I promised I’d share some numbers when I delivered my 15,000th ebook, so here goes. It’s a long post so I’ll split it to keep all the figures off the front page.
Author: Carrie
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Some advice on ebook promotion
An article I wrote for MacFormat has made its way to sister title MacLife, and while it’s been uploaded out of context — it’s one section of a longer article, so some people are mentioned without any explanation of why you should value their opinions  — it’s still full of useful tips from people who’ve sold a lot of books.
For the record, Allan Guthrie is part of the Blasted Heath publisher and has sold more than 50,000 of his own ebooks, and Mark Edwards, along with writing partner Louise Voss, is a Kindle publishing sensation whose chart-toppers have led to an enormous book deal with a traditional publisher.
There are multiple keys to success, Allan Guthrie says. “Getting the covers right, having an edited manuscript, having a properly formatted manuscript, getting the product info right, getting the price right, getting decent customer reviews, informing as many ebook readers as possible about the book – those are all key factors. Sadly, there’s no magic formula.â€
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Coffin Dodgers, now in handy book form
Here’s one for anyone who doesn’t like ebooks: Coffin Dodgers, the dead-tree edition.  I’ve published the book via Lulu.com, and I’ve tried to make it as cheap as possible: it’s £5.24 plus delivery, and I’ll get a whole 21p of that.
I’m on track to deliver my 15,000th ebook tomorrow, and I’ll write a post sharing some numbers and thoughts when I get the chance. The numbers are roughly 10,000 paid copies and 5,000 freebies, with the UK Kindle edition of Coffin Dodgers accounting for 99% of those figures.
Just a wee reminder if you read and enjoyed the book: if you could spare a moment to write a quick review on Amazon, I’d really appreciate it.
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Music, books and other media: meet the new boss, worse than the old boss
Most of the debate over digital music business models is about the record companies and their digital successors, but what about the musicians? David Lowery of Cracker argues that for them, things are much worse: at least some pre-digital musicians actually got paid.
The full thing is long but worth your time:
 Things are worse.  This was not really what I was expecting.  I’d be very happy to be proved wrong.  I mean it’s hard for me to sing the praises of the major labels. I’ve been in legal disputes with two of the three remaining major labels.  But sadly I think I’m right.  And the reason is quite unexpected.  It’s seems the Bad Old Major Record Labels “accidentally†shared  too much  revenue and capital through their system of advances.  Also the labels  â€accidentally†assumed most of the risk.  This is contrasted with the new digital distribution system where some of the biggest players assume almost no risk and share zero capital.
I don’t agree with everything he writes, but that bit there makes sense to me – and it’s being replicated in ebooks. What looks like empowerment can also be evisceration: the Apples and Amazons of the world aren’t getting rid of middlemen, but becoming them by getting writers to do all the work (editing, promotion, etc) that traditional publishers do. They still get a cut, but they don’t have to risk any of their money.
In the last few years it’s become apparent the music business, which was once dominated by six large and powerful music conglomerates, MTV, Clear Channel and a handful of other companies, is now dominated by a smaller set of larger even more powerful tech conglomerates. And their hold on the business seems to be getting stronger.
There’s a wider angle to this too, which I’m sure I’ll come back to in a proper post: the way in which the new titans are organised in such a way that they can destroy their foreign rivals without paying foreign taxes. By routing ebook sales and music downloads through Luxembourg and putting UK earnings through Irish subsidiaries – something that, as public companies, they arguably have to do; their responsibility is to maximise their share prices, not to be good corporate citizens – the new bosses get yet another advantage: not only are they largely free from the need to invest in content creation, but they’re freed from some of the main costs of doing business too.
Lowery:
Taking no risk and paying nothing to the content creators is built into the collective psyche of the Tech industry. Â They do not value content. Â They only see THEIR services as valuable. Â They are the Masters of the Universe. Â They bring all that is good. Content magically appears on their blessed networks.
As I say, I don’t agree with everything he says, but it’s hard to argue against that one.
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A quick bit of advice for anybody making a video where they’re sitting at a desk
If you’re keeping your hands under the table because you don’t want to wave your arms around or send knocks through the table into the microphone, make sure you keep your hands utterly, utterly still. If you don’t, it really looks like you’re having a wank.
