Showing posts with label advice. Show all posts

News Update

Something happened at the weekend. I got the last of my books back from Totally Bound. I always imagined when I had them all back that I would have a lot to say about the subject, and anyone who meets up with me at UK meets has heard it all (LOL).

But, when it came to it, two years extra of waiting for the books after contracts auto-renewed has mellowed me I think... ish...

In summary, new authors, don't EVER sign a contract that auto renews, or get talked into anything that can't be backed up with action. LOL, and ALWAYS speak to authors that have been around the block and get advice before you sign anything.

* * * * *

Anyway, all but one of the books are back out now with myself, all re-edited and a couple of them (Fireman/Cop, Moments) with added scenes.

The last one to be re-released will be Back Home next week.

The cover art is all by the talented Meredith Russell, and she is a bloody miracle worker, sometimes turning around the art in less than a day if I sob hard enough.

As usual, if you have the old versions email a receipt to rjscott.team@gmail.com and Rachel will organize replacements as soon as she is able (she's just ever so slightly busy LOL).

* * * * *

Today I start work on two new projects... The second in the Railers MM Hockey series with Vicki Locey, and also the much requested Gabriel (Legacy #2 - sequel to Kyle). I'm so excited about both of these!



Nora Roberts & head hopping


I'm currently listening to the audio of book 1 in the Chesapeake series from my hero Nora Roberts.

God I love the brothers in this story. Book 1 is Cam's story and, sighs, how I love him and Philip and Ethan... and of course Seth.

If you like MF, then this is my FIRST recommendation to you. I can't begin to explain how much I love these books!

But... the head hopping between characters is disconcerting ... and i realized I posted about this in 2013 and what I said then is pretty much what I would say now...

Previous post:

I received a lovely book for Christmas from my sister, a two story Nora Roberts paperback.

I haven't read any Nora for the longest time but her Chesapeake series is on my list of most favorite books of all time. She is my comfort read.


Thing is, I've read about three chapters and have a pointed question.

She head hops like woooahhhh... One minute we are in the guys head, then the girls, then the kid's. We even have a random paragraph in the guy's bit from his dog's POV.

I used to read Nora Roberts all the time, and I love her but I didn't realize how much she head hops. Yet, as a writer, I am told not to head hop at all. Told that a chapter, or at least a defined scene is from one POV and that is it.

Does this kind of single POV writing make us lazy readers?

I must admit where I used to read Nora's writing and follow it perfectly, this book is throwing me out of sorts with it's sudden changes in direction. Is it because head hopping is wrong? Or should we all be writing with as many POVs in our books as possible.

Is it that we have gone too far the other way by restricting our POVs?

Incidentally, look at the cover of the book next to New York Christmas... stock photography FTW... but we got there first.... he he



Finding ePubs of my work

Since the rather dramatic demise of All Romance the biggest question I have received is where can I find ePub files of yours?

ePub files are available from two sources:
  1. Kobo - RJ Scott page here
  2. Smashwords - RJ Scott page here
Also, watch this space for other sources, coming soon...



You can download a Kobo reader on any device (phone, ipad, desktop etc) so you officially do not need to own a particular reader to read the epub files.

More information on the Kobo ePub reader here: https://www.kobo.com/us/en/p/apps 


Sales

First of all, I would say that hubby keeps an eye on all my finances and sales.

He has spreadsheets that analyse everything to the nth degree, probably going back maybe 4 years now. He can tell me the spread of sales for a book, and what market that book sells in strongest.

From this I know that Amazon has accounted for 69% of my income in the first year to settling down to 67% last year.

Amazon accounts for 67% of my sales income, with the other 33% coming from ARe, B&N, etc etc.

Hubby's work on getting all the information has informed us deciding on which books to translate, putting Texas to audio, etc.

It also feeds into our accounts with all the various currencies. Yep, he's a clever guy!

But, sometimes as an author you want something quick and dirty and Book Report is where it's at for me. I owe Jay Northcote for putting me onto this.

