marketing

Reader Beware

Image by Gerd Altmann from Pixabay

To what extent are we authors responsible for protecting our readers from negative emotional experiences? Any fiction runs the risk that it will make readers uncomfortable. Indeed, some books do so intentionally. (Have you ever read anything by Chuck Palahniuk?)

Can we assume that readers are mature enough to walk away from books that offend or upset them? Or do we need to provide warnings when some content we write might trigger unpleasant memories, cause emotional distress or violate personal norms or expectations?

Society at the moment is so hypersensitive, politically correct and litigious that some publishers bend over backwards to avoid ruffling reader feathers. My publisher tacked the following warning onto the blurb for my 2014 erotic romance novel The Ingredients of Bliss:

Reader Advisory: This book contains female dominance and submission, anal sex, public sex, ethnic slurs, threats of violence and a scene of attempted rape.

Actually, the book also includes M/f D&S – wonder why they didn’t mention that?

Personally, I felt this warning was excessive. I wouldn’t have objected to mentioning the attempted rape (by a criminal character, also responsible for the “ethnic slurs” – the heroine is Chinese), but lumping that together with anal sex? This is clearly identified as erotic romance, folks! You get what you pay for.

I just finished reading a humorous MM erotic romance from the same publisher that has the following warnings:

Reader advisory: This book contains mention of physical abuse and a racist comment.

I saw this when I started the book, and I tried to notice these supposed red flags. The only “racist comment” involves a character who’s deliberately trying to seem like a nasty person asking an Australian citizen of Turkish ancestry where he’s “really” from. If there was any mention of physical abuse, it flew right by me.

The question of racist language in literature is particularly thorny right now, in midst of Black Lives Matter anger. I take very seriously the notion that language has power, that it shapes our perspectives and prejudices (as well as reflecting them). On the other hand, I believe we need to distinguish between the prejudices of the author and those of her characters.

I have a speculative fiction story I wrote not long after Trump was elected, envisioning deliberate attempts to foment hatred between ethnic groups. One of the main characters is a young Vietnamese woman, the other a Black man. They live in their respective ghettos, in a near-perpetual state of war. The story uses some very strong negative language, with each character hurling racist epithets at the other. This is important to the narrative. It illustrates how the two have been taught to view one another.

When I posted an excerpt from this work, I received some ferociously critical comments about the language. Without the racial slurs, however, the story wouldn’t work. It would be neither genuine nor effective.

Then there’s the recent movement to ban historical classics like Gone with the Wind, The Adventures of Tom Sawyer and To Kill a Mockingbird because of their racist content. The racism in these books probably does reflect the authors’ own attitudes. One has to remember, however, that these views in turn mirror the beliefs and assumptions of their times. It makes no sense at all to castigate an author for racial prejudice when she was embedded in a society where racial inequity was an unquestioned norm.

Far better to use such books as examples that illustrate how much more aware we have become. Language perpetuates belief which in turn influences language. Banning these books in an attempt to insulate people from offensive content throws away an opportunity to observe, analyze and learn about this dynamic.

Besides, these books are not mere racist polemics. They’re powerful, engaging stories with memorable characters. They have enduring value which I believe is not negated by their admittedly racist elements.

Would I object to a reader advisory mentioning the racism in Gone with the Wind? Probably not, though I’d wonder if a brief warning is in fact too superficial. Far better, perhaps, to include a preface discussing the issue in greater depth, including its historical aspects.

Of course, most people don’t read prefaces.

Do they pay attention to reader advisories?

One reason I dislike advisories is that they prime the reader to look for certain story elements. In some cases this can interfere with suspense or surprise. In The Ingredients of Bliss, I wanted the reader to be shocked when Le Requin attacks Emily Wong. The reader advisory spoils that.

Very occasionally, though, I will include an advisory on the books I self-publish. If the book is a reprint, I want to be upfront about that. No reason to aggravate people who’ve read a previous edition. And for my most recent release, Incognito, I included a rather extensive reader advisory, because the novel is marketed as an erotic romance but severely strains some of the genre’s conventions.

Reader Advisory: This novel is an erotic romance featuring a committed relationship and culminating in a wedding. Nevertheless, the main characters participate in a wide range of taboo sexual activities, both together and separately.

I felt it necessary to include this because I’ve experienced the ire of some romance readers when they come across any behavior they consider to be “cheating”. If readers consider monogamy or fidelity to be a fundamental requirement for their romance, they should definitely steer clear of this book!

So this warning is more about marketing than anything else. I really don’t want to offend readers or make them unhappy. (And I don’t want them leaving bad reviews!)

On the other hand, I also believe that the people who read my books are adults who won’t be permanently traumatized if they encounter something that’s personally objectionable or sensitive. If something squicks or triggers them, I hope they’ll simply stop reading. Close the book. Turn off the app. They are, after all, ultimately in control.

Don’t be a sheep!

Image by David Mark from Pixabay

In my own quiet way, I guess I’m something of a outlaw. For one thing, I write smut – generally not considered a socially acceptable activity. My life hasn’t followed the standard script for women of my generation. I’m an engineer, a field often viewed as male-dominated. I left my birth country nearly two decades ago and have permanently settled half way around the world. Although I’m married, my husband and I have an open relationship. We’ve both kept in touch with former erotic partners, and we’ve experimented with swinging and polyamory. He and I have no children. However, we’ve founded several companies together.

My path has been a bit torturous but mostly enjoyable. While I don’t go out of my way to flaunt societal norms, I like to make my own decisions. Certainly, arguments based on popularity or mass appeal hold little weight for me.

I trace at least some of these attitudes to an incident in the early sixties. I was in fourth grade, living in frigid New England. That winter we had snow banks three feet high and weeks of temperatures in the teens (Fahrenheit). I had to stand outside with the other kids for twenty minutes every day, waiting for the school bus. Much to my embarrassment, my mother insisted that I wear padded snow pants under my dress. I hated this; only babies wore snowsuits! Furthermore, I had to tuck my skirt into the pants so I could hook the elastic suspenders over my shoulders. I looked even chubbier than I was.

“But Mom,” I argued one icy morning. “Everyone thinks I’m weird. Nobody at the bus stop wears snow pants!”

My mother, a strong woman with definite opinions, peered at me through her glasses. “Who cares about everyone else? Do you want to be a sheep?”

I was about to tell her I didn’t mind, but the deep contempt in her voice stopped me. I could tell from her tone that she’d never let the majority dictate what she should do. Wanting to make her happy – and amazed at the strength of her convictions – I donned the hated garment and headed out to catch the bus. I still felt conspicuous and silly, but I was also toasty warm. I noticed that the girls who had bare legs huddled together, looking distinctly uncomfortable.

