Just in time for Christmas the Omnibus edition of the Nameless War is now out!
Category Archives: Self Publishing
At the start of this year I had hoped would putting out by now my next book; due to various changes in personal circumstances that basically isn’t going to happen. The amount of time I got to commit to all thing writing related took a hit and I decided to concentrate what little I got on the writing part of writing as opposed to the business part of writing, however with the benefit of hindsight that might have been for the best. As followers of this blog are no doubt aware I live in Dublin, Ireland, which is part of the Eurozone. What you might be less aware of, is that over half my book sales to date have been through Amazon.UK, which is priced and pays me in sterling. At the moment that’s not such a good thing.
On the 23rd of June of this year Britain voted to leave the European Union, since then the Pound exchange rate against the Euro has done this:
And in October it has got especially exciting:
The source for these can be found HERE
At time of writing (morning of 12th October 2016) one pound sterling is worth one euro and eleven cents – less exchange costs. So let us crunch some very basic numbers.
My first book – The Nameless War – is currently for sale on Amazon.UK for £2.90 for the ebook version, so the breakdown is as follows:
£2.90 selling price, 30% of which goes to Amazon, leaving £2.03. Multiply this by 1.42 (£ to € rate on 19th Nov 2015) equals €2.88.
Do the same calculation again at today’s rate and:
£2.90 selling price, 30% of which goes to Amazon, leaving £2.03. Multiply this by today’s rate of 1.11 equals €2.25.
This is a drop of €0.63 or nearly 22%.
Now obviously this is a little bit artificial, it doesn’t include various fees, like bank fees and I don’t get to chose which day Amazon send payment for the month, so the arrival of funds in my account will probably not coincide with the absolute peak or trough of exchange movements. Also to complicate matters Amazon pays two months in arrears, I won’t see the money from a book sale today until the tail end of December but this example nonetheless gives a sense of the issue.
At the moment I personally can take a relatively calm view of this. My last book was published two years ago and while I am still getting sales in the UK, they are at a fairly low level so the reduction in the value of those sales is fairly modest. That however is for books that were released two and five years ago. In my experience the bulk of a new book’s sales are made in the first couple months, with an accompanying knock on to my other books. This means that payment comes in a few large lumps, rather than spread evenly over the course of the year. So while the reduction on say ten sales is only €6.3, on a thousand it is more than €600, which becomes harder to swallow. So if after months or years of writing those big paydays coincide with a slump in the source currencies value, then you are left to take the hit.
So what can I do?
The answer isn’t quite nothing but where I’m standing, the options are limited and all carry at least some downsides.
1. Sit on any planned new releases.
This is probably the simplest option. Keep your powder dry, wait out the fluctuation until at the very least things have stabilized. The downside of this is that your work isn’t earning if it is stuck in your desk draw. If you are with a publisher, contractually it might not even possible. If you are writing a series readers will not wait forever, they’ll either forget about you or get irritated, either way hard earned goodwill starts to drain away and with it your potential sales.
2. Peg the book’s price against a currency that is stable relative to your own.
This one is tricky and very dependent on the system you’re using. With Amazon self publishing it is possible to peg the price of book in other regions against the US$. Now Sterling is currently on the slide against the US$ so the very obvious downside of this is that the book’s price is going to start rising. In all likelihood some of the writers I would be competing with for sales are based in the UK, their price could remain static while mine rose. Their prices in other areas could fall or remain as is and they would receive more per sale when it got converted to their home currency – the upside of currency fluctuation. Either way the risk would be that you could be priced out.
3. Park the foreign currency.
While this one is even trickier. That means parking the foreign currency within that territory or in a foreign denominated account. Depending on regulations or cost this might be unworkable, either way this is delaying the inevitable, at some point you have to change it into the currency of the country you are in, especially if your writing income is you main income.
There are also other financial instruments for mitigating against foreign currency movements, but I don’t know enough about these to speak about and I suspect that many may not be suitable for relatively small amounts. The other thing I don’t claim knowledge or is what things were like back in the days before electronic self publishing, the answer probably depended on the contract between writer and publisher. Also in the old days books were not generally subject to global release. In the age of Amazon, a book can be available to anywhere on planet Earth with an internet connection and with that availability comes exposure to currency movements. If you are based inside the country where you make you main sales, then it is less of an issue but it is something that the modern writer needs to be aware or and ready for.
