Feisty Lawyers Book 1
About Snatching Dianna:
About Snatching Dianna:
Let me start this post by saying I’m not against audiobooks. I’m listening to an audiobook right now, as it was started on a long car drive and I hadn’t finished it by the time I returned home. A well-done audiobook is a delight, and some of my favorites include the Poirot books read by David Suchet, the actor who has played Poirot in some of the Agatha Christie screen adaptations.
My husband has a two hour commute to work each day, and has become a big fan of podcasts as a result. My current commute is much shorter, so I tend to listen to music instead. I get frustrated when I can’t listen to something in large blocks of time. I also tend to use walking the dogs and riding horses as a writing brainstorming time, and as such, would prefer music or simply appreciating nature to listening to an audiobook anyway. Ditto the rare times I clean house. 🙂 Since I tend to listen to an audibook when I’m doing something else, I’m usually not able to devote my full attention to it, and as such, I don’t feel as though I’m getting the maximum amount of enjoyment out of the story as I would if I were reading it instead.
But I don’t begrudge people the right or ability to access their reading material via audio over the printed word. For many, audio represents the only way they can easily access books, especially for the visually impaired. Many more simply prefer audio to print. Perhaps like everyone else, they’re so busy it’s the only way they can fit “reading” into their schedule. Or maybe reading presents challenges for them that listening does not. I’m all for people accessing fiction any way they can get it, and it is one reason I’d like to create audio versions of all my works.
As a reader, however, I can rarely afford to buy audiobooks. Death on the Nile as read by David Suchet is almost $30 US dollars. Newer cars are no longer including CD players, so checking out books on CD from the local library won’t work for me either. Sure, I can subscribe to a service like Audible.com but we’re back to another subscription service. Do I really want to pay for cable, Netflix, Hulu, CBS All-Access, Kindle Unlimited, Scribd, and Audible, too?
The answer is no.
Yes, I have a smartphone, but it’s an Android, not Apple. I don’t have a tablet. I have an elderly iPod Nano that is on its last legs and I don’t want to lose it because they aren’t freaking making them anymore and that’s how I listen to music in the car. *weeps*
But that’s okay, right? I don’t have to listen to audiobooks if I don’t want to.
Only the buzz I keep hearing is that in the not-too-distant future, everything is going to go the way of audiobooks and podcasts. I haven’t been able to pin down the source of this information, but I keep hearing it repeated over and over. Certainly articles such as as in Forbes, calling Audiobooks Officially 2018’s Publishing Trend would seem to support this notion. Sales of audiobooks were up 43% in 2018. I keep getting advice to make podcasts, or short video presentations on Youtube. Every time I open a news article, it pops up with video. Whenever I click on a link for marketing information these days, it is only available in a video format.
I have to say, as a consumer, this pisses me off a bit. I can read an article–and retain the information in it–faster and more efficiently than it takes for me to watch a 45 minute video. I can read articles on my lunch break–or when I have five minutes between appointments. Presenting everything in video format also assumes the viewer has perfect hearing, which isn’t necessarily the case. Moreover, I can’t watch videos until I’ve finished my 10-12 hour workday and am at home with the headphones on so as not to interrupt anyone else’s activity, and let me tell you, I have more pressing needs to take care of by then. Am I going to take 45 minutes to watch another video or spend that block of time writing a scene? Writing is going to take precedence every time.
As a writer, this notion that everything will go to audio format in the future disturbs me greatly. For starters, creating quality audiobooks is expensive. I experimented with creating an audiobook for one of my older stories, and I found that while I could lower production costs by sharing royalties with the narrator, the top-notch narrators wanted payment up front. Also, for the costs involved, the payout is skewed. Despite the high costs of production, only a sliver of money earned gets paid in royalties. I have as yet to recoup my ROI for my one attempt at producing an audiobook. I may never earn back the investment at this rate.
But it’s possible I’m just doing things wrong. Perhaps my tech is out of date. Maybe I’m uninformed because I’m behind the times. So I’m curious: how do you consume your fictions these days? Ebook? Print? Audiobook? Do you pay for a subscription service? Are you finding limitations on the books you’d like to check out because it doesn’t come in your preferred format? If you preferentially consume audiobooks, does this dictate what other books you may or may not read?
If you’re an author, what cost-effective methods are you using to invest in audiobook production? Are you seeing a ROI? What service are you using? How are you finding your narrators?