I have been using this for nearly a year now, and this is a snapshot of how the land lies for me JUST in Amazon.

Book Report is a sales analysis tool for Amazon only. It works by tracking Amazon sales within KDP itself and can give you daily sales information to help build a picture of what books are selling best for you as an author.

You can only track your self published sales (or a publisher can track their author sales) - in that you can only track books you have personally published.

Observations on the data:

In that nearly-a-year space of time, my best selling books are the six above. The Montana Series, Kyle (Legacy #1), and Kissing Alex & Loves Design (Bodyguards Inc 5 and 6). This is by INCOME, not individual unit sales.

Crooked Tree Ranch had originally been with Totally Bound, so I was pleased to see it still charted well when books 2 and 3 came out.

This analysis is on an income basis. My menage 'Three' would be just above Love's Design as an example if it was based on unit sales, but as 'Three' was only 99c it made way less in monetary terms.

End Street holds positions 7 and 8, with Texas right thereafter. Boy Banned, being cheaper, and with lesser sales than Montana, is down in 18th place, and Accidental Hero is also just below the top 6.

I only have the last year's data, so this analysis strongly features my most recent books (new books = sales). What is telling is that the Texas books still poke in just under the top six and they've been out some time, so  that is good news (yay Texas!).

Obviously, I have no access to some of my Ellery Mountain books (TB), Rainy Afternoon (DSP), Vampire Contract and others (Extasy), Alpha Delta and Stanford Creek (ARe), and Seth and Casey (MLR). 

Kyle is only 1500 unit sales behind Cowboys Home... will it catch up? Who knows!

Here is the top 20 best selling books on Amazon (all territories added together) for me for the last 11 months in total...

1 - The Rancher's Son
2 - Crooked Tree Ranch
3 - A Cowboy's Home
4 - Kyle
5 - Kissing Alex
6 - Love's Design
7 - End Street Volume 1
8 - End Street Volume 2
9 - The Heart Of Texas
10 - Accidental Hero
11 - The Case of the Purple Pearl
12 - Texas Wedding
13 - Undercover Lovers
14 - Bodyguard to a Sex God
15 - The Ex Factor
16 - Texas Fall
17 - Texas Winter
18 - Boy Banned
19 - Max and the Prince
20 - Texas Heat

The helpful pie chart that doesn't come with labels unless you hover. Rancher's Son is lilac, Crooked Tree Ranch is dark green, to give you an idea!

How do I use this data?

In a raw way I can see whether a book is selling or not, how a particular price point might change sales, and largely what subgenre of my writing readers like to buy.

There are the usual suspects, Montana, Texas, Sanctuary, Bodyguards, End Street. Apart from BoyBanned that fills the entire top 20!

I really wish I had the data going back the entire 6 years I've been writing.

If you want to try the system you can find more details here: https://www.getbookreport.com/

What tools do you use to inform the decisions you make on the direction of your writing?

 

Staying in control and celebrating your wordcounts.

There has been some discussion between friends of mine about how to keep your eye on the target with word counts when you're writing. When the outside world gets in the way or the muse just isn't working it can feel like you're slipping. Often this isn't the case, last week may have been stellar, but it is just this week that is shit!

This led to discussion about a system my fellow author, Andrew Grey, uses. He sets a word count for 300 days a year, now he is a prolific writer and writes way more than 1000 words a day, but in his example if an author can write 1000 words a day then that author can achieve 300,000 words a year - four books and a spare, four books, three books, whatever your word count each day. You have agreed to give yourself so many days break, so if the muse is absent, or the outside world is intruding, or you're ill, then you have 65 extra days you can use and still come out with the wordcount you want for the year. I think Andrew is writing a post about this and I will link to it when he does.