So any thoughts, comments or observations?
CORRECTION: A commenter points out I have failed to account for vat – value added tax – so my back of the envelope calculations in fact lean towards optimistic. Thank you and I will make the correction when I can – currently attending Octocon in Dublin.
in world building. First off minds out of the gutter please, I’m not about to start writing alien erotica ( although I understand a living can be made that way… ) I’m instead going to talk about it as a part of a book’s background development.
With the time travel project currently in a holding pattern while I await feedback from my test readers, I’ve been making a tentative return to the Battle Fleet setting. Now as is my way I charged into the writing without a lot of formal planning… before coming to a fairly screeching halt.
As readers of the the Nameless War will be aware, while aliens did appear in the text as speaking characters, they were very much bit parts; it was first and foremost a story about humanity. A number of reviewers did comment about the fact that the Nameless War is not set very far into the future – while I do have an explanation for that, in part it was because I wanted the human race to be still recognizable. It also saved mightily on the world building. Once you start on alien life through, well it’s best to start from the bottom.
Before we go on I suggest you take a quick look at THIS, don’t worry I can wait.
Welcome back. Now those are all terrestrial species, go back far enough and they (and us) all have common ancestors. An alien species won’t have that commonality so that leaves the writer free to come up with all kinds of wacky ideas.
Or does it?
Life in any sense that we might recognise it will seek to perpetuate itself, basically living things will look to produce more living things. If we take the terrestrial experience as a guide there is (very) broadly two basic methods – quantity Vs quality. The quantity approach is where the species produces a lot of young, with limited resources expended on each one. Most will not reach sexual maturity but by sheer weight of numbers enough will to perpetuate the species. The quality method – which we use – is the place a lot of resources into producing a small number of young. The more complex an alien ecosystem is, the more likely you’re going to see a mix of both. The other thing that terrestrial experience indicates is once you get to complex life a two gender system is the norm, (with exceptions) males – sperm, females – eggs, hermaphrodites – both. So does that mean that an alien species to be plausible should follow the Earth model with just a few tweaks ?
Life on Earth – as it currently exists – is a product of the environmental conditions as they have existed and changed over the past few hundred million years. Different conditions, different life forms but there has to be a logic to it. So if for example you want an alien race with six different genders, you need to come up with a set of environmental factors that make this a route with enough advantages to offset the disadvantages. Bare in mind that as the saying goes, no man is an island and neither is any species, if one has a six genders, then odds are so do all of its evolutionary cousins and so did its ancestors.
So how do we go about coming up with a different but plausible alien race?
First off what is the end point we want to reach, both in terms of physiology and culture. Possibly don’t get too wedded to any of it because some points may not mesh together. Now the temptation is the start with the culture, which I have come to the concussion is like trying to build a house by first doing the tiling. You need to foundations to be there to build everything else on top of. It is easy to come up system that works for a technologically advance species but how well does it work for their stone age or pre-sentience forebears?
Let’s go back to the human model for a minute. In the western world the average woman is capable of baring young from her teens to late forties/early fifties*. So a period of fertility of over twenty years. But a woman can complete one pregnancy each year so the average woman has a far greater fertility period than she needs to produce her and her partner’s replacements. At least by twenty first century western civilization standards. Dial things back a few million years and firstly she won’t live as long and childhood mortality from illness, injury, predator deprivation etc, means many children have to be had just to get a few to adulthood. As I said this is the human experience, which for sentient lifeforms is the only model we have to work with. It isn’t to say something really wacky can’t be done, but you have to take a cold hard look and see if its internal logic works.
An example in media of a failure to consider the practicalities is the Ocampa from Star Trek Voyager, a humanoid race with a mayfly like lifespan, who’s females the series blithely told us, only breed once during their lives, having one child. This would have the obvious problem that your species would at least halve at every generation even assuming every child reached maturity*2. A much better example can b found in Mote in God’s Eye by Larry Niven and Jerry Pournelle, which features an alien race, the majority of who’s members must breed at regular intervals or die. In an environment where there was a high mortality rate this system made sense. What makes this book well worth a look though is that the writers having come up with a system, then worked through the consequences. In the case of this species the result is run away population grown and eventual social collapse due to over population.
