My trip into space

Well, into the National Space Centre, that is…

I may have been involved in science fiction for 25 years, but I’m relatively new to this “author” thing. I’ve done plenty of panels at conventions, but I’ve never given a reading, and I’ve certainly never spoken about something I’ve written to a bunch of complete strangers who may or may not have come to hear me talk or indeed have any clue who the hell I am.

But that’s what I did last Sunday.

The National Space Centre in Leicester had organised a two-week celebration of “Space Fiction”, beginning on 9 February and lasting until 24 February. I was asked if I’d like to contribute on one of those days as one of the clients of the John Jarrold Literary Agency. Since Adrift on the Sea of Rains and The Eye With Which The Universe Beholds Itself are proper hardcore realistic space fiction books it struck me they’d be well-suited to a reading in the National Space Centre… And so it was arranged: Philip Palmer, Chris Beckett and myself would each give a 30-minute talk/reading on Sunday 17 February.

As you approach the National Space Centre, the first thing you see is a giant pupa pointing up into the sky above Leicester. That’s the Rocket Tower. The rest of the building looks more like something you’d find on a university campus or science park. I’m not sure what I was expecting – something like a museum, I suspect – but it’s far more resolutely modern than my dim memories of visits to museums as a child suggested. I was immediately taken with the Soyuz on display in the main foyer. And it really is a tiny spacecraft. I’d known that, of course – I’ve researched this stuff, after all. But you have to see it in the flesh, so to speak, to realise quite how small and makeshift and fragile it is. The Soyuz is apparently only one of two on permanent display in the West.

I was collected from the foyer by Charlie, who was wrangling the three of us that day. She did an excellent job of looking after us, so much thanks. The actual venue for the talk proved to be a small lecture area just off the main concourse, with rows of benches facing a small stage backed by a large screen. There was another screen above the stage. Most of the National Space Centre is one big open space, partitioned into display areas by walls no more than three metres high, so there was a lot of background noise. But we had microphones.

Phil Palmer’s talk began at 12:15. He talked about science fiction and extrapolation, and it was obviously something he had spoken about before. He then read from both Debatable Space and Hell Ship. The audience was mostly families with small children – about twelve to fifteen people in total. Chris Beckett arrived during Phil’s talk.

Afterwards, we had a thirty-minute gap before Chris’ session started at 13:15, so we went to get a bite to eat from Boosters Restaurant. It was sandwiches and soup, so my face fell when I saw it. I asked one of the staff if they had anything that was dairy-free. He told me they’d make me any sandwich I wanted in a dairy-free version. That level of service and helpfulness still impresses me – it shouldn’t do, not in the twenty-first century; but it’s still unusual enough in the UK to be a pleasant surprise.

Chris’s talk was not as well attended as Phil’s had been. He spoke about rogue planets and how they’d been scientifically proven about he’d written Dark Eden. He also described the inspiration for the novel, and then read one of the chapters.

There was then another thirty-minute gap until my talk at 14:15. Phil had booked a ticket for the planetarium show, so he shot off to that while Chris, his wife Maggie, and myself went for a wander round. We headed for the Rocket Tower, though I was a little worried about suffering from vertigo on the top deck. But I was fine as long as I didn’t get too close to the railing. The LM simulator looked more like a computer game than an actual copy, but the 1960s living-room was good. The three of us recognised several items in it from our own childhoods. There was a piece of moon rock in a globe of the Moon, and one wall gave an illustrated timeline of the Space Race. The next deck down celebrated Soviet achievements, though from what I could see the Soyuz simulator was just a little room with a plastic seat in it. I didn’t linger as I needed to get back to lecture area.

Then it was time for my talk. I’ve not done public speaking since I left school decades ago, and I knew this was going to be nothing like being on a panel at a convention. For one thing, my audience would be just walk-ins, who had likely wandered across to see what was going on. My name will have meant completely nothing to them. (In the event, beside Phil and Chris, at least two members of the audience knew me – Will Ellwood, who I know via Twitter, and Dave Caldwell, who was a member of an APA I was in back in the 1990s.)

