The War for Our Time: Video VS Print

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We’ve all done it… clicked on a YouTube video to watch some news clip or interesting how-to and looked up to find 2 hours have vanished. It seems more American consumers than ever are spending their free time browsing the Internet and watching online videos. Many an hour of missing writing can be laid squarely on my own fingers clicking on the well-worn buttons of my marble mouse.

I find it interesting that some publishing research firms continue to put out statistical reports that display rather rosy forecasts for the book industry, indicating anything from ‘the majority of Americans are reading more print books’ to the idea that ‘more young people are reading books–in any form—than did so in recent years’.

The wording of such reports seems simultaneously uplifting, hopeful and insistent… indeed, to the point where it awoke a frank feeling of suspicion in me last week. There was no comparison in the statistics of the time spent reading verses the time spent online watching videos, online shopping, news watching, movies, internet browsing… a.k.a. not reading books.

As an eBook author, I am very interested in whether online consumers are doing less reading and more YouTubing/Facebooking/Amazoning/Googling (not discounting other sites) whether for entertainment or educational reasons. I set upon a week-long quest to find as much data–on that subject–as I could.

Unfortunately for the book industry–and entertainment authors in general–I found several sets of rather alarming statistics about video consumption, for free.

According to a 2015 article from Psychology Today, the average consumer with an Internet connection watches roughly 206 videos per month (a number which might be arguably higher for 2016) while a Pew Research report states that 73% of Americans read “a book per year”… as in one (1) book, per year.

The science behind these kind of numbers largely boils down to efficiency: the brain processes video 60,000 times faster than it processes text. Video has another seemingly unfair advantage over text, being it is far more adept at connecting with human emotions than the ‘work’ or reading.

“When we read something,” Liraz Margalit, Ph.D. wrote in this article “we are actively involved in processing the information in front us. Our cognitive processors are working hard. But while reading is all about thinking, video is better at getting us to feel.”

This emotional connection—per some studies–is proven to lead to higher awareness and conversion.

According to their website, YouTube reaches more 18-34 and 18-49 year-olds than any cable network in the U.S.

  • In 2015 two-thirds of Americans owned & used a smartphone
  • According to their site, more than half of YouTube views come from mobile devices

·      In Jan. 2016, Facebook announced users watch 00 million hours of video a day

·      In Feb. 2016, Google CEO, Sundar Pichai, reminded investors that YouTube’s audience watches hundreds of millions of hours of video daily

Since 2012, YouTube has measured its performance in terms of “hours watched,” not video views. As of 2016, Facebook now also refers to the “hours watched” metric, which is good considering Facebook counts a video “view” as a minimum of 3 seconds, verse YouTube’s minimum of 30.

Consumers seem to prefer video, too. According to Cisco Forecast, video will represent 69% of all consumer-based Internet traffic by 2017; this is expected to rise to 80% by 2019. Another study from Business Insider estimates that video advertising will account for 41% of total desktop display-related spending in 2020 in the US.

Digital marking firm Invodo says this on its website: “Marketers who use video grow revenue 49% faster than non-video users.” (Aberdeen via Vidyard, 2015)

My own consumer-driven experiences online seem to back up the video data: as an Amazon customer, I’ve noted a marked increase in videos being added to various consumer products–like women’s fashion–showing a model genteelly sashaying around in front of a white backdrop; that particular kind of video, however, gums up my processor speed, forcing me to click on a static image. Processor speeds aside, the idea itself has merit; it is kind of nice to see how a dress looks on a real person, verses a mannequin (if one can get past the ideal proportions of either display method) and I have purchased camera equipment based on the promotional video showing its capabilities.

Tying this in with internet consumerism, the entertainment aspect of writing these days seems more tied to video representation, with growing numbers of authors using sleek, movie-like ‘book trailers’ to hock their printed wares.

