On Giving Away My Books for Free

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First of all:  If you’re here visiting for the first time after downloading any of the books in the Bridgetown Trilogy from Smashwords during its July book sale, hello and thank you!  I’m thrilled that you wanted to check my books out!  I hope you enjoy them!  And by all means, if you like them, please post a review on GoodReads!  That will make this writer very happy indeed. 😀

SO!  I’m sure some of you out there are wondering…why did this weirdo, who spent far too many years writing this damn trilogy, give it away in e-book form for free a few years after he FINALLY released it?

Good question indeed.  I have a few answers for you:

  1. Some time ago I put A Division of Souls up for free and kept it free, as a way to bring people into the Mendaihu Universe.  This by far has been my most regular seller, for obvious reasons.  It’s the enticement product.  It’s the register endcap.  It’s the book that says ‘hey, check this out’ and ‘if you like this, there’s two more sequels’.  I regularly get at least a few downloads a month for this one.
  2. The Persistence of Memories and The Balance of Light are at an already reasonably low price of $2.99 each.  I think of this as an analogue to mid-price cds you find at record stores…back catalog titles that are no longer consistent sellers, but are consistently available at an affordable price.  Again, this is part of the ‘long game’ process, and it’s actually worked to my expectations.  I might not get a big payout, but I’ll get at least one or two purchases every month or so.
  3. The sale is only for one month, and I know there are readers out there who, like me, get involved in a series and want to either buy the entire thing in one go, or at least be able to find and download them easily.  And everyone loves free things, right?
  4. It introduces new readers to my work.  Though I only got a few purchases since it was released, I did get a bit of interest in Meet the Lidwells, with a few sample downloads.  That right there is a learning experience; perhaps it’s that they weren’t interested in the story I had to say there, or perhaps the formatting wasn’t to their liking, or maybe it’s just not a book that many are interested in.  I’m okay with that; it’s not a science fiction novel, but a straight fiction novel in the format of a music biography.  It’s up to me to work on new promotional avenues for that one.

I haven’t yet looked at the stats for July as a whole, but from the email notifications I’ve received, between all three books I’ve gotten a good few dozen downloads and even more sample downloads.  Not bad at all.

In the meantime, I’ve put the url for this blog both on the books and on the freebie cards I’ve made.  [That’s the front of the freebie card for the trilogy above.]  I’ve been doing my best keeping this particular blog on a timely and expected schedule — and crossposted to Twitter and Facebook at that — and that has helped me gain new readers as well.  I spread out my freebie cards at all the conventions I’ve gone to as well.  All in all, from what little I’ve done so far for promotion, I’ve gotten a hell of a lot more response than I ever thought I would, so that’s saying something.  I can only imagine what the response would be once I restart the email list and start upping my promotion game!

So yeah, I’d say even though I didn’t earn a single penny this month, I got a lot of new readers, and I think that’s pretty damn cool.

On Worldcon 76

doctor who that can't be good

Well.  Nothing like waking up to a hot mess on Twitter.

I’ll start off by saying I have a very small pony in this horse race.   There are other writers out there, specifically writers of color, marginalized people, pro writers just starting out, and so on, that have a much bigger horse running right now.  I’m not trying to lump myself in with them or their issues regarding this convention, nor am I looking for sympathy.  I’m not saying my issues are more important than theirs; quite the opposite. This particular post is just about me.

First of all, I understand that there are more Worldcon attendees than there are panels and rooms to hold said panels.  Most of us are there as fans anyway.  I get that.  But a considerable segment of us are also writers, struggling to make a name for ourselves with minimal or no help from promotion departments.  We sign up for these conventions because it’s one of the few ways we writers know how to get our name out there.

The programming decision to leave out so many writers and professionals of all levels ‘because they’re not known’, on the other hand, is elitist, rude, and unprofessional.

I’m a self-published author and proud of it, but this decision sent a message that to me felt like I was destined to stay at the community access channel level of SFF conventions.  (Not that that’s a bad thing — BayCon and FOGcon have done me extremely well the last few years and I can’t thank them enough.)  It felt as though I hit a glass ceiling.

