Game of Thrones, Being a King, and Howard Stern

(note: We’ve decided to post our newsletters here on the blog every week for those who haven’t yet subscribed, and those who are just happening upon our blog for the first time. However, if you want to join the Goners and get free stories and exclusive sneak peeks when we offer them, you’ll need to sign up to join our FREE newsletter.)

WhiteSpace3 coverHey Goners,

Dave here with this week’s missive from the Writer’s Cave.

Do you watch Game of Thrones? If you’re not watching it, I urge you to start. HBO is on Season Two now, so you definitely want to start with Season One. It’s one of the most complex, enjoyable shows I’ve seen in a long time.

One of the most enjoyable aspects of the show (and the book series it is based on, A Song of Ice and Fire by George R.R. Martin) is how you get the story from so many perspectives. You find yourself identifying, loving, and hating people in different sides of the same war.

As you can tell from Yesterday’s Gone and WhiteSpace, we’re kinda big into alternating POVs.

Martin was interviewed in this week’s Rolling Stone and he was asked about his characters. He said something I loved.

I’m paraphrasing here, but essentially, he said, people have different favorites. But one of the best things is how readers write to him having very different opinions on his characters. A character hated by some is loved by others. And vice versa. And Martin said if all your letters say the same thing about the same characters, then you know you’ve written a cardboard character.

Great line. And true. And something we strive for in our own fiction — to present multifaceted characters that you love and love to hate.

Something else we’ve learned from Game of Thrones… if you want to be King, you have to go after the crown.

Sean and I have declared ourselves “Kings of the Serial.”

Like Game of Thrones, and Howard Stern (the self proclaimed “King of All Media”) taught us, nobody is gonna make you king. You have to seize the crown … or name yourself King.

Our quest for the crown began in January with the launch of Yesterday’s Gone: Season Two. That’s when we decided we’re going to release a book per week.

When we started Yesterday’s Gone last summer, there were a lot of naysayers saying that serials won’t work. Saying that people don’t like reading the format. That you can’t sell “part of a story.”

We said bullshit.

Serials have been around forever. And Stephen King proved in the 90s that there’s still an audience for serialized fiction, when he released The Green Mile.

Networks like HBO and AMC prove it week in and week out, that people LOVE the cliffhanger! Shows like Game of Thrones, The Killing, Breaking Bad, The Walking Dead, and True Blood keep me, and millions, on the edges of our seats every single weekend.

We want to the be the HBO or AMC of the Kindle Generation!

WhiteSpace Episode 1 CoverThe digital revolution (and Amazon) has given us a golden opportunity to do something we never could have done with a traditional publisher. And with great power comes great responsibility… to bring you a new episode of killer content with killer cliffhangers each and every Tuesday. One review said “Tuesdays are the new black.” I love that line!

And we couldn’t do it without you, who prove to us week in and week out that we made the right decision to chase the crown.

Of course, there isn’t a real crown. And no official “King” title. It’s more about being in a position to continue writing these stories for you.

The better we do, the better our books sell, and the more positive reviews we have, the stronger our Goner Army!

So thank you for continuing to read and continuing to leave reviews.

You are awesome!

Here’s a sneak peek at WhiteSpace: Episode 3 www.amazon.com/dp/B008391S1A/

This is my favorite episode yet, where we learn more about Houser, who is becoming my favorite character.

Thank you for reading,

David Wright

www.collectiveinkwell.com

www.twitter.com/thedavidwwright

WhiteSpace: Episode Three

P.I. Brock Houser is on the hunt for a missing child, but can he outrun a past, and another missing child, that haunts him?

As Liz Heller tries to overcome the tragedy that her husband created, she begins to piece together a mystery that threatens her sanity, and perhaps the safety of her family.

As the school re-opens, is Alex Heller ready to return? Are the students ready to accept him? Or will someone seek vengeance?

As Jon Conway and Cassidy Hughes search for Emma, they set their differences aside to track down a potential lead. What happened to Emma? Will they ever see her alive again?

As Milo Anderson recovers from tragedy, a mysterious person contacts him again, with a startling declaration.

The mystery continues, and the danger increases, leading up to and unforgettable ending.

 

Brock Houser Part I

Ocean County, California

10 years ago…

Detective Houser knew he was staring into a set of guilty eyes the second the sleazeball peered from his side of the flimsy security chain which would pop off in an instant if Houser kicked the door in.

There is an undeniable look worn in the eyes of the guilty — a look you got to know as a cop. A look Houser had become aware of, and well-tuned to, as a child. For Houser, instinct was as accurate as any of his senses. His eyesight had failed him a few times, his instincts, at least in this area, not even once.

This was his man, sure as shit. The twisted fucker who had kidnapped six year old Cecilia Ramirez.

“Can I help you?” the man said from the shadows of his dark apartment.

“Hi, my name is Detective Houser. We’re talking to people in the neighborhood about a missing girl. I’d like to ask if you’ve seen her?”

Houser raised the photo for the man to see, fixed on his eyes the entire time.

Recognition? Yes. 

Guilt? Yes. Without a doubt.

Richard Jurgen was his man.

“Nope, haven’t seen a thing,” Richard shook his head.

“Are you sure?”

The man took a second longer glance at the photo, studying the gloss for a half-minute or so before raising his nervous eyes to meet Houser’s. “Nope, ain’t seen her.”

The monster started to close the door.

Houser slipped his boot against the bottom of the door, keeping it ajar. “I’m sure you won’t mind if I ask you about something one of your neighbor’s said.” Houser pretended like it was a question.

“Sure,” Jurgen said, easing his force on the door.

Houser kept his boot in place, but didn’t push on the wood.

“Someone said they saw you last Tuesday, with your hatchback backed up to the garage, late at night. They said it seemed like you were carrying something pretty heavy.”

Houser kept his eyes fixed on the monster, waiting for him to drown himself in a lie.

“I don’t remember,” he dove into the deep. “I often go out on my rounds late at night, picking up junk, looking for the furniture and stuff people leave out for trash. That’s not a crime all of a sudden is it?”

“No, Mr. Jurgen, not at all.” Houser shook his head, then looked down at his notes, flipping back a page for effect, then looked back up at the monster. “Odd thing was that your neighbor said the garage light was out, just like the light in your car.”