Even though it seems odd to reply on video to sell books, digital or print, it’s easy to see why authors have leaped into the video fray with statistics like these:

·      Readers are 64% more likely to purchase your book if they see a book trailer that effectively promotes your book. (Source: ComScore)

·      Authors who use book trailer video in email campaigns can experience Open Rates [increases] from 19% to 300%! (Source: Forrester Research)

·      92% of mobile video viewers share videos with others. (Source: Invodo)

·      Unbounce reports that using videos on landing pages raises conversion rates by up to 80%

But, apparently just posting a free video on YouTube or Facebook isn’t good enough to garner book sales anymore. One must seek out where their potential customers are hanging out online (data that is not free) and buy pricey ad-space for their video on said pages/sites to appeal directly to browsing consumer, competing with a glut of other writers/businesses/news outlets wanting the same space(s).

The irony of writing this piece is not lost on me. I post it knowing–full well–that it will not be read nearly as many times as a 6-second funny cat video will be seen on Vine but that merely makes the data I posted here all the more relevant.

This data has taught me one thing over the last year: all per-conceived ideas about marketing must eventually must concede to the facts. Earlier this year, our book company morphed itself from print only to including visual media, starting a photography & photojournalism business that has garnered worldwide attention.

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L. R. Styles is an author with Belator Books and a photographer for Belator Media

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The “Death” of Reading?

50012_library_mdSales of many independently-published eBooks have taken a marked downturn in recent months, one that–to the average indie writer–seems almost as sharp as that of the price of crude oil during the same period.

Authorearnings.com recently posted, in its January 2015 earning report, that “U.S. ebook sales have plateaued — or are even declining, relative to print — declare some widely-cited industry statistics.”

Many an industry expert seems baffled by “the slowdown” in eBook sales and none of my writing contacts seem to really be able to explain why, exactly, nor how to remedy the problem. Format and medium diversification strategies don’t seem to be as effective, nor do social media promotions, paid advertisements, pricey PR campaigns nor the old standby of limited-time Free eBook promotions.

Despite our break-out success last year post launch, compared to last year’s eBook royalties for March, this last month was downright dismal ($250 VS $5700)… and worse, this statistic is also suffered by 90% of the indie writers I have queried on the subject.

Apparently many traditionally-published authors–backed by media departments with wide advertising budgets–are also going through a kind of sales ‘funk’ of sorts. Some of the more well-known authors have turned to desperate measures, such as awkwardly hawking their ‘new’ books on badly-scripted television spots.

Smashwords’s Mark Coker recently blogged about the slowdown of 2014 eBook sales, as well as the slower “growth projections” for 2015:

… most authors experienced a slower growth year – especially when compared against the go-go days of exponential growth from 2008 to 2012. The causes for this slow down include a new equilibrium between print and ebook formats; immortal ebooks published by publishers and indie authors alike that will never go out of print; the continued growth of self-published titles; and myriad low-cost and free non-book alternatives competing for slices of consumers’ time such as social media, Internet video and games.

In the same piece, Coker also predicted that many indie writers would drop out of the self-publishing market in 2015, after finding dwindling sales too steep a precipice to descend.

While my own experiences and observances, regarding the indie eBook glut and increased traditional-publisher price slashing, seem to corroborate Coker’s predictions, it does not allow for a rather ugly market variable: decreased interest in leisure reading.

Recently, I found myself in a library–yes, the building kind–a place I had not visited in nearly two years.

My seventeen-year-old wished to use her new library card and read through C. S. Forester’s Hornblower series, as well as get free materials to brush up for the SAT with. As my daughter bustled around the quiet, bookish smelling aisles grounded in comforting gray carpet and well-used stepping stools, I moved–as if my instinct–over to the “Classics” wall and selected one of my favorite weighty tomes The Count of Monte Cristo, unabridged.

Having procured my book, I settled in one of the many vacant reading chairs by picturesque window and began to read. A few pages along, however, I reflected on how long it had been since I spent a considerable length of time reading for leisure. I began to count the minutes–during my average day–that I really read. Between fellow writer’s blogs posts on eBook advertising strategies, articles on digital publishing industry trends, articles on the stock market and oil futures, and well as various sources for world news, I spend–on average–three to four hours a day just reading. But, hardly any of my daily reading has to do with personal enjoyment, let alone expanding my personal bank of consumed literature.