As soon as I was ready to begin, I hit my first snag. I only had two hands. I was using a PowerPoint presentation, so I needed to hold the clicker to advance the slides. I also needed to hold a microphone. And then there was the script of my talk, which I hadn’t learned off by heart. Damn. I’d need three hands. Charlie happily lent me her hands-free mike. She then introduced me and I started babbling…

I thought it went quite well. I managed not to speak unintelligibly fast, and I clicked through the slides in mostly the right places. I spoke about realistic space travel and science fiction’s poor record in depicting it, using ocean liners as spaceships rather than actual real spacecraft (such as the Soyuz in the foyer), and how I came to write the Apollo Quartet. I cut down the excerpts from Adrift on the Sea of Rains and The Eye With Which The Universe Beholds Itself I’d planned to read, and that proved to be a wise decision. I finished it pretty much exactly in thirty minutes. And the entire audience stayed throughout the entire talk. Afterwards, a couple of people came up and thanked me and said they had found it interesting.

Phil, Chris and myself then moved across to a table in the main concourse, where people could buy copies of our books and we would sign them. We were actually approached by more people asking for directions than we were people who wanted to purchase our books. But never mind.

It was a fun day. I’d liked to have taken the time to explore the National Space Centre more fully, and I certainly think it’s an interesting place to take children. Personally, perhaps, I’d have preferred more hardware and less science, but that’s what fascinates me. All the same, I could happily spend a day there.

Finally, the last two slides of my presentation were hints to the stories of the final two books of the Apollo Quartet. And here they are…

aq3

aq4

Self-publishing for fun and profit

Some people have made a lot of money very quickly through self-publishing; some people have won big prizes on national lotteries. I’m not sure which has the better odds, but I suspect there’s little difference in it. You can, of course, increase your chances of doing the former – write something derivative that plugs into an existing fanbase, and self-promote to such an extent you’re indistinguishable from spam. If, on the other hand, you self-publish because you have a vision and you want to get it out there, but no one else is interested in publishing it for you… Well, in that case, don’t give up the day-job just yet…

I’ve made no secret of my reasons for self-publishing the Apollo Quartet. I didn’t want to compromise on my vision for Adrift on the Sea of Rains – a vision that has been happily vindicated, since the novella has been shortlisted for the BSFA Award; and I wanted to launch the book at the same time as Rocket Science, and no existing small press, had they chosen to publish it, could have done so in time.

I also chose to publish the book as both paper and ebook. I could, of course, have just released it on Kindle, as so many self-published authors do. But instead I paid a printer – MPG Biddles – to do me hardback and paperback copies.

I have learnt much about writing and publishing over the past ten months…

1 the elephant in the room
It’s actually a huge South American river, not a pachyderm, but it certainly dominates book-selling. And it treats us small fry very badly. If I hadn’t signed up for Amazon Advantage, my books would be shown as unavailable on the Amazon website (I’ve only signed up for the paperbacks, so the hardbacks are indeed shown as “currently unavailable”). Signing up for Amazon Advantage, I have to accept the 60% discount Amazon takes. So every sale I make through Amazon is at a loss. If they ordered 100 copies tomorrow, I’d have to refuse the order. I can’t afford to fulfil it. As it is, the orders Amazon has placed for single copies in dribs and drabs over the months are costing me more as I have to pay postage for each copy I send them.

Incidentally, I’d be happy to cut all my ties to Amazon, but I see no alternatives. I use the Amazon affiliates scheme on this blog, and I had planned to drop it. So I investigated a few alternatives. The Book Depository one is simple enough to use, but they’re owned by Amazon anyway. The Waterstone’s one is a joke. It’s run by a third party, you have to apply for approval first, and I couldn’t find out how to link to individual titles on the Waterstone’s site. They should sort that out – they’d get a lot more business.

