WITH HEART TO HEAR Excerpt

Available at Amazon and B&N

I finally put up an excerpt of WITH HEART TO HEAR, my erotic Victorian fairytale. (Click on the EXCERPTS tab above.)

I absolutely love the cover Rae Monet did for this short (11K words).

The seeds of this story are from a dream that a friend told me about. She gave me permission to use it as a jumping off point, but by the time I finished, it bore little resemblance to the original inspiration.

Here’s a bit about WITH HEART TO HEAR:

An erotic beauty and the beast tale.

Elise Craft is a well bred Victorian spinster who, at the advanced age of twenty-eight, would rather study the flora and fauna of England than indulge in the social games of the ton. Then, on a trip to the lake country of Cumbria, she makes an exotic and erotic discovery on the border between everyday England and Faerie. She will never see the world the same again . . .

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Define Yourself

I have a button (one of those round ones, with a pin on the back, and words on the front) that says, “Among animals it’s eat or be eaten, among humans it’s define, or be defined.” Marketers and politicians have known this to be true for as long as their professions have existed. It’s time for writers to recognize this as well.

By defining the terms you control the discussion.When it comes to your career, you should be the one defining the terms. Dean Wesley Smith wrote a recent post that touched on this. His post was mostly about how indie writers should take the long view, and regard the time they spend building their career as an investment. That, like a biweekly contribution to a retirement fund, the time devoted to writing will only gradually yield growth. This is important for impatient people like me to remember. The message: just keep writing and over time, with the magic of compound interest (in your books) success will grow. He defined writing as an investment.

But Dean also defines other terms. He says:

In the last article in this series, I went on about the difference between an “Author” and a “Writer.”

And in indie publishing, the difference can really, really be seen, with the “Authors” doing nothing but promoting “their book” while the “Writers” just get out to readers what they have written and then move on to writing new stories.

And let me repeat something I said:  It is the “Authors” who are going on and on about what indie “Writers” MUST DO.

And then Dean goes on to say what he thinks writers must do. (Write. A lot.)  My point is not to say “gotcha” to Dean, my point is that he has defined what he believes works, and he is following that path. Part of that path is sharing his definitions with the world, just like the “authors” he defined are doing.

As we must all do for ourselves. We don’t have to share it with the world, but we must figure out our own way amid the clamoring voices that are trying to tell us the “right” way to get our books written and in the hands of readers. We should not accept what an author, or agent, or even a publisher says without critical thought. We must ask ourselves if what they’re asking, or telling us to do, fits with what our vision is for our future. Of course, that means we have to have a vision for our future, even if that vision changes over time.

I sympathize with the desire to find out “the secret” to success. We had that desire in a different form, when we wanted to know how to best phrase our query letters and synopses, so a publisher would buy our latest effort. Now we indies have substituted the desire to know which review blogs to submit to, whether we should use professionally designed covers, and how to manipulate Amazon to get a better ranking and more sales.

The community of writers, and the indie community in particular, is one of the most supportive I’ve ever belonged to. Everyone I’ve talked to is willing to share how they do what they’re doing and give advice. I’ve learned a tremendous amount from authors who generously shared their experience with me.

The problem is, the advice from one source often conflicts with what the next person says. And because the indie environment is so new, there isn’t much available in the way of cold, hard facts. We’re all flying by the seat of our pants, even the ones who sound very sure of themselves. And even if they’re right about something today, next year the market will have changed.

One thing I know “for sure.” It’s that it is possible to stand still waiting to be certain that a particular path is the best. And while you’re waiting, you’re not moving forward. Try something. Don’t wait for “best.” Go with “good for now.” Define your path. It doesn’t have to look like anybody else’s. You can change direction later if you want. Most mistakes aren’t fatal, and all of them can teach. (And keep records so you’ll know if what you’re doing is working.)

How is all this affecting what I’m doing? Well, I have another button. It says, “If you’re going to walk on thin ice, you might as well dance.”