I am not alone in this modern reading ‘vacuum.’ Writing and editing expert Judy Goldman responded to my query on the slowing market of leisure reading:

I know I would be one who falls into that category. My ‘knee-jerk’ reactions to what I read these days is to respond to it somehow, not just read to absorb and enjoy.

I write about and respond to what I read, I don’t have time or desire to read for enjoyment and that is coming from someone who wouldn’t be caught dead without a book in her hands…

Adults are hardly the majority in the Reading Vacuum. Looking up from The Count of Monte Cristo, I saw (as I did upon my last library visit) quite a number of warm bodies sitting in front of the dozen-or-so library computers. Every computer was occupied. Unlike my last visit, however, the users were all young, ranging between the ages of fourteen and nineteen.

As discreetly as possible, I got up and moved around the stacks by the PC section and utilized a particular quick glance (the kind most mothers nowadays are experts at) at what each young person was so engrossed in.

SAT studying? Negative.

Applying for summer jobs? Nope.

Reading a free eBook at Project Gutenberg? Wrong again.

teens watching streaming videosEach young person was either chatting on social media, watching streaming videos or playing an online game. Each and every one. Those sitting and reading books–digital or paper–were all my age (late 30s) or older, my daughter’s presence notwithstanding.

The Reading Vacuum expanded as I walked around the library. The children’s books section in my last visit had been nearly full of moms reading to their young children. Now, it now boasted just two toddlers  playing with toys–or pulling books off of shelves–while their mothers were (I kid you not) busy swiping the screens of smartphones nearby, oblivious.

Not to sound all ‘Andy Rooney’ here, but libraries used to be the springboard for learning reading and leisure reading in off-school/work hours. Certainly there is room for technological moderation in our lives, but I don’t think pointing at gadgets/devices is helping to really identify the root of the problem.

In 2013, Robert Rosenberger posted an article in Slate magazine, pointing to the distractions present on tablets as the culprit for declining eBook sales. The theory, then, was that eBook sales matched the sale of dedicated eReaders, a device that has rather fallen from gadget grace in recent years.

While eReader stats may be a factor, the problem that I became aware of in the library points to something far more sinister: lack of interest in leisure reading at all.

Next generation of readersLong ago–in a decade far, far away (1991)–Mitchell Stephens, an NYU journalism professor, wrote an article for the LA Times titled The Death of Reading. In said piece Stephens outlined how distractions abounded in the modern home, that libraries and reading nooks were overrun with televisions and Nintendo and that architects had largely scorned bookshelves in favor of “media” centers. He blamed distraction and said the move away from reading sounded the death-knell of thinking civilizations worldwide.

Ironically, but not coincidentally, reading has begun fading from our culture at the very moment that its importance to that culture is finally being established. Its decline, many theorists believe, is as profound as, say, the fall of communism, and some have taken to prophesying that the downturn in reading could result in the modern world’s cultural and political decline.

Stephens went on to cite another work Amusing Ourselves to Death by Neil Postman:

We are losing a sort of psychic habit, a logic, a sense of complexity, an ability to spot contradictions and even falsity.

I thought on these things as I sat in the library, with Dumas’ complex and contested work sitting forgotten in my hands, gazing woefully at the young blank faces intermittently lit by the flickering media upon opposite screens.

But, all hope is not lost. A few young people–my resident teenagers have informed me–are still interested in a particularity type of leisure reading, or at least talking about it. Of the many YA book ‘fandom’ sites, chats and boards still in daily use, fully 1/3 of the people posting have actually read the title being discussed… according to my own brood of ‘experts'(whom also haunt said sites.)

“One out of three?” I thought, frowning at the nearly empty Fiction aisles across the quiet, gray room of the library. I glanced again at the PC users and shook my head, wondering if Prof. Stephens was being proven right faster than even he anticipated. Were the next generations doomed to forget how important literature and leisure reading are to civilized society?

At that moment, just such a young person flopped onto the empty chair beside me.