Maybe she was right. Maybe being like everyone else didn’t matter nearly as much as I’d thought.

I didn’t consciously decide that day to ignore the opinions of the masses, but looking back, I think she planted some of the seeds for my future independence. I remember other situations when I realized that I didn’t have to follow the social rules if they didn’t make sense to me. I’ve chronicled one potent (and erotic) incident in a previous blog post. As I grew older, I started to make choices that were different from what most people expected.

I’m still doing that now, especially when it comes to writing. Over my twenty year publishing career, I’ve seen the rise and fall of multiple fads and genres. Vampires, billionaires, virgins, step-brothers, cuckolds, reverse harem, Navy SEALS, mafia, aliens, motorcycle clubs – every few months there’s something new that “everyone” is writing. In a recent email, a friend who makes her living writing erotic romance was bemoaning the fact that she can’t keep up with what’s trendy. I told her (but I’m not sure she believed me) that it was hopeless, and recommended that she write what she enjoys, what sparks her personal passion. I could have asked: do you want to be a sheep? But that wouldn’t have been kind, or polite.

Sorry, but I don’t care what “everyone” is writing. Of course I have that luxury, because for me writing is a beloved avocation, not a career. But I also believe it’s impossible to gain either success or satisfaction trying to suss out what the masses are going to want next. Nobody can write fast enough to keep up with the fashions.

Meanwhile, I know from experience that my best work comes from tapping into my personal kinks and fantasies, not from writing to the market. For years I tried to produce the kind of romance my publisher wanted. I won’t say I failed completely, but trying to clip the wings of my nasty imagination resulted in books I now view as mediocre.

Not all my colleagues agree. Another friend has been analyzing the stats from Amazon, working to determine which genres have the best sales for the least competition. He’s very deliberately writing with an eye toward financial gain.

I wish him luck.

As for me, I now realize that my mom’s advice was precious, no matter how I resented it at the time. Her wisdom might not have brought me wealth, but I’ve reaped an abundance of joy.

Everything I Know About Amazon Keywords…

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I learned from Belinda LaPage. Truly, I’ll be forever grateful to her for explaining how to leverage this aspect of Amazon’s algorithms.

In fact, she wrote a post herself that included information about this topic: https://erotica-readers.com/blog/2019/02/11/raising-the-dead-your-story-doesnt-suck-necessarily/

However, in that post she didn’t give the blow-by-blow how-to she shared with me… which I am now going to share with you.

Let’s start out with the goal: getting people to buy your book. Obviously, in order to buy your book, people first need to find it. And hey, there are only fifty million erotica titles on Amazon. Okay, I made that up, but you and I both know that the ‘Zon is dripping in dirty books, with thousands more being added every day.

When you set up a new title on the Amazon KDP site, you’re asked to select up to two categories. However, the available categories are rather broad and limited. (You can find a list of the erotica sub-categories here.)

You can also specify up to seven keywords, which will be used to match search strings entered by potential customers. Smashwords, similarly, asks for keywords (ten in their case). When I first started self-publishing, I’d use the same keywords for both platforms, single words or phrases like “bdsm”, “lesbian”, “dominance and submission”, “anal sex”, “steampunk”, and so on.

I don’t know anything about Smashwords’ algorithms. I learned from Belinda, howver, that Amazon allows up to fifty characters for each “keyword”. Hence you can have multiple different strings in the same keyword slot. Furthermore, the individual words influence each other to create or match ad hoc search categories. Each fifty character “keyword” acts as a “word cloud” and will match against search terms that relate to the core concepts in that cloud – even if the exact words entered for the search aren’t in your keyword set at all.

The best way to understand this is by example. (Warning: dirty words ahead!) Here are the seven keyword strings I used for my recent release, The Pornographer’s Apprentice.

12345678901234567890123456789012345678901234567890
FEMDOM WHIPPING BONDAGE FLOGGER BDSM SLAVE MASTER
LESBIAN CUNNILINGUS SAPPHIC CUNT-MUNCH LGBTQ CLIT
ANAL SEX PEGGING BUGGERY ASSHOLE PEGGING REAMING
THREESOME FOURSOME MENAGE GROUP SEX ORGY 
GAY BUTT-FUCK HOMOEROTIC BLOWJOB BIG COCK SEX-PLAY
SEX TOYS DILDO BUTT-PLUG FLOGGER CROP WHIP CUFFS
STEAM PUNK VICTORIAN LONDON ENGLAND ALT-HISTORY

The numbers along the top (suggested by Belinda) help me keep within the 50-character limit for any keyword. I use a mono-spaced font to make sure that the characters of my keywords correspond to these numbers.

Each of the seven lines below the numbers is intended to capture a concept or topic that might be of interest to a certain segment of the market. Line 1 deals with power games, especially femdom, which is featured in several chapters of the book. (I probably should have used “Mistress” rather than “Master” but I didn’t quite have the character count.) Line 2 obviously relates to lesbian activity. There’s little subtlety about line 3; it contains our favorite terms related to anal sex (which is rather prevalent in this story). Line 4 focuses on varieties of multi-partner sex. Line 5 plays to the readers who are looking for MM activity; there’s a bit of this in The Pornographer’s Apprentice, though it’s not the primary focus since the protagonist is a woman. Line 6 celebrates sex toys, the creation of which is the vocation of my heroine and her colleagues. Finally, line 7, which has no dirty words at all, encapsulates the setting and sub-genre. Adding “VICTORIAN” has the advantage of linking the book to genuine Victorian era erotica like The Pearl. In fact this book is currently ranked as #435 in Victorian erotica, on all of Amazon… even though it actually isn’t.

How can I be so explicit in my keywords? you might be wondering. What about the dreaded adult dungeon which awaits books that violate Amazon’s unwritten policies on sexual content?

Amazon, it turns, is severely schizophrenic when it comes to erotica. On the one hand, using a word like “cock” or “fuck” in your title or showing a bit of naked boob on your cover will get you whisked away to the dungeon before you can say “Take me, Master!” On the other hand, it appears there are no standards whatsoever regarding the content of keywords. Of course the keywords are not visible to readers; they’re digested and linked and stored in Amazon’s database (or used to train its AI). But they have (I believe) a lot of influence.

How do I know? Well, of course, none of us know anything certain about Amazon’s mysterious ways. I do know, however, that my Amazon sales have improved noticeably since Belinda gave me her lesson on keywords. It might be that I’m writing better books. However, I’m willing to give the keywords (and Belinda) a significant chunk of the credit.