“So, what of it?” the man said, fear in his voice starting to smother the calm. “I can see well enough with the street lights. I can see you just fine, right?”

Bet both balls in the sack, this is our asshole. 

“OK, well then Mr. Jurgen, you won’t mind if we take a quick look around,” he said, nodding to his silent partner, Chan, who was standing to Houser’s left. “Just to save us some time, so we can get on with the search and rule you out.”

“You have a search warrant?”

Fucker.

“No, but based on what I do have, a warrant’s exactly one short phone call away. I was hoping that since you’ve nothing to hide, you wouldn’t mind if we took a quick look around so we can get out of your hair. We have to follow up on leads, if only to rule you out. I’m sure you understand.”

“I know my rights,” the monster said, his voice still even. “And I’m not letting you do anything without a warrant.”

“OK,” Houser said, pulling his boot from the doorway, then turning around and walking back to their car.

“Motherfucker,” Houser said once he and Chan were inside the cruiser. “She’s in there. I can fucking feel it.”

Chan put in a call to Judge Cleary seeking a warrant while Houser waited as patiently as he could, listening to Chan’s side of the conversation.

Come on, judge, don’t fuck this one up.

The tricky part of getting a warrant with this particular case was that the neighbor who alerted them to the suspicious activity, an old busybody named Earl Moody, had a long history of calling the cops on Jurgen for the sort of routine bullshit most neighbors handled themselves. In short, the two had bad blood, giving the judge enough cause to deny the warrant.

Chan’s voice went up an octave, letting Houser know where the conversation was headed.

Houser wanted to snatch the phone from his partner and rip Cleary a new one, but he was already on thin ice with Cleary, and was likely the reason the judge was giving Chan a hard time in the first place.

“Yes, your honor. Thank you,” Chan said, hanging up. He shook his head. “No dice.”

“Fuck!!” Houser screamed, slamming his fists into the steering wheel, then turning back to scowl at Jurgen’s house. The fucker was in his living room, peeking through his blinds at the cruiser.

Houser turned back to Chan. “You like this guy, right? It’s not just me.”

“Yeah, he’s hiding something, alright.”

“OK, we need to talk to more neighbors. See if we can find something from someone who isn’t the neighborhood douchebag, then ring Cleary back.”

Chan agreed, then suggested one of them hit the courthouse when it opened in the morning to see if they could find anything on the guy that wasn’t yet in the database. The courthouse was currently in the process — which seemed to be taking years — of moving their old records to online archives, so most of the crimes older than 10 years were still in their giant file vault.

Houser hated combing through old files slightly less than he hated sitting on his hands while Jurgen was inside his house with time to do God knows what, flushing evidence, arming himself to the teeth, raping the hell out of the girl, or whatever it was the condemned might do before the jaws of justice clamped on their ass.

Chan said, “Is that your way of saying you want me to go?”

Houser turned, with his biggest smile, “Pretty please?”

“You know I hate you, right?”

Houser laughed. “As if anyone could hate me. But one of us has to sit on this fucker in case he decides to bolt, and to be honest, I wanna be the first one through the door to knock the fucking smile from his face. And let’s face it, I’m a helluva lot faster than you if it comes to a foot chase.”

“Yeah, yeah, whatever. But you owe me.”

“Whatever you want, man. Just name it. I got dinner for the next week. OK?”

“Week? How about two?”

“Two? Do I look rich?”

“Richer than me. You don’t have a wife, kids, daycare bills, or any of that shit.”

“Wah, wah, I’m so jealous of your sexy, single life, Houser,” Houser said, mocking Chan playfully. “Alright, two fucking weeks. But you better find something we can take to Cleary!”

 

**

Chan did.

At 8:15 a.m., 15 minutes after the courthouse opened, Houser’s cell rang.

Chan was practically yelling into the phone. “Seems our guy got busted peeping in some windows 11 years ago. One of the windows was of a little girl. Somehow he got off with a slap on the wrist.”

“Fuck! OK, I’ll call Cleary,” Houser said.

“Too late,” Chan said. “I already did. Warrant has been issued.”

“I love you, man. Three weeks! On me. OK, I’m going in. I’ve got another unit here and we’re going in.”

“K, I’ll be over in five,” Chan said.

“Alright, Houser called into the radio, alerting the officers camped behind Jurgen’s house, and to the side, just out of the man’s line of sight. “Let’s get this fucker!”

**

Houser burst through the freshly kicked-in door, stunned to see Jurgen standing right in the living room, naked, and aiming a .45  at Houser.

Houser fired, but not before Jurgen.

Jurgen’s shot slammed into Houser’s Kevlar vest, knocking him to the filthy carpet, and clearing the air from his body.

Houser’s shot hit the man between the eyes, killing him instantly.

Sgt. Combs kneeled next to Houser, “You OK?”

Houser took a moment, sucking in air, feeling beneath his vest to make sure there was no blood, before nodding. He would be bruised as hell, but he’d live.

Four cops, in addition to Houser, began to scour the man’s place, searching for any sign of the child. Upstairs, in an unused bedroom, Houser picked up the fresh scent of paint, and noticed that the fresh color on the wall behind a large bookcase — the same color of yellow, but brighter than the rest of the room. Drywall dusted the carpet. Houser put a finger behind the bookcase and pulled it away, yellow.

“Get up here!” he shouted, pulling the bookcase to the floor and sending volumes pouring from the shelf and into a pile.

A large wet paint spot barely concealed a bad plastering job, covering a wide hole in the wall. Houser knocked on the wall twice

“Hello?”

Houser heard a muffled cry.

Oh God.

His heart sped in his chest as the remaining officers poured into the room. Houser punched high where the wet spot started, straight through the quickly crumbling drywall, and began to tear a giant hole in the wall, throwing chunks of wet drywall to the ground.

Inside the wall, he found Cecilia, hands and feet bound, mouth gagged. Dark eyes staring up at him, barely clinging to life.

He reached into the wall and pulled her out, holding her closely. She was so tiny. And dirty, wearing the same pink, and now filthy, pajamas she’d been reported missing in.

“It’s okay, you’re safe now,” he said laying her on the floor.