Honestly, I’m just dancing as fast as I can. I’m getting my finished work out, and writing new stuff. I’m having a blast doing it, too. I don’t have much time for more than that. As I said in my last post, I may turn more of my attention to promotion when I have a number of titles for sale, but not until then. And I use the words “author” and “writer” interchangably.

 

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My Self-Publishing Journey: Planning 2012

I’m a big believer in making lists and having a plan. I don’t always follow the plan exactly, but I’ve got one.

It’s good, essential even, to have dreams, but you have to have a plan for how you’re going to get there, or you’re likely to flounder around without making much progress. I believe in setting goals which are measurable and within my control to achieve. I start with the big goal, then break it down into smaller steps as I get closer. As the saying goes, life is what happens while you’re making other plans, so I like to keep my plan loose until I’m almost ready to implement the next step. You might call it “just in time” management. I don’t see the benefit of nailing down every detail far in advance, when circumstances might change.

I’ve had one quarter of being a publisher as well as a writer. If sales continue at the current pace, I’ll break even in 22 months. My dream is that the pace of my sales will increase as I continue to bring out more books, but I have no direct control over that. What I do have control over is how much I charge for my work, and how much I spend on the various components of publishing. I also have control over how much time I spend on free social media promoting my work. I don’t have control over whether time spent on social media converts to sales.

So how am I going allocate my time and money in 2012?

  • The majority of my time will be spent writing, revising, and publishing two books. I’m currently preparing a backlist novel, DANGEROUS TALENTS, for publishing. DT should be out by May. I’m also writing FIRSTBORN, a tie-in novel in the Celestial Affairs universe that LIGHTBRINGER began. I plan to release FIRSTBORN in the fall. Then I’ll either begin work on GUARDIAN, the next Celestial Affairs novel, or prepare FORBIDDEN TALENTS for publishing in 2013. I will not plan another Christmas release as I did in 2011.
  • I’ll continue to use social media to let the world know that I, and my books exist. I’ll blog a little less frequently, and tweet a little more. I’ll look into guest blogging so I can reach a new audience.
  • I’ll send review requests to blogs that discuss the kinds of books I write.
  • I’ll make personal appearances at events I enjoy: The Amore and More talks at the Pima County Library, the Tucson Festival of Books, and TusCon Science Fiction Convention.
  • I’ll send postcards to book events advertising my books. I’m not sure how immediately effective this kind of advertising is, but at least it has the benefit of being targeted to readers. In direct mail campaigns a 1% conversion rate is pretty standard. With a targeted campaign it might be as high as 3%. Hmm. Now that I’m doing the math, that’s not a good return on investment. I may rethink how I implement this.
  • I will research less expensive alternatives to certain production tasks, like cover design.
  • I’ll research inexpensive advertising opportunities to implement once Castle Rock Publishing has three titles for sale.
  • I’ll stay flexible and keep my eyes open so I can take advantage of opportunities as they present themselves.

Mostly this year, my focus is going to be on making my work available for sale. My long range plan is to release a minimum of two books a year. I’ll let you know how it goes. :-)

 

 

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My Self-Publishing Journey: Q1 Numbers

Happy New Year!

I promised a while ago that I’d share with you how the numbers are adding up for me on the self-publishing journey. I think it’s WAY too early in the journey to draw any conclusions about potential success. As Dean Wesley Smith observed in this post, it takes time to build a self-publishing business. But I also know that before I started, I’d have loved to know what to expect at the beginning. So here’s how things are going for me. Remember, your mileage will vary.

On the small press front, VEILED MIRROR  came out on August 25th in paper, and on September 21st in digital on the Wild Rose Press website and Nook. It didn’t become available for Kindle until mid October. I don’t know how many copies, in which formats, were sold from the Wild Rose Press site, but now that the holidays are past, I’ll be contacting them for that info. Royalties through the end of December: $26.37. Six additional copies were sold by hand, or on commission by Mysterious Galaxy Books at TusCon for additional income of $12.80

LIGHTBRINGER came out in digital format for Kindle, Nook, and Smashwords in mid October, and in paper early November. It was listed on All Romance Ebooks in late November. Digital sales from all sources are 19, for an income of $46.74. I sold 12 paper copies from various venues, including Mysterious Galaxy for an income of $53.32.