And imagine how that feels to others — the women, the people of color, the LGBTQ writers and fans — who get hit with this bullshit every single fucking time.

Us early career writers (and career self-publishers for that matter) rely heavily on conventions to get our names out quickly and easily, and also to network.  We especially rely on a Big-Name convention like Worldcon as a major boost to our career because of the sheer number of attendees.  We hope to be on panels and readings, because this method of exposure works for us.

Furthermore, many writers, both self-published and professional, happen to self-publish because they’re not getting any help from the regular commercial avenues.  Or that they aren’t getting the proper (or any) promotion.  Cons are a HUGE help to combat that.  And leaving them off the panels is NOT the answer.

Especially if they’ve been nominated for a Hugo this year.

I’ve also seen tweets from a few authors stating that they saw their own panel suggestions on the programming but they are not part of the panel at all.*  That might be an oversight (and a gross one at that), but it also sends a similar message: it might be your idea, but someone else more popular is going to benefit from it instead. We writers create these panels because a) we think it’s interesting and want to share it, b) it’s something relevant to our own career, and c) again, it helps put our name out there.  Keeping us off our own panels essentially closes a door in our face.

* – I was unaware the programming had gone live on the website this weekend, and it has since been taken back down, so I do not know if any of my panel suggestions have been accepted or not.

I would have loved to have been on a few panels, especially those dealing with self-publishing so I could Pay It Forward.  And to be honest, I’d also would have liked to at least gotten a form rejection letter saying I wasn’t going to be on any panels.  To not get any response at all — not even a simple ‘check our website on (date) to see if we’ve accepted you as a panelist’ — sent the message that I wasn’t worth it in the first place.

That I was still labeled a fan and not a writer, despite having multiple books out.

[Yes, I do know how rejection works in the publishing biz.  Some houses don’t even respond back because they just don’t have enough people to do it.  But this is a convention, not a publishing house.  There’s room for creativity and covering bases here.]

We’re still going, of course.  Even though I won’t be on any panels, we’re still going.  We have friends we’d like to see.  There are writers we’d like to meet.  I have freebie cards to give out, and other writers to network with.  Despite the annual wave of ‘Worldcon done fucked up again’ tweetstorms, we still have a lot of fun in general.  It’s not a complete shitshow.  Not like some cons I’ve heard about.

I’m not asking Worldcon to be perfect, flawless and infallible.  We all fuck up now and again.  All I’m asking is that they be professional and have a better awareness of the variables.  It’s a big project with a lot of moving parts that need monitoring.  And this really felt like there were a lot of people sleeping at the switch, or worse, weren’t aware of it in the first place.

EDIT:  Earlier this afternoon the Worldcon 76 committee agreed to the numerous complaints that had been placed about this issue, and have decided to “[tear] the program apart and start over.”  Good on them.  Their Twitter message can be found here.

On DIY: More on the Long Game

doctor who brilliant jw
I feel the same way when I get a Smashwords Purchase Notification in my Inbox.

It’s been a little over a year since I released The Balance of Light, the third book in the Bridgetown Trilogy, and about three months since I released Meet the Lidwells.  The sales for all of them have been rather slow and dribbling, but I’m okay with that.  They’re still out there, available to anyone who wants them, and they’re not going anywhere anytime soon.

In fact, since I’ve registered all the books into a month-long summer sale over at Smashwords (If you haven’t gotten them, WELL WHAT ARE YOU WAITING FOR?), I’ve gotten an uptick of downloads, especially for the entire trilogy.  Which makes me quite happy indeed!  {If you just recently bought them and are visiting my blog for the first time, thank you and Hi There!)

As I’ve mentioned before, I’m playing the Long Game with my books.  By this, I mean that I’m not looking for or expecting a large wave of purchases in a short amount of time, but a small but consistent wave over a much longer period.  This makes more sense to me, because my aim as a self-published writer was never to become a Huge Bestselling Author (although let’s be honest, that would be nice).  It’s about having a nice long and varied backlist that people can check out whenever they like.  By the end of this year I’ll have five books on that backlist, with one, possibly two more coming in 2019.  I figure in ten years I’ll have a nice fat catalog that potential readers can check out.

