Every Word Counts

"..So avoid using the word 'very' because it's lazy. A man is not very tired, he is exhausted. Don't use very sad, use morose. Language was invented for one reason, boys - to woo women - and, in that endeavor, laziness will not do. It also won't do in your essays." These words spoken by Robin Williams in the movie Dead Poet Society are an eye opener.

Don't be lazy. Every word written and every word omitted counts.

Blue Car

"It has been a wonderful first date.

• While we spoke outside her door, a blue car passed"
• While we spoke outside her door, a blue Mercedes with out of state plate passed"
• While we spoke outside her door, a blue Ferrari passed"
• While we spoke outside her door, a navy Ford passed. The kid in the backseat had this glance of astonishment in its eyes only kids can have when they see something new - and myself in that particular moment."

Do you see the difference in these sentences? In the first two examples the focus is on the car. It must pertain to the development of the plot. Maybe a blue car passed two days earlier when the protagonist witnessed a robbery. If it doesn't move the plot forward, leave it out. Imagine you have been on a first date - do you care about a car that passes while you still stand in the front of her door? Not really, right?

Except... the sentence tells us something about the protagonist. Have you ever seen a blue Ferrari? I haven't, and personally I couldn't care less, but there are men that would get all excited about it. It tells us something about his personality. If it is not what you wanted to tell the reader about the protagonist, leave it out.

Now, the last sentence tells us something about the guy too. I bet you too have these moments in your memory where you can tell each and every detail; how the sunlight was, the smell of snow in the air before it falls of the smell of rain after it has stopped. You know the number of the house on the other side of the street and the color of the car that passed in that moment. It is burned into your soul and most of the time it has something to do with a girl (or a guy).

If a word or sentence is not important for the plot, the story or the protagonist, LEAVE IT OUT.

Beware of Fashion

We are all children of our generation, but the older we get, the more we realize that many things that are IN right now aren't tomorrow. I grew up in the eighties with the A-Team, Knight Rider and music tapes. If your plot on a hero that saves a tape using a pencil you might need to explain it to millennium readers. Nowadays it's all about Facebook, Twitter & co, but who remembers IRC? Explaining past technology might be obvious, but even when using nowadays favorite technology - be aware, it can be forgotten tomorrow.

Try to stay away of using things that are fashion driven - you might end up with disconnected future readers.

The Perfect Word

In my blue-car-example I used the word speak, which seems to be a neutral word in that context. Now try to replace this word with 

• discuss
• argue
• chatted
• flirt
• debate
• teasing each other

See how it gives the story another direction.

You want to have another example? Look at the following sentence: 

• "When I saw her the first time, she was reading a book."

vs.

• "When I saw her the first time, she sat in the park on green bench beneath an oak tree reading a book."

Choosing the right word is crucial in order to paint the right picture into the reader's mind.

Increase vs Reduce

"Every word counts" goes in both directions - it can increase the number of words or reduce it. Word count decreases when you try to bring an emotion across and you can nail it with one word instead of describing it. On the other side of the spectrum you increase the word count in order draw a picture. If the car in the first example is just a car, the picture remains one-dimensional. In order to gain depth you need to say what kind of car and you might want to add some more description if it suits the purpose.

Eventually every word counts in order to nail it.

Happy writing,

Your writer in a foreign land

The Different Faces of Discipline

It's NaNoWriMo and NaNoWriMo means discipline. If you don't sit down every day and write, you will end up with a huge pile of words to be written in the last days of the month. You might also be tempted to give yourself a free day. Don't do it unless you are one day ahead. It will haunt you for the rest of the month.

But NaNoWriMo is only one month. What about discipline during the rest of the year. Don't get me wrong; I don't talk about discipline in "real" live, like paying bills, cleaning the house etc. This is about discipline in writing and there are various aspects of it. I have to know it, because I am very much driven by creativity. Discipline is something I had to learn the hard way, therefore I see myself competent enough to be able to 'lecture' about the topic.

Discipline is outing itself in various aspects of writing and it is different for every writer.