So I have a slightly different way of working, but one that is along similar lines.
  • I set a monthly word target for my word count.
  • I try to write a minimum amount of words each day, and celebrate if I achieve that, but I don't berate myself if I don't achieve the count I needed. I am basing this daily word count on experience of knowing what I can do when I am focused; everyone writes different amounts.
  • I use Excel to track my progress on the projects I work on, and a variety of tools in Excel, such as conditional formatting and formulas (If, EOMONTH, Today, CountIf, etc). This is because I am an Excel freak (admission!).
  • I work around family, so my writing days are Mon-Fri, but I will slip in some at weekends if Matt is off for one of his walks. My writing days are the number of workdays in a month (in September this is 22). This means anything I do at weekends is extra to my working week and helps my monthly word count.
So, this is a screenshot of my daily word counts for September so far:



I use something called Conditional Formatting in Excel to light up days I beat my daily target in green, days I don't manage it in red. It's just a visual warning that maybe I am off target with the projects I have scheduled in.

Also in the spreadsheet is an analysis of this data.


Using If statements I can analyse targets, set my own target for the month (usually 50,000 words) and using CountIf I can pull together totals for each project. In December for example, I will likely drop my words needed to 25,000 knowing full well I have a lot on in December and days get busy with shopping! I will also adjust in August knowing Matt is at home...

I can also set my working days availability taking into account holidays and Mon-Fri days off I might take off.

The only thing I have to enter is the date in the top cell, target word count, and any holidays, and the rest is automatic through formulas.

And this is how I stay accountable and on target... Do you have any systems you use?


The story of writing a story

I thought I would keep a note of some of the things that happen to me in the process of getting one of my books out to you...  I started this post on 10 March. :)

The Book: Kissing Alex, book 6 in the Bodyguards Inc series

10 March (words written 7,293)

In which I suffer the chapter 1 and 2 snaffu's

Well, I'm at that Oh My God It Seemed Like A Good Idea At The Time, stage, which always happens to me when I have chapters 1 and 2 on paper. I am 7,000 words in, and while I have Lewis' character solid in  my head I am not fully invested in Alex. So often I end up deleting chapter one when I'm further into a book, simply because what I feel for my characters at Chapter 10 or so, is so different to what I imagined they would be at the start.

Alex has problems, secrets, and how does he react. So far I have him being perfectly pleasant, but hell I want him ansty and just ever so slightly rude. After all, he is an entitled diva, with more money than sense. Of course, we have the added fact that the London mafia are after him, but even so, would him being scared beat his general dickery (that is SO a word).

So today I am going back and redoing chapters 1 and 2 to get a better feel for Alex.

13 March (Words written 18,184)

In which I get an idea of character

It may seem to those that read this, that knowing your character should come a lot earlier than a third of the way through the book. But for me that isn't true.

I am a pantser, which means I basically sit at a computer and start writing. No plans, no outlines. I know the basics of my story, and I can imagine a couple of key scenes in my head. But, character evolves as I write.

So I am the point now where I can go back through the first 18,000 words and adjust character. I don't just mean how they look, or act, but their mannerisms and the way that they speak. My two men have just given each other *the nod* meaning they both have an inkling that the other one knows they are attracted to them. I love this part of the book, the back and forth, the verbal sparring, and the first kiss (which hasn't happened just yet).

I also, inevitably, have some supporting characters who, also inevitably, get their own page time. I use secondary characters to show something in the main character. How does a hero treat his siblings? Or his friends? Even his enemies. All these things are shown through hero interactions for me. Alex is a total top, we don't know about Lewis yet, well not in words on the paper.

I'm really feeling this story now. Which is bloody good news, since it's a third done... LOL


15 March (words written 24,349)

In which I amp up the suspense part, and try to get my heroes arguing.

So, some authors may well have the suspense story line all in their heads, or on paper, or actually put into some kind of plan. That isn't me. See, the entry for 13th March. I know what my suspense storyline is, in a very general way, but the actual specifics didn't make sense to me until today. I actually went back and added 1,000 words of story to flesh out the suspense and up the angst. I also added the first kiss, and that caught me by surprise. I expected it to be something a lot different to what it was. I was aiming for angry, but Lewis is just such a level headed, understanding kind of hero, that it's impossible to get him to argue at the moment.

