It Doesn't Have To Be Right…

… it just has to sound plausible


Apollo Quartet review copies

It’s been two years since Adrift on the Sea of Rains was published, and reviews of it continue to appear online. Which is very gratifying. But for some reason books two and three of the Apollo Quartet, The Eye With Which The Universe Beholds Itself and Then Will The Great Ocean Wash Deep Above, published sixteen and six months ago respectively, haven’t been reviewed to the same extent. So this is just a note to say ebook review copies of The Eye With Which The Universe Beholds Itself and Then Will The Great Ocean Wash Deep Above are still available. If you fancy one, either leave a comment or tweet me at @ian_sales. I can do epub, mobi or pdf. At a pinch, I can even do paperback.

Meanwhile, of course, work continues on All That Outer Space Allows. I’m at that stage where I’m reading research materials to get a feel for the period and place and cast, and getting some early words down on paper. The story opens in 1965 at Edwards Air Force Base and ends in Florida on the evening of 16 April 1972. It will be about astronauts and it will be about science fiction.


Here’s the opening paragraph. As you can see, it’s going to be a bit different to the preceding three novellas…

Ginny is at the table on the patio, in slacks and her favourite plaid shirt, hammering away on her Hermes Baby typewriter, a glass of iced tea to one side, a stack of typescript to the other. Something, a sixth sense, she’s developed it during her ten years as an Air Force wife, a presentiment, of what she can’t say, causes her to glance over at the gate to the yard. And there’s Bob, Lieutenant Colonel Robert Lincoln Hollenbeck, cap in hand, his movie-star profile noble with concern. Ginny immediately looks over to her right, across to the Air Force Base and the dry lake. Her hand goes to her mouth. Oh my God my God my God. There’s a line of dark smoke chalked up the endless sky. My God my God my God. She pushes back her chair and lurches to her feet.

The above may change as I get further into the story and things start to come together. But for the time-being at least it gives a good idea of what I have planned.


Self-publishing from the inside

Once again, there has been some discussion online about self-publishing versus traditional publishing, prompted by a deeply-flawed report by Hugh Howey posted here. Others have already taken apart Howey’s argument, so I won’t bother – although I will point out that equating the quality of a work of fiction with its level of commercial success is a fallacy and not at all useful.

However, on reading Howey’s piece it occurred to me that my own experiences self-publishing my Apollo Quartet over the past two years might prove a more useful example. Especially since I can provide actual numbers – ie, real data. I am an award-winning self-published science fiction author, but my level of commercial success has been very modest. I’m happy with this – I didn’t self-publish in the hope of earning £millions, and I put much greater personal stock in critical acclaim than I do units sold.

The first book of the Apollo Quartet, Adrift on the Sea of Rains, was published on 9 April 2012, and launched at that year’s Eastercon, Olympus 2012 at the Radisson Edwardian Hotel, Heathrow. I priced the signed hardback at £5.99 and the paperback at £3.99, price points I felt were about right for its length, although during the convention it was sold for £5 and £3 respectively. The second book, The Eye With Which The Universe Beholds Itself, was published on 17 January 2013. Since the cover prices for the first book had barely covered the costs of printing the book – and actually resulted in a loss on each sale through Amazon, thanks to its non-negotiable 60% discount – I increased the hardback and paperback cover prices to £6.99 and £4.99. At that year’s Eastercon on the weekend of 29 March 213 to 1 April 2013, EightSquaredCon at the Cedar Court Hotel in Bradford, I sold copies of The Eye With Which The Universe Beholds Itself at £6 and £4. The third book of the Apollo Quartet, Then Will The Great Ocean Wash Deep Above, was published on 30 November 2013, and had the same pricing as the preceding book.

AQ1 09 Apr 2012 £5.99 £3.99 £2.99
AQ2 17 Jan 2013 £6.99 £4.99 £2.99
AQ3 30 Nov 2013 £6.99 £4.99 £2.99

On 30 August 2013, I dropped the price of the paperback of The Eye With Which The Universe Beholds Itself to £3.99 and the ebook edition to £1.99. Initially, the new lower price was only intended to last for the month of September 2013, but I’ve kept them in place ever since. The new paperback price only applies on copies bought through the Whippleshield Books online store. Amazon currently offers the paperbacks for each book at £3.99, £4.84 and £4.97.