Daily Writing

Everybody has his or her own daily routine, but however it is, writing should be a part of it. It doesn't matter if it is as little as 250 or more than 2,000 words. It takes a discipline to write consistently every day, especially when the day is already packed. I dare to say there is more discipline required when you have day job than as a professional writer. You need to make it a habit, otherwise it might be too tempting to say, "Tomorrow I will write double the amount of words, I promise." Currently, I do my writing on the commute, next to a 12 to 14 working hour day.

I already wrote about my writing habits in a earlier blog post, however, you need to find your own way. You might be a early morning writer or feel more comfortable doing it late at night. It is is all up to you, but you need discipline to sit down every day and write.

The Right Word vs Shutting the Inner Editor Away

You encounter another angle of discipline during writing - two actually, depending which side you are coming from. How long do you look for the right word until you move on with your writing; one minute, ten minutes or half an hour? I am very quick in writing down a short note about what I wanted to say and move on with my writing. Others might be tempted to spend a lot more time at this point. If you are like me, you are probably fine. Except that your future self might curse you for that. If you are the later one of the two you should train yourself to let go for the moment.  This doesn't mean you can spend some time to search for a suitable word, but you should stop at some point and keep on writing.

Editing

Here's my favorite. While you were on the bright side above during writing, when you didn't insist on finding the perfect word, you will suffer during editing. Here it is all about the right word, the right scene, the right character. It might be because of where I'm coming from, but in my opinion, discipline in editing is the most crucial one.

Imagine, you've done hours and hours of rewriting and editing. You almost spent more time for editing as for writing and at that point your discipline has to kick-in to go to the end of the road and have a perfect book. Even more when you are an indie and can't rely on an editor/publisher.

Marketing and Sales

There is a reason why marketing is a profession on its own. It means constant work and a high level of creativity to reach the customer - especially when you don't have a budget, only your work and time.

As well as you have to write every day, you have to market you and your books every day - planning as well as executing. 

Know You Yourself

Everybody needs discipline, but everybody needs discipline for something different. Discipline comes into play when you don't like doing something or when you have to set different priorities.

As an introvert, you need discipline to go out and market your book. When you are super creative, you might need discipline while editing. When writing aside a day job you need discipline to write every day. 

Last week I had a 70 hour workweek and was forced to decide between writing every day or finish this blog. I decided to write every day my 250 words, that is why this blog comes out with one week delay. And there's another angle to discipline. Discipline does not mean to kill yourself - it doesn't mean to do everything. Discipline means to overcome our weaknesses. Outside all discipline, you can only accomplish as much as is feasible in a day. It doesn't get longer than 24 hours. Knowing when to stop is also a kind of discipline.

Happy writing

Your writer in a foreign land

How to Get the Tears

Have you ever heard "No tears in the writer, no tears in the reader". It is part of a quote from Robert Frost. The sentence is followed by "No surprise in the writer, no surprise in the reader."

The quote goes in two directions - Robert Frost later elaborated, that he also referred to the hard work a writer has to put into his work; tears, like in "blood, sweat and tears".

However, in this blog post I want to go into the more common interpretation, that without the feelings in the writer, there wouldn't be feelings in the reader. As a writer, you need to be able to feel what you write, love, fear, anger. But how can you write about extreme emotions? So, you are not allowed to write about them. Well, there are multiple ways to understand emotions.

Mending a Broken Heart by Nicolas Raymond (photo from Flickr) 

Experience

Most of us experience a variety of emotions throughout childhood, adolescence and later in live, being loved and cherished, falling in love, anger etc. When writing about these emotions, it should not be too difficult to recall them. I am usually so into my story, that the emotions come automatically. If not, you can try to concentrate on certain events or moments in life where you remember these emotions to be very strong. That might help.

I know that sounds so easy now, but usually it is. However, there might be situations which are more difficult, for example when you grieve for someone, when you just had a fight with loved ones or simply when you are anyways stressed out and just got another deadline on your calendar. The only way to get through that is to sit down and write. Either you try to write the scene, knowing you might have to rewrite it (actually, you might even like the undertone of how you wrote it). Or, you write something different and come back later to this scene. It all depends on what works better for you.