 

Narrow or wide? How to decide?

Image by Free-Photos from Pixabay

Self-publishing offers an author a lot of freedom. You’re no longer bound to the schedule of a publisher; you can release your books whenever they’re ready, or according to a strategy related to your personal future plans. A self-published book does not need to fit neatly into genre-based pigeonholes. You can write and publish work that reflects your creativity and vision, rather than the often rigid categories that supposedly define “the market”. Furthermore, self-publishing can spare you sometimes painful fights with house editors about words, phrases or content that violate the house style rules. You, the author, are in the driver’s seat, and your book is 100% your own.

On the other hand, you become responsible for many critical decisions. What should the cover look like? What categories and keywords should you use? How should you position the book, with respect to your other work as well as the competition? What price should you set? How should you promote the book? All of a sudden you’re not just the author, but also the publishing executive and the marketing manager.

One thorny issue facing any self-publishing author at the moment is whether to go narrow or wide. Everyone knows that Amazon commands the largest share of the ebook market. “Going wide” involves publishing and selling on other platforms as well as Amazon, for instance Barnes and Noble, Kobo and Google Books. If you want to go wide, there are a variety of sites that will publish and distribute your books to a range of online vendors, including Smashwords and Draft2Digital. In return, they take a cut of the royalties (but a smaller percentage than a regular publisher). As an alternative, you can upload your book independently to different sales sites, which takes more effort but can result in somewhat higher returns as well as better control over format.

“Going narrow” means publishing exclusively on Amazon, enrolling your book in KDP Select and Kindle Unlimited (KU). You may publish and sell a print version of your book, but the ebook version must not be sold anywhere else.

KU is a subscription-based model for reading ebooks. Rather than paying for books individually, KU members pay a monthly fee (currently about $10) in order to download and read an “unlimited” number of books. (In fact, I believe there are some restrictions on how many books you can be reading concurrently, but I have not been able to find the details on the Amazon help pages.)

Since readers don’t purchase books under the KU scheme, Amazon pays authors according to the number of pages of their books that KU members read. The actual unit is called KENP (Kindle Edition Normalized Pages), a quantity which is calculated based on a (secret) algorithm. Authors receive a certain amount of money per KENP; the amount is also a secret and varies over time, but is some fraction of a cent. Note, by the way, that Amazon systems must periodically access individual readers’ Kindle devices or apps in order to compute KENP.

Many authors swear by KU as a way of making more money. It does seem that KU reads do not reduce the number of outright purchases by much. KU subscribers are a different population from purchasers. On the other hand, by going narrow, an author risks losing sales from readers who prefer to buy from other sources. This includes a segment of the reading public who actively avoid Amazon for various reasons including the company’s monopolistic tendencies, their intrusiveness and their indie-author-unfriendly policies. In the interests of full disclosure, I will personally confess that I fall into that segment.

My personal experience with going narrow is very limited. I have one book, a boxed set, available in KU. Since I released that book, in February 2020, it has logged 22,217 KENP. The payment for this has been $54.22. So I’m getting about 0.0025 cents per KENP. The book is about 600 pages, so the page reads translate to roughly 37 sales. The purchase price is $4.99 and the royalty percentage is 70%, so if I’d actually sold these copies, I would have received $3.49 per copy, or $129.13.

Of course, it’s not likely I would have sold all those additional copies. As noted above, KU subscribers wouldn’t necessarily purchase the books they download as part of the program. Like all “unlimited” subscriptions, Kindle Unlimited encourages readers to take a chance on merchandise they’re not sure they want, because there’s no penalty to downloading a book but not finishing it. In addition, KU subscribers have an incentive to consume as many books as possible in order to “get their money’s worth”.

It is clear though, that Amazon itself saves money when authors go narrow. Given the current KENP formula, for a complete KU read of Vegas Babes, they only have to pay me about $1.50, which amounts to a royalty rate of 30% – rather than the 70% I get for an outright purchase.

Still, there’s a segment of the reading community that loves to see the words “Free on Kindle Unlimited” splashed across a book banner. It’s not really free, of course, but once a reader has paid the monthly fee, they will tend to forget that.

Mostly, I’ve gone wide, because I want anyone who is interested to be able to buy my book. As noted above, I personally don’t have a Kindle or buy ebooks from Amazon. I read 5-10 books per month. Knowing how important this is to authors, I try to review almost everything I read. Since I’m active on Goodreads and host a lot of authors on my blog, I frequently encounter books that sound interesting. If the book is available on Smashwords or Kobo, I’ll consider buying it. However, if it’s exclusive to Amazon, that immediately kills the notion. Hence, my fellow authors are losing out on reviews from me because they’ve chosen to go narrow.

I don’t want my own potential readers to have the frustrating experience of wanting to acquire my books but finding that Amazon is the only source.

I know I’m not neutral on this topic. I recognize that many of you have made a good deal of money by going narrow. It’s your decision – and it’s not irrevocable, since you have the option to remove your book from KU after ninety days.

I’d like to finish by presenting some interesting data. I just ran a contest for members of my email list. To enter, they were required to send me a message answering three questions:

1) Approximately how many books do you read per month?

2) Where do you get your books? (Amazon? Other online sites? Bookstores? Garage sales? The library?)

3) Do you have a Kindle Unlimited subscription now or are you considering one?

I received 26 entries. (I have about 300 people on my list.) They read an average of 11 books a month, with a lot of difference between readers (minimum 1, maximum 30).

The majority of respondents (16 or 62%) get books from many sources including Amazon. Other sources mentioned included BN, Kobo, Google, ARCs from authors or publishers, BookFunnel, PaperbackSwap.com, yard sales, brick and mortar book stores, and libraries. Seven respondents (26%) mentioned only Amazon. Three people (12%) did not mention Amazon at all.

Only six people (23%) said they had or were considering a KU subscription. One or two said they really loved it, since they read so many books. One person said she was considering dropping it, because she didn’t read enough to make it worthwhile.

Finally, I got a couple of comments that, I have to admit, mirror my own feelings about Amazon. One person, in response to the third question, said: “No, I like to keep my books and hate to think they’re tracking me.”

Another reader said: “No, I do not have Kindle Unlimited nor do I plan to get it because a couple of years ago Amazon banned me from leaving any type of reviews, so why should I pay to read on there?”

So: narrow or wide? It’s not a straightforward decision. By choosing to go narrow, you’re probably gaining some new readers, but you may be losing others.