I say at the moment because, under Alex's influence, and that of the Isle of Brae, he is slowly losing control, which I felt I had to pull back.

I can say one thing, I am absolutely loving writing these two. AND... I have Roman's story in my head already, so watch out for him in book 7 which I'm afraid wont make it to the writing pile until early 2017. *Too little time, so many stories*.

17 March (words written 27,401)

In which I decide exactly where this story is going, and realise I need to go back and fiddle with a few (a lot of) earlier details.

I am over halfway with this book now, and I often find at this point the story makes absolute sense to me. The characters are set in my mind, I know how each one reacts to the other, and also to outside influence. I also have the next five chapters all sketched out in my head. At this point I grab a piece of paper and I scribble down the shape of my story.

This is the REASON why this story occurs, the CHARACTER's motivation, and essentially what the setbacks and solutions would be.

This means I can now revisit key scenes and slant them a little to foreshadow what comes next. So, I guess, to summarize, at something like 55% of my book I am solid with the plan.

23 March (words written 32,565)


GAHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH

Yes, it's that point, where I think it's all rubbish and I need to start again. LOL. Every single book this happens, just as I have a concept of the last chapters and the direction to the finish. It's like *Everyone will hate this* *I hate this* *No, I don't hate this* *It's good* *I did okay* *Only Okay? Shit I need to rewrite*

Yep, you can see, it's not good. I'm just opening the file for today's three thousand words, which includes some action scenes and a finishing off of the sex scene. Wish me luck.

25 March (words written 37,360)

Real life just gets in the way

Easter is happening... I can't see a lot being written over this weekend. :( It's weird but I am already feeling withdrawal symptoms from a need to get this story down on paper.

Around 13,000 words to finish and an end date of 31 March... No worries... I got this... (LOL)

2 April (manuscript completed at 48,136) 

They did what on page 7? In which I finish the MS a couple of days late...

Well that last bit went so fast that I didn't even think of coming over to update this. I feel really happy with the completed MS and have sent it to Betas, and then on to editing.

So excited now...


Creating a form in Google Docs



In this example I created a book request form for GRL, but you can also use Google forms to collect emails for a campaign, or to run small polls.


A useful You Tube video walking you through this is here:



Brief notes and screen prints here:

Sign in to Google Drive / Go to Google Docs

Click on Create / Form

Add caption
Select a template - you can change these at a later date

Give the form a title - it auto saves as you work on it.

Next select a type for question 1, this would be checkboxes as you want a list of books you want to offer. (if you want to use this form to ask questions, then instead of text box, use text)



 Type in your book titles and press Done.

NEXT

Get the code to share this form. To do this click on Send Form in the top right hand corner.


You will be shown a hyperlink AND a button to press to get the code to embed the file into your website / blog.

ONCE THE FORM IS LIVE

On this page where you created the file is a button to see responses, view the form (always useful to see it doesn't look stupid!) and so on.


Charges to receive our money - a post for authors

So, something happened this week.

If you are here as a reader you may want to skip this post, but if you are an author it may be worth checking your royalty statements very carefully.

For one reason or another, too complicated to go into, hubs was entering data from a publisher onto our accounts this week. The amounts on the reports didn't match what we received, and red flags immediately flew.

This is what happened with Silver and as soon as money becomes an issue I am hot on sorting the issue out.

So I counted up the money that we were missing, it came to around $44, which, lets face it, isn't a HUGE pile of money. But, given how I price my books, this equals 20 odd books that I haven't received money for.

I immediately contacted the publisher, and I am not here to point fingers at who it was, but their response was swift and considered - I respected them for that at least.

Apparently, the difference was because we were in the UK, and they are in *another* country and that we were being charged the cost of *sending us the money*. Apparently we, the authors, carry the costs of transferring money. The implication being that is the *cost of doing business with an overseas publisher*.

Uhm. No.

I signed a contract with the publisher to receive 50% of income. My understanding is that they were to keep 50% of money I made to cover art, editing, etc, with the rest being *their profit*.