Having said all that, there are emotions that are more difficult to recall, such as guilt, shame, envy, schadenfreude, angst etc. They are difficult to recall because we usually try to hide them from ourselves. Myself, I remember some of them and I don't like to recall them. On the other side I know that my writing becomes so much stronger when I do so... no tears in the writer, no tears in the reader.

If you are not sure how an emotion feels that you want to write about, it actually doesn't matter if you did not have this emotion yet in the magnitude you would like to write about it or you simply haven't been able to recall it. In that case, you can try to use surrogate techniques such as observation or empathy.

Observation and Empathy

Watching people live, on video or in movies can be a good surrogate to see emotions. Observing their reaction and trying to feel them, can help your writing. 

Examples? Here you go: 

• Watch the Lovabull proposal on Youtube. The cheerleader is surprised at the beginning and she knows something is on, but she maintains a professional manner. She knows she is on stage. The moment when she realized what it is, she laughs and then she is overwhelmed for ten seconds until she regains control. Try to catch that moment and feel what she might feel. 

• In The Patriot, watch the scene when Mel Gibson as Benjamin Marin loses his faith after his second son Gabriel died. Don't listen to what he says, just watch him. He can barely breath.

• Another movie example is Falling Down with Michael Douglas. Can you follow him the moment, when it clicks? He gets out of the car and tries to escape, but he's not there yet. He tries to see his children and gets rejected, but he's still not there yet. Very slowly he pushes the limits further until there is no way back.

• There are also examples in real live. Have you ever watched a couple fight in a restaurant - this mixture of suppression of anger together with sudden small outbursts. Can you feel how the chest is always under pressure, when they talk. In private they would probably fight with a rapier or a broadsword, but in public they fight with a needle. 

Don't get me wrong here - I don't want you to copy these feelings, but to understand them in order to be able to produce characters that express them. You need to understand the underlying emotion and realize what it can cause when it gets extrapolated and the controlling mechanisms are taken away.

Your writer in a foreign land

The Ideal Length of Books - Then, Now and Tomorrow

Last week I confessed that my first drafts are too short. With 30'000 words, they are a kind of bare bones drafts or extended plots. However, is 30'000 really too short? How long should a novel be? Well, it depends...

The Traditional View

If you google "book word count" you get tons of links. Scrolling through them, the answer to the question for the ideal novel length isn't an easy one.

Based on Wikipedia a novel is between 60 and 80'000 words, while thrillers might get up to 100'000 words. For NaNoWriMo it is more than 50'000 words and for the Nebula award over 40'000 words. A blog post from Writer's Digest from 2012 differentiates between clients and different genres. Middle grade is around 30'000, Young Adult around 40'000 and an adult novel around 80'000 words. On the upper end, the spectrum reaches 115'000 words for Sci-Fi and Fantansy.

But why all these rules? A blog post from Harvey Chapman on novel writing help gives a hint: Publishing Industry standards.  It seems that these numbers are a sweet spot for print books:

• "Thin novels might be cheaper to produce, but book buyers won't feel that they are receiving their money's worth - a 150-page book does not sell for half the price of a 300-page book.
• Thick novels will be more expensive to print, meaning more units will have to be sold to reach the same amount of profit - 600-page novels are not twice the price of those of 300 pages."

I get it - it's an industry standard that has evolved out of year long experience. Still, it has changed over time adopting new technologies as well as the overall market demand. Based on a blog post from Charlie Stross on his diary. SF book length evolved from somewhere around 50'000 in the 1930ies due to the weekly magazine style via 70'000 words in the 1960ies to the current size of 115'000 words. The blog post suggests, that the inflation between the 1970ies and the 1980ies triggered also a demand in thicker books (i.E. customers would accept higher prices much more if they also see that they get more).