Granted, I’ve essentially traded a big payout for longevity, but I’m down with that.  In my own fanciful imagination, I’d like to think that ten years down the road I’ll still be getting the occasional purchase notification on A Division of Souls, especially once the next book(s) in the Mendaihu Universe surface.

And it doesn’t hurt that I’ll have a nice lift in sales every few months or so when I hand my postcards out at conventions or sign up for a sales event at Smashwords.  And whenever I give myself a bit of a sales nudge online now and again, I’ll get a brief lift there as well.  I admit I’d like to do better at the self-promotion, but I’m glad to say what I’ve done so far does work for me.

It’s still a learning process, but I’m glad that it’s going in the right direction!

On Self-Publishing: Creating Book Covers

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Picture credit: Shutterstock/Jose AS Reyes.

I’ve said it before, I love doing covers for my books.  It’s another creative avenue that I get to play around in that I don’t otherwise have much time for.   Every now and again I’ll go through my own pictures and create one just for practice.  [I’ve even come up with a few pseudonyms for certain styles; for instance, all my fake mystery novels are all written by Chase Johnson, and my fake lit-fic and women’s fiction is by Joanna Chase.  Why? Because it’s fun!]

I’m still sticking with the above image for In My Blue World, so if I’m going to use it, all I need to do is purchase the rights from Shutterstock, fiddle around with it a bit, slap the title and by-line on it, and call it done.  I still use Adobe Photoshop to crop it to the right size and adjust the image.  (I’m probably going to lighten it a bit so the title and by-line will pop out more.)  And I still use the PicMonkey website for the text.  Sometimes it takes a short amount of time, sometimes it’ll take a few days before I get it to how I like it.

One thing I’ve learned from doing covers — aside from enjoying the process immensely — is that I should always make sure the cover ties in with the novel in a specific and important way.  It’s not enough to get a badass lady with a katana on the cover…there has to be a reason for it.  In this case, I chose this cover for a few reasons:

–The first half of the novel takes place in forest land.
–I didn’t want the girl to be in an Attack Mode pose, but an I’m Ready for This pose.
–I didn’t want her clothes to be stereotypically frilly or flashy (or steampunk or goth, for that matter).
–I wanted there to be at least some hint of blue sky in the background.
–It needed to have a decent amount of space for the title; in this particular instance, I like how the text not only balances it out, it intermingles with it.

This is also why I used the cover for Meet the Lidwells! that I did; it was a straightforward concert poster-stapled-to-lightpost image that is pretty much universal for any band starting out.  They say that the cover often pre-sells the book, especially if it’s eye-catching enough from across the sales floor (or legible in thumbnail online, for that matter).  Don’t think of that as needing a flashy action shot, or a crafty written-in-chalk image.  Look at other covers you thought were innovative or creative.  Look at the ones that made you stop and pay attention to it; then look at the cover as you would a piece of art…why did it make you stop?  And how can you use that on your own covers?

Just like my writing, my cover art has changed and evolved and advanced, little by little.  The more I practice, the more fake covers I make, the bigger my portfolio that I can use later on if I so choose.  And I would like to expand on it as well; for the Apartment Complex story I’m thinking about commissioning an artist — specifically a webcomic artist.  I already have a few images in my head that could work.  I’d still do the text, but I’d like a unique image this time out.

I know there’s a lot of self-publishing advice out there stating that you should never do your own cover, but I’d probably amend that: don’t do it if you don’t want to do it, or if you don’t have the ability.  On the other hand, if you have the artistic chops?  Go for it!  It’s a hell of a lot of fun and you can get really creative with it.

Putting On a Show in the Barn, Or: Adventures in Figuring Out How to Self-Promote

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Mickey Rooney and Judy Garland in Babes in Arms (1939)

How the hell do you self-promote your self-published book, anyway?  That’s a damn good question, because I’ve heard so many different and varying (and often conflicting) answers that I sometimes wonder if anyone knows at all.

