the temperatures are horrible and the roads are constantly clogged with snow. It takes a lot of energy just to get through a day with no sunshine, and I need to focus on releasing my wedding series and appreciating the little things while I wait for warmer temps and the sun to come back.

I do have a selling/marketing summit in May that I’ll be attending with David in Nashville, and I’m looking forward to that. No matter how long winter seems, spring always comes back around.

Just keep moving forward the best you can, and better times will come.

Tell me your goals for 2020. How do you plan to move forward? Let me know!


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