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“I used to think that the answer to piracy was to jail all taxi drivers.”
When I was young, a truck full of chocolate bars lost its load a few streets from my house. By the time the police turned up – which was, annoyingly, long before I found out about it – the cargo had gone. People didn’t take the chocolate because they were forced to; they took it because, hey! Free chocolate! The rewards were so attractive and the risk of being caught was so remote that half the town went on a three-day Wispa binge.
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Magic-powered joy machines
A wee column I wrote for PC Plus has made its way online:
Buying a PC online often feels like you’re playing the world’s worst text adventure. Do you want the new Argonomicon 15, or the Mongrolodian F2? Would you sacrifice a half-gig of RAM if it meant getting the F9321A processor instead of the F32321?
It’s all about specs.
Shouldn’t it be about sex?
I don’t mean sex in the horrible, local newspaper advert “SEX! AHAHAH MADE YOU LOOK! BUY A FRIDGE!†sense. I mean in the sense of possibility, of excitement, of the sheer joy of doing amazing things that make everyone think you’re amazing too.
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Reviews: it’s the middle ones that matter
Whether you’re selling ebooks or giving away MP3s, designing T-shirts or creating iPhone apps, if you’re creating something for public consumption then sooner or later somebody’s going to criticise it.
How you feel about that will depend on the mood you’re in at the time, the way it’s expressed and the critic’s grip on reality — iOS app reviewers in particular often appear to come from different, more stupid planets — and even the nicest criticism can sometimes feel as if somebody’s ripped your heart from your chest and stomped on it as you stand there jetting blood – but it’s important to separate the reviews that matter from the ones that don’t.
As a rule of thumb, if the review’s at either end of the scale — if it’s one star out of five, or five stars out of five — then the review doesn’t matter. As nice as they are, five star reviews often mean that the reviewer knows you and likes you, or quite liked the thing you did and wanted to give you a big thumbs up. Similarly if it’s a one-star review, the reviewer may have decided in advance to hate what you’re doing, and only paid attention to it to confirm the initial prejudice and give you a good shoeing.
Sometimes — I’ve been guilty of this — the score is pushed in one direction or another because nobody reads or cares about two and a half star reviews, so you try and entertain with fulsome praise or a devastating slagging. I once wrote that Feeder were the best live band in Britain when what I really meant was that of all the British bands I’d seen that week, a list that began and ended with “Feeder”, Feeder were definitely the best.
The ones that do matter are the ones that say “but”. This looks good, but. The story is believable, but. The drum track is amazing, but. That’s criticism you can use. You might not agree with it — your response to it may well be “You BASTARD! How dare you suggest that my description of thirteenth-century dentistry was irrelevant to the wider narrative! I am AWESOME!” — but if you choose to pay attention to it, it can be a really big help.
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On torrents
Andy Ihnatko has published a great post about piracy. He’s no fan of the studios, as he makes clear in his post, but the idea that everybody who pirates is a freedom fighter is risible. Here’s part of an imaginary conversation about torrenting Game of Thrones:
What’s wrong, Scrumpkin?
Oh. You want it right now.
But — umm — the release date is only, like, two or three weeks away. Just hang on a bit. You’ll be fine.
Yes, I heard you (please, sir, there’s really no need to shout). I understand that you want it (and I hope I’m not misquoting you) right the ****ity-**** NOWWWWWWWW. But you can’t have it now. You can have it on March 6. It isn’t even as far away as you think. Remember? February is the super-short month?
(Sigh)
You’re already torrenting it, aren’t you?
Annnnd now you’re also calling me a d*** because I expected you to wait two weeks, and you’re claiming that you’re “forced†to torrent it because the video industry is bunch of turds.
I like Andy’s no-harm-done test – if you torrent it because you love it so much you can’t wait a single second longer to get it then you should buy it when it finally does come out; that way, there’s no harm done – but come on, if there’s an ideology behind piracy it’s usually “I want free stuff”.
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10,000 copies of Coffin Dodgers
Somebody bought the 10,000th copy of Coffin Dodgers last night, and I thought I’d provide a breakdown of the numbers for those of you interested in the whole self-publishing thing. As you’ll see from the figures, it’s clear that giving copies away for free is a brilliant marketing strategy, except when it isn’t, and that it works exceptionally well, except when it doesn’t.