So I’m doing a bit of everything, to be honest.  I’ve created flyers for the trilogy.  I’ve posted hither and yon on social media.  I’ve sent copies to various websites like BookLife, NoiseTrade, and so on.  I’ve posted to GoodReads.  I’ve submitted to legitimate novel writing contests.  I’ve created a mailing list.  I’ve promoted myself at cons.  I’ve read a lot of different blogs and listened to various podcasts.  I’ve done a lot of it in one way or another, to varying degrees of success.

This isn’t to say no one knows what they’re doing, far from it; it’s that there’s a hell of a lot of different ways to do it, and they’re doing what works for them.

When I uploaded A Division of Souls as a pay-what-you-want e-book on NoiseTrade a few years ago, I didn’t get much money out of it, but I certain got a hell of a lot of downloads, over 250 of them.  And even though I haven’t done any major promotion on the trilogy for quite some time, I’ll still get the occasional download hit either on Amazon or on Smashwords.  [Those might be few and far between, but they still put a smile on my face when I get an unexpected payment!]

Right now I’m planning out how to self-promote Meet the Lidwells!, and this time out I’m thinking of being a bit creative with it.  I’ll reach out to the websites I tried before, with a focus on music-related blogs and sites (such as NoiseTrade) as well as any other bloggers who might be interested in doing a review.  I’m also thinking of doing some minor advertising in some of the writing magazines I read as well — maybe a one-column thumbnail ad or something.  The book will drop later this month, so I’ve got to work on getting all this out pretty soon!

If I’ve learned anything over the past three years that I’ve been self-publishing, it’s that this field truly is all about the DIY, where the long-established rules don’t always apply.  Sometimes your attempts at self-promotion will fall flat, other times it’ll catch on and grow far beyond your expectations.  There’s a lot at play here:  the kind of book you’ve written, the people and businesses you interact with, the people you’ve hired for production work, right down to the price you decide to give it.  And you can do exactly what professional self-publishers (such as David Gaughran or Joel Friedlander) suggest, and it might work for you, or it might not.  It really is a bit of a gamble each and every time.

It’s a learning experience every time I release a book.  In a way, it’s like the classic Babes in Arms trope: ‘Let’s put on a show in the barn!’  You’re out to show that you can do it, and that you want your audience to enjoy it, but you’re really not sure if it’ll work unless you actually do it.  But regardless, the payoff is still worth it.

 

Looking Forward to 2018

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Credit: Bleach

I’ve got a busy 2018 ahead of me, that’s for sure.

A good busy, though.  I’ve given myself a lot of goals to hit, and I’m sure I can hit most if not all of them.  A few will be harder than others.  Some will most likely roll into 2019.  A majority of them will take most of the year.  And I’ll be juggling it all with the Day Job, of course.  But I think I can pull it off.

The trick here is to have a long-term schedule going, which I’ve been playing around with over the last few days.  It’s a little like how I write novels: multiple threads going at the same time, fully aware of how to orchestrate them, put them in order, and make them flow.  It’s only taken me how long to figure out that I can (and should) do this with the non-writing part of my writing career?  Sheesh.

Anyway…I’ve got a novel to prep for self-publishing (Meet the Lidwells!), a new novel to start writing (untitled Apartment Complex story) and one, maybe two others to outline when I have the time.  I’ll be going to three conventions, with the plan of being on a few panels and possibly a few readings.  I’ll be resuming my photography for book cover and image library purposes.  I desperately need to do restart the document scanning (it’s something I’ve put off for far too long).  I’d like to record some more mp3 demos, maybe pull them together into full completed tracks.  And most importantly, I need to move forward with the Mendaihu Press entity, using it as an umbrella for both my self-published novels and cover artwork.

This is going to be a very complex symphony to orchestrate, and I’m quite sure I’ll hit all the typical obstacles along the way, but I’m in it for the long haul and I’m too stubborn to quit easily.

This coming year is going to be one hell of a challenge for me, but I’m looking forward to it nonetheless.

An overview of 2017

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The Bridgetown Trilogy — finally DONE.

It’s been an interesting year, I’ll say that much.  Personally we’ve all had one hell of a bumpy ride.  I’ve certainly had my highs and lows.  And somehow I persevered.