“I found it,” my daughter informed me, holding up a worn copy of one of Forester’s seafaring books. As she thumbed to “Chapter One,” her side pocket buzzed. Drawing out her phone, she glanced at it, shut it off and slipped it back in her pocket. She settled back in her chair and immersed herself in a world of sun-bleached, salty deck planks harboring borderline-scurvy-ridden crewmen unfurling sailcloth and scampering about under the hawk-like gaze of the captain, high up on the quarterdeck.

She was–of course–blissfully unaware that her mother was at that very moment gazing at her dewy-eyed, struggling not to weep aloud in sheer joy at what had just occurred. She was distracted, but not by digital screen nor any pixelated thing, but by a scene composed by a great writer long deceased, powered by nothing more than a fingertip and movements of the eye.

Suddenly, I was overwhelmed with gratitude for the foresight of people who had encouraged me to read daily to my young children, from toddler-age onward, and not leave such a weighty responsibility in the hands of under-paid, overworked teachers at school. That effort on my part, which then seemed like a chore (and intellectually stunting to repeatedly read sentences such as “the fat cat on the mat”) paid back enormous dividends in that tiny moment, there in the library. I went back to my own book, feeling a bit better about both the younger generations and the recent slowdown of eBook sales growth.

Is leisure reading truly dying? It may be in a distraction-induced coma, perhaps, but it’s not entirely dead.

Children Reading

L. R. Styles is a writer for Belator Books

You Might Be a Good Writer If…

… someoBook Piratene pirates your books.

I’ve spent much of the morning sending out DMCA Take-Down Notices to not one, or two, but three torrent sites this morning. So far, two have responded with partially-heartfelt apologies and expressed an intention of removing the offending links ASAP.

This is not the first time such a thing has occurred to us. Since my husband and I launched our novels on Amazon in late February of 2014, our books have popped up on torrents and sharing sites loquaciously dubbed “The Kingdom Saga;” the latter word rather amused me as we are neither Icelandic–or spoken word artists–but, I digress.

As much as I actively work to remove these illegally-posted copies of our work, a small part of me is slightly flattered by distinction. It took some effort on the part of the pirate to copy the work, format it, post it, type out our names and copy the book’s description from its legitimate Amazon page. As an added bonus, on such sites our novels sit next to the pirated works of wildly-successful authors like Stephen King and John Grisham, imparting to me a sort of surreal sense of accomplishment, however temporary.

Such flattery quickly fades, replaced by the full force of the initial insult. Each time I see a torrent, I see the number of downloads and shake my head at the lost revenue. Rather than inspiring anger, however, such feelings merely fuel my understanding of the DMCA language, and how to apply which sentences to whom.

L. R. Styles is an author with Belator Books

It Pays To Be Swayed

An indie writer is a strange creature, even by the standards of today’s market with the ingrained expectation of ‘multitasking’ members.

Ten years ago, when my husband and I began to devote the majority of our free time to writing novels I did not think I would need to learn marketing, social media, make connections, maintain an online presence or delve into writing genres that I otherwise would have even looked at in a bookstore. But, I have been swayed to think otherwise and–more importantly–to do all of the above.

Marketing on the cheap is a hard sell, but to the average indie writer/publisher it is often the only option until they get more sales with which to pay for better services. It is a huge amount of work, and getting data with which to formulate your marketing strategies takes up even more time and effort. Books sales statistics are hideously expensive but a here and there kind organizations reveal little hints of said information to sort through and glean from. These gems among the rough swayed us to keep looking, gathering and polishing until the beauty of applicable data revealed itself.

To traditional business folk, this sounds all backwards.”They told me to get a business loan”might be found written on the tombstone of many a failed entrepreneur. Perhaps that worked for some businesses, maybe most, but not everyone is in a position–nor harbors the inclination–to shoulder a large amount of debt before their product has been proven profitable.We were swayed to launch our books ourselves, without a loan and without expensive PR services, paying for prepossession editing out of the profits.