I will leave you with this thought: Amazon wants you to go narrow, not only to freeze out the competition, but because they can pay you less per book than they’d have to if you went wide.

That’s enough to clinch the decision for me. Your mileage may vary.

 

The Care and Feeding of Your Back List

By Lisabet Sarai

Last week a writer friend of mine included a wonderful excerpt from his first book in a blog post. I’d read (and loved) this book when it first released; perusing the post felt like meeting up with an old friend.

Then the author casually mentioned, in a post comment, that the book was out of print. I felt like shaking him in frustration. Why in the world, I wanted to scream, did you let that happen? Don’t you care about keeping your work available?

There’s so much in the world of publishing that we authors can’t control: Amazon’s latest tweaks to its ranking algorithms, payment schemes, and censorship policies; publishers being bought out or going bankrupt; out-of-the-blue bestsellers that have readers (and editors) clamoring for cookie-cutter copies. One thing we can control, however, is the disposition of our accumulated body of work. In my opinion, we owe it to ourselves to keep our backlog of books and stories out there in the world, where readers can access them.

Some of you may ask, why bother? Everyone knows it’s only new releases that get any sales (as demonstrated by the thirty-day cliff phenomenon). Who’s going to want to read a book that’s a year, or five years, or ten years old? Anyway, no publisher will be interested in a dingy old reprint. If some of your back list dates from before the ebook revolution, you might not even have the manuscript in digital form.

Examined carefully, none of these arguments (excuses?) holds up to scrutiny.

First of all, though your book may be “old”, there are undoubtedly millions of potential readers who’ve never encountered it. Sure, your fans (whether you have five or fifty thousand) may have read your earlier work, but for lots of readers, your book will be a welcome discovery. If someone picks up an old book of yours and enjoys it, he or she is going to want more. You need to make sure you can give these people what they crave.

Out of the 200 or so people who completed my survey earlier this year (http://lisabetsarai.blogspot.com/2015/08/reader-survey-results-part-2.html), 30% had never read one of my books, and another 25% weren’t sure. That’s over one hundred people for whom everything on my back list will be new and exciting. I want those readers!

Even for readers who know your work well, it’s important to keep your older stuff available. What if they want to reread one of their all-time favorites?

My brother’s birthday was yesterday, so last week I went to Amazon, looking for two books I read—and loved—decades ago: Winter’s Tale by Mark Helprin and Little Big by John Crowley. My copies of both books date from the eighties. They’re falling apart. I was delighted to discover new editions of both titles. I sent them off to my brother, and you know, I just might replace my tattered volumes with new ones.

Make sure that readers who love your work can do that, too.

You may be interested in re-releasing your out-of-print opus, but think publishers won’t want it. Think again. These days, especially, publishers who are trying to satisfy the market’s insatiable desire for fiction are more than willing to look at your back list titles. In fact, they may recognize that they’ll have to invest less time and effort in a previously released book because it will have already been through one or more rounds of editing.

My debut novel Raw Silk has been through three publishers. Ruby’s Rules (now retitled as Nasty Business) has had four, Incognito two, Exposure three. I’ve had publishers go bankrupt and others decide they didn’t want to publish erotica. In a few cases, I’ve reclaimed my rights because I wasn’t happy about my sales or the way the publisher was run. My goal has always been to keep all my novels available—whatever that required.

“But I write short stories”, you may respond. “Nobody wants those.”

Not true. I recently published a 5K tale (a reprint) through an indie publisher who was actively seeking short fiction. You can also self-publish your stories, either individually or as a collection. In fact, since most anthologies ask for only one-time rights, you may be able to publish a short piece in multiple places.

If you really can’t find anyone to publish your tale, you can still make it available free, using it to introduce readers to your published work. That’s better than letting it languish in the dusty recesses of your computer memory!

And what if your book was published so long ago that you don’t have the source in electronic form? As long as you have a physical copy, you can subject it to Optical Character Recognition (OCR), a process that uses image analysis to recognize typescript and turn it into digital text. OCR may produce a significant number of errors, so you will need to carefully review and revise the output. However, this process will allow you to create both ebook and print versions of a book that was previously available only in hard copy form.

Once your older work is available, you should spend time promoting it, at least occasionally. Last Sunday I posted an excerpt from a book published back in 2010. One reader told me in a comment that after reading my blog, she’d gone out and bought herself a copy. Talk about encouragement—I felt totally energized. I immediately added 3K for my current WIP!

In short, there’s no reason why you can’t keep all (or most) of your back list in print and available to readers. The only real barriers are emotional. These days it’s sometimes hard to muster the motivation to do anything related to publishing or marketing. The obstacles seem insurmountable. Don’t allow yourself to become discouraged. There are legions of readers out there, searching for great fiction. Help them find yours!

Taking Your Book on Tour

ByLisabet Sarai

In the (good?) old days, before ebooks and social media, publishers
would organize book tours for their authors. The author would travel
to various cities for readings and signings. She’d give interviews
and appear on local TV and radio. The goals of this expensive (and
exhausting) activity were to sell books, of course, and to generally
make potential readers aware of the writer’s existence and her body
of work, in addition to her new release. (Please excuse my exclusive
use of the female pronoun. It’s just a convenience. I don’t
intend to ignore all the male authors out there.)

These days, for all but the most famous authors, the physical book tour has
been mostly replaced by a “virtual tour”, also known as a blog
tour. What’s a blog tour? It’s a marketing activity that
involves making arrangements with multiple blog owners—often though
not always other authors in your genre—to feature a post about your
book. Usually, like a real world tour, a blog tour will take place
during a set period of time. One or two weeks is typical. Each day
during that period, your book will appear in different places in the
cybersphere. The schedule, arranged beforehand, will be included with
each post (along with links to the tour stops), so that readers can
surf to earlier appearances if they want.

Many tours (at least in the erotic romance genre, the one most familiar to
me) offer prizes or other goodies to entice readers to follow the
tour blogs. Most commonly these days, the grand prize will be a
bookstore gift certificate, in amounts ranging from $15 to $50. I’ve
seen tours that really go over the top to offer a Kindle or Nook.
Free books and swag (pens, notebooks, coffee mugs, and so on with the
author’s logo or cover) are also prevalent. Tours are usually set
up so that readers can enter the giveaway at each stop. Thus, the
more posts they read (or at least, the more sites they visit), the
higher the chances that they’ll win. In my blog tours, I sometimes
give away a small gift at each stop, in addition to the grand prize.