Anyway, looking back over the past twelve months, I’m proud to say I went a hell of a lot further in my writing career than I ever thought I would.  A project that I started in all seriousness twenty years ago was finally signed off as complete.  I started not one but two completely new projects and sowed the seed for even more ideas.  I kept a solid blogging schedule.  I took part in panels on two different local science fiction conventions.  All while still holding a Day Job.

The Balance of Light e-book and trade release, and completing a long-term project.  That was the toughest of the three to revise, so it took me most of 2016 and early 2017 to finish.  Even the cover was a bear to get right.  But at the same time, overcoming the hurdles I faced on this one made me an even better writer; it taught me to take all the time I needed to get it right before I released it upon the world.  It was worth the wait, as that book went from the Troublemaker for a good few years to a novel I’m proud of.  And added to that, it truly did feel like a weight lifted off my shoulders when I realized I did not need to work on that project any longer.  I still miss it, of course, but I’m definitely glad it’s done.  Most importantly, I saw a very long-standing goal to its conclusion and I couldn’t be happier.

–Daily words at 750words.com.  I’ve been quite consistent with this as well, much more so than previous years.  I trained myself to use this site as a place for playing around with ideas instead of trying to force myself to use prompts (suggested or otherwise).  I just went with whatever popped into mind.  In 2015 and 2016 I used it to write an extremely rough and incomplete draft of Meet the Lidwells, and in 2017 I used it to plot out most of the project after that.  I’ve taken this month off from it for various reasons, but I’ll be picking it up again come January.

Meet the Lidwells!  This one surpassed all of my expectations, to be honest…so much so that I spent the first half of the project questioning whether or not I was doing it right!  This project hit a lot of goals: writing a complete outline ahead of time, writing a shorter novel, writing a story that had a personal connection (music), and writing in a minimal amount of time.  Because of this I have a minimal amount of post-writing work to do: some minor revision, shooting the cover picture, and prepping it for self-publication.  Quite possibly the shortest novel project I’ve had to date.

–Untitled ‘Apartment Complex’ story.  Having written out a few key scenes and plot ideas for this story using 750Words, I’m now working on the outline in the same manner that I did MtL.  That way when MtL drops, I can immediately focus on writing this one. This too has goals: to see if I can pull off ‘writing econo’ again.  I’m using the same process as the previous project, to the extent that I’ll play around with ideas on the project after this one for my daily words.

–Consistent blogging.  I wrote two different blogs twice a week for nearly the whole year, with very few lapses.  There were moments when it was tough, given that I always wanted to write something of interest and/or purpose, and did my best to avoid the fly-by entries as much as I could.  I also wanted to avoid repeating myself whenever possible; I’ll totally cop to writing the same damn nostalgia piece over and over, and I’m doing my best to break out of that rut.  And in the process, I’m learning how to expand my palette by expanding my interests.

–Participating in Convention Panels.  This was another big one for me.  I’ve gone to a number of cons over the years but always as an audience member, but never as a participant.  After releasing my books I knew that this would be a great way for me to get connected to the non-writing part of the business.  [Mind you, my very first panel was a reading, which went over well but I think could have been better.  Once I got past that first one, the jitters were no longer there.]  In 2018 I’ll be attending three more cons, and I’ve signed up as a participant at all three.

*

All told, I’m ecstatic with what I achieved as a writer in 2017.  It was an extremely productive and fruitful beginning to my career as a professional self-publisher.  There are some goals I wish I’d have hit, but I’m not going to let that bother me.  I’m definitely looking forward to reaching those plus many new ones.

Getting it right and completing the work

your name taki erasing

As much as I would LOVE to release Meet the Lidwells! right now at this very moment, I’m still not entirely happy with a few things related to it.

The cover, for instance.  I’m still not happy with it. I’ve thought through a few layouts, played with a few in Photoshop, and I’m still not happy with it.  To be brutally honest, at the moment it looks like the original cover of Jonathan Franzen’s Purity, which I so mercilessly tore apart upon its release.  And the last thing I want to do is make it look like I’m saying …but hey, if *I* make a cover like that, it’s art!  Come on, Jonc. Face the facts.  That ain’t how it’ll work out.