Suddenly, with the fees, this is becoming 48%. WTF. That is MY money that is being lost.

The publisher agreed to refund the fees, but is adamant that *this is the way it is done*. I disagreed and they took my comments on board but I am not sure it would change anything in the way they work. As I said to them, nowhere in the contract does it state anything about fees for conversion from their currency to UK pounds, or about any fees actually. I expect the 50% of the money you make from me, not 50% less fees.

I pointed out that I wasn't trying to be difficult, but that they were the only publisher I have ever worked with that did this.

I believe it's an apalling practice to take fees out of money I earned. Also, as a publisher (Love Lane Books), with several overseas authors, we wouldn't dream of them having to take a cut into their earnings for fees.

Their argument that I *chose* to work with an overseas publisher is one that does not fly with me. This is an international business, not an insular country one. Needless to say, not only am I apalled, but I am not writing for the publisher again.

Has this happened to you?


Scribd and the future of subscription based services

We keep an eye on sales and income to the penny. We know how many books I have sold in all the various territories of Amazon, and from all the other third parties.

We noticed something a bit odd, Smashwords Income fell in the last quarter. Not by much but enough for us to question what was happening. Scribd, a subscription service, in the same vein as Kindle Unlimited, fed their sales and income to us through Smashwords, and this is what we were missing.


On further investigation, it turns out that Scribd took most, if not all, of their romance and erotica titles off of their service back in July.


Why? Because apparently readers were reading them *too much*. Yep, romance readers just read too many books (tries to look innocent and then checks my own *have read* list - yep, I read a lot!)

"...Scribd has to pay the authors of the books they make available on their site, it is now shelling out more money than it can make back in subscriptions, thanks to the voracious appetites of romance and erotica readers. ... The Guardian, July 2015.

All of my books have disappeared from Scribd. All gone. So, no more borrowing from their subscriptions based service for anyone. :(

So, what does this mean for the likes of Kindle Unlimited?

I wish I knew. Will KU pick up the subscribers who were at Scribd originally? I'm not sure, I know a lot of MM authors who don't have titles in KU, but whose books were all on Scribd. (Scribd didn't make people just put their books into their scheme - and paid the price probably.)

Will it mean more changes in KU to lower money per page if more MM books go on there and more are read?

GAH. As usual the KU question is a tricky one. Still, my MF is going KU, so we'll see how that goes ;)


Author Advice, Contract Renewal


As part of the 2015 reorganisation of my work I decided I wanted all my books back under my own creative control. I have my own covers, my own editing team, my own proofers. After a lot of thought I decided to pull everything from one of my publishers but when it came down to it, contractually I was stuffed.

Now, before I go any further, I signed the contracts.

This is my fault. 

At the end of the day, the law is the law, and even though I had been on the other end of a lot of crap, I had no way out. Yes, it was annoying, frustrating, and lots of other words ending with 'ing', but it's all a learning process.

I have been asked questions from various authors about auto-renew in contracts. Now, firstly, I believe that auto renew in any contract is an arsehole of a thing. I think, if you have a good relationship with your publisher, that the issue won't even become important. But, if you've got to the point in a publisher relationship where things feel wrong, then you may want to take back your books.

Also, please bear in mind I am NOT a lawyer, I am NOT an expert... this is just the kind of things that have happened to me, and after the meet up yesterday in the UK with some author friends, as well as three emails from various authors in the last week, this is how I would answer the questions given to me:


What is auto renew?


Basically, if you don't tell a publisher you want to cease having your book with them, then in a lot of cases the contract will renew for another period of time, usually the time specified in the original contract. This could be two years, three years, sometimes up to five, so be very careful.

Notice periods


Check your contract. If it says the company need 60 days then make sure you give 60 days. I missed a renewal date by 18 days (I could only give 42 days notice) and was refused the book back, so be careful. If the renewal is 17 January 2016 then give notice way before your 60 days (ie back in October!)

A contract which has "auto-renewed" now has a new *auto renew date* under the terms of the contract. 