Once we have the mechanics of how a species can function we can move onto how this will shape its culture – or more probably cultures. A hermaphrodites race for example may not have any such thing as gender roles. A race with different subgroups with clear physiological or mental differences may have clear ruling or subject classes. History will also do massive things to shape how a species reacts. A history of internal warfare might produce an aggressive species or a peaceful one because it knows how destructive war can be. It’s all a question of how you spin it. In short this is the fun bit of alien race world building you just have to make sure it makes some kind of sense.
There’s one aspect of alien world building that I wasn’t sure if I would touch on – the matter of sexuality. What has already been covered is really a matter of imagination and following a line of logic but if we can for a moment pay attention to the man behind the curtain, should a writer be willing to tackle the matter of sexuality? My answer is I don’t know. When it comes to writing I’m best known for Military SF, a genre that tends to lean to the political right and conservatism. On the other hand, homosexuals and other groups have long complained that they are effectively written out of the picture. Finally there is the question of whether an attempt to include matters of different sexuality will backfire. As I was writing this piece the point was made to me that some groups of human society wouldn’t like the terms ‘hermaphrodites’. Terms change and when you aren’t personally a part of a particular group, it’s hard to know how something will be accepted because let us be honest here and admit to ourselves that the political left, can be as rabidly unreasonable as the right. Writing for payment by its nature mean producing something people will be willing to pay for. Most people aren’t going to pay to be metaphorically bludgeoned over the head with something they don’t agree with for whatever reason. In my own opinion the answer is found in the old writing adage ‘kill your darlings’ – if it isn’t relevant remove it. That said a couple of brief mentions of different sexuality types can go a long way in terms of expanding the inclusiveness of a work.
Now finally it has to be said that even if you have worked out the complete evolutionary history, culture and politics doesn’t mean it all has to go into your book. I’ve certainly come across books where the writer got lost in the world building and forgot about the characters and plot. The reader is there for the story but just to have this worked out and in your head will build a richer world and if nothing else, help with the internal constancy.
As ever I’ll be interested to hear any additional thoughts.
* Granted at diminishing levels of fertility as time passes with higher risk to both herself and the child.
*2 I’m aware they tried to fix it in later related works but it still leaves a gaping hole in the internal logic and is something of a warning to writing about the problems an ill thought out fact can create.
So my current WIP has been brought to the second draft and has now been unleash (inflicted?) on a small number of volunteers. I frankly wait with baited breath because for one I know there are a lot of error still in there. In my defence time travel makes tenses rather awkward (will have going to have been?) and logic can go a bit circular. So while I wait for feedback I’m moving on to a new project.
In the past I’ve always found that for me at least there are two kinds of writing. The first is starting something new, not quite a case of throwing it all on the page and seeing what sticks, but certainly starting to nail things down, taking the individual ideas, putting them all together and start to get an idea of what kind of material is needed to link them together. I’m not saying it is the bit of writing I enjoy the most but it is certainly the kind where it is the easiest the feel you’re making forward progress. The second kind is the editing process. I don’t know about other writers but my first drafts tend to be extremely rough, with ideas thrown in or abandoned. I’ve learned that when when it come to first drafts not to go back, start at the beginning and keep going forward until the end, resist the urge to tinker because then you go round in circles. So the editing tends to at least start as an exercise in pruning abandoned ideas, building foundations for developed ones and eventually becomes the final removal of errors.
I’ve always found going from editing mode back to writing mode to be a bit of a difficult one so this time round while I’m in the lull with one project I’ve decided to start another just to see if I can keep the writing and editing mental muscles going simultaneously. So far so good but one page and five hundred words probably isn’t enough to prove anything.
So wish me luck.