A flooded eBook market has its benefits, such as a glut of data. To us, the trends are little more defined as more indie writers enter the market, showing up as trampled digital pathways pointing to what consumers really want. Studying our slowly-garnered free stats, we noticed the alarming dive of literary fiction, the pop-trends of supernatural-type fiction and the rather stagnant line historical fiction wound itself into over the recent years. Epic Fantasy showed promise however, so we were swayed to drop our other novel projects and dust off my husband’s EF series. We sank our time and effort into making those books as good as we were able.

The results surprised us… greatly. After launching in the last week of this February, we’ve made more in royalties int he months since than we thought possible–a little over $14K–utilizing free self-marketing, social media, blog posts and non-obtrusive (no spam) ads.

We’ve been swayed to branch out into other genres as well, to help our brand gain more recognition. Romance Fiction has captured our attention as the rising genre; we’ve released just such a novel for that vast audience in the same month as our 18th wedding anniversary. This winter we’re planning to release the third book in our Epic Fantasy series and have a sci-fi time-travel novel ‘in the works’ for release next year.

In this crowded market, struggling indie writers need to sway themselves to become super business folks: capable of altering their business model in a single season, able to recognize and adapt to the ever-shifting book market, write both relevant and opinion-laden blogs on the industry, search out more free corners of the Web to post unobtrusive ads and, finally, entice (not drive) new customers towards their desired platform profile.

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L. R. Styles is an author with Belator Books

Amazon: an Indie Writer’s perspective

In reading numerous articles, blogs and comments related to or about Amazon over the last four-five years–both pro and con–I found myself discussing the issue this last weekend with my husband and fellow author. In our minds, the various aspects of the Hachette kerfuffle, the anti-trust arguments and rather vitriolic opinions on the subject came to a head.

What is this issue really about, we pondered while sipping our morning cups of coffee. Why are publishing houses, their contractually-obliged authors and adjacent talking heads so upset with this one company?

Simply stated, it boils down to Control or–more accurately–the loss of it, an issue heavily debated and fought over throughout history.

Take the invention of the printing press, for example, a device that took the idea of mass-producing literature—initially the Bible–and put it squarely in the hands of the consumer. It’s presence provoked an instant catharsis among the mainstream idea-producers of the time, who lost no time in decrying the printing press as “evil” and actively sought to repress its influence.

While this may seem ludicrous—even criminal—to readers now, at that time the printing press was merely a thing that suddenly–and irrevocably—shifted control from one party to others. The press changed when and where the Bible could be read, as well as who could get their hands on it… a truly revolutionary notion. Over time, the initial animosity lessened as literacy and learning increased. More books followed and newspapers cropped up. Ideas flowed and were shared, all because of one invention that—at the time—was heralded by those in control as a bane to humanity.

Utilizing a more modern example, the Internet became a sort of modern reincarnation of the printing press—subsequently giving birth to companies like Amazon–by inducing yet another series of control shifts within the free market. Almost overnight, average consumers could buy a varied array of items online and have them shipped to their doorsteps. These items included books, once strictly available through tightly-controlled displays at brick and mortar stores, or temporarily at libraries. At first, the big publishing houses thought online platforms were merely a niche market, but an intriguing one; some willingly struck deals with the fledgling Amazon.

Quite a few commentators online today seem to forget that the oft-vilified tactics that Amazon now employs were then used by publishing houses, most notably (to me) over the issue of indie writers and control.

Just as the future of the eBook market seemed rosiest, the Kindle Direct Publishing platform rolled out… and the entire publishing industry gaped in yawing horror. For the first time, almost anyone could upload a book without the interference of a literary agent and/or publishing house… and sell it directly to consumers, rejoicing in a royalty that–even in the paper book publishing’s heyday—most authors could only dream about.

“Sacrilege!” publishing houses/firms cried.

“Indeed!” the mainstream media assented.

Even worse—in the minds of such conglomerates–these ‘independent’ writers were given algorithmic equal billing with traditionally-published authors on the new platform. Suddenly, consumer spending was the main determining factor as to whether or not a title rose or fell in popularity, which—on Amazon at least–eclipsed the efforts of publishing house PR departments and/or marketing firms.