You get a similar result looking at the average word count of famous novels:

• The Crying of Lot 49: 46,573 words
• Slaughterhouse-Five: 47,192 words
• Lord of the Flies: 62,481 words
• Brave New World: 64,531 words
• The Adventures of Tom Sawyer: 70,570 words
• Lolita: 112,473 words
• Madame Bovary: 117,963 words
• Moby-Dick: 209,117 words
• East of Eden: 226,741 words

The average word count on Amazon is about 64'000 words. Given a bell shape curve, Animal Farm with 29,966 words and War and Peace with 544'406 words seem to be the tail end.

The Indie View

Again, technology triggers a change. E-books and new distribution channels enabled the indie revolution. A writer can publish a book with 30'000 words via KDP - no industry standards, no restrictions.

Even the main argument from the publishing industry with readers expecting a certain numbers of pages to justify a certain price is not relevant anymore. With an e-book price of maximal $2.99 and a book without visible size the number of words is secondary as selling point. And even if we translate this back into the printed world, with print-on-demand, the cost to have smaller books is affordable to a writer.

However, there is the craft-vs-the-money trap again. Writers might tend to write shorter novels in order to be able to produce more books and hence, sell more books. Nothing wrong with that, but less words should mean less characters and subplots, not flat characters or lousy subplots. A shorter story needs to be less complex. Exceptions apply, however, I would go with this as a general rule.

The Outlook

So far, we looked at the impact of production and cost on the lenght of books, but we haven't factored in the demand side of the equation. What do reader want and how is the reading behaviour changing the landscape.

I don't know. I don't have a crystal ball, will say I don't have empiric data to underline an analysis. However, I do have an opinion based on observation.

I think, there will two different kind of reading behaviour, one that is time spent on reading for the purpose of reading and the other one is reading as a gap filler. I love to dive into a good strory and read for hours and I don't care if I have a physical book of 500 pages. It's the rainy-day-cozy-sofa-and-coffee reading. On the other side I have a commute of 45 minutes twice every day and I see a lot of my fellow commuters reading with their e-readers or smartphones. Now think of yourself, if you  have 45 minutes time, how far do you get. Additionally, if you have only 45 minutes you will be much less patient to read through non-action scenes as if you are deep in the story on a  rainy-day-cozy-sofa-and-coffee. You will scan these pages until you get to the next action scene.

You see, it's a different reading and I predict, that there will be a growing market for shorter novels, maybe even serials, and longer books will adapt in a way to be digestable in 45 minutes.

At least in the next decade - for everything beyond I would definitely need a crystal ball.

Happy writing
Your writer in a foreign land

Discovery Writer Reloaded

I am still rewriting my story and simultaneously translating it from German to English. Remember? I am glad I decided to do this. 

When I started I assumed that I would be able to improve the story, but I couldn't imagine how much I have to fix. Not plot-wise, but with regards to storytelling. I had far too much telling in it and not remotely enough showing. Additionally, some characters needed development in order to keep up with their assignment.

However, I realized there is another angle to it, that I wasn't aware before. I already knew that I am an inbetweener, something between plotter and discovery writer, and that I develop the plot during the breaks in the middle of the story. Going back through stories I wrote so far, I noticed that my first drafts always tend to be very short. I mean really short. 

I write my first drafts in a kind bare bones approach. Of course, there are side tracks and various characters, but outside the main characters and the central plot they are flat and colorless. It's the bare minimum to tell the story. 

You could also call it an extensive plot.

Please don't misunderstand me, there's nothing wrong with this approach. It simply means more work during the rewriting phase. It's a little like painting - first you do a sketch with a pencil and afterwards you color it. An then again it also means further backload the work. 

How it works out? See for your self, how the first lines evolved: 

"He had heard about the death sentence years ago on one of these old pirate radio stations. He knew this would be his last day. The night had already fallen and there was only a small sickle of purple left on the horizon. He had noticed the lights a while ago. Like fireflies they were crawling down the hill on the other side of the lake.

"Here they come. You are late guys, years late. Even for Argentinian benchmarks, you are late." 