“Get the paramedics in here!” one of the other officers shouted. Paramedics were on standby downstairs.

Houser pulled the gag from the girl.

“Thank you,” her tiny voice barely said as her eyes rolled to the back of her head.

“No, no, no,” Houser said, shaking his head and hoping to God she wasn’t gonna die. Not now, just seconds after they found her.

Two paramedics rushed into the room and began to give the girl CPR.

Houser watched, helplessly from behind, as they attempted to revive her.

But they couldn’t, despite an eternity of trying.

Cecilia Ramirez was dead.

Celia’s dying eyes and whisper of voice were immediately and forever etched into Houser’s memory.

As the officers began collecting evidence, and the paramedics rolled the girl’s body from the house, Houser stood, went downstairs, then into the back yard for a moment alone.

He wanted to cry.

He wanted to scream.

He wanted to fucking shoot something.

But eyes were on him, cops and neighbors, and soon the media’s.

Houser had to stand quietly, holding his rage, swallowing regret, and making silent vows that he would never, ever, let anything like this happen again. A late search warrant and overcautious judge had murdered Cecilia Ramirez, just as much as Richard Jurgen.

 

* * * *

Read the rest right now:

 

WhiteSpace: Episode 3 www.amazon.com/dp/B008391S1A/

Amazon UK www.amazon.co.uk/dp/B008391S1A/

 

 

 

Win A Kindle Fire

Groundbreaking Kings of Serial Sean Platt and David W. Wright are Saying Thanks With Free Kindle Fire Giveaway!

Authors Sean Platt and David W. Wright, of the post-apocalyptic serial “Yesterday’s Gone,” are saying thank you to their fans with a free Kindle Fire giveaway which starts this week.

“The readers have been so supportive of us and have allowed us to make a living doing what we love doing, writing fiction. We decided to spend a bit of our royalty checks this month on a Kindle Fire,” said Platt.

The writing duo are publishing a book (or episode as they call them) per week in 2012 in efforts to become ‘Kings of the Serial,’ via their publishing company, Collective Inkwell.

“Dickens may have been the most well-known author to do serials, but we cut our teeth on Stephen King’s ‘The Green Mile,’” said David Wright of their inspiration to create serialized fiction. “The way King managed to suck you into the world he created and keep you in suspense from month to month was nothing short of amazing. I knew right then and there that serialization was something I had to do.”

Wright and Platt didn’t bother pursuing a traditional publishing deal, however, figuring that no publisher in the world would commit to a serialized story from two unknowns. So they took their stories directly to where the eBook readers were.

“We knew if we were gonna do this, we had to do it ourselves,” Platt said. “And thankfully this was right about the time that Amazon gave self-publishers a way to find and build their own audiences. We didn’t have to worry whether a big publisher thought the risk was worth the investment.”

While “Season One” of “Yesterday’s Gone” drew respectable sales numbers and reader reviews, it wasn’t until “Season Two” came out this January, that things really started to take off for Platt and Wright. Now they’re making a living off of their serials.

This year they’ve also released the first season of “ForNevermore,” their young adult serial, and are launching their next adult horror series, “WhiteSpace,” on April 24. They’re also bringing back “Yesterday’s Gone” for its third season on June 19. Each episode (depending on the title) ranges from 12,000 to more than 24,000 words. They also release compilations containing six episodes each, which comprise the seasons of their titles. The duo says that offering readers a choice of either buying the serials in weekly doses or waiting for the whole season book has been one of the keys to their success.

Another, of course, is the readers.

“We feel so fortunate to have such loyal readers that support us and allow us to keep writing every week. We thought it was time to do something cool, so we decided what’s cooler than giving away a Kindle Fire?,” said Platt.

HOW YOU CAN WIN: (THE RULES)

This contest is open to anyone in the United States 18 and over.

All readers have to do is answer the following SUPER EASY question:

What is the last sentence of Yesterday’s Gone: Episode One: Chapter One? Please write it as it appears.

Readers can get the answer by downloading and reading “Yesterday’s Gone: Episode 1” currently available for free at Amazon, Barnes & Noble, Apple, or Smashwords.

 You can earn additional points EACH DAY by liking and tweeting about the contest, also.

Yesterday’s Gone Episode One download links:

Amazon – www.amazon.com/dp/B005FHO9AU/

Barnes & Noble – http://www.barnesandnoble.com/w/yesterdays-gone-sean-platt/1105384097

Apple – http://itunes.apple.com/us/book/yesterdays-gone-episode-1/id462807689?mt=11

Smashwords – https://www.smashwords.com/books/view/82681

You have until 12:01 A.M. EST April 19 to enter the contest at http://collectiveinkwell.com/win-a-kindle-fire

(in the widget below)

Read more »

A note on pricing

Recently, a reader wrote a comment about our pricing which I need to address:

“I am very disapointed (sic) that future individual episodes will be $2.99 each as opposed to $0.99.
I can see paying $6.00 for the book via kindle, but $18.00 is WAY TOO MUCH for the six episode packages. Even Stephen King doesn’t go for that much
I won’t be buying them, and hope I don’t lose too much interest or forget by the time the third installment comes out as a package.

The authors should really re-think that concept”

It seems that the reader interpreted this part of our product description to read that we’d be charging $2.99 for each episode for future series. That is NOT the case.

(On Feb. 21, you can buy the full season book at one low price, and single episodes will be going to $2.99)

In my attempt to be succinct on the product page (where I would rather talk about story than pricing strategies), I probably wasn’t clear enough.

So I want to take this opportunity on the blog, where I can more fully explain our pricing, and that single episodes will NOT be seeing a price increase during the seasons. I’ll also explain our pricing strategy for serialized fiction, and why it is what it is, to give you a better understanding of the challenge of pricing and how much thought we put into it.

Our Yesterday’s Gone series is released like TV shows — in seasons. Those seasons consist of six books (which we call “episodes”), with each episode being about 24,000 words.

Ideally, we want you to experience the books in weekly serialized installments. And .99 per episode is a great price for a new book each week!

However, there’s a tiny problem with this model…

PRICING

Simply put, we’d go broke releasing at .99.

Amazon offers two royalties to authors. If your book is less than $2.99, you get a royalty payment of 35%. On a book that is .99, that equals to about .35 cents per book … split two ways between Sean and myself.