Drop a comment here and let me know what you’re doing. I’ll select someone at random from the comments to win their choice of one of my stories (though sadly, they will only be available as ebooks).
Time is Running Out…For Both of Them
Join Tyler and Regan as they seek their happily ever after in the conclusion of the steamy, contemporary Beguiling Bachelor romance series.
Amazon Buy Link: https://amzn.to/2AiK2MQ
Hey, it’s Feature Friday, so that means we have a guest poster today. Please welcome Viviana MacKade as she shares with us a little about her upcoming release, His Midnight Sun!
His Midnight Sun
by Viviana MacKade
Tormented, fierce, and broken, sculptor Aidan Murphy has judged himself guilty. He yearns for love but pushes everyone away. He longs for acceptance but has lost the key to open his heart. Until he meets Summer Williams. Beautiful and smart, Dr. Williams promises haven for a man who believes he deserves none. All he has to do is let her in and risk his heart and soul.
Summer’s managed to keep her inner light alive, even through tragedy. She’s created a new life for herself and her daughter in Crescent Creek with loving, caring and fun friends–well, except brooding, breathtaking Aidan. She’s used to keeping away from his type, though. All she has to do is ignore the pull of a man who’s turning up to be much more than snarls and storms. Will her compassion and medical instincts let her?
Love can heal a broken soul and shake up a timid heart. Or it can unleash devastation and revenge.
Will Aidan and Summer survive the hurricane?
Release September 15, available for pre-sale
$ 0.99 FREE with KU
I didn’t realize His Midnight Sun had a theme until well after I finished it. Honestly, I don’t write to teach, preach or any other significant and profound reason. I write to entertain. To give people a break. I like to think my stories are fairy tales for adults, where the characters go through changes and problems and tragedies, but will get to the happily ever after. The great Susan Elizabeth Phillips said that life is too short to waste with depressing books, and that sums perfectly the way I want my books to be.
An escape. Heaven knows if we all need it one sometimes.
So I didn’t have anything in mind other than telling Aidan’s story when I started.
And what do you know, I found myself with a phoenix’s story. A man who learns how to leave the past where it’s supposed to stay, who learns how to forgive himself and how to accept love. And through him, I discovered the same things. In many ways, Aidan’s story is my story, his demons are my demons, and because of him, I saw a way to boot them out.
Summer showed him the power of love–not just romantic love, but for the other people. For friends and strangers alike. Which turned out to be the theme of the book.
The healing power of love.
Crescent Creek, early July.
With no fight left in him, Aidan Murphy sank down on the wooden floor of his home studio.
Aidan filled his burning sight with the finished, almost 7 feet tall piece of art. Hell to work on, pure and simple, but it couldn’t be helped, not when it had called to him with such powerful voice.
Two weeks earlier, he’d been wandering around the stone-site when his skin began humming, and his heart beating faster. Years of sculpting had taught him how to hear the calling, the silent scream of whatever form lay trapped inside the rocks begging him to free it.
He’d followed his guts like so many times before and laying a palm on the cold, white alabaster, had known something waited in there. He’d bought the squared monstrosity, never stopped working on it since the day it had been delivered to his address. At every bite of the masonry blade, at every kiss of the chisel and caress of the rasp, its voice had been easier to hear, pushing him, constantly pushing him to keep going, keep working.
A couple had emerged from the stone and if beauty could hurt, by God, this one would in so many ways. Those two people were set to break any viewer’s heart. Nothing happy or gleeful about them, nothing about being lost in the fallacy of love; the pair stood in a tight embrace made of disillusion and reality. Rightfully so, because wasn’t love just that? Another form of pain? A delusion?
Aidan shook his head. Whatever love was for the average person, these two people he’d given life to scratched at the thick walls of his reticent heart. He didn’t care for such shit.
Much smarter to focus on his very real, very tired body.
Too bad the small motherfucker rock poked at the edge of his consciousness, staring from the opposite side of the room.
Not the colossal couple he’d just freed from alabaster. Oh, no, the one giving him attitude was a stupid overgrown pebble slightly smaller than his fist. Why was it even in the house? He’d cut outside, it made no sense for it to be there. “Shut the fuck up,” he grumbled, rubbing exhausted eyes with scarred, dirty hands.
Never a stone’s call had been left unanswered, but… fuck it, it was too much, too soon. He needed time to return human before starting a new project and besides, what could possibly be inside that little piece of shit? A fucking bug? “Fuck off.”
Of course, the nagging didn’t stop.