When I decided to self-publish Adrift on the Sea of Rains, I was certain that I wanted to do it “properly” – ie, as a small press would do, with a signed limited hardback edition, a paperback edition, and ebook editions in the most popular formats. I did not pay myself as the writer, nor as the cover artist; and I asked a friend to act as editor, with the promise of payment once my small press was in the black. So the only costs associated with Adrift on the Sea of Rains were the actual costs of getting the hardbacks and paperbacks printed up. I used MPG Biddles, a printing firm used by a number of small presses in the UK, and ordered 100 copies of both the hardback and paperback – but only 75 copies of the hardback would be available for sale, the remaining un-numbered copies were for beta readers, family, friends and my agent, etc. I used Biddles again for The Eye With Which The Universe Beholds Itself. Unfortunately, the company went into administration in July 2013, so I was forced to look elsewhere for my hardbacks and paperbacks of Then Will The Great Ocean Wash Deep Above. I chose Lightning Source for the hardbacks, and Amazon’s CreateSpace for the paperbacks. Both are print-on-demand, which meant there was no financial advantage to ordering the full print-run up-front. So for the hardbacks, I have so far had 65 copies printed, and while the paperback has been available for sale through Amazon since 31 November 2013, I’ve only ordered 20 copies to date to hold in stock for Whippleshield Books’ online store. As a result, my unit costs for the books were:

AQ1 £3.04 £2.32
AQ2 £2.86 £2.02
AQ3 £5.09 £2.31

In actual fact, I make £1.55 on each paperback copy of Then Will The Great Ocean Wash Deep Above sold through Amazon, whereas Amazon buys paperbacks of Adrift on the Sea of Rains and The Eye With Which The Universe Beholds Itself from me at 60% discount for £1.60 and £2.00 respectively (and I have to pay postage myself, typically £1.10 for an order of one copy). This gives me a unit profit on each book through each channel of:

by hand online Amazon by hand online Amazon
AQ1 £1.96 £1.85 n/a £0.68 £0.57 -£1.82
AQ2 £3.14 £3.03 n/a £1.98 £1.87 -£1.12
AQ3 £0.91 £0.80 n/a £1.69 £1.58 £1.55

So, while it’s possible to make a profit assuming the only costs are printing costs, there’s not enough in it to make it worth the time and effort. However, each book is also available in an ebook edition, priced at £2.99. And that’s where the money lies. The hardbacks and paperback editions of the Apollo Quartet have been, to put it bluntly, subsidised by the Kindle editions of the books. As of 14 February 2014, Whippleshield Books is £939.14 in the black, and I’m pretty sure it’d still be in the red if I’d only published the Apollo Quartet in hardback and paperback.


The two dips at the end of 2012 were a result of the invoices from the printers for The Eye With Which The Universe Beholds Itself. Ebook sales were robust throughout 2013 and the dip at the end of the year is the printing costs for Then Will The Great Ocean Wash Deep Above. (The only fixed costs for Whippleshield Books are the annual fee of £143.86 for the ecommerce website and the purchase of ISBNs at £118.68 for ten (each title uses three, one for each edition).)

AQ1sales AQ2sales AQ3sales TotalSales

Although Adrift on the Sea of Rains won the BSFA Award in April 2013, the two jumps in sales shown on the graph above were a result of mentions in the Guardian newspaper. Neither The Eye With Which The Universe Beholds Itself nor Then Will The Great Ocean Wash Deep Above have received such mentions. In fact, to date Adrift on the Sea of Rains has been reviewed in 44 venues, The Eye With Which The Universe Beholds Itself in 21 venues, and Then Will The Great Ocean Wash Deep Above in only 7. Each book also has, respectively, 18, 8 and 3 reviews on Amazon UK; and 7, 4 and 3 reviews on Amazon US.

And speaking of Amazon, I can see no relationship between the Kindle rankings and actual sales:

AQ1Kindle AQ2Kindle AQ3Kindle

And I’ve yet to be convinced the rankings are in any way useful to the author or publisher.