Another thing that many commentators today seem to have forgotten is that before Amazon, a handful of huge conglomerates dictated not only what was being published but also forced authors to accept a paltry percentage of sales in exchange for the privilege of being published. These houses & firms would cherry-pick what they thought the public should see, and repressed what they didn’t think would sell, or didn’t agree with, etc.

What happened next is a mixture or rumor and conjecture, gathered from the far-flung corner of the internet, via message-board-trolling and discreet inquiries. Apparently, several large publishing houses banded together and outright demanded that Amazon make a clear distinction between indie writers and ‘real’ authors, or create a separate platform for indies altogether. Bezos refused… and as an indie writer, myself, I’m glad of it. Clearly, Amazon’s team could see the sales potential (for them) in allowing a massive number of new writers to flood in, upload their work and sell it. Many indie writers hopped on board, from starry-eyed new writers to folks embittered by rejections from the traditional publishing industry. These optimists created a self-perpetuating production engine of new material to sell, one that continues to this day, a few titles of which have broken out into the realm of Ridiculous Popularity.

After Amazon did not concede to the separation demand, the traditional publishing houses—apparently as one voice–threatened to walk, a threat that included pulling their titles.

Sounds familiar, doesn’t it?

Whether by the fleet-footed competence of their internal number-crunchers or the fact that, by that time, Amazon had surpassed them in consumer popularity the publisher’s bluff was called, and the relationship between them and Amazon has been rocky ever since. If all the above really happened then I don’t really blame Bezos for turning such tactics back upon the folks that tried (unsuccessfully) to strong-arm him into agreeing to their demands.

The perceived victory was bittersweet, however. A maelstrom of one-sided opinions flooded the mainstream media (another industry that stood to lose control of content in such a consumer-driven market) with talking heads and contractually-obligated authors disgorging snark and fear into the market, postulating that literature itself was being threatened by a glut of ‘toilet-paper’ writers.

Just for fun I’d to remind the audience that—at the time–scores of book industry experts kept insisting that eBooks were a novelty, that hardback sales would rocket back to life after the recession and nothing would ever, ever dent paperback sales. If true, this was more cause for celebration on their part than slander, but I digress.

Like or dislike Amazon as you will, but what the KDP platform accomplished for the consumer and the independent writer alike is nothing short of revolutionary. That is the main reason many an indie writer feels rather unwilling to join the “here be monsters” refrain when referring to KDP’s owner.

Now, I don’t consider the company in question on equal footing with the Gutenberg Press, nor does it somehow ‘enlighten’ the masses. It’s a business—and a substantial one at that–claiming a smidgen less than two-thirds of the online book market, according to a recent report by the Codex Group. Admittedly, that’s a scary amount of power for one group to hold, but the change of control from one party to another was not unexpected. Judging between the traditional publishing houses/firms and Amazon, the latter appears to listen more to the consumer and evolve itself accordingly, for now at least.

As a consumer, however, I like the current book market, in so much as seeing a wide choice of books available to purchase. I likewise enjoy knowing that–when I buy a self-published book–more of that sale actually goes to the writer. Even better, I like that if I cannot find a book that I would want to read, I can write one myself, upload it, put it into paperback, ePub or audio form and share it at a price that I stipulate. Whether said book sells four copies a month or fifteen-hundred, I’ve won either way.

Most other consumers I’ve queried about Amazon likewise revel in the proffered variety and like knowing that their purchases matter in determining an item’s rank. Even more consumers feel that the prices of eBooks (given their rather marginal production cost) should change to reflect demand; many also argue that eBooks should not be sold too cheaply.

All the feedback that I’ve received so far on the eBook pricing wars subject, however, strongly agrees with my own view, that prices should not be set by the overhead-driven, antiquated whims of the more obsolete sectors of the book market… especially ones intent on dogmatically consulting the golden bones of the past to determine their business model.

All the pros and cons and subsequent rebuttals aside, no one company is ‘untouchable.’ If history be our teacher, we know that conglomerates aplenty have risen and fallen, replaced by others that performed the similar function of catering to the desires and/or needs of the masses.