Ignoring the silent pull to the useless stone, he got up, walked to the other side of the room, picked it up and all but crashed it on his desk. “Better leave it alone, matey. Next time you bug me, I’ll turn you into sable. Ugly fucker.”
Aches pulsed and hissed everywhere; a thin layer of dust, crumble of wax, and sweat covered him, made his skin prickle. For all the good clothes had done to him, he might as well work buck naked next time.
Back in front of the new statue he stood, hands on hips, looking at it–tall and strong, fiercely beautiful in its message of pain. Perfect.
A sudden ray of light stabbed his eyes, made him jerk his head in protection. Fucking morning sun. Or afternoon sun. He had no clue. It was hard to tell the passing of time when he got lost in the wild, strenuous journey into the heart of a rock.
How many days had gone since it had been delivered and he’d started working on it, four? Probably more as not bruising the stone had slowed everything down. He’d heard fireworks in the distance, so Independence Day had come and gone. Hard to say how long had passed after it.
For days he’d eaten bread straight from the plastic bag or some other easy crap when hunger punched his stomach; had drank lukewarm water from bottles scattered everywhere; slept on the couch when he made it so far from the sculpture, although most of the times he’d pass out on the hard floor until discomfort woke him up, and he’d go back at the rock again.
Ah, but what an adventure, he thought with awe as he ran a hand over the side of the sculpted woman.
Now he was done, meaning he didn’t want to have anything to do with stones for the near future.
He took a sharp intake of air when the little rock on his desk poked at his mind again. No clue as to when but at some point, the cleaning crew would come, let’s see how the rock would like it. “If I throw you back on the floor, they will get rid of you. That’s right, they’ll throw you away,” he croaked, his damned throat hurting from not having talked in days.
Aidan sat down, stretched his aching legs in front of him, and tried to lean back on his arms; his muscles screamed in protest.
Shit, he was in pieces, worse than usual.
Giving up, he laid on the dirty floor and closed his eyes–they scratched like sandpaper.
Bed. He craved a bed more than the next breath. Decent food. A shower. After that, the little stone would stop being a bitch and leave him alone. It was only a fucking pebble, a leftover from the couple and too small to have anything special in it, anyway.
He’d wait five minutes, no more, and he’d get up, order food, hit the shower and, finally, pass out on a real bed. Satisfied with the carved couple, clean, and with a full belly.
Just five more minutes.
Beach bum and country music addicted, Viviana lives in a small Floridian town with her husband and her son, her die-hard fans and personal cheer squad. She spends her days between typing on her beloved keyboard, playing in the pool with her boy, and eating whatever her husband puts on her plate (the guy is that good, and she really loves eating). Besides beaching, she enjoys long walks, horse-riding, hiking, and pretty much whatever she can do outside with her family.
On my website http://www.viviana-mackade.blog/
Because it’s a national holiday here in the US, I’ve opted to move WIP Wed to next week–so be sure to come back to participate then!
I’m considering starting a New Release Saturday as well–where people can drop in and share what they have that’s about to come out–what do you think?
In the meantime, I’m in the final edits on Ghost of a Chance, the next standalone in the Redclaw Security series.
I can’t wait to share this one with you! I see a lot of similarities between Sarah and myself: we’re both fangirls and we grew up frequently hearing how we fell short on expectations. Part of Sarah’s journey will be to recognize her self-worth, and discovering things some people see as flaws can be your biggest strengths.
As part of the run up to the next book release, first Reclaw book, The Panther’s Lost Princess is FREE until July 5th, so grab your copy now!
This is going to be hard for me to say, but I think we should stop seeing each other.
I know that the time-honored tradition is to say it’s not you, it’s me, but I can’t. The truth is, it is you.
See, I think you’re an abuser.
You come in with great promises. I confess, they sounded fantastic. And others sang your praises. It seemed like such a loving relationship between a distributor and an author. Writers were making money, enough to quit their day jobs and concentrate on writing full-time, and in this profession that’s the Holy Grail of promises. Who wouldn’t leap at that?
Sure, the clause about exclusivity niggled a bit. Since we’re being frank here, it bugged me a lot. But my fellow authors told me that if a book wasn’t in KU, it had little hope of reaching bestseller status within a genre, and a quick glance at sales rankings seemed to support this. I worried I was giving you too much power in this relationship, but there weren’t a lot of good options out there. Besides, the risk that you’d abuse that power was all theoretical, all down the road. Some day. Not today.