So, what have I learned publishing the first three books of the Apollo Quartet?

The most obvious lesson is that ebooks are crucial. They subsidise the hardbacks and paperbacks. And of all the ebook platforms, the Kindle is by far the most successful. I never bothered releasing the Apollo Quartet on Smashwords or the iTunes store, but I’m told by other small presses that it’s actually not worth the bother of doing so – over 90% of ebook sales will be from Amazon. I have made the Apollo Quartet available on Kobo, and both epub and mobi editions have been there for purchase from the Whippleshield Books online store from publication dates of each novella. But I’ve sold only single figures of each book from either of those venues.

Secondly, it’s all about eyeballs. If 1,000 people are aware of your book and 1% actually purchase it… that’s 10 copies sold. However, if 100,000 people see it and 1% buy it, that’s 1,000 sales. As a self-published author, it’s up to me to ensure that as many eyeballs see the books of the Apollo Quartet as possible. It’s not just self-promotion. If you’ve built up social capital, you can spend it to spread the word. It is, fortunately, a renewable resource, but it’s also hard work to spend. I put much more effort into getting word out about Adrift on the Sea of Rains, and the sales figures reflect that. (There’s also the possibility that Adrift on the Sea of Rains was a) sufficiently unlike anything else being published in science fiction to stand out, and b) I wasn’t chiefly known as a writer at the time so a little bit of novelty value attached.)

Having said that, timing also plays a part. The Eye With Which The Universe Beholds Itself was published in January, leading many to mistakenly believe it was published in the previous year and so ineligible to be nominated for that year’s award. I published Then Will The Great Ocean Wash Deep Above at the end of November, giving only two months – and over Christmas too – for word to spread before nominations for the BSFA Award closed. The best time to launch a book is between April and August, which gives sufficient time for sales to grow and word-of-mouth to spread. It’s even better if you can launch the book at a convention, as you’ll have a captive audience of your core readership for an entire weekend.

Although everyone says “don’t judge a book by its cover”, I’m pretty sure people do. Several friends and acquaintances have complimented me on the cover art for Adrift on the Sea of Rains but I’ve no way of knowing how much of a factor it was in generating sales. I’ll be releasing a new edition of The Eye With Which The Universe Beholds Itself with new cover art soon, so hopefully that should give some indication of the role played by cover art. I also deliberately chose titles – long titles, which have subsequently proven a bit of an arse to type out all the time – which sounded literary and so signalled the Apollo Quartet was literary science fiction. This may be why the one group of people I thought might buy the novellas have so far failed to do so: space enthusiasts. I sent copies to a couple of space-related websites, but none have so far run reviews. But then I’m not known in that group and have zero social capital there. I still think the Apollo Quartet would greatly appeal to space enthusiasts, but I’ve yet to find a way to get that message to them. Having audiences in two readership blocs can only help sales.

Finally, I could have just published the Apollo Quartet as ebooks and left it at that. That’s all some self-published authors do, and they make a very nice living at it thank you very much. But I felt I needed a small press of my own, and hardback and paperback editions, in order for my novellas to be taken seriously. And that’s precisely what happened. I don’t think Adrift on the Sea of Rains would have been shortlisted for the BSFA Award, and then gone on to win it, if it had only been published on Kindle. But, as I mentioned earlier, I value critical acclaim above units sold, so that dictated how I approached self-publishing.

It’s still my ambition to be published by a major publishing house. I plan to start soon on a novel, and I will not be self-publishing it. When I wrote Adrift on the Sea of Rains I was pretty sure no magazine or small press would publish it – which is why I did it myself. Its success came as a very pleasant surprise; but it has also demonstrated that I can write award-winning science fiction and, just as importantly, helped me find the space in which I want to write, the sort of science fiction I enjoy writing. I’m not a space opera writer, though I enjoy reading it; I don’t want to write cyberpunk or post-cyberpunk, though I admire some sf which is classified as that. I now know the type of science fiction I want to explore in my writing, and that’s what the Apollo Quartet has shown me.

And I also won an award and made around £1000 while doing it.