If your book is between $2.99 and $9.99, you get a 70% royalty. So, for most people, the choice is pretty easy … sell at $2.99 or more, right?

However, if we did that, we’d be charging $18 for a full season of a 600 page eBook, not something we’d feel comfortable with, even if readers were willing to fork over that much.

The SMART thing for us to do would be to abandon serialized episodes and just release the books as 400-500 page standalone titles in a series and make 70%. That is what most series do, after all.

HOWEVER…

WE LOVE AND BELIEVE IN SERIALIZATION

  • We love that you are taking this ride with us each week.
  • We love leaving you hanging with killer cliffhangers.
  • We love to provide you with content every week.

We started serialization because we LOVE the format and very few people are doing it. In fact, most people we saw talking about serialization said there’s no way to make it work.

Well, thanks to you, we proved those people wrong. As of this season, we are making a living from our fiction!

SERIALIZATION CAN WORK

But there’s no way we could do that at .99 a title, unless we sold a lot more books.

You see, while we’re willing to take a hit for six weeks, selling the episodes at a loss (compared to just selling them as full-length books), we can’t LEAVE the books at .99 and make a living at this.

And quite frankly, we LOVE this job and being able to release a new book for you every week!

So, we found a compromise, something we call season pricing.

SEASON PRICING EXPLAINED

Each time we start a new season for a series, the CURRENT SEASON’S books will be priced at .99 during that season’s run of six weeks.

One week AFTER the final episode of the season, we release a FULL SEASON compilation, (currently priced at $4.99). So you can get ALL SIX episodes in one convenient download.

We take in less money for six weeks so you can experience the seasons as you want to — by the episode or all at once. But, AFTER EACH SEASON, we raise the prices on the single episodes, essentially pushing people to buy the full season instead.

This is a win-win. You get an option of how you buy, and as long as our books are good, we continue to sell full seasons and make a living at this.

It’s not an ideal fix.

We’d love to simply charge .99 and get a 70% royalty. Then we wouldn’t have to raise prices, or worry about people who bought four books when we flipped the switch to $2.99, and who were then forced to buy the full season if they want to finish the story, or spend $5.98.

Which is why I’m writing this post, and will probably write about this in the future books, so there’s no confusion and everyone realizes that they have options.

In the end, this is all about you, the reader. We love that you choose to read our stuff, and that you’ve made serialization work! We aim to give you as many choices as possible, and hope that this pricing structure makes sense now that I’ve explained it. If we come up with something better, or if Amazon changes its royalty structure, we’ll certainly consider new pricing options.

Thank you for reading,

David Wright

P.S. For those who have been asking … Season Three of Yesterday’s Gone will be coming out on June 19th.

YESTERDAY’S GONE: EPISODE 9

THE MIND-BENDING POST-APOCALYPTIC SERIALIZED THRILLER YESTERDAY’S GONE CONTINUES WITH EPISODE 9

On October 15, everyone in the world vanished.

Well, almost everyone.

Some were left behind, attempting to piece together what happened, find their loved ones, and survive.

BUT THEY ARE NOT ALONE

Episode 9 picks up after the WTF cliffhanger of Episode 8.

Brent Foster is about to learn the stunning truth about where he is. Are his wife and child still alive?

Led by the enigmatic religious leader known simply as The Prophet, The Sanctuary seemed like a bastion against the bandits and creatures that scour the landscape. However, as one young girl is about to find out, The Sanctuary may be a worse hell than the one out there. Are Mary and Desmond prepared to leave the safety of The Sanctuary?

Charlie Wilkens is desperate to show that he’s not the weak child that others think he is. He’s tired of being bullied and burying his feelings for Callie. He’s determined to do something bold to make his mark. But fate has other plans.

Ryan Olson’s first mistake was becoming a hero. His second one was leaving the enemy alive. Now, injured, he follows Carmine back to his apartment. Are they living on borrowed time as the gunman plans vengeance?

YESTERDAY’S GONE: EPISODE 9 is a mind-blowing and heartbreaking non-stop thriller with another killer cliffhanger!

Buy the book now at Amazon.

Serialized Fiction: Our eBook Experiment

Do you like to be left hanging?

Ever since I was a child, I’ve loved cliffhangers. My fascination began with a TV show called Cliffhangers, which ran for less than a season in the 70′s. The show featured three stories every week, one about a vampire, a mystery, and an Indiana Jones sorta adventure. Every segment left the hero hanging and questions lingering with a…

“to be continued…”

I hated having to wait a WHOOOOOOLE week. Yet, as each new episode drew closer, I grew more excited and eager to see what would happen next. And when it comes to serialized stories, it’s always about WHAT HAPPENS NEXT?

Years later, I loved and hated other shows in a similar way — LOST, X-Files, Carnivale, The Wire, Deadwood, The Walking Dead, Battlestar Gallactica, Breaking Bad, The Sopranos, and too many more to name without coming off like a guy who never gets off the couch.

Though these shows span different genres, they have a few things in common.

They all have great stories, they all have storylines which stretch across seasons, and they all have flawed but memorable characters. And, of course, they always leave you wondering what happens next?

SERIALIZED BOOKS

While serialization has been around for ages, it wasn’t until Stephen King did it with The Green Mile in the 90′s, that I discovered it.

King managed to do what the best TV shows did – he kept me hanging from book to book, always wanting more.

It was the most awesome reading experience I ever had!

While I’d always dreamed of creating a serialized TV show, King showed me that I could do the same thing with books.

However, that seemed like a faraway dream as you have to be a pretty big name in order for a publisher to take a chance on a serial.

When I met Sean Platt, we decided to try serializing a story I’d been sitting on forever, Available Darkness. While it was a great experiment, our workload was too much at the time to give it its due. And though we had a nice response, most people asked the same question – when will it be available in book form?

Most people, I find, don’t enjoy reading on a website. Neither do I.

And to be honest, though we were serializing Available Darkness, it wasn’t a true serial. It was a book we were putting out in serialized format. A strong distinction, in my opinion.

You can serialize any book, I suppose. But I prefer a book which was meant to be serialized, designed from the outset as such, so it can be enjoyed as both a part and part of a whole. You know, like TV shows.