His chuckle turned into a cough."

Not yet there, but a whole better than the first draft.

Happy rewriting

Your writer in a foreign land

The Third Hat: Marketing and Sales

As a writer you need two hats. One is for writing, where you should limit your thoughts on such profane things like grammar or the perfect word. Everything you write is good the way it is. The other one is for editing. With that one on, nothing is good enough. It has a built-in adverb-adar. At least that's what I thought so far.

Well, there is a third one which is for marketing and sales. Wait a minute, I hear you say. That's my publisher's and the bookstore's job. You are right and if you feel, you are in good hands and you'd rather focus on writing, you can stop reading now and go writing. However, even if you are with a traditional publisher, marketing and sales will become an increasingly important part of a writer's life. A writer will become more and more an entrepreneur, with all upsides and downsides. So, let's get started with some basics and then climb up the tree to the fruits. 

Marketing vs Sales

In a nutshell, Marketing is the planning side of how to sell your books, sales is the moves and measures to increase the number of sold books. With other words, marketing is strategic, sales is tactical. 

Marketing

There are several concepts in marketing, from the 4P-model, that evolved into the 7P-model, via AIDA (Attraction-Interest-Desire-Action) to the design school model that largely bases on the SWOT analysis, and you can be sure that this is not the end of the story. Technological and social change continuously impact the different models, but ultimately they still circle around the same fundamentals. 

Following, I'll use the 4-P model (marketing plan) to make my point.

Product

The core of the product is given, will say not depending on marketing. You hear it from all sides - write what you love. Don't write for the market. Next to all the creativity arguments there is a strong marketing argument; due to the identification and production lag your book will hit the market with thousands of others that tried the same. 

However, there are things around product you have to decide and which have an impact on the other P's and vice-versa. Print and e-books have different needs for place and different price tags. The book cover is probably the same for the front, but the spine and the back give you an additional option for print books. 

I can only scratch some dimensions here; there are a lot of decisions to be made, including font and title and I haven't even started with the audiobook angle.

Place

Which are your distribution channels? Amazon/KDP, Kobo or you own webpage? You could also select print on demand and try to get into some local bookstores. Ultimately it all boils down to how easy it will be for a potential customer to buy as soon as he decided to - the link between desire and action in the AIDA-formula.

Price

I already talked about price points and price elasticity in my last blog post and in April I re-blogged a post by David Gaughran about e-book pricing. However, outside the direct impact of pricing on sales, there is a psychological component to it.

A book is a typical experience good. Despite sneak peeks, book covers and reviews, a reader knows its value only after he read it. As a consequence he attributes value through various indicators, including price. In general, an e-book for 2.99 is perceived to provide a higher value than a book for 0.99. 

Last but least, giving away an e-book for free might provide you with an increased e-mail list, but you also have to be aware that free stuff might also transmit the underlying message of no value. One way to get around this could be to label the e-book 1.99 and offer it for free if signing up for a newsletter, but we are already getting into sales here.

Promotion 

Promotion is all about information, i.e. how do my potential customers know about my product. For books, this is the most crucial part of the marketing mix, because it has a direct link to the number of sales. The more people notice your book (attraction), the more will request more information, the more will have the desire to buy it.

In this sense, notice does not only mean see, but also be open for it or expect it. When you are not open for a message, you perceive it as spam (products offered via Facebook, unwanted e-mail offers or buy my book-tweets). On the other side they are open when they expect a message, e.g. in a newsletter or information about the progress of your new book on facebook or twitter. 

In a second step, they should have valuable information available at hand. At best, there is a seamless handover between noticing, information and the ability to purchase and receive the product as fast as possible.

Last but not least, don't forget to track the success of your promotions. Only that way you can improve the success and with the possibility of the digital media it isn't even difficult. A simple way would be to use specific links that allows the tracking of each campaign.