Regret.. I have so much regret...
By this, I mean, if a contract was due to renew 17 January 2016, and you missed giving notice on a contract that was originally for two years, then your NEW termination date is two years later than the original termination date? ie, 17 January 2018

There does NOT have to be anything in writing from the publisher. The contract literaly *auto* renews while you are not looking... LOL

Should I have my solicitor write the letters for rights reversion?

In my experience I didn't need to get a solicitor/lawyer involved. I just emailed my contact at the publisher to tell them I was not renewing, asking them to acknowledge receipt. I didn't need to put it in writing and send by post, but check with your publisher.

If you had one book that was getting close to the 60/90/120 days notification period, but it was the last book in the series and you wouldn't be getting the first books for 2 years, would you still request the rights returned for the last book now?


Yes, this is exactly what I did for Ellery Mountain. I actually got rights back for Ellery 4 5 6 while the publisher still had 1, 2, 3, and 7. I wanted the books back and there was no way I was leaving them. On the other hand, as part of taking back creative control of all my work, I have spoken to eXtasy and told them they could keep everything until the last one was due to renew. It all depends on the relationship you have.

Can I still re-release that third book knowing they have the first two (with the whole character/world ownership argument).

Yes, this is what I did with Ellery, but check the contract. Just don't add another book to the series, you can't do that. (Sorry, Ellery fans, but plans for Ellery 8, 9 and 10, are on hold until 2017!)

It may not seem worth it to have a book from mid series or end series, but if you have a reason you want your books back, don't faff around doing it. (Faff = delay!). I did new covers, and got the whole lot re-edited. Seriously, re-edited... and they are mine *all mine*.

Does the publisher redoing the covers/re-editing mean the contract auto-renews?


New cover art generally means a new contract, physically signing something. So, my answer to this one is that I am not sure on this one, but I am looking into it for *friends*.

Regional Issues


When all of Silver went tits-up we found that the contracts were covered under South African law. In South Africa, companies are forbidden from auto-renewing. In the UK, auto-renew is still a thing, so contracts with UK publishers are allowed to have the auto-renew crappiness. Check the laws of the country of your publisher's contract.

Incidentally, the UK is working now to remove auto-renew, so this will be a moot point soon when it hits the EU.

What a writer knows...

... actually not very much. I read an awesome article on Terrible Minds (http://terribleminds.com/ramble/2015/05/12/dear-writers-none-of-us-know-what-the-fuck-were-doing).

Summing up, the article was a piece of advice to a new author asking how to do it. It being writing, becoming published, having success.

The author of the post summed up his knowledge of writing in a very clever way, finding it impossible to initially  give the perfect advice. He said "...the deeper we go down this career, the less we seem to know..."

The analogy he used was "It's like this -- [The new writer] is at the bottom of the mountain looking up. We're on the side of the mountain or even at its peak looking down. You have the climb ahead of you. We have the climb -- or some of it, at least -- behind us. We have a view of the valley. You have a view of only the mountain. We know a little bit about climbing. We know some of the gear. We have our limited perspective on getting up to where we are, at present. We can only tell you what we know and what we did -- and that's not entirely helpful. See, up at the peak, we've just achieved a new level of cluelessness.

This made me think, and laugh, because hell, it is funny. I have had question asked of me. How do I know my book is done? How do I know my dialogue is right? Should I use *insert grammar rules here* or not?

My answer is always, I honestly have no idea. Did I know The Christmas Throwaway was going to get big? No. Is All The Kings Men one of my favourite stories. Yes. Did it sell? No.

I have ideas of what works and what doesn't work, but I don't always keep them in mind when I write my stories.

My stories just happen, and I find it hard to pin down why.

And it's funny, but the author of the blog post I have linked you to comes up with some of the same conclusions, so I guess that is at least two of us... ROFL...

I read an awful lot. I still, to this day, say that you can't be a writer if you don't read. And I mean, in my genre mostly. I read what I think works, what I think doesn't work, and either way this informs my writing.