While we both wanted to do a serialized series, self-publishing print editions seemed too costly to deliver cheaply to readers. And delivering a cheap, but awesome read, is what we wanted to do, even if we weren’t yet sure how.

AND THEN KINDLE HAPPENED…

While Apple revolutionized the music industry, Amazon changed the way books will be sold. Forever.

Readers began adapting to the idea of eBooks, and were buying eBooks in record numbers, outpacing the sales of print books at Amazon.

Authors like John Locke, J.A. Konrath, Amanda Hocking, and a ton of names that will someday be household, found success on their own terms with eBooks. They didn’t have to go through publisher gateways to find readers. They didn’t have to worry about a publisher thinking their work was good enough to publish. They only had to worry whether readers would read their stuff.

And the readers have spoken with their wallets and purses.

Indie authors are celebrating the wall coming down because it gives them a much better chance of getting their books into the hands of readers. But there’s another advantage to this new age of eBooks. Publishers (including indie authors) can now experiment with different and more creative ways to deliver stories.

Two years ago, there weren’t too many publishers that would serialize a book if it wasn’t written by Stephen King or someone with a proven track record. It’s too risky an investment. But with eBooks, the risk is greatly minimized.

Sean and I saw our window to doing what we’ve wanted to do since we started writing together… create a serialized book series.

AND YESTERDAY’S GONE WAS BORN

Serialization is hardly a new idea, it’s been around for hundreds of years. But serialized eBooks is something I surprisingly don’t see too many writers doing.

We considered how some of our existing book ideas could work in the format, but decided against that. We didn’t just want to serialize an existing book, or even a book we are in the process of writing. If we were going to do it, we’d do it right.

Our series would be designed from the outset as a serialized book, paced just like TV episodes, with rising tension and killer cliffhanger endings.

We came up with the concept of Yesterday’s Gone, and then we each came up with our own characters independent of one another and said, “Okay, see what you can do with this premise and let’s see where it goes.”

Then we traded our chapters and began to flesh out the first “episode,” storylines, and then the full “season,” developing Yesterday’s Gone as writers would develop a running TV series. It’s the most fun I’ve ever had writing!

We released the first episode in August, and followed up with Episode 2 in September. Reaction has been great. Readers have emailed us to tell us they love the concept and the books, and also that they hate us for making them wait to find out what happens next.

But, just like me, they admit, they love having something to look forward to in the next episode.

I love email like that!

TWEAKING THE EXPERIMENT

While we originally planned to release new episodes every month, Sean convinced me that a month is too long. Voracious readers can get through our 100 page books in a day or two. Making them wait a full month is just too long.

For one, there’s many storylines to follow. Expecting readers to remember everything a month later is a bit much. And given that I, the co-author, can’t remember every little thing that happens from episode to episode a month after I wrote it, I can’t expect readers to.

So we decided to shake things up a bit — release all six episodes of Season One all at once – right now, along with the full season in one convenient and low-priced download.

Season One came out last week and we couldn’t be more excited to share the news with you.

We’ll be releasing Season Two in January, with episodes released on a weekly schedule, which seems a better fit for the serialized model. While there will still be a few months between seasons, I think the story flows a lot better in weekly installments.

If you like post-apocalyptic stories like The Stand, shows like LOST, or serialized fiction in general, I’d love for you to check out Yesterday’s Gone. You can buy Episode One right now for .99 and see if you like it, or just dive in and buy the full Season One for just $4.99.

We’re also posting the first episode online at SerializedFiction.com starting here, where we’re also posting some behind-the-scenes marketing stuff, our trailers, Yesterday’s Gone-related news, and more in-depth discussion about the story and our experiment.

You can click on the video to watch a larger, HD version at Youtube.

Are eBooks The Next Webcomic Bubble?

In the summer of 2000, I had this genius REVOLUTIONARY idea… I would put a comic strip on the web!

Nobody was doing it (or so I thought) and I’d make a name for myself. Hell, I’d be the next Bill Watterson!

I loved comic strips. As a child, I used to get lost in the world of Peanuts. As a teenager, I loved the satirical wit of Bloom County. And then I discovered the magic that was Calvin and Hobbes.

So I created the comic Todd and Penguin, and waited for the world to take notice.

And not knowing anything about anything, I then spent a few years in relative obscurity. After a glowing review from Eric Burns at Websnark and getting picked up by Keenspot in 2005, the comic started to get some attention and a decent following.

But something interesting happened in that space of five years.

As hosting got cheaper, a handful of companies sprang up offering free webcomic hosting, suddenly ANYBODY could put a comic online. And it seems like almost EVERYBODY did.

Seriously, there were thousands upon thousands of new webcomics!

And HOLY SHIT, the crap floodgates had opened!

It was as if anyone with a scanner and a pen was putting a comic on the web and calling themselves an artist. And there were some awful, AWFUL comics out there. Stuff that made you cringe in embarrassment for the creator and cry just a little bit for the form.

Technology’s blessings are also its biggest curses.

Suddenly, people who never would have thought to draw a comic before suddenly think that they can. They see marginally decent artists getting acclaim without understanding WHY those artists are getting praised.

And they rushed into webcomics thinking they’d be the shit.

But for every 7,000 or so bad webcomics, there were also a few success stories—comic creators who were able to leverage an online audience for print deals. And still others, who said screw syndication, and bypassed the gatekeepers to make their own fortunes.

And their success caught the attention of some traditional cartoonists—the ones in the newspapers who made money. These “real artists” started to see webcomic artists as the enemy, devaluing art by (gasp!) giving it away for free on the web! They were feeling threatened.

Sound familiar?

EBooks are the new webcomics.

Thanks to technology, artists (writers) suddenly have the capability to bypass the gatekeepers (the publishing companies) and directly build and speak to their audiences with very little upfront cost. And some writers and publishers are feeling the heat.

Like webcomics, I’m sure we’ll see an explosion of bad books out there. Embarrassingly bad books.

But that’s okay.

Because good content (if you know your space and can build an audience) will rise to the top. And bad writers will either get good or give up. Just like a lot of the bad cartoonists.

THE ONE BIG DIFFERENCE

The biggest difference between webcomics of the last decade and eBooks now is a significant one. There is finally an infrastructure in place to sell to your readers.