2 it doesn’t have to be ebook all the way
Publishing on Kindle is trivial. You format the document, knock up a cover, and then upload it to Amazon through the Kindle Direct Publishing website. Easy. Publishing paper books is harder, but not that much more so. And it does cost money, which publishing on Kindle doesn’t – but even then, it’s not that much. For The Eye With Which The Universe Beholds Itself, I formatted the document as PDF, and had the cover-art done the same way. I got an estimate from MPG Biddles, then placed the order, uploaded my PDF files to their website… and weeks later boxes of books were delivered to my house. It cost me £202 for one hundred 80pp paperbacks.

Of course, selling paper books is more difficult than ebooks. You have to hold stock of a physical item, and ship it to customers when they order copies. For Kindle ebooks, Amazon does all the work for you. You just watch the sales mount up (or not). And selling around the world is trivially easy. Except Amazon US pays you in US$, which is a problem.

3 what’s the bottom line?
Amazon offers 35% and 70% royalty rates on books published on Kindle. You chose the price at which you sell the book. It’s best, of course, to look at the price of comparable ebooks. Too high and no one will buy it, too low and people will think it’s not worth reading. The ebook market is still in flux at the moment, with huge numbers of low-priced self-published books, and ebooks from major imprints priced roughly the same as hardback copies. So there are as many pricing models as there are publishers. I chose to price my ebook editions at about two-thirds of the paperback price – £2.99. That seems to be working quite well.

For self-published paper books, there is no royalty. There is only sale price minus unit cost. I priced Adrift on the Sea of Rains at £3.99, because I felt that was a fair price for a 80pp paperback novella. Unfortunately, I was thinking like a buyer not a seller. It was too low, and I’d have to sell the entire print-run of 100 to cover my costs. So for The Eye With Which The Universe Beholds Itself I increased the price to £4.99. Which means…

Cost per unit: £2.02
Cover price: £4.99
Profit per unit sold: £2.97

Except…
For copies sold over the internet, I include p&p in the £4.99, so that’s -
£4.99 – (£2.02 + £1.10*) = £1.87 per sale

For copies sold by hand, I only charge £4.00, so that’s -
£4.00 – £2.02 = £1.98 per sale

(* I don’t include the cost of envelopes as I re-use as much as I can; but if I did, it would be an additional 20p)

If I sold copies only over the internet, I’d have to sell 52 copies to break-even; if I sold only by hand, it would be 51 copies. The true figure is probably slightly higher as I sell using both methods, and there’s those copies I sell through Amazon Advantage. Nor do I factor in the cost of the copies I give away for review.

Of course, this is only the manufacturing cost. There are a host of unpaid contributions which create the final product – not just myself as writer, designer, promoter, publisher and book-seller; but also the cover artist and the editor. At present, I’ve been lucky enough to receive all that for free (though I plan to pay once Whippleshield Books is more established). There are also peripheral costs which have to be included – ISBNs, the ecommerce website – so it’s going to be a while yet before Whippleshield Books climbs out of the red.

However, those £2.99 Kindle ebooks are more or less pure profit (less Amazon’s cut, the VAT they charge but do not pay, delivery cost, etc.). The money from Kindle sales helps finance the paper versions of the books. I’ve also sold more copies on Kindle than I have paperbacks or hardbacks. In fact, it’s been interesting watching sales uptick when Adrift on the Sea of Rains gets mentioned online. There was small jump in sales when SF Signal reviewed it. And a considerably larger one when the book was mentioned on the Guardian’s book blog“one of the most outstanding self-published books of the year”. More copies were bought on Kindle as a result of that mention than in the preceding nine months.

Having said all that, there is one advantage to publishing a book as a paperback or hardback rather than just on Kindle: you get taken seriously. If I’d gone for the low-cost option – ie, ebook only – I very much doubt I’d have sold as many copies, seen the books reviewed so many times, or even had one shortlisted for the BSFA Award. The future of publishing may lie in self-publishing – I hate the term “indie author”, incidentally – but, with the exception of a handful of outliers, the rewards are proportional to the effort, and money, you put into it…

Going into space

Well, the National Space Centre in Leicester. Which, for a fortnight in February, is putting on a “Space Fiction” special event. Between 9 February and 24 February, a number of authors will be giving talks at the National Space Centre. The full schedule is here.