I write a lot. I mean, a lot. Crap, shiny, awful, good, I don't know, I just write it... And I am so lucky that I have an audience for my writing.

Accept that sometimes luck plays a part in success. Who you know, what the timing was, what captured a reader's imagination on a particular day... all of this is luck.

Talk to other authors. All the time. Read their books and get insights into their minds. An absolute must.

What advice would you give a newbie author? If you are a newbie author what would you like to know?

Advice on Author Contracts for Newbie Authors

First of all there are a couple of provisos to this post. I have a strong position from which I independantly publish.

If you are looking from a position where this is your first book, then I realise that you may feel you can't negotiate contracts, and that you are maybe lucky to have had your book accepted. You're also on a high and believe me I know how that feels. The question will always be there - what if I say something and they turn around and say they don't want me anymore?


The other proviso is that I had contracts with Silver Publishing that meant nothing unless I was willing to use lawyers to fight my case to get the independant audit the contract promised, or to get books back when royalties weren't paid. Lawyers cost money.

KJ Charles gave a very informative speech on contract negotiation at last years UK meet. I wish I had decided there and then to discuss matters with a publisher on a more formal contract basis as opposed to the casual, don't worry trust us rainbows and unicorns level. But, meh, you live and learn.

So, bearing this in mind there are a couple of things that you should do before signing any contract for your book.

Ask existing authors. And not just one or two authors. Ask big name authors with the publisher you are interested in, ask the new author with the publisher, ask friends, ask readers. Type the publisher name into google, buy some of their books... just do your research.

This won't stop you falling in with criminals like the owner of Silver, or from companies who's finances crumble, but there are good companies out there with strong ethics and finances to back them up and who aren't all talk.

Bear in mind that authors chat to other authors all the time, and if too many authors are saying the same thing then you should maybe consider avoiding the publisher they have concerns with.

Come and ask me, I can give you my list. It's not a long one. ROFL.

Some publishers have incredibly harsh contracts that tie you to giving them your first born (small exageration). Some have contracts lasting seven years. Some want first look at everything you write. Some have auto renew, some have language that only a lawyer would understand. In all of this there is one thing to remember when you sign a contract - this is law and you are tied to the terms of that contract.

And don't expect a publisher to turn around and say, oh well, never mind, we know we let you down, or we did ABC, or didn't do XYZ, but there is no spirit of the law, so you're tied. As I was told by a publisher recently, this is business.

Remember, being an author is a business too. If things don't seem right, then they're probably not and if in doubt consult a lawyer before you sign.

Why do I self publish?

Today I am over at Jay Northcote's site talking about why I self publish, or *independently publish*

http://jaynorthcote.com/2015/03/16/going-it-alone-3-rj-scott-on-self-publishing/

Advice and other stuff to new writers

I have been lucky enough to count five years of writing MM Romance and along those five years I have seen quite a lot. From publishers imploding to others growing, to self publishing, fights with Kindle, fights among authors, fights just for the sake of it. I've seen the *women can't write MM* twaddle raising debates regularly every few months and the old *publisher versus self publisher* debate which seems to be predominant in between.

I learned a very valuable lesson at the end of 2012 and despite my innate Englishness (no that isn't a word) and amazing ability to apologise for everything, I have somehow learnt to value myself as a reader and a writer. When I met up with some UK authors last week we called it *not apologising* for our successes.

Authors talk a lot to each other, about posts and reviews and this business we call writing, but after five years I have barely skimmed the surface of the things some people tell me. Now we have EC imploding, other publishers diversifying, still more new ones popping up at least twice a year.

So I started this little series of *advice* posts. Just bits and pieces I picked up, nothing too deep or serious, but you never know what might be interesting.