But the thing I didn’t count on was the need to feed you more and more stories in order to make your magic work for me. That’s my fault, not yours. I’m incapable of cranking out a story every couple of weeks, and the idea of collaborating on a large scale with other authors under one pen name just wasn’t a good fit for me for that reason as well. So I shouldn’t have been disappointed that my stories haven’t done well in KU. There’s a lot of competition. I’ve waffled back and forth on whether I should stay in or not. I’ve put books in and taken them out. Either way, it seemed to make little difference. The reported success stories of other authors and their exclusive relationship with you would seem to suggest that it’s more me than you.
Or that could be you, gaslighting me.
Either way, I’m done waffling. I’m saying goodbye.
The scammers are collecting the lion’s share of your pot, and it’s obvious the system is frequently manipulated. I fully believe #cockygate wouldn’t have existed without the favorable environment created by your system. The author in question is a KU All Star. I think protecting that status is what drove the author to TM the word “cocky” and prevent any books with “cocky” in the title from being sold. Not because Amazon doesn’t have a generous return policy for those people who accidentally get a book by mistake, but because people reading other books with ‘cocky’ in the title aren’t reading hers.
Because it’s all about that page count.
You know, the page count that’s been affected by glitches that you refuse to fix. The one where you can’t tell us exactly how you determine page counts, but that’s the criteria for which we get paid–fractions of a penny for every page read, by the way. Slivers.You know, the system that benefits us until you release your bots in an attempt to get ahead of the scammers, and then lops off heads at will with little room for recourse.
Now, I’m hearing fellow authors saying they’ve been shut out of their accounts because you have accused them of manipulating the system when they only thing they’ve done is run a promotion through your own service. Not just one or two, but widespread. I know, I know, you’re trying to get the scammers, but you keep netting the innocent instead. (Any author who would like to appeal can reach out to firstname.lastname@example.org if they have additional questions. The Indie Author Support Network is also seeking documentation. A quote from them:
We are continuing to compile information and ask that anyone who has had their account suspended and/or books removed from sale on the Kindle platform, to please provide any documentation you have to indie@
Here’s the thing. It’s not worth it to me. Even without KU, 80% of my sales are through Amazon. The reason is clear–the Kindle is amazing and the website is superior. I get most of my own books (and nearly everything else) through Amazon. One of the factors in Barnes and Noble’s failure to compete is that their website is horrible. I can’t tell you how many times I’ve tried to redeem a coupon or credit and have been unable to do so. Or I follow the link to B&N to check out a special deal, only I have to log in at least three times before I can get to the page I want. I give up. Every time. I shop Amazon because it’s so easy.
So why not give Amazon the whole 100%?
Because we as authors can’t afford to have you shut down our accounts over some KU nonsense. Boom, the decree comes down and we are out of business. It’s hard enough to be an indie author without risking the ire of an impersonal god whose army of bot minions do all the dirty work. Like hiding works from buyers because they fell into an algorithm black hole. Or deciding to decrease the visibility of erotica and then mislabeling many romances as erotica. Your decisions are arbitrary enough without the exclusivity clause. I can’t afford to give you that much power over me.
We should all be thinking about what will happen to the publishing industry once Amazon owns it all. We’re already at a state where books have been devalued to the point of slivers of a penny.
Which is why I circled back to my original impression of you, KU. You’re bad for me. You’ve created a mindset where readers demand stories faster than I can produce them for ‘free’, a price I can’t afford. And while I’m not the world’s best writer–not hardly–I love stories too much to burn them as fodder for your KU fire.
When my run ends on my current promotion, we’re done, KU. We’re done.
Both sum up matters nicely, as well as bring up the implications and legal questions such an action raises.
Disclaimer: I am not a copyright lawyer and do not pretend to understand the ins and outs of the case. I am only presenting the information as I understand it.
The short version is this: Kindle All Star Faleena Hopkins (who also has written under the name Sabrina Lacey) filed trademark claims for the word ‘cocky’ as used in her series of stories surrounding a never-ending family known as the Cocker Brothers, as well as the specific font used in the titles of her books. The trademark now gives her the right to send cease and desist orders to every author with a book containing ‘cocky’ in the title. They are given the choice of changing titles or facing a potential lawsuit.
Author Jamila Jasper received a C&D email from Hopkins, which she then shared with social media.