What sort of material appears in the tour posts? This varies quite a bit
depending on the author, the book and who’s arranging the tour. At
a minimum, the post will include the book cover, book blurb, buy
links, author bio, and author website and social media links. Often
an excerpt will be added. Some blog tours (the ones I enjoy most)
have additional material written by the author prefacing the book
information. This can be anything from an essay on the background of
the book to an interview with either the author or one of the book’s
characters. If there are prizes on offer, the post will also explain
how readers can enter the giveaway.

There are two popular methods for handling blog tour contests. One simply
asks readers to leave a comment on the blog. While this is easy for
readers, it has the problem that it may be difficult to locate
winners if they don’t include an email address in their comment.
You have to repeat this instruction multiple times in your post. The
other method uses third-party services like Rafflecopter.
While this is convenient, I personally don’t like it because it
exposes readers to potential privacy risks. (Don’t try to convince
me that Rafflecopter isn’t using all the emails and FB logins it
accumulates, from the thousands of contests it manages.)

Some authors require visitors to sign up for their mailing lists, “like”
their pages on Facebook, or follow them on Twitter in order to enter
the drawing. In my experience, this results in fewer entries. Readers
are busy, and to some extent lazy. You’ve got to make things really
simple for them.

Of course, just getting your content on someone else’s blog isn’t
enough to pull in readers. It’s critical that you promote the tour
using other methods: via your mailing list, Facebook, Twitter, your
own blog, Yahoo groups, whatever you can do. I don’t mean just one
announcement, either. You need to remind people, at least every few
days, that the tour is going on and that they could win wonderful
prizes and read great excerpts. Your promotional material should
include active links, so that recipients can simply click to view a
post.

Finally, if at all possible, the author should drop by each stop, thank the
host, and respond to comments—if
not individually, then at least with a summary comment that refers to
some of the more cogent separate comments.

Sound like a lot of work? It is. However, it’s probably less exhausting
than a physical tour. At least you don’t have to worry about hotel
bed bugs and jet lag! However, it’s probably worth doing only for
relatively major releases. To me, it doesn’t make a lot of sense to
invest this sort of energy and time to promote a $0.99 short story.

Suppose you want to do a blog tour. Where do you start? There are two main
options: organize it yourself, or hire a service. I’ve
used both alternatives. Either way, you’re looking at significant
work. (Your publisher may organize a tour, as well. That’s always nice, though
in my limited experience, the services have done a better job.)

The advantage of organizing everything on your own is that you have total
control. You can pick blog hosts who you know are reliable, who have
attractive blogs, and whose blogs are compatible with the theme and
genre of the book you’re promoting. Of course, you save money too
(see below).

There are two disadvantages to organizing your own tour. First, it’s more
work, because in addition to writing the posts, you have to “wrangle”
the hosts: get them on the schedule, send them the post material,
follow up to make sure they’ve got it, make sure you’ve got their
links right, etc. It takes a lot of organization.

The second disadvantage is that your tour may have a more limited reach.
You’ll probably be contacting bloggers you already know. Chances
are their readerships overlap with yours. You want your tour to reach
as many new people as possible, but that impact might be reduced if
you have your friends act as hosts.

On the other hand, using a service can be pricey. The services I’ve
worked with charge anywhere from $50 up depending on the type and
length of the tour. Generally, the longer the tour and the more
stops, the higher the price. In addition, although you might think it
would be a lot less work, using a service doesn’t reduce the effort
much, at least if you’re writing individual posts for each stop, as
I prefer to do. (If you want readers to stop at multiple sites, I
believe that you really should give them new content at each site.)

The biggest advantage of a service (potentially at least) is greater
exposure. Established promotion companies have a large pool of blog
hosts, often in many different genres. Chances are that you’re not
personally familiar with many of these blogs. Usually that’s good
(though I’ve had my posts appear at blogs that made me really
cringe due to their poor graphic design or their cheesy
advertisements). Readers who may have never heard of you will learn
about your book and perhaps be tempted to buy it.

Once you’ve created the blog content and sent it to your service, they
handle the host wrangling. The one I’ve used most does a really
good job of follow-up with blog hosts. You still need to visit each
stop, though, and promote your tour. However, the service should be
doing this in parallel, so ultimately more people should get the
word. Some services will create tour-specific graphics for you
(buttons or banners) as an added benefit. Most include Facebook and
Twitter promo as part of their package.

I should mention that some services offer “review-only” tours. This
means that the hosts agree to read and post a review of your book on
their blogs. I’ve never done this—it
tends to be more expensive, plus I know from experience that the
quality of many reviews tends to be poor—but
this is one possible way to get your book read.

Remember when you’re considering a blog tour, you should factor in the cost
of the prizes (if any) and your time, as well as the fees for any
promotional services. I’d say that on average, a tour organized by
a service will cost at least $100.

So, is it worth it? Do blog tours sell books? Alas, we’d like to know
the answer to that question for every marketing activity, but it’s
damnably difficult to get reliable information.

Personally, I use blog tours as a way to expand my email list. (I will personally
invite people who comment whose names I don’t recognize to join;
you should never add people without permission.) Also, it gets my
work in front of new readers. I usually give away a free book at each
stop (a short story formatted in PDF, with a cover), not just as an
inducement, but also to increase the number of people who have
actually read something by me. My hope is that they’ll like my
writing, and want more.

 

At
this point you may shrug and say to yourself, “What’s the point?
You can’t tell if the tour is actually increasing sales. It’s a
huge amount of work. It’s expensive. Why bother?”

Well, you can say the same thing about every kind of marketing. The hard
truth, though, is that if you don’t market your books, nobody will
read them. This has nothing to do with quality. It’s a matter of
visibility. You have to make your audience aware that you, and your
books, exist. That doesn’t guarantee sales by any means, but it’s
a necessary precondition for sales.

You don’t have to market. You’re free to choose. However, you
can’t complain about obscurity if you never try to shine the light
of publicity on your writing.

As for me, I enjoy doing blog tours, despite the work. I know that I’m
skilled at writing engaging posts, so this activity draws on my
talents. I like meeting new authors (hosts) and new readers. I find
the sort of interaction that occurs during a blog tour far more
meaningful that “Likes” on Facebook or snippets shared on
Twitter.

I’ve probably done at least ten tours over the years. I’m nowhere near a
best seller. Perhaps you shouldn’t listen to my advice at all.
However, if you have questions about the process, I’m more than
happy to share my experience.