Considering the rather harsh lessons that traditional publishers have recently endured (i. e. the failure to recognize an evolution in their own industry) should they choose to ignore history they will invariably repeat it, leaving even more of the market share for another to absorb.

L. R. Styles

(Originally posted today on LinkedIn)

What is it about Books, really?

I read a particularly heartfelt essay in early 2011 that explored a writer’s personal book memories, expounding on the many reasons why paper books were important in spite of the modern-day acceptance of their digital counterparts. The essayist listed some of her fonder memories of packing books in a suitcase to read over the summer and climbing a tree with a paperback wedged in her back pocket.

After I finished reading the essay, I noted how the writer’s musings paralleled my own experiences. Nearly everyone I know–who has ever read a good book–remembers when they first read it, where they were sitting (or standing) while they read it and most remember all the characters and (most of) the minute details the good author penned.

While I enjoyed reading the essayist’s delightfully varied book memories, she came just short of really explaining why many folks cling to the paper medium in a sort of desperate nostalgia. I’ve heard the “book smell” argument, the tactile-feel-of-the-page rebuttal, the defense of the cover, the full-page illustrations argument, the ease-of-use pleas and the cases presented for paper books being one of the last “unplugged” items. I have not, however, heard or read about why a physical hold-it-in-your-hand paper book really appeals to humans.

To me, it is because the contents of a paper book defies the physics of its appearance. Without the aid of electricity (and with little to no fanfare) what seems to be a bunch of squiggly lines–on pieces of pressed wood pulp, slapped together with industrial glue—is in actuality an invisible treasure chest, just waiting to let that golden glow out onto the face of the reader upon being opened. A good book is the closest thing to real magic that a logical person can experience. Opening this unassuming recyclable shape sets the imagination loose… no film, soundtrack, digital screen, online platform, remote or batteries needed. It is a self-contained, self-perpetuating parallel universe that can contain knowledge, opinions, poetry… or an entire realm of fictional creatures entirely consumed in their own lives, waiting to begin or continue their respective journeys.

Just the act of reading provokes the most profound memories, which is something I’ve not only witnessed in others but have experienced, myself. My first memory of books was of my father reading The Hobbit out loud–to my brother and I–by the flickering light of a campfire (a thing which just made the trolls and goblins all the scarier.) The Lord of the Rings followed in the summers—and winters–to come, interspersed with the Chronicles of Narnia, The Princess & The Goblin, Robinson Crusoe and many other tales. My parents gave us paper and colored pencils to draw with while we listened at home, or laundry to fold; my mother would knit or sew as the stories filled the air, while the television–in the corner of the room–sat dark and silent.

In middle and high school–during which I discovered how heartily I disliked the company of my fellow youngsters—my parents remedied my abject loneliness with piles of books; Austen and Forester; Peters, Wodehouse and Shute; Stevenson and Defoe; Doyle, Dumas and Durrell… such minds were these! Such stories did they write on this strangely bland medium of paper and ink. I began to look upon these writers first as visionaries, and then friends, teachers and finally, muses. Like the essayist at the beginning of this piece I, too, began carefully selecting books to take with me various places and even scaled (numerous times) a nearby alder to sit among the breeze-blown branches and read.

That is the reason many are so disinclined to stop regarding paper books as “real” books despite the advances of technology, social movements toward anything labeled “green” and the very real threat of younger generations growing up with all-digital libraries. It is not a thing so singular as ‘smell’, or ‘touch’ but it is rather the entire experience of opening printed paper pages—with no flash animation–and yet one is still able to ‘see’ a full realm billow out of the object, the details of which (if the writer knows their stuff) engage all of the senses… and is powered only by the brain.

Books are literally the stuff dreams are made of, only tangible.

Can eBooks ever really capture that unique experience? As an eBook writer and proponent I can only say “I hope so.” EBooks continue to sell globally in the billions of dollars, so I assume at least a few million folks-with-money think they come “close enough.” It is true that most eBooks need assistance in order to make up for the loss of paper smell and physical page-turning, such as swiping animation, music, digital bookmarking, images, re-flowable text and other bells and whistles.