I’ll be there on Sunday 17 February, with fellow John Jarrold Literary Agency clients Chris Beckett and Philip Palmer. Since Adrift on the Sea of Rains and The Eye With Which The Universe Beholds Itself are your actual bona fide proper hardcore space fiction, I’ll be talking about, and reading from, them. There’ll also be copies available to buy.

I guess I’d better start making notes on what I’m going to say…

Apollo Quartet 2 on Kindle

The second book of the Apollo Quartet,The Eye With Which The Universe Beholds Itself, is now available for Kindle on Amazon. It’s priced at £2.56, which is a bit odd as I did set it a little higher than that. But then Amazon probably included VAT in that price since it’s an ebook, and then took it off the listed price as they don’t pay it because they’re based in the Channel Islands. Not that they pay much tax anyway. But that shouldn’t stop you buying a copy of The Eye With Which The Universe Beholds Itself for your Kindle, of course.

the_eye_with_which_ebook_cover

On the other hand, you could buy the EPUB or MOBI ebook editions direct from the Whippleshield Books website here.

BSFA Awards shortlist announced

And it’s a bloody good set of shortlists – and I don’t just say that because I’m on the short fiction shortlist for Adrift on the Sea of Rains. (Which astonishes and pleases me.) I’m also on the non-fiction list in spirit via Karen Burnham’s ‘The Complexity of the Humble Spacesuit’ from the anthology I edited, Rocket Science.

It is all together a strong set of shortlists. Unusually, I’ve read more of the shortlisted items than for most years – three of the five novels (and the other two are on the TBR); two (well, three) of the short fiction; and four of the five non-fiction nominees (if you can be said to “read” an entire website).

Anyway, the shortlists goes like this…

Best Novel
Dark Eden by Chris Beckett (Corvus)
Empty Space: A Haunting by M John Harrison (Gollancz)
Intrusion by Ken Macleod (Orbit)
Jack Glass by Adam Roberts (Gollancz)
2312 by Kim Stanley Robinson (Orbit)

Best Short Story
‘Immersion’ by Aliette de Bodard (Clarkesworld #69)
The Flight of the Ravens by Chris Butler (Immersion Press)
‘Song of the Body Cartographer’ by Rochita Loenen-Ruiz (Phillipines Genre Stories)
‘Limited Edition’ by Tim Maughan (1.3, Arc Magazine)
‘Three Moments of an Explosion’ by China Mieville (Rejectamentalist Manifesto)
Adrift on the Sea of Rains by Ian Sales (Whippleshield Books)

Best Artwork
Ben Baldwin for the cover of Dark Currents (Newcon Press)
Blacksheep for the cover of Adam Roberts’s Jack Glass (Gollancz)
Dominic Harman for the cover of Eric Brown’s Helix Wars (Rebellion)
Joey Hifi for the cover of Simon Morden’s Thy Kingdom Come (Jurassic London)
Si Scott for the cover artwork for Chris Beckett’s Dark Eden (Corvus)

Best Non-Fiction
“The Complexity of the Humble Space Suit” by Karen Burnham (Rocket Science, Mutation Press)
“The Widening Gyre” by Paul Kincaid (Los Angeles Review of Books)
The Cambridge Companion to Fantasy Literature by Edward James and Farah Mendlesohn (Cambridge University Press)
The Shortlist Project by Maureen Kincaid Speller
The World SF Blog, Chief Editor Lavie Tidhar

Artistic license reviewed

I review books – for Interzone, for Vector, for SFF Chronicles (though not as often as I should), for SF Mistressworks, for Daughters of Prometheus, even here on my blog. I have been reviewing books since the late 1980s.(My first published review was of CJ Cherryh’s The Tree of Swords and Jewels in the BSFA’s review magazine, Paperback Inferno, in October 1988. I vaguely recall not liking the book.) I am not a critic, nor do I consider my writings about books to be criticism. I leave that kind of in-depth analysis to those who have the necessary tools to do it.