Thankfully, during one of those nights where I’m lying in bed after lights out, thinking about my writing when I really should be trying to get to sleep, I realized where I was going wrong, and came up with an excellent alternative that I’m quite certain I can pull off.  Which means that sometime within the next week or so, I can start working on the improvements.

As you can see in this outtake I did a few months ago, my original idea had some merit, but it also looked like I threw it together in about five minutes.  It looked too sparse, too unfinished.  I need to do more with it, but I wasn’t sure what.  The piece that needed to stay was the image of the six silhouettes; it’s an important plot point in the first third of the book, as it’s the cover of their debut album.

The error I made was that someone looking at the cover without looking at the book wouldn’t know that.  I realized this was the same exact issue the original Purity cover had — I learned much later that the woman’s image is in reference to a passport photo.  Having never read the book, I would not have known that if someone hadn’t told me.

This meant that I had to figure out how to get the point across that these silhouettes are something important.  And that late evening, I realized that it didn’t have to be an album cover, per se.  In the book, that ‘iconic’ image of the Lidwell kids didn’t originate as their album cover, but as a flyer for their first shows.

Which gave me an altogether different canvas to work with.

SO!  This means that I have some more work to do in creating this cover, but I know exactly what I can do with it, and how.  And even better, I can once again pull it off on my own!  Self-publishing FTW!

*

I’m telling you all this, because this is how a writer, especially a self-publishing one, should think about their product.  There will definitely be times where you get stuck on certain parts of your project, where you can’t quite figure out how to fix it.  You’ll waste time trying all sorts of things that won’t work.  The temptation to say ‘screw it’ and call it done can be quite high sometimes.  Or worse, you’ll talk yourself into believing that your half-assed attempt will be understood by everyone else as a brilliant move.  You’ll be getting close to your self-imposed deadline, or even fly past it, and want to kludge something just to get it out there.  I’ve hit these roadblocks plenty of times.

Thankfully, my stubborn will kept me from taking that route.  As long as I kept telling myself there was a better way to do this and that I just had to figure it out, I was fine with releasing it a little later than usual.  All I had to do was work through this roadblock.  And I’m happy I finally did!

On Self-Publishing: Quality and Perseverance

jim carrey typing
IMMA BE A BESTSELLING AUTHOR

Okay, I’ll grant you that.  There are some self-published books out there that aren’t really all that high on the quality.  There are some books out there that are little more than web scrapes of sites and blogs with horrible cover slapped on it and sold as supercheap Kindle ebooks.  There are others that are a bit better in quality that mean well, but…well…

But I’m not really going to talk about those.

I’m going to talk a little about the Little Novels That Could.  The ones passed over by agents and editors because it didn’t catch them on the first couple of pages.

I always feel a little bit of a twitch when I read about writers who’ve plugged along, wrote multiple books but never received a bite from agents or publishers for years.  I always think, but what if those books were actually good, but the author gave up on it because of rejections?  There’s always that little bit of me that can’t stand that publication bottleneck.  That gets irritated by reading articles by agents and editors who dismiss a submission after two pages.  [To be honest, I think it partly stems from my deep irritation with faulty teaching methods, in this case the ‘I want you to do X but I’m not going to show you how to do it or give you any context’ method that I’ve encountered many times in my life.  Again, that’s just me.]  I always feel bad for writers who go their whole life trying to get published only to fail time and time again.  I can’t help but think it’s not because they’re bad at it, just that their work doesn’t fit into the pre-cut shapes and expectations that mainstream publishing wants.

I know part of this twitch is also the indie nonconformist in me waiting to scream out oh yeah, well we’ll show them!  I know it’s a lot more than that.  It’s showing them by way of writing the best damn thing you can and putting it out yourself.  It’s the payoff when you get new readers and fellow writers telling you they enjoyed your work.  It may be a much smaller readership, maybe a few hundred readers instead of a few thousand, but it’s still worth it.  Your story is out there, and someone, or several someones, have deemed it enjoyable.