Apollo Quartet 3 published

Apollo Quartet 3: Then Will The Great Ocean Wash Deep Above is now available from Amazon. It’s been available as an ebook for several days – on Kindle (UK | US), Kobo, and as both epub and mobi from the Whippleshield Books website.

Since MPG Biddles went into administration back in June, I’ve had to find a different printer for Whippleshield’s books, and I decided to try Amazon’s CreateSpace for the paperback edition of Then Will The Great Ocean Wash Deep Above. Which means a book of the Apollo Quartet is now available in paperback in the US for the first time. You can buy it here (UK | US).

The limited hardback edition will be delayed a week or two as I’m using a different printer, but it’s available for pre-order here.

I’ve also decided to move forward the fourth book of the Apollo Quartet, All That Outer Space Allows, and will try to get it out for the first half of 2014. Perhaps even in time for the Eastercon in Glasgow. I’ve always had a clear vision of the story – unlike books 2 and 3 when I started them – so it shouldn’t be that difficult. But we shall see what the new year brings…

In the meantime, there’s always Then Will The Great Ocean Wash Deep Above to read, in either ebook or paperback…

ETA: Those of you have already pre-ordered the limited hardback edition, or are thinking of doing so, I’m happy to provide an ebook version – in pdf, epub or mobi – free of charge immediately to ease the wait…


Apollo Quartet 3 is here… nearly

There’s only a fortnight to go until Apollo Quartet 3 Then Will The Great Ocean Wash Deep Above is officially published, so I’m now making e-ARCs available for review. I have them in PDF, EPUB or MOBI format. Leave a comment if you’d like one.

I will, of course, be publishing the book in paperback and in a signed hardback edition limited to 75 copies, just as I did for Adrift on the Sea of Rains and The Eye With Which The Universe Beholds Itself. If you’re a collector-y type person, I’m afraid the hardback edition of Adrift on the Sea of Rains is sold out but there are still copies available of The Eye With Which The Universe Beholds Itself. Get one while you can. You never know, one day it might be worth something…


The art of selling books

Books do well when lots of people buy copies, but if they don’t know it exists, how can they buy it? When you self-publish, that’s the part of the process you wish other people would do. Perhaps it’s just me, but it feels a little… off to be doing that for my own work. Of course, you can get other people to trumpet your work – assuming it’s good enough, that is – by sending out review copies, and they’ll spread the word for you. All the same, as a self-publisher, or a compact and bijoux small press (if you like), Whippleshield Books doesn’t have the budget or resources of a traditional imprint.

Adrift on the Sea of Rains has been print now for eighteen months, in signed numbered hardback, paperback and ebook. The hardback sold out within a year. The paperback went to a second printing, and copies are still available. The ebook… well, ebooks are pretty much eternally available. This morning, as another order for a couple of copies of Adrift on the Sea Rains arrived from Amazon, I wondered which sales channels had been most effective at selling the book. So, one spreadsheet later, I ended up with the following…


I was surprised to discover I’d sold more copies through the Whippleshield Books online store than I had Amazon – though, to be fair, the hardback has never been made available through Amazon. I was completely unsurprised to learn I’d sold the most copies at conventions. When you spend the weekend in a hotel with a captive audience, even the most inept sales person (yes, I know; but it’s my actual name, not a nom de métier) can flog copies. It’s probably worth noting that at Odyssey 2012, the Eastercon at which Adrift on the Sea of Rains was launched, the paperback cost less than a pint of beer at the hotel bar…

To date, I’ve not had enough of a catalogue to justify Whippleshield Books taking a table at conventions, so other dealers have often kindly offered to let me put copies on their own. But by the end of next year, Whippleshield Books should have at least five books out, so I’ll probably have to start taking a table in the dealers’ room. Mind you, transporting stock to conventions will be an… interesting exercise, since I don’t have a car. And, rather than just a writer who self-published, which allows me to wear my writer hat pretty much all the time at conventions, I’ll also be a writer and a publisher… Two hats. I’m not sure how’s that going to work out yet.