I have also been on the receiving end of reviews – more so this past year than in any other. In two capacities: as the writer of the text being reviewed, and as the editor of the book under review. On the whole, it’s been very informative. I knew when I wrote Adrift on the Sea of Rains that it was atypical and possibly difficult. I suspected its appeal was limited. Happily, it seems to have transcended that and the vast bulk of reviews have been positive and very complimentary. Many of them have also been quite insightful, pulling out things I’d hadn’t realised I’d consciously put in the story. But that’s what happens with good reviewers.

Which is not to say that good reviewers can sometimes get it wrong. Martin McGrath felt Dan Hartland’s review of his story in Rocket Science on Strange Horizons missed an important point, and so he responded to it in a blog post. Dan’s review is, in the main, a good, insightful review. I think it’s clear he and I differ on what science fiction is and needs to be – for one thing, I don’t feel Rocket Science is “weirdly old-fashioned”. If anything, the current fashion for hand-wavey sentimental sf harkens back to an older form of the genre, although the current form is generally far better written. Dan also comments on diversity in his review, pointing out that only five of the twenty-two contributors to the anthology are female. Rocket Science was open submission, so there wasn’t much I could do about that. But it’s bending the point a little to present the contents as being wholly male-centric, especially when the review fails to mention, for example, Deborah Walker’s ‘Sea of Maternity’, a story about a single mother and her unruly teenage daughter. In point of fact, as this post shows, 23.53% of the stories featured female protagonists.

But that’s a minor quibble, and I think Dan’s review of Rocket Science is a good and useful review.

Which is more than can be said for this review of Adrift on the Sea of Rains

Yes, there is a typo on the first page of the book: “sussurus” should be “susurrus”. There’s nothing I can do about that in the paperback and hardback editions. I’ve not bothered fixing it in the ebook edition, but I will do when I publish the second book of the quartet, The Eye With Which The Universe Beholds Itself. Typos happen, and while I should have caught that one, it did slip by a lot of other people as well.

I can understand someone having trouble with the prose style of Adrift on the Sea of Rains – no quotation marks! – and as a result not liking it. And so bailing before finishing it. I can comprehend a reader finding the subject not to their taste and so choosing not to read to the end. But, come on, giving up after a page because there are three (far from wildly obscure) words you don’t understand? That’s no excuse.

And to further suggest that it’s bad craft is insulting.

I do not believe in dumbing down my prose. I am not writing for people with limited vocabularies. I am writing for intelligent adults, because that’s what I consider my peers to be. I will not insult the intelligence of my readers because, as a reader, I loathe writers (or film-makers) who insult my intelligence. I may not always be successful in communicating precisely what I intended to communicate, but recasting it in words of one syllable is not a solution. I like writing “difficult” fiction, just as much as I enjoy reading “difficult” fiction. That difficulty, to my mind, adds value. It’s not just some slick superficial entertainment, but also something that makes you think, makes you reconsider your views and knowledge. Science fiction is particularly well-suited to that task – though the bulk of it fails to do more that bolster existing prejudices. I write about things that interest me and try to shine a new light on them. I don’t do “idea”. In fact, I’m becomingly increasingly convinced that the focus on idea is what continues to cripple science fiction. As long as you privilege idea, your fiction will not be taken seriously outside genre circles. And success within the genre is a poisoned chalice…

Science fiction is a small field, struggling to survive within the shadow cast by its history. There is also a very large elephant in the room of science fiction. (And I’m mixing metaphors, but never mind.) Past masters continue to provide topics within the genre conversation, despite no longer being relevant, of generally poor quality, and less available than in the past. Media sf is so popular the entire genre is believed to be the same as it – but science fiction is far from homogeneous. The sf works which receive general acclaim these days are ones that are not published as sf. Far from breaking down the walls of the ghetto, the tools of sf have leaked out but most of the readers and writers have refused to leave. This is not a healthy state of affairs.