 

Sales

Sales campaigns are temporary adjustments to the marketing mix in order to increase sales. Usually it includes a promotion combined with a price reduction or a value add. You could for example offer your book for a special week with a discount or offer two book at the price of one. In addition, you have to tell the world in one or the other way (newsletter, fellow blogger/podcaster). BookBub is a typical sales campaign. 

Product as well as place might change too, but not necessarily. Offering a signed copy is a change to the product and a sales campaign during a book signing is a change to place.

You have almost limitless options and combinations - some work better, some don't. I'm following The Creative Penn podcast and the Sell more Books podcast and I'm always astonished about their tips and ideas.

 

Portfolio Management

As soon as you have a second book out, you can start thinking about portfolio management. Again, there is no right or wrong. However, different combinations have different advantages. Spreading your stories over different online channels might reduce the cluster risk, but it also dilutes sales. Offering some stories on KDP and others on Kindle unlimited gives you different type of income streams, you can even think of grandfathering stories on Kindle unlimited or writing a Kindle unlimited series. Again, sky is the limit.

But why do you tell me all this?
Often, when I read blog posts or listen to podcasts, the terms and ideas are mixed up. Promotion is called marketing and then the article is about sales activities, or in another example the place and product are completely ignored and it is all about getting your name out.

Marketing is much more; a strategic way of thinking in order to generate optimal revenues and sales campaigns are tactical ways to boost sales in a given timeframe.

The moment all i's are dotted and all t's are crosed, the details of the market introduction should be defined and the promotion should already have started. However, it should be a well thought-out decision rather than just the way the author always did it. And after it is published, the author has to change the hat and stay on top of it - keep the ball rolling. Then it's time for thought-out sales campaigns.

Happy selling or should I say happy marketing

Your writer in a foreign land

The Craft vs. The Money

Recently I read and heard a lot about money in writing, business and all the discussions around it. Last week I read a blog post from Michael Hyatt about "Why you should do it for the Money (and Stop Feeling Guilty About It)" which he had re-published on Facebook, and I remembered an earlier one from K.M Weiland about "3 Reasons You Shouldn't Be Writing for Money" and guess what; both are right in their own way. 

I don't know when this discussion started to take off, maybe with the increasing indie movement. Although I'm pretty sure it was already cooking before that. The following blog posts addresses writers that want to make money in one or the other way. If you write for fun, please go on - write and publish for free. There is nothing wrong with that, but this blog post isn't for you then.

The Seeming Conflict

At the first glance, this strikes me as a simple conflict of targets. Either you focus on the craft (e.g. more research, longer writing cycles, more reviews and edits equals less books produced) or you focus on making money (e.g. more books produced in the same time equals more money). This conflict of target is similar to one most companies face: Quality vs. earnings.

But is this really a conflict? I can already tell you, no it's not; neither in business nor in writing. In business you can reduce you quality to a certain point in order to increase quarterly profits, but usually you damage long term profits much more. In writing it is the same, but before we get there let's look at the industry.

The Industry and the Changes

Let me get this very clear at the beginning: Writing is a Business. The moment a writer wants to earn a single cent from his books it is a business. Even when he simply wants to get break even and have a payout for his investments. It is a business. Hence, lets look at the value chain. 

The Traditional Model

In a very simplified view, the writer is responsible for writing the story and does rewrites and edits to some degree on his own, to some degree requested by the publisher. At a certain point the product is handed over to a publisher, who improves the work together with the writer in order to make it publishable (i.E. sellable). The publisher also takes care about the physical production as a book or e-book as well as the marketing and sells the product together with a bunch of other products to the book stores who act as distributors (including Amazon). At the very end, the distributors sell the books to the consumer. 

In addition to the real cost the publisher also takes some risk with regards to the unknown trends in the market. Nobody can predict, which book will be picked up by the marked generating enough profit for the whole value chain. The distributors only take limited risks as they don't really invest in a certain book. The writing also takes only a limited risk as he usually received an advance. The publisher on the other side pays an advance and invests into the product as well as marketing and sales. He copes with this risk by spreading the efforts over a high variety of books.  This approach is similar to Private Equity firms investing in different start-up companies, hoping the next Twitter or Facebook is among them.

