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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What They Fail to Understand…

… is that–in a free market–the customer is always right.

batteringram_18054_mdIt is a concept understood by many a small and large business alike across the globe, but–for some reason–when it comes to the book industry, this ‘golden’ rule is seen as brass, to be plucked from the wall, trampled upon and sneered at with startling alacrity.

The book customer, apparently, does not know what they want and cannot be allowed to choose for themselves. They must be told what to read, where and how they can purchase and how much they must pay, otherwise humanity is doomed.

In his rather well-researched blog post–consisting of many a prediction about the 2016 eBook market–Smashwords’ Mark Coker inadvertently joins forces with elitist relics of the traditional publishing world in decrying Amazon–and KDP Select indie writers–as the bane of the book industry:

“Yet despite the harm KDP-S and KU are causing fellow authors and the rest of the industry, indies continue to enroll in KDP-S to receive these privileged benefits,”

The above sentence surprised me, greatly. Smashwords was apparently founded on the premise of giving indies a place to publish and sell their work. Why not simply state the obvious: “Amazon’s KDP Select Program cuts out Smashwords completely, therefore I don’t like it.”

Coker then referenced a famous poem–on a subject that should not be trivialized by commercial comparison–inferring that KDP Select writers are likened to German intellectuals that ignored Hitler’s hideous path to power.

“No,” Coker wrote, “Amazon are not Nazis, but…”

It’s a free country; we can write what we like. Statements like the above quote, however, are why I’ve repeatedly taught my children that “bias” is the most honest word in the English language.

(I may be an indie writer without an editor on staff, but I think it’s “Amazon is not the Nazis…” or, perhaps “Amazonians are not Nazis…”)

I honestly don’t see how offering the consumer choices–in how or when they buy, or for what price–is somehow rendered as ‘fascist’ in appearance to those the free market has left behind. Neflix users are not considered ‘nazis’ but, somehow, Kindle Unlimited users are?

What many in the trad-pub industry fail to understand is that every revolution, political or otherwise, leaves some carnage in its wake. Admittedly, carnage is a terrible word and–like “hate” or “nazi”–it should not be used lightly. I’ll also allow that the rather vague notion of ‘change’ is not always for the better–as Neimoller and millions of others would no doubt attest–but in the case of the eBook revolution, I am biased in its favor.I am biased not only as a consumer of literature but also as an author.

Independent writers are now allowed to choose where and how their work is presented, as well as for how much; these are choices never afforded us before, let alone having our titles given equal billing with trad-pub authors. It is so, very sad that Amazon alone offers indies access to such options.

Who’s fault is that? Considering their collective years of experience in the industry and the amount of money they pour into advertising, I am astounded that big publishing firms haven’t invented a better mousetrap.

Consider this: I am merely an organic gardener who writes novels part time–with little more than a decade of business experience to my name–but even I know that in any free market one must adapt or go extinct. Perhaps trad-pub companies aren’t hiring creative people, aren’t firing incompetent people, are unable to change their ways or all of the above.

If trad-pubs are–as they are very fond of reminding their dwindling customer base–the backbone of the book industry, then they need to awaken from their slumber and procure new, young professionals to give them a swift spinal adjustment. They must build a platform that offers both the indie writer and the reader what no one else has. Only a re-invention of the market will attract attention away from the savings Amazon offers. And, they must do it soon. For, if they tarry any longer maybe Amazon will clone itself to Nile (with Congo to follow) in order to show some semblance of competition in the marketplace.

If Coker’s rather scary sentence regarding KDP Select writers is even partially true, then why would any writer sign up, or stay with it for more than a month? It’s elementary, Watson. The massive amount of Amazon website traffic is an enormous draw for indie writers… and something that Smashwords has yet to imitate, a fact I happen to have direct knowledge of.