There have been attempts in the past to re-engineer science fiction. While each ultimately failed, they did shift the genre in its course a little. Myself, I’d like to see science fiction stripped back to its roots and rebuilt for the twenty-first century, but that’s never going to happen. People are too happy with their tropes, no matter how old they are or how little sense they make in the current day.

I wrote the first two books of the Apollo Quartet as science fiction, and I set up Whippleshield Books as a science fiction small press. I consider myself a writer who writes in a sf mode. I use science fiction in my writing, I don’t actually write science fiction.

Perhaps the difference exists only in my head, but it’s enough for me.

EDIT: the review of Adrift on the Sea of Rains was also posted on Amazon.com with the heading “Artistic licence revoked!”. Hence, er, the title of this post… But I see now that’s he’s changed it… And reduced it to one-star. Yay, my first one-star review!

EDIT 2: “JL Dobias” has removed the “review” of Adrift on the Sea of Rains from his blog, so the link now points at some random blog post on “Gee Wiz” and “Wiz Bang” sf. The review on Amazon has also been removed, and the Goodreads review has been rewritten and now gives the book three stars rather than the original one. Dobias has thoroughly covered his tracks, so now only his comments here on my blog – all of which were from an email address belonging to a “Luci” – are all that remain of the whole farce. Given my dealings with Jerry/Luci, I suggest they’re best avoided.

Writerly bloggy hoppy thing

I got nominated for this by RJ Barker and apparently bad things happen to you if you don’t answer the questions and pass it on. So, fingers crossed, here goes…

What is the working title of your book?
I’m currently putting the finishing touches to the second book of my Apollo Quartet, The Eye With Which The Universe Beholds Itself. It needs a little more work in places, but my beta readers all think it is a stronger work than the first book of the quartet, Adrift on the Sea of Rains, which pleases me.

Where did the idea for the book come from?
I blogged about this in a series of post on the Whippleshield Books blog – Genesis of Apollo parts one, two and three.

What genre does your book fall under?
Literary hard sf. Or “art house hard sf”, as one person has described it.

Which actors would you choose to play your characters in a movie rendition?
If Steve Forrest were a couple of decades younger, he’d be perfect for the lead role.

What is the one-sentence synopsis of your book?
A scientific station on an exoplanet, humanity’s only presence outside the Solar System, has vanished and they send the first man on Mars to find out what happened to it.

Will your book be self-published or represented by an agency?
It will be published by Whippleshield Books, which is, er, my own small press.

How long did it take you to write the first draft of your manuscript?
About four months. It’s a 22,000-word novella, but it required a lot of research.

What other books would you compare this story to within your genre?
I’m not sure there are any. Outside the genre, Ascent by Jed Mercurio, perhaps.

Who or what inspired you to write this book?
The 40th anniversary of the Apollo 11 lunar landings – see Genesis of Apollo parts one, two and three. But elements of the plot of The Eye With Which The Universe Beholds Itself were specifically inspired by Lavie Tidhar’s review of Adrift on the Sea of Rains (see here).

What else about your book might pique the reader’s interest?
It suggests a reason for the Fermi Paradox.

Nominate five people to roll this onto
I shall cheat as RJ Barker did, and nominate a single person – Neil Williamson, who writes excellent short fiction and has even been known to enjoy an Opeth song or two on occasion.

More self-publishing home truths

Adrift on the Sea of Rains has been in print for just over six months and has so far sold around two hundred copies in all three formats. I didn’t set up Whippleshield Books and self-publish because I thought it was a sure-fire route to riches and success. I’d much sooner someone else had published the book. But I did it myself because a) I wanted it done quickly, and b) I didn’t want to compromise on my vision. Happily, I got the book out on time, and no one has had a problem with the way I structured the novella.