This was not the case 10 years ago when webcomic creators were struggling to find a way to make money for their work. Sure, they could self-publish, create tee shirts, sell ads on their websites, or beg for donations, but those weren’t sustainable methods of making a living for most artists.

Thanks to Amazon, iTunes, and a few other players, readers now have a CONVENIENT way to download eBooks to their devices. And with Print On Demand, writers can also satisfy the diehard print fans.

While there are still some difficulties in easily formatting comics for an eReader, and the quality sucks on some of the devices, technology will change that, I’m sure.

WHEN THE WALLS COME DOWN

Remember how I said that everyone and their sister was suddenly putting out webcomics? And a lot of them were bad?

Well, include me in that number.

My first comics were horrible. Thankfully, I was blissfully unaware of just how bad they were.

But I knew enough to know they weren’t good enough.

(see the proof below)

A Todd and Penguin comic from 2001 - Click to see full size

A comic from 2008 - a bit better

Another from 2008

I didn’t compare my work with other crappy webcomic artists. I compared my work to the best on the web and in print. And I kept working at getting better. I was learning on the job, while also learning how to build an audience and interact with readers.

And eventually, I got good enough to get a job as an editorial cartoonist at a newspaper—remember those things?

ARE YOU READY TO DO WHAT IT TAKES?

So, yes, the competition for writers is going to increase.

And there’s gonna be A LOT of crap out there.

And maybe you (or maybe me) will be writing some of that crap.

But keep at it.

Don’t be afraid to experiment.

Don’t be afraid to learn on the job.

If you’re really new to writing, maybe you can try a pen name so you don’t do long-term damage to your brand.

The most important thing, though, is to keep writing. The competition is gonna be stiff.

Fortunately, a lot of writers will think they can just show up. They can mail it in. That it’s enough to simply throw a book out there, and magic will happen.

We know better, though.

We know if you want to make it as a writer, you treat writing as a job. You bust your ass and put in the hours. And you pay attention to what’s going on in your genre and the publishing industry.

That’s what the successful webcomic artists did. And that’s what successful writers are now doing…

Working. Hard.

Does Amazon Allow Free Samples? Depends Who You Are.

A level playing field?

The “freemium” model has driven the success of many an indie author. J.A. Konrath, Cory Doctorow, Scott Sigler, and many others have proven that readers are willing to pay for content even when the author gives it away.

Whether giving away eBooks, or audio versions, or even in cases of piracy, free content can and does drive sales for authors.

To many, the notion of giving something away to make money seems counterintuitive. You’re a writer, you want people to buy your stuff, right? Why would someone buy something they can get for free? The overwhelming fear is that you are somehow losing a sale for each eBook that you give away for free.

Perhaps that’s an antiquated way to view publishing, though.

Scott Sigler perhaps says it best in this quote:

“People who aren’t going to pay for your stories aren’t going to pay for them, period. But they may download a copy, love the story, then talk to people in their social circle — now I have people who wouldn’t have heard about me getting a positive, word-of-mouth endorsement.”

 

FREE OR NOT?

A couple years ago, Sean and I decided we’d write the serialized vampire thriller Available Darkness and publish it free right here on this website. This was an experiment to see if people would dig a serialized story, the kind that was “to be continued” week after week.

Just one problem with the experiment – most people, myself included, hate reading on a browser. Many said something along the lines of, “let me know when you come out with a book in print.” Sure, they could have been giving us the polite brush-off. Yet, we actually grew a small audience around the book until we had to put it on hold for outside work.

Less than a year later, a revolution was taking place.

With Print-On-Demand and Kindle ePublishing, Amazon was now allowing writers to bypass big publishers and find and cultivate their own audiences. People were starting to read on Kindles and tablets in record numbers. Suddenly, you could sell books very cheaply and give readers a great experience!

It was, and is, a beautiful moment for writers.

We cursed ourselves for ignoring our book for so long and got back to work finishing it. While we plan to sell the book via Amazon’s Createspace and Kindle platforms, we also wanted to give some copies away, particularly to readers who had emailed us asking when the hell we were gonna finish the book?!

THE ROADBLOCK

While we were finishing the book, I began to hear stories of authors who lost royalties because they gave away copies of their books on their websites. You see, Amazon has a price-matching policy which states that it may match the lowest price your book is available for elsewhere.  So, if you’re giving your book away, Amazon may give your book away for free on its site.

Last week, one of my new favorite writers, David Gaughran, announced that he was writing a book on self-publishing which he plans to give away for free. He estimates the book will cost him around $1,000 to produce. The plan is that the book will be so useful that people will pass it around, serving as an advertisement for the paid book. And in all likelihood, his plan will work  . . .  if Amazon doesn’t ding him for giving his book away.

I hate being alarmist or warning of impending doom that is unlikely to occur. But at the same time, I didn’t want to see him lose money he was investing in his book. So, I warned him about the horror stories I’d heard and the possibility that Amazon could penalize him.

Gaughran is hoping that his free book will be different enough from the paid edition to avoid Amazon’s price-cutting knife.

“My position is that the free book on my website will be both a different edition and a different format, so I don’t think Amazon will (or should) price match,” Gaughran said.

I’m in agreement, particularly if a book is different enough from the one being sold.

However, what about writers who simply want to give away a copy of a book they already made? Who don’t want to create a different version (assuming a different format would protect you)?

I turned to Amazon’s policy for an answer.

From time to time your Digital Book may be made available through other sales channels as part of a free promotion. It is important that Digital Books made available through the Program have promotions that are on par with free promotions of the same book in another sales channel. Therefore, if your Digital Book is available through another sales channel for free, we may also make it available for free. If we match a free promotion of your Digital Book somewhere else, your royalty during that promotion will be zero.

We MAY make it available for free? Or will? The policy being a bit unclear, I decided to email an Amazon representative via my Kindle Direct Publishing Dashboard.

Hi,
I’m trying to find a concrete answer as the policy seems a bit vague. Can authors give away free PDF copies of their eBooks from their website without affecting the price of the same title on Kindle or royalties received?

I’ve seen this described as the freemium model, that giving away the book in another, lesser format has helped to drive sales of eBooks on Kindle, especially when you link to the Kindle version for sale in the PDF.