Back in the days of yore otherwise known as 2011 the self publishing thing was still basically only getting off the ground (yes I’m ignoring pre ebook vanity publishing) and I had no way of knowing whether The Nameless War would be a success. Splashing out on cover art using money I didn’t really have spare didn’t seem like a great idea. So when I launched the Nameless War, the cover art was among the tasks I decided to tackle myself. I’ve upgraded a couple of times since then but if we are to be brutally honest, my best efforts come out at passable. Back in 2011 however that was enough. Every so often I peruse through the Amazon categories that are relevant to my books to see what’s popular and I’ve noticed that the quality of cover art has improved. Yes, there are still some god-awful covers on books that based on their position in the Amazon charts still sell but they seem to becoming an ever shrinking minority.
I’ve been saying to friends and family for a while that my current WIP (which is probably about a year away from release) so going to be getting a professionally designed cover but what about my older works? Well at the moment I’m currently investigating the possibilities of commissioning an artist who’s work I find attractive. One of the questions however is whether such as investment on my older works worth it at this stage of their life? The answer I’m edging towards is yes on a number of grounds. Unlike paper books, ebooks can remain available indefinitely. Even though we’re still in the early days of ebooks, it isn’t hard to imagine that a title published today could continue to earn for decades, even if annual sales are small a revenue stream is still a revenue stream. Certainly there is going to be a balancing act between spending enough to keep the title attractive to potential buyers and spending more than the title will every pay back.
The other reason I believe is that we have reached the end of line for the amateur looking works. I don’t mean an end to self publishing, much as some in the publishing industry would wish otherwise that’s here to stay. No what I mean is that works produced by individuals like myself – part-time, self published writers, can no longer expect to prosper unless our products can match the production qualities of traditionally published works. A book can be written by an amateur, but it can not look amateurish. In some respects this is a new barrier to entry but it one that comes from demands of the book buying public as opposed to any kind of artificial construction.
I suppose on a side note this is the reply to those* who a few years ago were predicting that self publishing would drown literature in a wave of rubbish.
* A self serving few in my experience.
I am a natural to self promotion in much the same way that an African bull elephant is a natural to riding a unicycle. Which is why this blog is only active in spasms, I mostly ignore my twitter account and Facebook I primarily use to keep in touch with friends and relatives. Self promotion is not my thing, I’m not good at putting myself forward, my sense of humour leans towards self deprecation and I am on the whole a very private person*.
Why do I mention this?
Well as I put up on my previous blog entry last weekend I was at Octocon 2015, I was a speaker on five of the discussion panels which covered topics like the dangers of time travel, how much military science fiction borrows from the past and renewing genres. All good stuff and I had a great time, in fact the panels all went a lot better than I expected. There is no doubt that in recent years I have become a lot better at public speaking and actually if you’re looking for public speaking experience, a panel is potentially a good place to get it since if you do stall out, one of your fellow panelists is probably waiting to jump in.
When I released the Nameless War back in 2011 it was sent off without any form of advertising or promotion. The book was launched off into the world and…
as I’ve said in an earlier blog post from what I can tell – because hard numbers are few and far between and my links to the writing community in Dublin are tentative at most – I’ve done a lot better than average. Without advertising*2. Which was fine by me. There was the potential to be interviewed on local radio during this year but unfortunately that fell through and most of the other things that so many writing advice websites will grandly declare you have to do, I haven’t. Because I don’t enjoy self promotion and because by books did so well, it was an aspect of the whole process that I continue to know very little about*3.
I guess one of the things that fears/concerns/worries I have when it come to promotion is that I’ll get boring, that if I continue to endlessly beat the same drum there likely won’t be any unpleasantness but will become part of the white noise of life. There’s also that irritating tendency to do myself down and diminish my own work. As I said someone not that long ago ‘don’t do yourself down, there are plenty of people who will happily do it for you‘ very much in finest traditions of suggest to other advice you should take yourself.
So on that note without self deprecation or false modesty, let me say that I am an author, a modestly successful one in an industry where such an achievement is a mighty one and what I have achieved so far is just the beginning.
* Yes, I am aware of the contradiction of saying that on a blog that potentially be read by anyone in the world with an internet connection.
*2 Up to now but that’s something for another day.
*3 Actually Octocon had a panel on Friday night entitled Promotion in the Age of Social Media which I would have like to have attended but basically, I was hungry.