However, being a self-publisher and starting up a (very, very) small press has definitely taught me how difficult the entire process is. Basically, it’s a numbers game. If one hundred people know of your book and ten percent buy a copy, that’s ten sales. If one million know and ten percent buy a copy… well, you get the picture. But how to get your book in front of a million pairs of eyes? Every time someone buys a book by someone they’ve never read before, they’re taking a chance. How to convince them it’s a chance they won’t regret taking?

One of the myths of the American Dream and, by extension western society, is that hard work leads to success. It’s utter bollocks, of course. People work hard all their lives and still die owing thousands of dollars, pounds, euros, etc. Bosses expect workers to put in unpaid overtime, even though the workers don’t actually profit from those unpaid hours. But when you do work hard for yourself, you often find obstacles thrown up in your way – partly because the system is set up to protect established businesses, but also because the only methods open to you as an entrepreneur have been so widely abused they poison everything that uses them…

1 Most forums have indiscriminate zero tolerance spam policies
When is a self-published sf novel like a pair of Nike trainers, or Louis Vuitton luggage, or even Viagra capsules? When mention of it is classified as spam. It seems eminently sensible to limit the amount of spam subjected to members of forums, and many self-published authors have used the tactics of spambots in getting their title in front of as many people online as possible. As a result, most forum moderators categorise any kind of promotion as spam. Typically, there’ll be a ring-fenced thread or group, in which authors can promote their books. But outside of that – nope, not allowed. Even if the poster is a member of good standing, even if it’s relevant to the discussion. Verboten. The offending post, or link, gets removed, and you receive a patronising message from the moderator. You’d think a sf forum, for instance, would be interested in sf books. Self-publishers, or indeed small presses, of course, can’t rely on the presence of their books in book shops to spread knowledge of their titles. They have neither the print-runs nor the coverage to be able to do so. So they have to promote. But most of their intended audience is routinely blocked from getting the message.

2 It’s not a level playing field, and Amazon has its thumb on the scales
Amazon does not typically stock small press print titles. It will show them as “out of stock” or “unavailable”, even though the book is readily available from the small press’s own website. But when a person sees mention of a title and considers purchasing it, they will be often go and look on Amazon. They see “out of print”. Result: sale lost. If they’d known of the small press’s website, they could have gone there and bought a copy – but there’s no link from Amazon, and most people won’t bother to google for it. Which means that whenever you mention your small press or self-published title, you’re going to need to attach a link to your website. But that’s not allowed, that’s spam. It’s catch-22. Having said that, since Amazon takes a 60% discount – there’s no negotiation involved – any sale through Amazon will likely mean a loss. Amazon is a good platform selling ebooks, but for small presses without the economies of scale it’s completely useless for print books. Sadly, it’s also most people’s first port of call for print books.

3 Never mind the quality, feel the weight
I read somewhere of an established author who self-published a novel on Kindle and made $1250 of sales in ten days. He complained that was a poor result. But the vast majority of self-published novels on Kindle won’t make that in a year. The market does not have perfect information (which is one reason why capitalism can never really work), and so every reader out there for whom your novel might be a perfect fit is likely unaware of its existence. Instead, most readers will stick with what they know – they’ve read author A before and they like their books, imprint Z publishes good books so they’ll take a punt on their latest title, and so on. As a self-publishing small press, I need to get my name and the name of my press out there. My name doesn’t have sufficient weight to make much of dent in my intended market’s ignorance. The only way that will likely change is if… I get a contract with a major imprint.

4 Reviews are better for the ego than the bank balance
To date, Adrift on the Sea of Rains has been reviewed more than two dozen times on blogs, review sites and in print magazines. That’s a remarkable number for a self-published novella. On Amazon, it currently has eight customer reviews, which is not especially high – even for a self-published ebook. All of the reviews so far have been positive. The most negative comment I’ve seen about it is “it wasn’t too bad” by someone on GoodReads. Of those two dozen reviews, most of the people who wrote them received review copies – electronic or print. Reviews are good, they get word of the book out and about. People see the reviews and are sufficiently intrigued to buy the book. But only two or three of those reviews actually resulted in an uptick in sales. And I suspect there were several incidents of prospective buyers going to their preferred suppliers – Amazon, for example – not finding copies, and promptly giving up.