I’ve not mentioned ebook sales so far because, well, first I don’t have to do anything, it just sits there on Amazon and people download it onto their Kindles. And second, Kindle sales outnumber all others by at least a factor of five. Many best-selling self-published writers have published only on Kindle. I suspect that five years from now, small presses will be publishing ebooks and only tiny print runs of a collectible hardback or paperback edition. Many already are. Personally, I like hard copy books. I like reading them. And I like that I can design them – which I can’t do for an ebook. I chose the typefaces I used in Adrift on the Sea of Rains carefully. The ebook version defaults to the reader’s preferred font, probably Times New Roman.

Of course, ebook-only books present another problem – will conventions start setting up virtual dealers’ rooms? a part of their online presence where attendees – or perhaps anyone – can purchase copies of ebooks sold by dealers who have paid for the privilege (and may not even be present at the con)? And if they’re doing that, then why not stream the panel items as well? Attendees need never leave the bar, just sit there with their tablet, a pint and some friends. They might not even need to physically attend – it could be a distributed convention. Those on panels would have to physically be present, of course. Anyway, that’s another topic for another day…


Adrift on the Sea of Rains: the podcast

An audio version of Adrift on the Sea of Rains has just been published by Starship Sofa – see here. I didn’t really believe the story would work as a podcast but, with some careful editing by Adam Pracht and myself, I think we managed it. Go and check it out and you’ll see what I mean.

However, we couldn’t really have the narrator read out the glossary, and since that’s part of the whole Adrift on the Sea of Rains reading experience, I’ve published it on the Whippleshield Books blog, both as a blog post and a downloadable PDF. See here.


The cost of doing business

During the Bank Holiday weekend, while working on Apollo Quartet 3: Then Will The Great Ocean Wash Deep Above, I stumbled across a book I’d not known about and which would prove very useful for research. So I promptly tracked down a copy on and ordered it. As I added it to the bibliography, it occurred to me that I’d spent more on research books for Then Will The Great Ocean Wash Deep Above than I had for the previous two novellas of the quartet.

It’s a somewhat unfair observation as both Adrift on the Sea of Rains and The Eye With Which The Universe Beholds Itself were written chiefly using books I already owned – books I’d collected for my A Space About Books About Space blog over a number of years. But because Apollo Quartet 3 is partly based on something about which I don’t already own reference books… I had to buy them. But exactly how much had I spent?

Totaling up the cost of all the books, and DVDs, mentioned in each of the Apollo Quartet books’ bibliography proved a bit of an eye-opener. It looked like this:

AQ1 £480.02
AQ2 £452.81
AQ3 £477.77
Grand Total £1410.60

That’s a hidden cost of writing, that is. Yes, I write science fiction, so I could just make it all up. And it would cost me nothing. Or I could just rip off ideas from other science fiction novels (I have quite a few of them too). On the other hand, maybe I could borrow books I need from the library – although I suspect at least 80% of the ones I used wouldn’t be available, even through inter-library loans. However, if I include only the books I bought specifically as research for the three novellas, then the figures are considerably reduced:

AQ1 £9.86
AQ2 £62.52
AQ3 £262.93
Grand Total £335.31

That’s not to say that reading all those books for research has been a chore. Having said that, don’t read about the Mercury 13 unless you need more anger in your life. But, on the whole, everything I’ve read for research has proven very interesting. Who knows; I’ve read books on women aviators before – such as Diana Barnato Walker’s Spreading My Wings – and so I might well have sooner or later ended up reading about the Mercury 13 anyway. I’ll certainly be hanging onto the books, and perhaps even re-using some of the research in later fiction… So it’s not like they were a waste of money.

Besides… books.

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According to a piece on the Bookseller website here, authors should not link to Amazon because by supporting the tax-evading giant they are contributing to the slow death of independent booksellers. The article names a number of authors, and the books they are linking to are their own – which is something that doesn’t apply to me since I’m both the publisher and author of the Apollo Quartet, so of course I link to my own Whippleshield Books online store. Except for the edition I published on Kindle, that is.