WITH HEART TO HEAR, an erotic fairytale short, was released on December 22nd in digital format only. I sold 16 copies on Kindle and Nook in the last ten days of the year. There was a glitch (now fixed) with the listing on All Romance Ebooks which resulted in no sales. I haven’t put it up on Smashwords yet. 2011 income from WHTH: $6.40.

Grand total from all sources for 2011: $145.58

It’s important to understand what effort has been made to encourage these sales, too. During this time I’ve given 16 books to reviewers, family, and friends. I see this as an investment in word of mouth. It’s already paying off in reviews. I have continued blogging twice a week (with my blog linked to facebook, linked in, and twitter) but very little other social media activity. I spoke at my local RWA chapter, TusCon, and at World Fantasy Convention.

These numbers will look pitiful to those accustomed to the traditional publishing pattern of sales in the thousands right after release, which then trail off over the next few months. As I understand it, the sales pattern is exactly opposite with self-publishing, with the number of units sold per month increasing over time, especially as new books are released. That being said, I’ll need to expand my exposure if I want that to be true.

Next time I’ll write about how I plan to grow my self-publishing empire.

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WITH HEART TO HEAR is Available!

Just in time for the holidays, my novelette WITH HEART TO HEAR is available for only $0.99 as Kindle and Nook downloads! It should also be available soon on All Romance Ebooks.

As I mentioned in an earlier post, I wrote WHTH after a friend of mine told me about a dream she had. I thought it held the seed of a good story, and she gave me permission to use it. The story that grew from that inspiration is nothing like what her subconscious originally came up with.

Elise Craft is a well-bred Victorian lady who would rather study the flora and fauna of England than play the social games of the ton. Then she makes an exotic, and erotic, discovery on the border between everyday England and Faerie.

WITH HEART TO HEAR is an erotic beauty and the beast tale. It was published several years ago in SUM 3:The 2006 Zircon Anthology of Speculative Romance. For this release it has been re-edited and given a gorgeous cover by Rae Monet. I’m hoping this will be the first of a series of sensual fairy-tales. Two that I have in mind are variants of the Princess and the Pea, and the Nutcracker (no pun intended). For now I’ll bring them out individually as digital releases, but if they prove popular I’ll put them in a collection and publish them in paper format.

Do you have a favorite fairy-tale you’d like to see “romanticized?”

********************

I want to wish all my readers a joyful, healthy, and prosperous holiday and new year. Thank you for reading!

I’ll be visiting with out-of-town family, so I won’t be posting on my regular schedule for the next week or so. “See” you next year!

 

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It’s All In How You Look At It . . .

Merry Yule! I hope you and yours are all enjoying this holiday season. So often at this time of year it’s easy to become stressed by the additional efforts of shopping, entertaining, and planning holiday meals, not to mention the disruption of our usual routines. I compounded the chaos this year by planning the holiday release of WITH HEART TO HEAR and replacing some very worn carpet in my living room before we hosted our holiday party.

I was starting to feel a little snippy about my home being discombobulated for longer than planned when I remembered how blessed I am that I can do both of these things. Then I read this excellent post from Dan Wells from early last month about Cheerful Flexibility.

Cheerful Flexibility is a wonderful mantra for life as well as publishing. With the industry in the process of finding a new way of doing business we’re bound to need to adjust and readjust in the next few years. If we can do it with an open heart, life (and change) will be so much easier for us (and for those around us). We probably won’t like some of the changes we’ll be facing, but they’ll be less painful if we work through them instead of resisting them. I fully expect I’ll have to alter my plans–probably more than once.

In the meantime, it’s good to keep focused on what’s really important: friends, family, meaningful work.