5 Once tarred, that’s you forever that is
I didn’t want Whippleshield Books to be a purely self-publishing venture, so I made it open submission. In six months, I’ve received a single query. I admit to being picky, but the guidelines are quite clear on what I want. I didn’t want to be spammed with inappropriate submissions – space opera, for example – but I’ve not even had that. Authors complain there aren’t enough venues to sell to, that those which do exist don’t like the sort of fiction they write… Perhaps there really is no one else writing the sort of fiction I want to publish. I find that hard to believe. Maybe it’s because Adrift on the Sea of Rains is self-published – I’ve made no secret of it. I know some book bloggers and review sites won’t touch it because it’s self-published – though they’ll happily review crap books by established imprints. Maybe the same also holds true for submissions?

Okay, perhaps not “forever”… I can think of two small presses originally set up to publish their founder’s own fiction. Both are now reasonably successful, with large catalogues of books by many different authors. Perhaps a decade from now, Whippleshield Books will be in the same situation. But in the years since those two small presses were established – and it’s less than a decade for both – much has changed in the publishing world. While new channels on the internet have made distribution and promotion much easier over a much wider area, the low barriers to entry have also significantly decreased the signal to noise ratio. The market is far bigger, but there are now so many traders that people can only hear you sing out your wares when they’re actually standing at your stall.

In a month or so, the second book of the Apollo Quartet should see in print. Having a second book out might change the game entirely for Whippleshield Books. It’ll be interesting seeing if it does. We shall have to see how it goes…

99 shades of grey

Who needs BDSM when you can have CSM or LM? Who needs fifty shades of grey when you can have so many more shades? Just look at the photo below. That’s the Moon, that is.

And that’s where Adrift on the Sea of Rains, the first book of the Apollo Quartet, takes place. Copies are still available – in paperback, hardback, epub, mobi, or on Kindle in the UK and US. Go on and buy yourself a copy. It’s competitively-priced and it’s very good (see here).

This has been a blatantly commercial post brought to you by Whippleshield Books. Normal service will resume shortly.

Whippleshield updates

Whippleshield Books continues in its mission to take over the world, although at its current rate this may take a millennium or two. At present, I could probably afford a couple of pebbles from the beach on the desert island where I plan to build my secret hideout in an inactive volcano…

Book two of the Apollo Quartet, The Eye With Which The Universe Beholds Itself, is coming along. Back at the beginning of July, I posted a blurb on the Whippleshield Books blog here. And at the beginning of this month, I posted the first 500 words as a teaser – see here. This book is  turning out to be a bit more ambitious than Adrift on the Sea of Rains. I’ve yet to decide if that’s good or bad, but it’s certainly resulted in more research than I’d expected.

Book three might be titled Then Will The Great Ocean Wash Deep (Above My Head For Ever). It’s a bit unwieldy, even without the part in brackets, so it could change. For the record it’s from a Homeric Hymn to Apollo. And it does sort of fit the plot. I’ve not started writing it yet, but I like to have a title as a focus for when I do begin. Even if I decide on a different title later…

The title for book four, however, is definitely fixed. It will be All That Outer Space Allows. One of my favourite films is Douglas Sirk’s All That Heaven Allows, which is why I chose it. At least it’s not a Lowryesque title like books two and three.

I have also published the first in what I hope will be a series of extremely limited chapbooks. The story Wunderwaffe was originally published in the e-anthology Vivisepulture published by Anarchy Books, and was described by Pornokitsch as “exceptional”. There are only a dozen copies available. Or rather, there were. I’ve sold some already. If you want one, get in there now.

Follow

Get every new post delivered to your Inbox.

Join 1,113 other followers