When my husband and I first began to sell our indie-published Epic Fantasy series, we utilized the Smashwords platform. We were impressed with the stringent formatting standards (something Amazon could learn from) as well as the variety of proffered platforms on which we could sell our eBooks. Despite these choices, the small number of visitors was alarming; we made $143 dollars in three months, even with a sizable budget for google adwords, facebook ads, coupled with copious social media posts. We ended up in the red that quarter.

The next month, we signed up for KDP and its Select program, which required us to take our books off Smashwords… and we subsequently made $14,980 in royalties during the rest of the year (2014) with no further spending on advertising whatsoever. To this day we still make a cool $300 a month–on average–in spite the eBook “glut” and the various squabbles over Agency pricing. Like other indies we’ve felt the drop in readership in favor of more visual stimuli.

Money not only talks, but it happens to be the loudest voice in the room at the moment. Until there is a viable option to Amazon’s KDP platform, then most Select writers will (insert shocked gasp) likely stay where the customers are.

Put the issue of indie writers aside, the customer still is always right. In fact, the customer appears to dislike–very much–being told that they must give up choices for the greater good of an industry that largely turned a deaf ear towards them for decades  while simultaneously extracting huge fees for access to literature.

Not surprisingly, a mass migration has ensued. Customers turned in droves to Amazon and many indies, giddy with their initial success, began a short-sighted spiral down to the 99-cent book. Some books might be worth only 99 cents, but the majority of hard-working indie authors consider that number as much a slap in the face as charging $23 for an eBook is to trad-pub customers.

All that posts like Coker’s tell me is that the trad-pubs of the world didn’t learn a thing from the eBook revolution, one so recent the smouldering buildings are yet visible. The bandwagon they snootily refused to board marched merrily by them. Now, like a gaggle of disinherited adult children of Old Money–flung out into the real world of the free market–the trad-pubs sit and whine about the loss of their old life. A few of them might make a valiant show for the shareholders, using outdated methods to try to break back into the market, but so far none seem interested in going out and building a rival domicile.

I would like to see trad-pubs stop complaining about Amazon and try to outfox them. Maybe they could streamline and offer readers something other than another price hike. Maybe they could offer indies a free platform to upload their work for evaluation–including throwing out their obsolete elitist system of biased, redundant scrutiny–emphasizing to potential authors quality of service over Amazonian quantity.

Customers do want good literature, but they also want the best deal (especially in an economy that is barely recovering) and in such a market as this they will invariably flock to wherever the best deal is, regardless of past loyalties, nostalgia or the misapplication of the ‘nazi’ label.

The book market landscape will likely change again when the US economy begins to show signs of full recovery. For their own sake, may the trad-pubs be ready–in that moment–to emerge from their tired cocoons to display a wonderful inclusive, innovative platform with which to dazzle indie writers and readers alike.

~ ~ ~

L. R. Styles is a KDP Select author with 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 VS Hachette, Round 7

prime parry~ August 9th, 2014 ~

Like many a KDP author, my husband and I checked our emails over a Saturday morning cup of coffee. A lengthy email from the Amazon Books Team took center stage among the others and we dove in. Impromptu messages from our global distribution partner are rare, unless something is amiss or some new program has been launched. A “reader” version of this email can be viewed here.

The email began with a well-worded history lesson, harkening back to the birth of the paperback and likening its poor reception to today’s ongoing issue with Hachette. Apparently, the traditional publishing industry has prior offenses in marshaling authors to exclude a particular reading medium which it views as a threat. The paperback–now the bread-and-butter darling of the paper book industry–was once painted with leper-like status and bookstores refused to sell them, saying that it would cheapen literature as a whole. Several independent publishers, however, rejected that idea and printed them anyway–as they were very cheap to produce–and sold them at news-stands and drug stores. A huge demand for the humble paperback ensued and–contrary to the book industry’s dire predictions–literacy rates exploded. Yes, garbage was printed along with the good stuff, but the point Amazon’s email extrapolated from its mini-history-lecture was that the price of the paperbacks was in proportion to its production cost.