High Anxiety

By Lisabet Sarai

I guess I must be really out of the loop, because it was only this month that I first encountered the term “30 day cliff”. That was in a discussion on the Excessica authors’ forum. Some of my colleagues were lamenting about the difficulty of bringing out releases frequently enough to keep them from “falling off the thirty day cliff”. From context I surmised that people believed you had to get a new book out every month in order to retain readers’ attention.

At first I shrugged off the whole topic. A book a month? Preposterous! And what was so magical about 30 days, anyway? I figured this must be one of those marketing rules that get bandied about the Internet with no real support from the data at all.

When I did a bit of research, however, I discovered that the 30 day limit apparently has its source in Amazon’s all powerful algorithms. The article below, for example, provides quite graphic evidence for this sales precipice.

http://evahudson.com/amazon-30-day-cliff-omg-its-alive/

Just what authors need. Something else to worry about.

Writing well is hard work. Heck, even writing poorly takes time. Then there’s the editing (for those of us who care about that step), cover art, penning the blurb, and formatting for different publishing platforms (if you’re self-publishing or working with a co-op like Excessica). Updating your website and blog. Sending out tweets or posting your news on Facebook. Begging your author friends to feature your newly birthed literary baby on their blogs, Facebook pages or Twitter feeds. Submitting the manuscript to review sites. Arranging blog tours. Running contests to attract readers. Running around like the proverbial decapitated fowl, waving your arms and shouting, “Look, look, I’ve got a new book! Buy my great new book!” until you’re exhausted and hoarse.

Do that every single month? Are you nuts?

Sure, I know some authors who do this, and more. I have one or two colleagues who send me media kits for their latest titles pretty much monthly, for posting on my blog. Some of them are quite well-known—certainly compared to me. Many of them write well, too, although I have noticed that their excerpts all sound similar. I guess if you’ve found a formula that’s successful, it’s crazy not to stick with it.

Doesn’t work for me, though. I have limited time to devote to my writing career, such as it is. Marketing already takes a serious bite out of that allocation. I’d love to have more people buy my books, not just because I’d like to make more money but because I want to share my erotic visions with a wider audience. However, pressure dries up the creative flow, at least for me. If I have to force myself to write, I know I won’t be satisfied with the results.

I’m pretty confident I could turn out a new 30K book every month—especially if I quit my day job—but I’m also certain these books wouldn’t be very original, or surprising, or memorable. Probably I’d write yet another BDSM initiation story, with a self-assured, ironic, slightly distant hero and an intelligent, feisty heroine who’s aroused and appalled at her own desire to surrender. That’s my Ur-story, one I’ve already written dozens of times, one I love but try to escape for the sake of novelty and exploring new territory. That story sells. I know it does. I could change the names, the location, the initial scenario, the sexual actions and the kinky implements, and sell it again and again.

The notion makes me slightly nauseous.

So despite the clamor by my colleagues—in defiance of the current market wisdom—I choose to turn my back on the precipice. I reject the anxiety whipped up by the pundits and claim my right to define for myself what it means to be a successful author. For me, the criteria include quality, diversity, originality and authenticity. Frequency just doesn’t enter into the equation.

Is Diversity a Liability?

By Lisabet Sarai

If I were looking for a logo, I might choose a Pu Pu Platter.

Do any of you remember those pseudo-Polynesian appetizer assortments, complete with the fiery wrought-iron cauldron in the middle to heat up all the finger food? Do they still exist? When I went searching for images on my favorite stock photo site, I came up with zero hits. Are PuPu Platters totally passé? Have they gone the way of granny glasses and lava lights?

Modern concerns with healthy eating have probably played a role in the platter’s demise. It’s difficult to imagine a more fat-and-cholesterol intensive repast than the traditional fried wonton, crispy egg rolls, barbecued spareribs, battered giant shrimp, cheese-filled crab puffs, and all the other delicacies that might show up ranged around the flaming Sterno. One PuPu Platter can undo weeks of toil at the gym.

But God, how I loved them! Indeed, I recall that on my first real date, my companion (with whom I was highly enamored) ordered us one. This may explain my lingering fondness; PuPu Platters are somehow mixed up in my mind with sex. (Not that I had sex on my first date, of course, but a teenager’s hormones color everything in her world). And there are some similarities, after all. A PuPu Platter is decadent, all luscious flavor with little food value. You devour the components with your fingers and lick off the juices afterward. And you can’t eat one all by yourself. PuPu Platters are made to be shared.

The real attraction for me, though, is variety. (I also adore mezze plates – Middle Eastern appetizer assortments.) A taste of this, a hint of that, never enough of any one dish to be bored – that’s what I love. Diversity is my ideal in life. I want to sample a wide range of different experiences, rather than being forced to choose one dish, one path, even one person – although I have been married to the same guy for more than thirty years. (He likes variety, too.)

As a reader, I also seek out diversity. Anyone who scrolls through my books on Goodreads will find plenty of erotica, true, but also romance, mystery, science fiction, fantasy, classics, historical novels, biographies, plays, poetry, a bit of almost everything. If you focus in on the erotica, you’ll see I read and review work ranging from extreme hard core BDSM to sweet vanilla. I read and enjoy gay, lesbian, bisexual and multi-partner fiction – contemporary, historical, futuristic – really, whatever I can get my hands on.

Most authors write what they like to read. Hence it’s not surprising my books are all over the map. At this point I’ve published nine novels (defined as works over 50K words). Two are gay erotic romance – one paranormal, one sci fi. One is M/F and F/F erotic noir. One is M/F paranormal. One is steampunk BDSM paranormal ménage. My first three are even harder to classify, offering a bit of everything, from a sexual perspective – from exhibitionism to enemas – with many assortments of gender and in one case, a parallel historical subplot.

I’m proud of my books. I like the challenge of tacking new genres as well as new forms. However, lately I’ve started to believe that diversity can be a liability to an author’s career. When someone asks you what you write, “almost everything” may not be a strategic answer.

Think about the authors whose names are household words. Steven King writes horror. Anne Rice writes paranormal. P.D. James writes (or wrote) mysteries. Tom Clancy and David Balducci write political thrillers. John Grisham writes legal thrillers. Nora Roberts writes romance. J.K. Rowling writes fantasy. (Remember how nasty the critics were when she published her realistic contemporary novel, A Casual Vacancy?)

I couldn’t think of any really popular writers whose books vary as much as mine do, from one to the next.

Meanwhile, my favorite authors are the ones who can write anything – and do. M.Christian comes to mind as maybe the best example. His backlist includes science fiction, horror, and just about every sort of erotica you can think of. I’ll devour anything by Kathleen Bradean/Jay Lygon. Jonathan Lethem’s wild imagination produces something different in every offering. And though I haven’t read anything by him in a long time, John Barth used to delight me with each new novel. I never knew what to expect – and that’s the way I liked it.