May the blessings of the season be upon you!

Frankie

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Covers: Know What You Want, and Ask For It

I enjoyed producing LIGHTBRINGER so much that I decided to go ahead and bring out one of my earlier works as a single. I’ll be releasing WITH HEART TO HEAR soon, just in time for the holidays. It’s an erotic beauty and the beast novlette, set in the late Victorian era.

Seeing a cover take shape is exciting for me. As I mentioned in a previous post, a cover is often the first experience a reader has of your story, so it should give them a clear idea of what your book is about. It doesn’t have to reflect every element, but it shouldn’t mislead them. It should appeal to your audience and make them want to click on it to find out more. (You do know who your audience is, don’t you?)

Rae Monet did this cover for me (as well as the one for VEILED MIRROR). Kim Killion did the cover for LIGHTBRINGER. What I learned from working with Rae and Kim is to be clear and specific in my requests. Artists are busy people and sometimes distracted by other demands. Creation of your cover is more likely to be quick and smooth when you take the time to be careful and specific in describing your vision to the artist.

Here’s what I think is important to designing a cover for online sales:

  • The quality: does your cover say “professional”? Does it promise that the story is carefully written and edited?
  • The feel: does the cover reflect the kind of story it is?
  • A clear focal point: does your eye know where to rest?
  • Readable fonts for title and author name when the cover is a small size.

Keep in mind that your artist is a business person. Her time is valuable. At the same time, you have a right to get what you want. Listen to the artist’s advice but make your own decisions. Keep asking for what you want, and express your ideas clearly and courteously. Don’t change your mind half-way through unless you’re willing to pay extra for the artist’s time.

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My Self-Publishing Journey: The Pricing Debate Continues

I stumbled across a guest post: Why Your Novel is a Tall, 6-Pump Vanilla, Breve Latte Grande, Extra Hot, Heavy Whipping Cream, Extra Dry Cappuccino (Or It Should Be) by Elle Lothlorien on Joe Konrath’s blog.

I’ve written a little about pricing digital books before on this blog, and mentioned Dean Wesley Smith’s take on the 99 cent price point. Based on conversations with Mike Stackpole, and comments I’ve read by Robin Sullivan, I made the decision to price my books in the $3.99 to $4.99 range. I’ve long believed that you teach people how to treat you and that applies to teaching them what your work is worth, too. I’d forgotten that in economics that principle is called “imputed value.” (Thanks for reminding me, Elle.)

The comments on Elle’s post are worth reading, too. There’s some difference of experience and opinion there on what works and why.  Michael Kingswood suggests this pricing strategy:

I think a reasonable pricing structure is as follows. Short stories $.99. Novelettes $1.99. Novellas $2.99. Short novels (< 75k) $3.99. Novels (75k – 100k) $4.99. >100k $5.99.

In case you’re wondering about the difference between a novelette and a novella, the Science Fiction and Fantasy Writers of America use the following definitions for its Nebula Awards: short story–up to 7500 words, novelette–7,500-17,500 words,  novella–17,500-40,000 words, novel–varies depending on genre but usually a minimum of 40,000 words.

By that measure, LIGHTBRINGER is priced just right at $3.99. (The Wild Rose Press, however, values VEILED MIRROR at $6.50, so is $3.99 too low?) In a few weeks I’ll be bringing out a 11,000 word erotic fairy tale called “With Heart to Hear.” I’d planned to price it at .99, but now I’m rethinking that and considering listing it at $1.99.

I take away several points from this post and the comments.

  • While a lot of authors are pricing their books very low, many readers avoid .99 books, believing them to be inferior, as prefer them. Maybe more.
  • Focusing on sales rank is not useful.
  • Within a certain range, creating imputed value works. Based on Elle’s experience, I’m wondering if launching a book at a lower price, say $2.99 for an announced limited time, and then raising the price to $4.99 might not be a good strategy.
  • Higher per unit prices may reduce unit sales while increasing net income.