But, hope is not lost, for there be one more asset in the digitized book industry’s arsenal… a transition between the old and the new: the audio-book.

It is a category within publishing that seems to still sell extraordinarily well, and in this I am not surprised. The voice carries a weight to it, soulful inflections that digital text (nor computers) cannot plausibly imitate… yet. Handy to load on one’s music player/phone and listen to during commute/ travel/ waiting-in-line, audio books seem to be the most popular when read by someone with a voice that can spark the imagination… one that re-captures that ethereal, memory-laden notion of “real” books being read aloud.

It is that still-burning desire for paper that led several of our epic fantasy series fans to request that we offer our series in paperback. Once considered a daunting quest–for a small operation like ours–the POD system proffered by CreateSpace made this dream fulfill-able, helped along by the somewhat recent decrease in printing costs. For about $11 retail we were able to put out the first of our Kingdom Isle series in a 304 page paperback last week, doing the formatting with InDesign and Fireworks for the cover art. We are not only pleased with the result as it appears online, but once the first proofs made it to our doorsteps, we experienced that unique sensation of holding the full weight of our work in our hands.

You can see (and buy) our very own out-of-book experience Here.

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L. R. Styles is an author at Belator Books

Once more, into the Books!

50012_library_mdFreelance work acts much like a word ‘vampire’ on the mind of a fiction writer. To be fair, reviews, articles and copy-laden ‘crowd sourcing’ jobs make up the bulk of available work these days… but, just as much as these rigorously tight bits of employment put money in one’s pocket, they also strip away a few petals from one’s personal Stash of Inspiration.

After a particularly busy fortnight of submitting various pieces, entries and bids—from articles and advertisements, to logos and corporate presentations—I found that my fingers had lost their vigor, and my mind was given to wandering. The non-retina screen of my laptop reflected a rather wan expression back to me in the dim light of the living room lamp; I normally find that particular light “charming” with its near-natural glow… but now it seemed to embody a sickly sort of glimmer.

I rubbed my eyes and pondered the best course of action. The digital page I stared at fairly begged to be written on, its voice merely one among the three fledgling novels my intrepid laptop harbors within its quasi-metallic maze. One of these–at least–must be completed before the end of the year, when it will be edited, formatted and InDesign’d into a shape recognizable by global eBook consumers. These things I knew and thought of and yet, still no words would come.

Setting my laptop to ‘hibernate’ I walked around my home, absently picking up stray jackets, shoes and books, calling attention to chores left undone by young folk–who really aught to know better by now—my hands finally going through the motions of making my nighttime cup of tea. My eye fell upon a paperback–left casually on the counter–a bookmark within still valiantly holding its owner’s place. Sipping the tea I picked up the book, and smiled at the title. My teenage daughter recently discovered the Cadfael mysteries, a favorite series of mine in high school. I had not read them in ages.

As I stood there–skimming the pages with half-thoughtful fondness–I began to read. I continued reading as I walked around locking various doors and closing window blinds. I read in the laundry room, switching clothes from washer to dryer with one hand. Nestled comfortably in bed I sipped my now-tepid tea with little notice, thinking that the aging 12th century monk was transplanting wintergreen a week earlier than I thought was called for and wondering why his good friend Hugh Beringar–the sheriff– was hovering just outside the wicket gate with a foreboding look upon his dark brow.

Good books have a strange phenomena embroiled in their pages. Not magic, but a coaxing sort of promise that feels its way along one’s arm and shoulder–stealing up to the ear ever so gently–all the while making its case in clear language, laced with a dash of ‘lyrical’. Good prose does not beg to be read, nor does it demand. You simply find yourself reading it, and subsequently words become enjoyable again. I read through the novel before drifting off to sleep, my catalog of aulde English (not to mention my inspiration) more than partially restored. Next morning, the more commercial projects were hurried through in favor of once more stepping into the proverbial breach, that ominous chasm between the blank and the book.

You must pursue it,” said Cadfael with sympathy. “You have no choice.”*

slender floral dividerL. R. Styles is a writer for Belator Books

*Dead Man’s Ransom, by Ellis Peters.