My husband and I glanced at each other over our coffee cups. My raised eyebrow was answered by his sage nod. A familiar scenario, indeed. As authors we, naturally, don’t want to see eBooks get so cheap that it doesn’t make business sense to keep writing them. To us, charging less than $2.99 would not just be insulting, it wouldn’t be worth the effort considering the amount of time the average writer spends on the actual writing (6 months-1 year per title) let alone the expensive editing services ($900-$1200 per title) and artwork/formatting services, as well as the subsequent website/marketing.

Our books are on the lower end of the scale simply because we self-market and utilize high-quality software for formatting; if we hired those services out we’d have to charge a little more per book. Though we like the control aspect of setting our own prices, we agree that prices should not be raised or lowered across the board, as if they are all alike. Books, like every other commodity is subject to supply and demand. We also strongly feel that $.99 for a full-length novel is just too low, unless used on a temporary promotional basis… which is another thing consumers seem to like, so it stays.

Whether or not you agree with Hachette’s argument or Amazon’s–or have a foot in both camps–most folks agree that the eBook revolution came about because of one industry’s blatant refusal to evolve. The demand for eBooks is there because consumers want them. End of story. Consumers also don’t want to pay paper prices for digital books. Folks are smart, publishers… they know eBooks are far, far cheaper to produce than paperbacks. Consumer knew this long before Amazon’s Saturday email… and yet Hachette seems to be insistent that consumers pay $9.99-$14.99 for their eBooks.

I admit I let out a rather mocking snort upon reading that bit of information, knowing full well I could walk into any bookstore right now and purchase a tangible, paper book for that same price. Having made and formatted my own eBooks for some time, I know that the cost of self-publishing an eBook–for us–is about $2. For Hachette to charge such ridiculously high prices for eBooks brooks of greed.. and arrogance; even worse, it is the kind of arrogance that appears deliberately ignorant of the lessons other companies were able to learn over the last ten years: 1. eBooks are here to stay, 2. publishers must evolve or go extinct… and 3. the customer is always right.

The entire argument boils down to this: in the past traditional publishers refused to give consumers what they wanted… so, they migrated. Amazon was more than wiling to extend a hand to self-published writers in order to meet demand, and then went a step further in letting said writers control what prices they wanted to set their books at. Consumers responded in droves, and still do… and are likely to continue to flock to the mega-online retailer for some time to come, despite its rather mysterious PR system and cloaked industry data.

Dislike or like Amazon as you will. Agree or disagree with Hachette’s many gripes. From the perspective of actual writers, however, my husband and I love getting 70% royalties from our own work, something I bet a Hachette author would just love to have for themselves, and this despite pressure from their contracts/agents forcing them to voice a feeble opposition.

I admire Amazon Book Team’s endeavor to garner the ire of its vast array of indie writers by pointing out anti-trust-like collusion between companies and encouraging both writers and readers alike write to Hachette’s CEO and voice said feelings. I doubt it will do any good. History shows us that most mega-publishers have an ingrained habit of not listening to consumers until its almost too late.

I am certain many self-published writers view the entire Amazon VS Hachette debate with a ponderous grimace. They give a rueful shake of the head, let out a half-sighed remark on the stubbornness of human nature and then move on to check their latest hourly sales figures… whereupon the smiles return once more.

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L. R. Styles is an author of The Road to the King series, On the Way to America & The Inheritance

A Bridge Across the Yawing Chasm

Many indie writers that have been self-publishing since the early 2000s harbor semi-angry feelings toward most, if not all, aspects of the traditional publishing industry. I am one of them, and the formerly-mentioned feelings are–for the most part–nowhere near unjustified.

The disregard that most titans of book publishing displayed towards the eBook industry–when it was in its infancy–erased much of respect and regard that many writers had for the entire process. Many of our own fellow writers leaped towards Amazon’s Kindle platform when it came online just because of the perceived arrogance on the part of the book publishing conglomerates. The vitriol and blame said companies leveled at eBooks, and the indie writer alike, in the years after merely solidified those injured feelings into a heart-felt grudge.