Of course, in answer to the question, “what do you write?”, I could say “erotica”. That doesn’t pin things down much, though. Some erotica readers are pretty picky about the themes and topics they want to read. I know people who find anything other than BDSM fiction totally boring. Others have complained they can’t find hot vanilla M/F stories anymore. The segment of the erotica market that’s reading primarily for arousal wants stories that push their particular buttons. Someone who gets off on water sports isn’t interested in femdom. And so on.

Anyway, the “erotica” answer isn’t strictly true. I also write erotic romance, which has a different audience. I’ve been told in no uncertain terms by some erotica readers that my stories were too tainted by romance. Meanwhile, I’ve had romance readers shy away from my work as “too hot” and “too much like porn”. I’ve considered adopting a new tag line: “Too raw for romance, too sweet for smut.” (I’m only halfway joking.)

I guess I have to accept the fact that the majority of readers does not value variety to the extent I do. Instead they are seeking predictability – the antithesis of enjoyment, from my perspective!

This is a bit depressing, if I allow myself to dwell on it.

Am I willing to focus on one sub-genre in order to become popular? If I were making my living as an author, I think I’d have to. Fortunately, I have the luxury of writing what I feel like – of indulging my love of diversity. As long as I don’t care if my work sells…

Now all I have to do is find readers with similar tastes.

Anyone care to share a Pu Pu Platter?

What Is Thunderclap and Why Use It?

by Lucy Felthouse

This post was originally featured on the Writer Marketing Services blog.

I’m sure some of you have seen messages and notes about Thunderclap floating around the web and wondered what it is. I know I’ve had several clients ask me about it, which is why I’m writing this post.

Basically, it is a free promotional tool (though there are paid options you can explore) to help you get the word out about something. For the purposes of this post, I’ll use books as an example, as it’s what I deal with.

You sign up for a free account at Thunderclap.it, and follow the simple instructions to set up your campaign. Use graphics from your book if you can, as that way you’re increasing visibility of your book to those that click through to support your campaign. Spend some time crafting your message, adding some relevant hashtags if you’ve got room – bear in mind that this message will go out once and hopefully to an awful lot of people, so you want it to have punch, something to really make people want to click on the link you’ve provided. I’d also recommend only opting for 100 supporters the first time around – it sounds like a small number, especially if you have lots of social media savvy friends, but it’s tougher than you think to get people to click that link.

Once you’re happy with what you’ve done, submit your campaign and wait for Thunderclap to approve it (you can speed this process up by paying, but I’ve never done this). Then, when approval arrives, the really hard work begins. You have to get supporters.

Supporters are the whole point of Thunderclap – they’re the ones that are signing up to send out your message on the date and time you’ve selected. I think, since Thunderclap is fairly new, that people may be shying away from supporting Thunderclaps as they don’t fully understand what it means. So, in a nutshell, here goes: supporters are pledging to help you, by donating a Tweet, a Facebook status or a Tumblr post (or indeed, any combination of those three). That’s all. They’ll see the message they’re pledging to send out, hit those support buttons, and, providing you get enough supporters to “tip” the campaign, their social media account/s will automatically send out the message on the date and time you’ve selected.

The point of all this? Well, since we’re talking books – it’s to drive sales. If you have an upcoming book, you can set something up in advance to go out on your release date – then you’ve got a while to promote the Thunderclap, get your supporters and then you’ll get a big boost on social media on the day, which will hopefully get people clicking those buy buttons and pushing you up the respective retailer charts. Cool, huh?

There is more to it than just getting the supporters, though. Sorry to complicate matters 🙂 Ideally you need supporters that Tweet/share/Tumble about books in your genre – so in turn their followers/friends/etc are more likely to be interested in your book. Also, it goes without saying that the more followers/friends/readers your supporters have, the more people are likely to see your message once it goes out. So if you can attract people with a large reach on social media, all the better.

But to keep things simple, maybe start out small, and once you’ve dipped your toe in the Thunderclap water and seen how it all works – you can be more adventurous next time.

Bottom line: make sure you’ve crafted a powerful message to go out, that will catch people’s eyes and make them want to click. Then sit back and (hopefully) watch your sales increase.

Want to see how it works from a supporter’s angle? Here are three Thunderclaps you can sign up for (and I’d be grateful of your help):

Timeless Desire – M/F erotic romance story
Little Boxes – contemporary romance novel
To Rome with Lust – erotic romance novel

I hope this has helped you. Feel free to share far and wide on the web, to help people gain an understanding of how it works. If I get lots of questions and queries, I may do another article at a later date with more specifics.

Happy Promoting!

Lucy

*****

Author Bio:

Lucy Felthouse is a very busy woman! She writes erotica and
erotic romance in a variety of subgenres and pairings, and has over 100
publications to her name, with many more in the pipeline. These include several
editions of Best Bondage Erotica, Best Women’s Erotica 2013 and Best Erotic
Romance 2014. Another string to her bow is editing, and she has edited and
co-edited a number of anthologies, and also edits for a small publishing house.
She owns Erotica For All, is book
editor for Cliterati, and is one eighth
of The Brit Babes. Find out more
at http://www.lucyfelthouse.co.uk.
Join her on Facebook
and Twitter, and subscribe to her
newsletter at: http://eepurl.com/gMQb9

Negotiation

By Lisabet Sarai

A word to readers: this blog post has nothing to do with BDSM. However, it does feature some pain.

A few months ago, inspired by one of my blog posts here, Donna George Storey challenged ERWA followers to take the NWWTHYW challenge. “NWWTHYW” stands for “National Write Whatever The Hell You Want”. We declared March to be NWWTHYW month at ERWA and even established a special blog page for people to share their experiences.

I was pretty quiet during that month. I felt like a hypocrite. Because even as my fellow authors were crowing about setting their muses free and flying high on the currents of their personal visions, I was laboriously twisting and reshaping my most recent novel, trying to fit it into the pigeon hole established by my publisher. While other blog commenters basked in the glow of their creative fervor, I was agonizing about just how much I’d have to cut and rewrite in order to satisfy the submissions editor.

A bit of history is required to understand the situation. Late in 2013 I responded to a call for short erotic romance works (15-20K) on a particular theme. This theme was supposed to provide the foundation for a new imprint with this (highly successful) publisher. They planned to put lots of energy into marketing the series, as it was part of a major rebranding effort.