Ms. Hopkins does not deny sending this email, and in fact responds to the sharing of it in various places on social media. It begs the question as to why Ms. Hopkins sent this email herself and not through her lawyer. The answer may lie in the fact many authors might choose to comply with the implied threat rather than face a lawsuit they cannot afford to defend. And it costs Ms. Hopkins zilch in lawyer’s fees to do so. This cover change is being held up as an example of one compliant author. And the recent title change of another book makes readers question if the author was forced to do so or chose to do so rather than be embroiled in the current debacle.
Ms. Hopkins states in a Facebook post that she is not out to take author’s livelihoods but to prevent her brand from being diluted and that changing a tile is no big deal to authors and costs them nothing. She also has claimed it is necessary to protect her readers from sadly buying the wrong books by mistake. (Um, you’ve noticed that Amazon has a very generous return policy on books, right?)
In her view, changing a title is no big deal. Unless it comes just before the romance convention season, when banners, swag, and advertising have already been ordered. Not if you count the cost of redoing entire pages if you’re a graphic artist, or paying for new covers. Re-recording audio files. Not to mention, losing readers who are looking for a title that no longer exists–but oh look, happen to head to the CockyTM author’s works.
Indie publishing is NOT cheap, by the way. It can cost somewhere between $1-2 K per story and there’s no guarantee you’ll see your ROI back.
Though not directly related, except as it goes to show the mindset behind the brand, Ms. Hopkins alleges her readers were also upset at seeing the cover models she’s used (stock industry images) appear on other covers. And that as a result, she was one of the first indie authors to photograph her own covers. (Spoiler: she’s not)
Then there is also this:
Irony number two: Same author apologized to the romance community for titling a book “Cocky Solider” when the MC, a Marine, would never refer to himself as a solider. Marines are Marines, thank you very much. Even after being informed of this by an actual Marine, Ms. Hopkins apparently stuck by her original title, stating in her apology letter that it was not possible to change the title as books had already been pre-ordered and it would cost too much to make the switch at the last minute.
Irony number three: Same author allegedly has a MC whom she depicts as a member of the Atlanta Falcons football team. Which is trademarked. And the NFL has a history of strongly defending their trademarks.
Let’s set aside whether or not the TM commission should have granted the TM. It’s being contested. You can sign the petition here.
Trademarking ‘cocky’ would be the equivalent of J.K. Rowling not trademarking “Harry Potter”, but just “Harry” and forbidding anyone to use the word Harry in the title of a story ever again. Harry Potter is a distinct entity created by Rowling. Harry in the generic, is not. This would be like E.L. James trademarking “Shades”. Fifty Shades of Grey is trademarked. It’s a franchise. The word “Shades” is not. There is no special brand associated with that. Not even Ray Bans. The word has existed and been used long before FOSG made it a household name. To make the example truly ridiculous, it would be as if I attempted to TM ‘shifter’ and banned the use of the word in every paranormal romance title featuring the same.
Speaking of E.L. James, that author appears to have thrown some shade at Ms. Hopkins by suggesting her bank holiday read would be a popular book with “Cocky” in the title that pre-dates Ms. Hopkin’s series.
The implications of this maneuver are huge. Not just in the romance genre but across the board in the entertainment industry. Romance Twitter is being utterly inventive and vicious with their #byefaleena and #cockygate hashtags, with authors are retaliating by posting remade covers of their stories ALL renamed with “Cocky” in the title, and changing their Twitter handles to include “Cocky” in their name. There’s currently a request for stories for an anthology: The Cocky Cockers. They are soliciting romance stories from all genres, that must feature a cocker spaniel, around 5 K words and submitted by 5/31/18. I’m tempted. Sorely tempted.
But the underlying concern is real. The petition to cancel the trademark was started. The Romance Writer’s Association has asked any members (and now non-members too) who have been contacted by Ms. Hopkins to get in touch with them, and they are currently talking with an IP lawyer.
Imagine if someone decided to TM “Duke”. The impact on Regency historicals would be unreal. Or what about “Love”? Can you imagine having the gall to email Elizabeth Gilbert and tell her she has to rename Eat, Pray, Love?