However, I do write about books, films and music here on this blog, and I link the titles through to Amazon. I’m a member of their affiliate scheme, and each sale from a link nets me about 2% of the purchase price. It’s not, in the grand scheme of things, a massive earner – typically about £50 a year, but that’s £50 I can spend on MOAR BOOKS. I initially joined Amazon’s scheme for a number of reasons – they stock books, DVDs and CDs on the one site, it costs nothing to join, and it’s very very simple to use (you just cut and paste a link into your blog). I did at one point swap over to using Book Depository’s affiliate scheme, which was more complex; but when Amazon bought Book Depository the whole point of changing over was lost.

The thing is, I don’t actually want to support Amazon. I don’t like their business practices, I don’t like their tax evasion, and I don’t like their routinely poor treatment of their employees. On the other hand, they are often the only people who have particular items in stock, their customer service is excellent (Nook take note), and they are usually the first port of call for online shoppers. I have sold more copies of Adrift on the Sea of Rains through Amazon than I have through my own online shop, even though the prices are identical. (Which is especially annoying as Amazon gouge a 60% discount from me on the books they sell, so I make a loss on every sale.)

There are plenty of online sellers I could use instead of Amazon: Waterstones, HMV, The Hive, ABEBooks, Foyles, even specialist booksellers such as Cold Tonnage, Porcupine Books, etc. (Having said that, it has always been my policy on this blog to link small press titles directly to the small presses themselves.) If I’m going to drive traffic to an online seller such as Waterstones, then I would like some reward for doing so. But no online seller that I’ve found so far operates an affiliate scheme as simple to use as Amazon’s. Foyles and Waterstones use a scheme run by Zanox, The Hive uses one from Japanese internet giant Rakuten, and both of those demand a £5 sign-up fee. And they have to approve you (which takes 10 working days). AbeBooks runs a scheme based in the US – yes, even the UK site – which means your earnings will be taxed by the US government unless you jump through a bunch of stupid bureaucratic hoops to prove that, like most of the fucking planet, you’re not actually a citizen of the USA…

I could, perhaps, link to my local independent book shop. But my local book shop is unlikely to be the local book shop for a reader of my blog. So that’s not going to work either. If there were a central site listing independent booksellers which I could link to, and which would determine a reader’s local book shop from their IP address… that would be pretty cool. But that doesn’t exist. And we’ve only had the World Wide Web for twenty years… Perhaps publishers could run some sort of affiliate scheme, then I could link in-print titles directly to their online catalogues. Except publishers’ website often contain incorrect details, not all them actually sell the books they publish, and such a scheme wouldn’t cover out-of-print titles.

Nonetheless I’m going to try a couple of affiliate schemes run by other booksellers, just to see how easy they are to use. And I’ll blog about what happens. On Saturday, I signed up for Foyles’ scheme, but I can’t use it until my application is approved. I’m going to limit my trials to UK-based schemes because I’ve no desire to be fucked about by the American IRS.

If I don’t find a suitable alternative, then I’m pretty much stuck with Amazon.


Self-publishing – one year on…

Whippleshield Books is now just over one year old and has to date published two books, one of them an award-winner. Although I started up the press in March 2012, and published Adrift on the Sea of Rains on 9 April 2012, Whippleshield Press’s online presence didn’t happen until 25 May 2012. So that’s a handful of days over twelve months, plus or minus a month or two. It has been… an interesting year.

Any discussion of self-publishing is sure to be over-shadowed by the likes of Hugh Howey and Amanda Hocking. They have been amazingly successful at it – and, to be honest, I can’t see why. I’ve read Wool, it’s not very good. Which pretty much demonstrates there is no magic formula to success at self-publishing. Something in Wool clicked with a large number of people, but whatever it was it’s far from obvious. What this means is that Howey is not an expert on self-publishing, and has very little that’s useful to add to the debate. And, in all fairness, he has admitted as much: this is what worked for me, he has said, but it doesn’t mean it will work for you. The media, however, are only interested in success stories, as if somewhere in every one of them is an obvious recipe for success. There has been some discussion recently of such “survivor bias”, and to anyone with any common sense it’s plain that luck is not a transferable skill. If one ticket wins the lottery, buying the ticket with a number one up from it does not mean you will also win.