In this model the author gets about 9% of the book price (after 1% goes to the Agent). Lets assume the book is priced for $20. In order to have a monthly net pay of $2,000 for his work, physical book sales must be at 1,111 per month. With e-book prices it is worse, as e-book prices are usually lower around $6.99 to $9.99. As an example, at $7.99 book sales would have to be at 2,781 books per month. In reality this would probably be a hybrid calculation - with a 20% share of e-books, the number of monthly book sales would have to be 1,263.

The Indie Model

In the same simplified view, the indie model cuts out the publisher and goes directly to the distributors. All cost related to the additional review, marketing and sales, but also non physical cost like networks, risk taking and know-how, have to be taken over by the writer. 

In order to keep it simple, let's do the above calculation for e-books sold via Amazon KDP with a book price of $1.99. In order to have the same $2,000 per month with a royalty rate of 70%, an author has to sell 1,436 books. But with this amount none of the fixed cost is covered. Most of the additional work will stay with the author, especially the cost for the additional reviews and edits, but also the efforts for networking, marketing and last but not least the risk. 

For the sake of the calculation let's assume a non specified writer needs 6 months to produce a book. For review, editing and book cover cost end up to be between $3,600 and $5,000 I've taken the lower end examples out of a blog post from Miral Sattar "The Real Cost of Self Publishing a Book". With these additional monthly cost of $600 to $800, the number of books sold increases to 1,866 and 2,010 respectively.

Impact on the Writer

Don't misunderstand me, I am not arguing in favor or against one or the other model. Additionally, there are other aspects to be considered, such as the rights to your book etc. However, every writer has to answer the question which model he selects for himself. Each of the models has advantages or disadvantages. 

From a monetary view point, the traditional model means less work and risk, but also less upside potential and the indie model means more work, more risk and more upside potential. Now here's the clue. Basically, the author has four options to increase income:

Increase Sales of One Book

The author can try to increase the sales of one particular book by increasing marketing cost and efforts. However, sell more of one book means usually sell to new customers. This is always more difficult than selling new products to existing readers, given that they enjoyed the previous books with their quality. Additionally, marketing studies show that there is a limitation in efficiency and effectiveness with marketing activities.

Increase the Book Production

Increasing the production of books is probably the easiest way to make more money. One one side every new book has a tickle-down effect on new books and on the other side new books with new covers and new stories mean attracting different readers.

Ask for a Higher Price per Book

Simple, isn't it? Well it's not, because there is something like price elasticity. In simple terms; the lower the price the more you sell. The degree of how much more depends on the product. Gas usually has a steep price elasticity as past price increases have shown. For e-books there is probably not enough data yet to plot a reliable curve, but looking at the feedback of various indie authors prices between $0.99 to $2.99 seem to result in reasonable books sales whereas higher price points significantly reduce number of sold books. Hence, there are limitations for higher prices as they are counterproductive and result in less revenues.

Reduce Production Cost

You can reduce the production cost to almost zero; no editing, do your own cover designs and do the formatting and digital conversion yourself. You even don't need an ISBN. 

Out of above options, there are two low-hanging fruits: 

• Produce more books (i.e. less effort for plotting, reviewing, editing, proofreading)
• Reduce external cost for editing, proofreading, formatting

There is a built-in incentive to reduce the quality of the product, if there wouldn't be...

The Importance of the Craft
And that is where the craft comes into play. The will, the poise and the integrity towards what it means to write a good book. The craft needs to be the holy grail, basic motivation to write. Because if it isn't, the money will not follow. Readers might buy one book from you, but if the craft isn't the foundation of it all, they probably won't buy another one. It's the same as in companies with the quality. You might buy it ones, but the second time you will switch to a better product if you weren't satisfied. 

The craft is the soil, to grow the tree of money. But there is more to it, even a tree needs water, nourishment, some cut downs and a lot of care. More about this in next week's blog post.

Happy crafting

Your writer in a foreign land