When we first began our writing journey, more than ten years ago, we pursued all the normal, traditional avenues. We sent out query letters and manuscripts to the acceptable addresses. We had a literary agent for two years. The best royalty rate we were ever offered was just under 10%. We were told to change our content to suit more “progressive” audiences. When our agent’s contracts ran out, we did not renew them and work on our novels ground to a proverbial halt.

Then, when all seemed blackest, the self-publishing and eBook industries took off… and the tide was turned irrevocably in the favor of The Writer and The Reader. Folks trolled writer’s sites–looking for new fiction to try–using PayPal to buy and downloading humble PDF novels by the megabyte from authors they’d never even heard of.

Eager to jump aboard the eBook bandwagon, my husband and I learned all we could about the industry, about cover design trends and how to make our books more sell-able. At first we tried to enlist help from the cast-offs of the flailing traditional publishing industry by contracting professional editors among our online business contacts. We offered an affordable rate as well as free advertising on our website in exchange for proofreading services. Such a thing was almost insulting a few years ago; we were accused of “feeding off the carcass of the industry we’d slain” and quoted ridiculously high prices for freelance editing services.

So, whether by our own rebellious nature or by the scarcity of funds–or, a combination of the two–we skipped that part in the process. Instead, we enlisted beta-reading help from friends and family and kept writing, knowing that the yawing chasm between the self-publisher and traditionalists would not be easily bridged.

In February of this year we launched our novels on Amazon and were subsequently amazed at the popularity of our Epic Fantasy series. Despite a few remarks about the lack of professional editing, the books continued to sell beyond our expectations until the summer doldrums slowed the sales a little. Taking some of the eBook revenue, we once again looked around for freelance editing services. Expecting more elitist snark and jibes we were pleasantly surprised to find that the editing climate at least has evolved to match changing consumer demands and fill in the gaps of quality among indie writers.

Throwing off the perceived mantle of snobbery many professional editors have raised their own flag upon the self-publishing hill, offering reasonable rates in lieu of curt quips and polite attitudes instead of ridicule. After garnering several quotes we selected a highly-recommend freelance editor from among our LinkedIn Contacts and were charmed by amount of attention and scrutiny our manuscript received. Looking more polished and honed than we’d imagined possible, our new eBook was uploaded to KDP on August 1st. We utilized the rather mysterious service Amazon provides to select writers to alert one’s former customers by email if “significant changes” have been made to a book. We sent them a lengthy list of said changes, which were enough to convince the good folks of the Kindle Store to send forth the desired emails.

Not all aspects of traditional publishing are spurned by today’s self-publishing indie writer. Industry standards and quality are important to any serious wielder of the pen and–as we’ve proven–good money is still spent on services designed to preserve said standards. Formatting challenges were met and overcome by utilizing Adobe’s Creative Cloud and copious training videos… and a great deal of late night trial and error.

That being said, it is not likely we’d even consider any other option but self-publishing, now. Not only are we in control of the process, but I highly doubt we’d get a offer better than our current royalty of 70%… let alone a consumer platform to rival the one we currently sell from.

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L. R. Styles is a writer for Belator Books

Fair Weather Writing

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Almost since the publishing industry’s inception, it seems, book sales have suffered drastically during the summer months.

Fine weather is—rather unfairly—labeled the sole culprit, but it is more its effect on people that is to blame. The golden rays of the sun seem to induce strange actions in humans all over the Northern Hemisphere, causing them to burst into song or give into the sudden inkling to find a field of flowers and run through it–when they think no one is looking—perhaps accompanied by an indiscreet whoop and holler. And… despite a bevvy of trendy commercials–picturing folks sitting by the seaside in a curving chair, swiping their way through a good digital book on their dedicated devices–eBook sales drop just like those of their paper counterparts.