Additionally, if an author website is allowed to give away free copies in PDF formats, are they allowed in mobi, epub, or other ebook formats? Please be as specific as possible as I’ve seen many varied responses from other writers and there doesn’t seem to be a mutually agreed understanding on this by writers.

This would seem not to be in competition with the more easily accessible Kindle version, but that’s my opinion. I’d like to know Amazon’s take on the matter so I don’t make any mistakes.
Thank you

They responded.

Hello,

We strive to make our Terms and Conditions as easy to read as possible. However, if you have any questions or concerns regarding the Agreement, we suggest you contact an attorney who can provide you legal advice.

Further, if you offer your titles for free in any other website, your title on Amazon website will be price matched with it and will be made available for free.

For more information, please review our pricing policy in the Terms & Conditions found here:

http://kdp.amazon.com/self-publishing/help?topicId=200627430

I hope this helps. Thanks for using Amazon KDP.

So, without consulting an attorney, it seems pretty clear to me — Amazon WILL price match your book down to zero (especially if you send them an email asking them if they will).

So, case closed. You CAN’T give your stuff away for free or Amazon WILL keep your royalties. Right?

Well, maybe.

SELECTIVE ENFORCEMENT?

Several writers routinely give their stuff away for free at their websites. And not just up-and-coming writers you haven’t yet heard of, but big-name writers, the “top of the indie charts” kind of writers.

Yet, so far as I can tell, Amazon isn’t touching their prices or royalties. Or maybe they are, and we’re just not hearing about it yet.

So, how does Amazon determine which authors and books to price match and which to look the other way?

I decided to email Cory Doctorow, perhaps the pioneer of the freemium model among writers today, and asked him about his experience with Amazon, to see if he was being penalized by this policy.

“Well, that’s not what they do for me,” Doctorow said, “My books are free on my site and cost money in the Kindle store.”

Doctorow isn’t the only big-name author to give his work away for free.

J.A. Konrath gave many eBooks away on his blog, and actually endorses piracy of his book, to see how it will affect sales. According to his website, the free book has been downloaded 2,437 times (updated stats can be found here). I asked Konrath for his take on the matter and to see how well his piracy experiment worked. (I didn’t hear back by press time, but I will update if we hear back from him.)

I can understand a publishing house clamping down on free copies of eBooks. They have an investment to protect and while free copies may help sell many books, it might not sell enough, particularly in narrow niches. And it is a publisher’s right as owner of the content to determine if they want it out there for free.

However, when it comes to indie publishers and authors, and it’s OUR WORK on the line, WE should be able to give away samples of our work without being penalized.

And I can even understand Amazon wanting to price-match books, to keep a competitive edge on its rivals. However, the company should distinguish between competition and advertising efforts by the author giving content away.

GIVE IT AWAY, GIVE IT AWAY, GIVE IT AWAY NOW

This isn’t a post about sour grapes.

There is no bigger fan of what Amazon has done for writers than myself. And no bigger fan of the writers mentioned here and what they’ve done for self-publishing. And I certainly don’t want Amazon to start enforcing this seemingly arbitrary policy across the board. But I am looking for something.

Successful indie writers today, such as John Locke, acknowledge why they’ve made it. Amazon has leveled the playing field between them and the big publishing houses. Any writer with good content can go up against any other. May the best stories and authors enjoy success!

What I’m seeking is the same level playing field that these authors enjoy — the ability to give my work away when it makes sense, without being penalized for promoting my books (something which benefits both myself and Amazon.)

Should Amazon let authors give their work away without penalizing them? Have you used the freemium model? If so, what effect did it have on your book sales?

 

Top 5 Reasons It’s F**king Awesome To Be A Writer Now

Anybody that’s paying attention to the self-publishing scene can agree that there’s never been a better time to be a writer.

From Amazon, Smashwords, and other outlets to social media, writers have never had so many tools at their disposal or an ability to find and cultivate their own readership.

If you can write what people want to read, you can make a living doing so.

No, it’s not easy, and being a writer takes as much dedication and hard work as ever. But for the first time in recent history, you have the most impact on your success.

Here’s the Top 5 Reasons It’s F**king Awesome To Be A Writer Now!

(Click the image to see it full-size)
The Top 5 Reasons It's Great To Be A Writer Now - infographic

Why do YOU think it’s awesome to be a writer now? Feel free to add your own reasons in the comments.

Are Cheap eBooks Ruining Literature?

 

Is this your brain on cheap eBooks?

 

Okay, I’ll bite.

Chad Post at Publishing Perspective posted an interesting bit of link bait in a post claiming that cheap eBooks are destroying people’s minds.

While the post doesn’t actually live up to its premise, it does provide some food for thought, essentially saying that cheap books are destroying traditional publishing.

It doesn’t help that the author (a publisher, himself) takes an elitist shot at popular self-publisher John Locke.

At BEA, Keith Gessen introduced me to the works of John Locke (probably not the one you’re thinking of), a best-selling Kindle author whose books are all sold for $0.99. He made over a hundred thousand of dollars in royalties last year — far exceeding the wildest dreams of most every mid-list (if John Locke is even midlist) author in the country. Having read the opening of one of his “Donovan Creed” novels, I can assure you that he’s not selling all these books due to his talent. No offense intended, but let’s be real about this — it leads to a much more interesting conundrum.

Two of my longstanding issues with e-books are: a) how your brain processes texts read on a screen, and b) e-books make books feel like disposable entertainment. I’m going to leave the first for a separate article and/or book, but I think the second objection is valuable here.

Which brings us, of course, to what I suspect is the root of why this post is proving so popular – it’s the whole battle of traditionally published versus self-published.

Self-publishing has a stigma associated with it. Those who had to resort to “vanity” publishing were treated as lepers, deemed as not good enough to get a “real publisher” to buy their work. In many cases, that assessment is accurate.

I’ll be the first to say it, there’s A LOT of self published shit out there.

But here’s the thing – if you can sell thousands of copies of your book, you ARE A SUCCESSFUL WRITER!

You’re entitled to your opinions of what makes a book good, but to knock others who have PROVEN that they can tell and sell a story, strikes me as not only elitist, but also . . .

steeped in jealousy that you haven’t figured out what these “lesser authors” or self-publishers have mastered.