Why do I keep harping on about how awesome self-publishing is?  Well, one of the reasons is that I’m trying to help get rid of the stigma that’s been placed on it.  Another is that — yes, I’ll say it yet again — it’s become a more respected outlet, especially over the last few years.  And most importantly, I’m trying to tell other authors out there that it really is worth a try.  That story that the pros weren’t all that into might be the same story that avid readers love.  It may be a bit more expensive, it may require a lot more work, but the end result is more your vision, and something to be proud of.

Thoughts On the Long Game

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There’s one part of publishing no one likes to talk about: when the book sales dry up.  Let’s be honest: a lot of us writers go to bookstores and we see all the perennials on the shelves that we can always trust to be there: the books by Gabaldon, King, Tolkien, and Martin (not to mention the 9,485,682nd book by Patterson, Robb or Grisham…how the hell do they keep cranking those out every couple of weeks, anyway?).  We’d like to think we could get in on some of that as well.

The grim, sad truth is that it rarely happens.  We’ll show up on a few shelves for a few months and then disappear.  And we’ll fall so far short of our dream numbers.  Even grimmer that the title stops getting printed due to lack of demand.  Not to mention suffering the indignity of having fans wondering where they can find Book 1 in your trilogy and having to tell them to look in a used bookstore, because your publisher isn’t making it available.

It almost makes one wonder just how antiquated and out of date the publishing business might be, how many of these rules and guidelines no longer work in this day and age.

But that’s another blog post for another day.  Me, I want to talk a little about how I look at this conundrum as a self-published author.  [Mind you, I’m not dissing the publishing business as a whole; I know many authors who do just fine with it, frustrations and all.]

See, I have three books out that I’ve self-released as POD trade paperback (through CreateSpace) and ebook (through Smashwords), and at present they’re just sort of…sitting there, not doing much.  I did sell a few as they were released, of course.  Not that many, more than I’d expected.  And they’re still up there, available and ready for whoever wants to buy them.  I don’t plan on pulling them from availability any time soon.  I might revisit the books and do some cosmetic editing sometime down the road, but they’ll always be out there for anyone to read.

The Balance of Light has been out for what, a good couple of months now?  The e-book was released in February, and the trade a month or so later.  I think it’s fair to say I got as much as I could get out of the three for the time being.  It would be kind of silly to keep flogging these books to virtually the same audience over and over again.

So what do I do with them, then?  One of the things I’ve thought about, in particular is how to let potential readers know that they’re still out there.  I mean, aside from the occasional tweet or blog post or shameless plug?  That’s the rub.  No one’s really been able to figure out how to do that for self-published books.  I’ll put out some of my self-made flyers when I’m at conventions.  There are some websites and platforms I could advertise on if I so desired.  But is it the right time to do that at the moment?

At this point, I’ve been thinking less about the Short Game — flogging the books while they’re still fresh — and more about the Long Game.  And by Long Game, I mean coming up with ways to push the trilogy on new readers in the future.  Plugging the trilogy as an Added Value when I release my next book.  Continuing to join in on the various sales that come up on Smashwords and elsewhere.  Using them as props when I’m on convention panels.

Meanwhile, this also gives me more time and brainspace to focus on writing my current projects and planning future ones.  [Current status: writing one, prepping another, and two, possibly three on the back burner.]

Do I feel let down a bit that the trilogy didn’t do as amazingly as I’d hoped?  Well, sure.  I’d be lying if I said it didn’t bother me a bit, and that I feel that I’ve failed myself for not following up on publicity as much as I should have.  But what’s past is past.  I also know that the themes of the trilogy are rather dense and they’re not for everyone.  I’ve made my peace with all of that.

My thoughts on this are:  always look forward. Always find the positive.  Always find a way to make all of this work for me.  And above all, learn from my own mistakes and missteps.  The trilogy isn’t dead, far from it.  It’s just in stasis.  I can certainly bring it back to life if I so choose.

I’ve said it before…I’m in this writing gig for the long term.  It’s more than just writing a large body of work, though.  It’s about knowing what to do with it all over time.