Large online platforms try to remedy this seasonal slump by cutting prices across the board so that the pain can be borne by many shoulders. I cannot really blame companies for slashing prices, though—to me–it brooks of desperation. Surely there is a better way to garner the attention of folks other than promising rock-bottom prices for literature slaved over by its writers, but I have yet to find a better solution to offer. Folks do love a bargain…

The consumer is the big winner in summer, able to cruise the lists of freely falling book fares and stock up on reading material until the winter holiday sales begin. Such is the climate in which the indie writers and self-pubbers of the world finds themselves in summer. Most writers I know remedy this odd state of being by writing feverishly so that they have a brand new book to offer come autumn.

Fair weather holds little sway over many wielders of the pen. Oh, most writers appreciate nature, and utilize it’s beauty to color our scenes and set some of our stages… but it is often viewed with an outsider’s eye. Through a window–or under the protection of a pergola–writers sit and watch and make notes… smiling at the folks charging over a city soccer field… shaking one’s head at the bold youth diving off a bridge trestle into the murky river waters below… messily writing down every little detail of the witnessed frivolity, much like a painter trying to capture the effect of changing light on leaves.

Why not join in, one may well ask. A fair question… one that could similarly be asked of the cameraman who records the film that wins an award statue. Some are made to stand on the outskirts and see, notating or filming as they go. Indeed, some prefer to step back and observe life as it happens rather than be constantly in its midst. I’m certain many writers and artist have felt as I do, and yet find it hard to explain “why.”

My oldest daughter once asked me how the world looks to me, as writer. I told her–without hesitation:

“It’s like being in the eye of human hurricane, an eerie calm surrounded by varying winds speeds and raw displays of power… and yet there are moments of beauty and unrivaled color.”

Her surprised expression led to a more gentle explanation, but… she did ask. She dove headlong into music, I am happy to say; I don’t feel all that sorry that the pen held little allure for her, or the others. My children all have the care-free ability to play in the golden sun, not feeling that pull to stop, to look and whisper a few lyrical lines to themselves in order to solidify the moment in their mind. They merely run and shout… and wouldn’t even think of reading a book, until later, when the sun has set and their limbs are tired.

I watch them in contented silence, writing away… not minding in the least that my fingers muscles are the only part of me anyone would label “dexterous.”

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L. R. Styles is a writer for Belator Books

Writing of Comfort

Comfort… a thing at times overlooked in this novel age of the supernatural thriller and intense crime drama. Intensity sells, or so I’ve heard, especially in our favored genre of Epic Fantasy but—to me–it is a thing best displayed by small moments of respite in the prose. Comfort is a universally sought after thing, and when found it is enjoyed with wordless displays of emotion. It can be a lull in the driving rain or the oft-overused calm before the storm; it can be a seat by the fire after the battle is won, or a warm cup of sweet drink for the night watchman on a chilly evening.

Comfort provokes a particular sigh… one of neither relief nor sadness, but appreciation.

The simplest things seem to quantify what humans view as “comforting.” In my mind, the word is best embodied by a weathered Adirondack chair that sits in a sunny corner of our backyard. It was built over two days by our children—with some help from Mommy—as a birthday present for my husband and made entirely from reclaimed wood. Using a pair of my husband’s old jeans (for a custom-fit) we tracked down a free pattern on the Internet, traced lines on the cobwebby boards, found wayward galvanized screws and hauled the compound miter saw out from the garage.

As I looked up—about to saw the first cut—four pairs of eyes met mine. A mixture of wonder and eagerness lay behind those large safety glasses slipping down the slender noses. Their expressions lent the entire project a buoyancy that transcended the materials and imbued themselves in the finished product. What comfort the chair was meant it give it thereafter exuded with unapologetic frankness and does still, sitting in the dappled sunshine of a late California afternoon. A man of multitasking brilliance, my husband needed only a bit of encouragement to tempt him out of doors to the enjoy the charms of our little urban oasis. The worn depths of the chair provided just that, let alone the idea it was crafted by loving hands while he was toiling out in the forbidding Realm of Work. The look on his face–as he sinks into the chair–makes me smile, every time.