Sadly, for the hundreds of people I see outraged, I am also seeing people nod and say what a great idea this is–and you can see them considering being the first to ‘snag’ a popular word to claim for their very own. I’m also hearing readers say they no longer search Amazon for romance titles because the system is so gamed. Some authors have been known to place their books with all-white characters in ‘diverse’ categories because it is easier to get a ‘bestseller’ label in a smaller niche. This practices goes along with page-stuffing in KU–something I didn’t understand until I read this description on one of the KU boards:
Page stuffing is the practice of putting additional, full-length novels in the back of another novel to inflate page count (for the purposes of increasing KU payout) – usually paired with some kind of inducement for readers to click to the end, past the content they likely own already (as it’s novels already on sale in the Kindle Store). This inducement often takes the form of an exclusive short story, or special offer.
Of course, this only works if the book is enrolled in KU. And it is definitely against Amazon and KDP’s TOS, so if you come across something like that, it’s not allowed. From my understanding, authors may tuck as many as three to four other books in the same series in a KU book in this manner. Supposedly, Amazon has fixed the ‘skipped pages’ thing that was making this profitable, but I’m hearing that’s not necessary true.
What IS allowed is a sneak-peek excerpt, or a first chapter of another work as a teaser. Most authors do this. It’s considered normal.
Why do I bring this up? Someone on Twitter explained that a successful KU author–even if the name was unknown to the general population–could be looking at grossing 20-50 K a month writing romances. A month. (Quite possibly spending 1-15 K in advertising to hit Kindle All Star status, but still…) Obviously, I’m going about this writing romance business all wrong.
It explains why someone might choose to go this route, even though they have earned the enmity of Romancelandia–and possibly destroyed their own writing career. To go “Full Faleena” has already become a catch-phrase on how to shoot a successful career in the foot.
Author Jenni M Rose on Twitter related what happened when she realized she had named a book after a popular series and reached out to the author, Mari Carr. This resulted in #BeAMari becoming a hashtag. This is the classy way to deal with perceived competition.
I confess, I had to laugh when I saw this post. Someone has already taken a Chuck Tingle approach in response.
Right-o, then. The object lesson here? Be a Mari.
If you have issues with the ramifications of being allowed to TM a word to prevent it from being used in romance titles, I suggest you sign the petition to cancel the trademark as listed above. Don’t berate the author on social media. Don’t one-star her books. The author has every right to TM her series, especially, as it seems, she has hopes of making movies based on them. My problem stems from trademarking a word that has been used in titles long before Ms. Hopkins laid claim to it. The Cocker Brothers might be her brand, but I dispute that she should have the sole right to use ‘cocky’ in a book title.
Hopefully, the TM commission will see this as well, cancel the TM, and we can all move on.
UPDATE: Author and retired lawyer, Kevin Kneupper, has filed a challenge to the ‘cocky’ trademark.
This post could also be titled: Why Amazon Needs Competition from Other Publishing Markets.
Because it does.
Last week, I posted a question to one of my indie publishing support groups, asking for a show of hands for those who used KU or went wide with their distribution. The vast majority of people went with KU. Certain genres do quite well there, and most authors did have their books enrolled in KU. Many said they would release wide the first week before pulling their books from other platforms and going with KDP select from then on. The vast majority of authors said they just didn’t make enough money on the other platforms to justify not doing KU, and they did make money on KU. Not much, admittedly, but since it was the only game in town…
The other day, I was scrolling through my Twitter feed, pleased at how many companies had pulled their support from the NRA, and seeing the calls for boycotts of companies that hadn’t done so. And then I saw that Amazon not only supported the NRA, but they advertised with Brietbart.
Because a) Amazon is big enough not to give a rat’s ass about public opinion, even when the tide is turning on the matter of sensible gun control here in the US and b) virtually every author I know would be crippled by an Amazon ban. Myself included.
Just this morning, I was chatting with my critique group about the state of publishing in general and signs that Barnes and Noble is going under. B&N, who gobbled up Borders, and now is falling victim to Amazon. The chain bookstores crushed all the smaller competition, and are now getting killed themselves. When I first moved here, we had a Waldenbooks, a Books A Million, B&N, and a fantastic used bookstore. They are all gone, with the exception of B&N. And now it looks like B&N will be folding soon.
Hopefully it will get bought out by someone else, but that seems less and less likely in today’s market. I like my local B&N store. I don’t go there as often as I used to because I buy mostly digital books now. My first e-reader was a NOOK, but it was heavy and had a pitiful battery life. But the real reason I bought a Kindle and began getting all my ebooks from Amazon was that B&N’s website sucks. OMG. It is so terrible. I get a coupon or a book link, log in, attempt to buy the book, and the site kicks me out multiple times, requesting I log in again or redirecting me off the page where I am trying to redeem my coupon. My experience was so consistently bad, I actually thought ebooks would never catch on. Hah.