On the other hand, I just read “How Darcie Chan Became a Best-Selling Author” from last Friday’s Wall Street Journal. She used the 99 cent price as part of a larger strategy to boost sales of her book THE MILL RIVER RECLUSE.

‘She noticed that a lot of popular e-books were priced at 99 cents, and immediately dropped her price from $2.99 to 99 cents. The cut would slash potential royalties—Amazon pays 35% royalties for books that cost less than $2.99, compared with 70% for books that cost $2.99 to $9.99. But sales picked up immediately. “I did that to encourage people to give it a chance,” she says. “I saw it as an investment in my future as a writer.” The strategy worked. Several reviewers on Amazon said they bought the book because it was 99 cents, then ended up liking it.’

She also spent over $1600 on banner ads online and an expedited review from Kirkus, but her sales had perked up with just the price drop.

So what is your price strategy? I’d be interested in hearing from other indie authors about how they price their books and what effect that has had on sales and income.

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Where Do You Get Your Ideas?

“Where do you get your ideas?”

Every writer who has ever lived has probably been asked this question. I got it the first time before I was even published. The answers are as numerous as the stars in the sky. Sometimes there’s a temptation to be flip: “From an online catalog,” but most non-writers really don’t know, and they deserve a serious answer. To those who don’t write, creating people and worlds out of nothing is akin to magic.

Even for those of us who do write, the act of creation sometimes feels like magic. Even if we research and organize and outline first, there are details and turns of phrase and whole characters that seem to spring full grown from our heads without any volition on our part.

For me, my process to date has been that an idea comes to me, I munge on it for a while, grow some characters out of it. I think about what they want and why. I let them start trying to get it. Then (with a novel) I get to a place about 60 pages in where I write down a semi-detailed outline. For short stories the outline is in my head.

But where does that first seed of an idea come from?

  • Questions: What if the bad guys are really the good guys? LIGHTBRINGER. What if two lost civilizations wound up in the same alternate world? DANGEROUS TALENTS.  What would a playboy priest take seriously? FORBIDDEN TALENTS
  • Dreams: “With Heart to Hear”
  • Contests: Write a story that mentions Lubbock, TX: “Night Run”
  • A stray image that popped into my head: “Debts”
  • A challenge: How could something horrible be the right thing to do? “Koomb’s Tunic”
  • Catharsis: How do I get something horrible out of my head? “Falling”

There isn’t much of a pattern for me, so when people ask where I get my ideas, my answer isn’t very illuminating. I just say, “Everywhere.”

Where do you get your ideas?

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My Self-Publishing Journey: Pareto’s Law Revisited

I wrote a while back about Pareto’s Law: the 80/20 Rule. That’s the idea that 80% of your results come from 20% of your effort. The trick, of course, is knowing which 20% of your effort is producing the results.

Castle Rock Publishing is preparing to publish DANGEROUS TALENTS. Part of that process is deciding what level of editing to pay for. DANGEROUS TALENTS has been through multiple rounds of critique with authors who have published well over 100 books between them. Is that enough?  Do I (as the owner of Castle Rock) hire a less expensive editor to go over this much longer book? Or do I stick with an editor whom I know does excellent work? Do I pay for a developmental editing pass I may not need, or do I pay only for copy and proof editing?

This is no small matter. I’m in business. Every dollar spent up front pushes the break-even point further away. At the same time, my books represent me. They can build or hurt my reputation.

I’ve made my decision based on my dedication to producing high quality entertainment for you, my readers. But I wanted to share my dilemma with you because if you’re self-publishing these are the kind of decisions you’ll face too.

In the meantime, I want to announce the winners of my drawing for a free copy of one of my books. These winners may choose either a print or digital copy of VEILED MIRROR, LIGHTBRINGER, or DANGEROUS TALENTS when it’s released next spring.

Congratulations to Christine Wunch, Caroline Mickleson, and Benita Grunseth. Thank you for leaving reviews of my books. You can contact me with your preference at FrankieRobertson@earthlink.net.

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