The publisher was quite specific about what type of story was required: light, humorous, romantic, with a bit of a chick lit flavor. BDSM and ménage were okay as long as things didn’t get too intense. The first few ideas I had didn’t get the editor’s approval, but then I hit on a winning concept and went on to write Her Secret Ingredient. This is a slightly silly story about an ambitious female chef who tries to seduce the devastatingly handsome but authoritarian Frenchman running the cooking network where she’s been hired as a special guest. Instead she snags the rumpled but attractive producer, who turns out to be a closet Dom.

After this book came out, in late 2013, the publisher asked if I would be interested in writing a novel-length sequel. After a bit of wavering, I decided to give it a try. I wrote a blurb and sent it to the editor. She loved it. So I plunged in, making steady progress. I submitted the book on Valentine’s Day, and waited for a response. I thought the book was pretty good. I’d managed to broaden and deepen the characterization, focusing on a BDSM triangle in which my heroine dominates the French chef but submits to the producer. The plot premise of a series of on-location cooking shows in France gave me lots of opportunities for local color. (Since I took a three week vacation to France in 2013, I had plenty of material!)

This publisher usually turns submissions from their established authors around in a few days to a week. In this case, though, several weeks went by without my hearing anything. Finally I inquired about the status of the book.

Well (the editor said), The Ingredients of Bliss was well-written (a sop to my pride?) but the dark, raw tone didn’t fit well with the imprint. And wasn’t the plot a bit too elaborate for a romance? (In a case of mistaken identity, the heroes are kidnapped by a Hong Kong drug cartel and the heroine must figure out how to save them.) Meanwhile, could I make this be a true ménage, with Emily be equally in love with both of the men (producer Harry and chef Etienne), rather than having her feelings portrayed as ambiguous? Or else could I tone down her relationship with Etienne and focus more strongly on the fact that she and Harry are in love? Readers won’t like her if they think she’s fickle. And while we’re talking about fickle, the fact that she’s attracted to and considering having sex with the villain (who happens to be a dead-ringer for Etienne) is just not acceptable. Oh, and the little hints about F/F attraction to the police officer who’s helping her? Our readers don’t really like F/F interactions in a heterosexual book.

Dark, raw tone? She should read some of my other stuff! Bangkok Noir, or Exposure, for instance. Okay, the book includes a bloody gun battle and an attempted rape (by the villain) with some strong language, as well as a gory but erotic nightmare, but none of this is gratuitous. It all advances the plot and helps develop the heroine’s character.

As for Emily’s “fickleness”, her uncertainty about her true feelings, I see this as the core emotional conflict in the story. While she fights for her lovers’ lives, she’s also trying to come to terms with her dual attraction and to decide which, if either, of the men she Loves. (I deliberately capitalize the word, since I mean “love” in the romance sense of soul-mate/long-term commitment.)

Sure, she’s not in love with the gangster Jean Le Requin, but the plot requires her to seduce him in order to achieve her goals. Given that he looks and even smells like one of her lovers, wouldn’t she react to him physically, even if her emotions weren’t involved?

Meanwhile, what’s with the “too much plot” issue? This is, after all, a novel. Sixty five thousand words. I can’t just fill that up with one love scene after another, no matter how creative the BDSM! I’d get bored, even if my readers wouldn’t.

My first reaction was to pull the book and submit it elsewhere. “This is National Write Whatever The Hell You Want Month”, I told myself. “Why should I compromise my artistic vision to fit the expectations of somebody else?”

I soon realized, though, that the novel would lose a lot if it were not associated with the original short story. So I bit the bullet and did a revision, trying to address at least some of the editor’s concerns. This was pretty tough. My work has a lot of inertia. I revise continually while I am working, but once I write “The End”, the book starts to fossilize. I don’t have trouble modifying a few sentences or paragraphs, but for better or worse, my stories tend resist major structural changes.

In this first round of edits, I removed the part where the villain fingers Emily to orgasm at the Grand Prix races, destroying her fancy lingerie in the process (though I was really fond of that scene). I took out a passage where she’s guiltily contemplating the pleasures of screwing him. I added more declarations of love between Emily and Harry. I streamlined the plot a bit and tried to make the details more coherent.

The modifications were not substantial enough to satisfy the editor.

I tried again, completely removing any hint of attraction between Emily and Jean. I softened the attempted rape scene quite a lot, removing both the most extreme epithets and much of the physical violence. Without being asked, I excised the terrifying erotic dream, which had an extremely dark tone.

Better. Can you try one more time, please? And while you’re at it, could you edit the blurb? It’s a bit long and elaborate and gives the plot away. Can you take out some of the details, to help build suspense? Oh, and it would be good to focus more on Harry and less on Etienne. Don’t want to give potential readers false impressions.

I sent in a third revision. As far as the blurb was concerned, I made some minor changes, but I told the editor that I disagreed with many of her comments. The suspense in this book (I wrote) does not revolve around the kidnap plot but rather around Emily’s ambivalence regarding her two lovers and the roles of dominant and submissive.

Finally, the book was accepted. I suspect that the editor may have been tired of all the negotiation. Or who knows, maybe they really do like it.

Other authors I’ve talked to have told me this is a normal process that they’ve been through many times. However, being asked to do multiple rounds of substantive edits like this was a new experience for me, an experience that I found quite unpleasant. At several points I was tempted to throw down my toys and walk away in a huff.

I kept at it for several reasons. First, this publisher has always treated me very well (and I don’t want to imply that they were anything less than professional and courteous during this process, either). Part of me (the part that always tried to get straight A’s) felt guilty and embarrassed that I hadn’t met their expectations. Second, I knew it would be hard to sell this book elsewhere. I could find a publisher – that wouldn’t be a problem – but despite my relative lack of success, I had targeted this specific imprint and the book would be something of an orphan otherwise.

Still, I feel a bit sheepish after championing NWWTHYW and blogging about “writing commando”. After all is said and done, I guess I’m just another pussy-whipped author, meekly adapting my work to fit the market. (Okay, maybe not “meekly”!) Was this a matter of principle? Should I have stood my ground? Did I betray my Art?

When I get to this point, I have to laugh at myself. I don’t view my words as sacred. I write to entertain myself and my readers, and to explore certain ideas and scenarios I find intriguing. And of course, to make a bit of money, if I can. Yes, these edits skewed the book away from my original vision, but so what? The revised book probably will be more popular than the original would have been. I don’t doubt that it’s closer to what this publisher’s readers want.

After all, this is just one book. I can always go dark, deep and raw in the next.

Hot Chilli Erotica

Hot Chilli Erotica

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