Commercially, Whippleshield Books has not been a “winner”. I’m okay with this – I didn’t set it up to make me pots of money. If anything, I expected it to be a financial burden for much of its life. Happily, it went into the black in March this year… but then the ecommerce annual fee came due and I also had to reprint Adrift on the Sea of Rains. But it’s been back in the black since the beginning of May and seems likely to remain there. Whether it’ll have earned enough to pay the cost of producing book three of the Apollo Quartet is a different matter, however. I’ve been funding Whippleshield Books out of my own pocket so far, so if it doesn’t it won’t affect my planned publishing schedule.

Speaking of which, I’ve received three submissions in the past twelve months. One I bounced immediately as not meeting the guidelines. The other two I rejected after requesting the full ms. To be honest, I had expected to be sent more, even if most would prove completely unsuitable. I can only surmise I’m the only person writing the type of fiction I want to publish. Happily, I’m not the only person who wants to read it, as sales for the first two books of the Apollo Quartet have shown:


The two spikes are due to mentions in the Guardian (here and here). The second one coincided with Adrift on the Sea of Rains winning the BSFA Award, so the win may also have contributed. But given that the full novella was published in the BSFA Award booklet for members, I suspect it didn’t have that much effect. I’ve added “WINNER OF THE 2012 BRITISH SCIENCE FICTION ASSOCIATION AWARD” to the product description on Amazon, but I’ve no idea if that has had any impact.

Adrift on the Sea of Rains continues to sell well on Kindle – better in the UK than in the US, it must be said. The number of Amazon paperback orders has also picked up, typically now around one a week. Of course, I’d sooner those sales took place on the Whippleshield website, but I know of no way to drive customers there from Amazon. When I mentioned in a previous blog post that Kindle sales were “more or less pure profit”, someone on a forum responded: “I had to laugh at this one. Shows a real lack of understanding of the costs involved in running a successful website. Electronic files take up disk space which has to be paid for. The transfer of electronic files uses bandwidth that has to be paid for”. To which I can only say, if you’re paying for storage of a single electronic copy of your book, and can actually work out the cost of uploading that file to Amazon, then I suspect other people are laughing at you.


The Eye With Which The Universe Beholds Itself has not been selling quite as well. Nor has it been reviewed as extensively as Adrift on the Sea of Rains (review e-copies of The Eye With Which The Universe Beholds Itself are still available, incidentally), though the genre venues that have reviewed it seem to have taken to it slightly better than Adrift on the Sea of Rains. But then I did write it in such a way to force a reading protocol more tuned to sf readers.


Of course, The Eye With Which The Universe Beholds Itself has only been available since late January this year, so around four months in total. And word about Adrift on the Sea of Rains is still making its way throughout the genre landscape – such as making an appearance on SF Squeecast here, courtesy of Paul Cornell. Two books is a slim presence, especially given that they’re novellas too. I’ve had no short fiction published in genre venues with large audiences, at least not yet. So my platform remains small, and still chiefly confined to the UK.

Interestingly, Wunderwaffe, a short story of 9000 words which originally appeared in Anarchy Books’ Vivisepulture anthology, and which I produced as a chapbook limited to 12 copies before publishing it on Kindle, has been selling surprisingly well in the US. This may due to its low price. The $1.16 price-point, and the clearly stated length of 27 pages, however, hasn’t prevented a couple of people from leaving one-star reviews complaining that it isn’t a novel. I’m especially impressed by the review which states “stick to established authors that don’t give short stories under the cover of a book”. I think you’ll find “established authors” have also been known to publish short stories on Kindle too. In fact, John Scalzi’s latest novel was serialised, with each chapter sold as a separate ebook (not entirely the same thing, I know, but you know what I mean).

So there you have it – Whippleshield Books after twelve months. More or less. Plans for world domination may have to be put back another year or so. I believe Adrift on the Sea of Rains is the first self-published work to win a BSFA Award – although there are a couple of self-published works in this year’s Hugo shortlists. The stigma attached to the word “self-publishing” is slowly being eroded, but that doesn’t mean the self-published market is still not full of badly-written and poorly-edited derivative rubbish. But the good stuff is getting easier to find. I like to think that Whippleshield Books is, and will be, seen as a purveyor of that “good stuff”.


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