The ease of being able to get a book on my cell phone’s Kindle app converted me. The superior functionality of my Kindle Paperwhite gives me so much more than the NOOK that I don’t miss the fact my book covers aren’t in color. B&N is falling victim of its inability to keep up.
Recently I heard Wal-Mart is getting into the e-book game, and along with Kobo, Apple, and Google, are pursuing the ebook market. What this means for indie authors, I don’t know, but I suspect they will not do any publishing. They are more likely to serve as a distribution center. Are they willing to take a loss on book sales the way Amazon is? Amazon is not a publisher. It sells products, including e-readers. If selling books brings people to the website, they are more likely to buy other things too. At the moment, Amazon is content to lose money on book sales. So maybe that’s what Wal-Mart is ultimately hoping for–books driving people to their site (which I didn’t even know existed until now).
Competing distribution sites is all well and good, but I think we need someone else in the field who will allow self-publishing on the scale Amazon has done. I think we as authors need to think carefully about letting Amazon be our sole distributor as well. Because relying solely on KU feels a little bit like sacrificing a virgin to keep the dragon happy for a year–and what’s going to happen when the town runs out of virgins?
Amazon will call all the shots then. And authors, who have never been a priority for them, will be eaten up along with the town.
I am so pleased to announce that The Panther’s Lost Princess, Redclaw Security Book 1, is now available on Amazon and KU!
If you love shifter romances, this one’s got a little of everything for you: fated mates, a princess in disguise, lovers on the run, and a heroine learning to come into–and accept–her power.
Ellie West has always known there was more to her story than being abandoned at birth. A child of the foster-care system, she didn’t get many breaks, but the one thing she can do is sing. It’s her only ticket out of poverty and obscurity. Nothing else matters, not even the nagging sense that she’s different. She’s headed for great things. She only needs a chance.
Jack Ferris couldn’t agree more. His firm, the elite paranormal agency Redclaw Security, has been hired to find a missing princess and return her to her family. Discovering that Ellie, a waitress in a hole-in-the-wall diner, is both the princess and his fated mate is like being hit with a sledgehammer. Ellie West can’t be his mate. She’s the mission.
The sooner Jack completes this job, the better, only Ellie has no intention of throwing her dreams away for a kingdom she’s never known. With hired assassins on their trail, Ellie might not have a choice. They must do whatever it takes to stay alive.
She closed the distance between them with grace and determination. When she stood a mere breath away, she looked up at him from underneath her bangs. At some point when he’d been upstairs, she’d taken out those horrible fake blue contact lenses. Now she gazed at him with eyes that glowed gold in the firelight. With her index finger, she lightly traced down his arm, hesitating as she neared his wound.
“Does it hurt much?” Her voice, velvety-soft, connected with something inside of him and pulled him a step closer.
The words dried up in his mouth, and he had to swallow hard before he could speak. “Ellie.” He wasn’t sure where he was going with that, only that he had to try to make her understand why he couldn’t accept her invitation.
“Jack.” The way she said his name, with such amusement at his futile attempt to resist, battered at his remaining intentions.
“We can’t… I can’t. It would be wrong. I’d be taking advantage of you. Surely you can see that, right?”
“What if I want to be taken advantage of? What if I choose you?”
Her words pulled a groan out of him. “You don’t know what you’re saying.”
“I know what I want. Better than anything I’ve ever known as long as I can remember. I want you, Jack Ferris.”
Take her. Mark her. Make her our own.
Book 1 in the Redclaw Security series is waiting for you–pick up a copy today!
I’ve been doing some cleaning up around the house and I recently came across some old journals. I’d gone to a sci-fi convention back in 2007 or so, and had attended all the writer’s panels they held. I scribbled down every bit of advice, every shared experience, every tale of woe shared by the authors on the panel. Believe me, it wasn’t a cheerful or encouraging discussion.
Let’s place this in perspective though: at the time of the convention in question, smartphones had yet to exist. Amazon had just launched its first Kindle (with a $400 price tag) and readers swore up and down it would never catch on. Instead, Amazon sold out of them before the day was out and they were on back-order for months afterward. Google Maps wasn’t yet a thing–and I don’t know about you but I can’t go anywhere without it today! There was also no such thing as ‘the cloud’, if you wanted to save important material, it went on an external hard drive. Heck, I used to back up all my stories to a thumb drive before there was such a thing as dropbox or Google drive!