Moments like these require no quatrains of verse to describe but they have often inspired them. Poets and writers of literature alike have lauded comforts both sweet and simple, from seeing a field of flowers to enjoying a good meal, or even just hearing a peasant’s song. Because of comfort many great writers have penned some of their best pieces… such as my favorite poem by William Wordsworth, The Solitary Reaper.

Whate’er the theme, the Maiden sang

As if her song could have no ending;

I saw her singing at her work,

And o’er the sickle bending;—

I listen’d, motionless and still;

And, as I mounted up the hill,

The music in my heart I bore,

Long after it was heard no more.

O’ fellow writers, forget not to place within your pages a few moments of comfort. It is a peerless thing to use when touching a chord with your readers… and beautiful in its simplicity.

L. R. Styles is a writer for Belator Books

Indie Writer & The App

Way back in March of 2012, Forbes columnist Alex Knapp wrote an article called “Are Apps the Future of Book Publishing?” in which he voiced marked enthusiasm for ground-breaking eBook apps. 80,000+ hits on said article notwithstanding, there isn’t much being penned these days about throngs of authors diving into the app fray.

One may very well still ask: “will apps indeed take over the ePub/Mobi mainstays of individual eBook titles?” Many an author on my considerable list of contacts wonders if the effort/expense of making their titles into apps is even worth it.

Take, for instance the most popular apps downloaded on the iPhone, free or otherwise. According to several websites I visited (Googling “most downloaded apps 2013”) a few apps that find free eBook titles for you were among the top ten. There are apps that categorize eBooks, read eBooks and promote eBooks, but I had a hard time locating eBooks-turned-into-apps on any general popularity list. I did, however, notice a blurring of the already-thin line between “enhanced” eBook ePubs and eBook apps, a trend that seems to be gaining strength among younger consumers.

A handful of traditional publishers have branched out into creating apps from books, from re-doing classic novels–with manuscript notes and author interviews–to redefining novels entirely by including story-board like images, interactive pages and audio along with the prose. Authors with Amazon already have a kind-of, sort-of app for their titles via the Kindle-for-PC app, Kindle-for-iPad app and others.

As an indie author, I love the idea of making each book title into an app. Such individualization—to me–really helps focus on the feel and tone I envisioned for each book when writing it. Just being able to include a soundtrack, font and old-school decorative printing flourishes makes my mind whirl with ideas, and such is the case for many of my fellow authors. Feedback excitement for branching out into Novel Apps is almost palpable when I send ’round my queries on the subject, but the tangible evidence for such work being done is sadly lacking.

I’d love to get my ebooks into apps!” a fellow writer wrote back. “Tell us how that goes!”

Another wrote: “I’ve heard of companies that can do it for you—for a truckload of casheroo. Let me know if you find a good DIY app maker…”

Truckload of “casheroo” indeed…

I found several dozen companies that can take my eBooks and make them into apps for me at a hefty price. The cheapest reputable company I found was approx $350 per title (extras like interactivity aside) and only if I did ten titles. That’s approximately $4K out of pocket–which might be nothing to a publishing house–but is actually quite a bit of coin for a couple of virtually-unknown indie writers using free-yet-time-consuming services like WordPress & Twitter to market themselves.

That being said, what are some options for cash-poor, plot-rich indie writers that want to leap into app-making?

To start, you’ll need to take stock of your current sales and download data, free and paid alike. A platform I’ve found lately—that does just that—is App Annie. I was able to link my Amazon Kindle storefront and Kindle novels to this platform and get a one-glance graph by title and month to help me determine the most popular novels and the most active weeks. And…. it’s free. (Huzzah!)

Once you’ve soaked in the myriad data you can determine which titles should be apps and which you can feasibly ignore ’til later.