I responded in the comments at the site, but I’ll also post my thoughts below:

I disagree that eBooks cheapen the value of books. Either you like to read or you don’t. We all know people who buy books all the time yet never finish them. Books, for many people, have always been impulse buys. People who enjoy reading will read regardless if they bought a physical book or an eBook. I still avidly read both.

In most cases, I suspect that cheap eBooks likely lead to sales which never would have occurred in the first place, rather than subtract from physical book sales. I’m more likely to check someone out at .99 or $2.99 than I would at $9.99. But I’m still going to buy from the big authors I’ve come to know and love no matter the price.

To your last point, no, not all publishers can thrive in this new market. Nor should they.

You either adapt and provide value or you find enough people to support your business model in some other way. Holding prices artificially high for the sake of propping up a failing business model will never work because the truth is, authors no longer need publishers.

Let me rephrase that – authors are now becoming publishers.

Writers finally have the opportunity to go directly to their audience and build their own fan base/readership. They are no longer held up by production schedules or the interests of the publisher. They don’t have to take a pittance in digital sales royalties or take a back seat to another writer in the stable. In short, writers can now write their own rules (pun intended).

So the question publishers need to be asking themselves isn’t how can we force our will onto others, but rather, how can I provide value to my customers? How can I make the book buying/reading experience more valuable so people will feel compelled to support our efforts?

Not an easy question, I know, but I’m sure the most creative types will find ways to thrive. Or more indie author/publishers will rise. In any event, “literature” is no worse for the wear and the readers win.

Read the whole post over at Publishing Perspective.

Editing Your Self Published Book: A Checklist

So, you finished that book you’ve been working on forever? But, did you edit it?

While Kindle and Createspace, along with other self-publishing options, have given indie authors a bit more respectability (in that they don’t have to hide their status in shame), that doesn’t mean you can overlook the importance of editing.

If you want to compete with established writers, do everything you can to make your book look like a “real book.”

Under the best circumstances, you should hire a professional to edit your work. First, you should seek an editor to read your story, to help with the big picture stuff such as structure and how well the story works. Once you have a story that works, you’ll need a copy editor, someone to fix the typos, grammar, and the little (but very important) things.

Here’s some basic tips from the obvious (like check your spelling) to the not-so-obvious (formatting) that I’ve learned along the way editing our books at Collective Inkwell. It’s not a complete list as different books (such as children’s books) require different procedures, but this is a good starting list for most writers. If you have any tips to add, please leave them in the comments below and I’ll update this post as necessary.

Check for typos. It’s easy to miss typos, especially when spellchecker doesn’t catch it. Your spellchecker doesn’t know if you meant lose or loose, but your readers will notice if you get it wrong. Trust me, I’ve gotten that email pointing out something I should have caught. And while getting that email makes you feel like a big dummy, I always appreciate the readers’ help. It’s all too easy to miss stuff when you’re editing something over and over and over, and sometimes adding new stuff on the sixth edit.

Check name spellings. Are your proper names consistent? This can be especially troublesome if you use uncommon names or spell them differently. For instance, I have a character named Mike Mathews in our upcoming vampire thriller, Available Darkness, but in the first edit, I had his name spelled two different ways, with both one and two T’s. Woops, no that’s not a different Mike Mathews.

Check timelines. Does your story flow well? Did you have a character in California at 10 p.m. and somehow, impossibly, have him in New York an hour later? It’s easy to get timelines mixed up, especially as you change details as the book progresses. Unless he’s using supernatural means, fix it!

Check specifics. Attention to details makes your world come alive for a reader, while errors will ruin the illusion. Was a character bald in Chapter One, yet someone grabs him by the hair in chapter 12? You might be writing the two chapters months apart and may have forgotten some details, but readers will spot such inconsistencies quickly as they plow through your book in a few days. Pay attention to details such as names, relatives, friends, locales, character traits, history, pets, language, and things they own. Keep character sheets and make sure you read your book again from beginning to end to catch any errors.

Check formatting. Are headlines consistent? If you are using bold type and center justifying your headlines, make sure all your headlines are the same. (I made this mistake on one of our books and will correct it in the next edition). Is your page size the same as the final product (for print books)? Are your margins correct? Amazon’s CreateSpace forum has a thread on margin interiors.

Make sure your font size and types are also consistent. If you use Georgia 11 pt. for Chapter One, don’t use Times New Roman for Chapter Two unless there’s a specific reason to do so. Most eReaders ignore which font you use altogether, so this one applies more for your print version.

Are your headers and footers consistent? You have a few choices here. I usually go with Author name on the left and book name on the right pages. For reference books, I’ll substitute chapter titles for author name. Your footers should have page numbers on the outside or in the middle. Don’t make the mistake of putting them on the inside. Again, this is only for print books, not eReaders.

Is your book configured correctly? Another print only item – Does your first page begin on the right hand side? It, and new chapters, should start on the right side, though subsequent chapters don’t necessarily need to follow this rule. Many word editing programs feature “first page is different” and “left and right pages are different” which should probably be checked off (depending on your project). Title page, dedication, and the table of contents (if you have one) usually start on the right page, while copyright info and “other books by the author” are typically on the left side.

Did you quote songs or books without permission? It’s pretty cool when authors quote lyrics from songs, right? And maybe you thought you’d do the same to show off your awesome musical knowledge/taste. Just one thing – chances are good that the author had to get permission to use those lyrics. And that permission usually includes paying a fee. If the work you’re quoting has a copyright, either get permission (which can take a while to secure) or delete it.

Check your cover for any typos. I don’t know what it is about working in Photoshop, but I seem four times more likely to make a typo when using it. Since your cover is the first thing (and could be the last thing) your readers see, pay extra attention to getting it right.

Let it go. There will almost always be errors. At some point, after several edits, you need to just put the book out there and hope your story is awesome enough to overcome what few errors are left. In most cases, readers are a forgiving bunch. But don’t test their patience. Aim for producing the best book you can create. You can always revise later if you find enough errors (or enough readers email you on them).

What editing tips would you add to this checklist? Leave a comment below and share.

 

Next Page »