Youtube was just becoming a thing. No one had heard of a Roomba, much less videotaped their cat riding it to upload it to Youtube. The guy that used the 3D printer to create an arm for his son? Yeah, didn’t happen yet. Virtual reality devices and space travel remained concepts for science fiction. Now my husband has a VR device and space travel is looking more and more possible.
Ten years ago, the main way for someone to get published was through the Big Six (or Big Five now, since the Penguin-Random House merger). Self-publishing back then meant ‘vanity publishing’, and was the mark of someone who couldn’t get published any other way. It’s taken a decade to diminish that stigma, and there are still people out there who refuse to read any self-published work.
One of the YA authors on the writer’s panel spoke of the difficulty in getting published, and why so many authors accepted terrible deals as a result. They wanted so badly to be published that any offer seemed like manna from heaven and was accepted without question. This author explained that she’d submitted a story and had been told by the publisher they loved it so much they wanted it spun out into a ten book series. What unpublished author wouldn’t jump at that kind of offer? But she didn’t really examine the contract details or what the press would require of her. Without fully comprehending what it would entail, she signed a contract agreeing to produce 70 K words every six weeks–and that later books in the series could be written by other people. She was responsible for creating a ‘Bible’ that could be used by other authors to follow the story arc. She told us that she had to write a minimum of 5 K words a day and never had a chance to look over what she’d written–she just submitted it and hoped the editors would catch anything wrong.
This young woman looked exhausted. And you could see in her eyes that the joy of writing had become a drudgery of pounding out words that she scarcely cared about any longer. Her take-home message was about reading contracts and standing up for what you believe in, but when asked if she would do it again, she said yes because she was published. Wow.
The guest of honor had even harsher words for the industry. He spoke of how publishing houses used to be run by people who loved books, and for every mega-seller like J.K. Rowling’s Harry Potter series and one moderate best-seller, the firm would carry eight mid-listers. In his opinion, that was all changing. When he began writing, the expectation was that once you had one hit seller, sales from that first book would help produce others in the series. Now, every book had to sell in the stratosphere, and each book you wrote had to outperform the one before. Publishers were getting greedy, and demanding greater production with no care as to the content. Authors could no longer get by on writing one book every year or so. The guest speaker, by the way, was George R. R. Martin.
Another writer agreed with him, saying that she’d known many authors unable to live up to the ‘outsell your last book’ production model who’d been dropped by their publishers and had re-invented themselves under a new pen name with a new press–which meant dividing their original audience even more and having to build from scratch again. And with the number of Big Publishing Houses getting fewer and more interconnected, finding a new publisher wasn’t as easy as it sounded.
I basically came away from the panel thinking I’d never be a published author.
And yet I am.
In 2013, I was one of the authors at a sci-fi convention on a writer’s panel, giving advice to eager wanna-bees in the audience.
Remember that list of tech I mentioned? Yeah, the one that has had the biggest impact on publishing is the Kindle–or e-reader in any form–but face it, Amazon has been the largest driving factor here. Amazon put e-readers into the hands of thousands, and then has nearly singlehandedly created the self-publishing industry by making it so darn easy to do. Advances in tech have also made it possible for people to make cover art, format stories, promote newsletters and so on–and if you can’t do these things yourself, the Internet has made it possible for you to find the skilled services you need. (Another reason why we need Net Neutrality, damn it!).
Now I’m not saying Amazon is the Great Hero here. The rise of e-readers has made it possible for me to become published because the rise of small digital presses meant someone would take a chance on a no-name like me. But that same juggernaut has slowly crushed a number of these small presses over the years because many of them can’t compete with the behemoth that is Amazon. I’m just saying that as a company, it revolutionized the way we read–making books more accessible, making self-publishing an option many didn’t have before, and also freeing the industry from standards set by a select few as to ‘what will sell.’ But I also believe that Amazon will grind us all to dust if we let it. That’s why though I use Amazon and KU, I don’t rely on them alone for sales. I distribute to other outlets when that KU wave crests. I support my local B&N (sadly, B&N’s website TANKS compared to Amazon’s–ordering an e-book from them is a huge PIA in comparison) and independent bookstores too. Once Amazon has ALL the publishing market, we’ll discover Amazon isn’t really a publishing company. They sell e-readers. Authors aren’t their priority.
But they have made it possible for me to be a published author. Something that never even seemed remotely possible in 2007.