DIY app-making is an industry still in its infancy. Platforms without strings are limited–to say the least–and sparsely populated. It seems—to the average indie writer—that this void in self-service is some kind of publishing house-led conspiracy… but there are good reasons why app-makers charge so much. The work is time-consuming and exacting. Folks that purchase apps want a svelte, professional product thus—as in DIY eBook producing—scathing “bad” formatting reviews appear like great gobs of guano let loose by the Seasgulls of Snark wheeling overhead, cackling to themselves as writers run for cover.

But, hope is not lost. Meandering around the net–looking for an answer to my app problem–I thought I discovered a “bridge” solution, for lack of better word. ePub Bud touts to be a free DIY platform for writers to create ePubs of their work, and convert it into various forms… not unlike Calibre, but–apparently–a little less complicated. The ePubs created with this system should resemble apps and–when formatted “correctly”–behave like apps on tablets. Albeit bare-bones in appearance, and only offering a slender array of fonts, ePub Bud seems to give indie writers a DIY solution to their “do we make an app” problem . Books are compiled in chapters. Drawbacks include a loss of formatting, which must be redone once each chapter is copied and pasted. I was however, able to keep my pretty little divider image at the end of each chapter, something that touched my old-school-publishing heart. Whether due to my being a novice at app creation, or the rudimentary nature of the platform, I was not really able to make anything that was better than the ePubs I generate with Calibre.

After tinkering around with Epub Bud for two weeks—working on one title—I stumbled across a generous loophole in the Adobe InDesign system.

Like most indie writers/designers I’ve often looked wistfully at Adobe products, dreaming of the day I could afford such gorgeously professional software. Someone brilliant at Adobe figured out that–while they make a lot of coin on the few folks that can afford their software–they were missing out on a greater pool of consumers willing to pay a monthly fee for cloud access to the Creative Suite. Students, high school or college, can get fairly cheap access to a lovely modern invention called Creative Cloud, for a mere $19.99 per month. My oldest daughter is a junior in high school and interested in a career she can tele-commute to. I suggested learning InDesign, bought her a Student pass to CC and an account with Lynda.com and promptly hired her to do an eBook layout . Under the periodically curious eye of her mother, she began converting one of our ePubs into an much-better enhanced ePub within in a matter of days, with embedded fonts, anchored images and the correct formatting for a polished eBook. The main issue was the ePub format itself; the chapters flow together,thus—as in Epub Bud—one is required to make separate documents for each chapter. InDesign further requires separate documents for covers, meta data, TOC (Table of Contents), copyright info and image files. I will say that the Lynda video course on using InDesign to make an ePub (while slightly outdated) still proved detailed and extremely helpful.

Apps however are a different animal. The Folio Producer part of Creative Cloud proved challenging, even for the combo of my savvy teen’s mind and my old-school-eBook mentality. After a week of tinkering and watching a library of you-tube how to videos, we got a workable app, with suave user-interface, a tasteful number of interactive photos and charming publishing embellishments, but the layout issues gave us pause. Before apps can be created on this system, they must be “approved” by the Adobe Folio Producer platform. Now, I agree with this , as no company would want inferior/ non-workable apps floating around with their name attached to it. The only frustrating part is the denial message does not tell which document(s) have the issues, thus requiring a hunt & peck type strategy which eats up a considerable amount of time.

But, Time—that capricious ally–is what I have to spend. When said issues are resolved, I will post the completed project links up for perusal.

~ L. R. Styles is a writer for Belator Books

Update: Since posting this article, a flurry of ensuing remarks have shown up in various parts of The Web, more against the idea of eBooks apps than those in the “pro” category. The quips and outright request of readers especially caught my attention, decrying the use or need for eBooks apps. An issue we’d not even considered came up as foremost in the arguments for giving up our app quest: storage space. Limited device storage space makes it a precious commodity, one that app designers would do well to consider. We have and after a series of grave discussion have put our eBook app plans into the “it was a good idea, but…” box on a dusty shelf in the closet.