All my advice posts can be found under the advice tag - Advice Tag

So, here are some of the most read ones:

E-book pricing and the thorny issues around perception of value
Dealing with reviews
Plotter or Pantser? Advice for new writers...
Time Zone Shenanigans
Easy steps to creating a Facebook cover
I still say the most difficult thing for any writer is letting anyone read what we write...
The Writing Process (aka wot i rite and how i rite it)
Publisher warning signs - learning from experience

Are you a new writer? Do you need advice or support? What would you like to know? What advice would you like from existing authors?



It's my money, not yours.

I have read a lot of very interesting articles in the last few weeks about Ellora's Cave, and many of them remind me of the kinds of things said when Silver were struggling. There are a thousand reasons why things can go wrong. Pricing. Market Share. Covers. Amazon and other third parties. Algorithms. Software. Expansion. Staff. Editors. Cover Art. The owners. The weather.

You name it and the excuse will be used, I could probably create a tick list for authors on what to watch out for. I even have the name of a good lawyer.

Seriously. Whatever the reason, lets be honest here. This is how it works.

STAGE 1

Authors write books and publishers polish and publish.

STAGE 2

Books are sold.

STAGE 3

Publishers keep a percentage of money made on sales (after sellers take a bit, Amazon etc) as a way to cover costs and hopefully make a profit. Authors get whatever is left over.

IN SUMMARY

The money that is the author percentage is for the author. However great or small that amount is, it is NOT PUBLISHER'S MONEY, it is author's money. They are merely holding on to it for us. If the publisher needs two months to sort out reports and holds on to the authors money in that time, if they only pay quarterly, hell if they only pay annually, whatever they do, they've had their bit and the remaining author money is NOT THEIRS.

The publisher should not pay for events, tax bills, the hairdressers, retreats, cars, houses, editors, trips abroad, cover artists, a cup of coffee, or anything else out of the AUTHOR MONEY.

Not one single author should ever have to say, "Bloody hell, I sold X number of books six months ago and I haven't been paid yet."

All author income should be held in separate accounts and every penny should be able to be accounted for with external audit if necessary. 

End of.


The Writing Process (aka wot i rite and how i rite it)

At the Saturday signing in London we had a very brief chat about writing process. And I don't mean how much coffee/tea we drunk, but a quick show of the process we use. Charlie Cochrane was saying she focused on scenes, and I said that wrote in a very linear style, starting at page one and typing away, others said they planned the whole book with notes on each chapter.

A lot of us agreed we left gaps *insert sex here* ROFL...

There are so many different ways of writing and eventually as an author I guess you find the one that is right for you.

I know a couple of authors who post-it-note the entire book so that they can switch scenes and so that they have a purpose in their story direction.

I admitted that wouldn't work for me, and Anna Martin was on the same page. We are clearly both easily bored. If I plan a story I lose interest, like in my head I know how it goes so I can't be bothered writing it. I learn my characters as they go along, others know their characters. We are all different.

Which brings me onto Texas 6, Texas Fall, which is a step away from the way I normally write. Without meaning to it will, by it's very nature, become a book with scenes in my head at the start. But this works, because I know Jack and Riley, and they don't ever lead me astray.

I would love to sit down with other authors and find out how they write. Do they post-it-note and know in advance the entire story? Do they have the big scenes drafted and then spend time linking those scenes? Or do they do what I do and make it all up as they go along. It was incredibly interesting to see the split in the small group (we hijacked Charlie's reading - sorry Charlie).

On the same subject I tried out Scrivener. This is a program that I know a lot of authors use to work out order in their novel and to have focused chapters, and even parts of chapters, that they can move around as they need to. A bit like a cork board.

I tried it, and it worked for the most part to get my head around the first few chapters of Last Marine Standing.

Then it stopped working for me, in a quite spectacular fashion. Today.

I realised I was changing my writing style.

Instead of flowing and creating the story as I was writing, I saw that actually what i was doing was writing in *chunks*, deliberately creating half-chapter size blocks that I could move if I wanted to.

That didn't work for me. That isn't me. So I exported the whole lot from Scrivener into word and now I am happy.

So... I am adding Scrivener as a tool that I can use in planning, and getting the beginning of the book sorted, but other than that I am sticking to Word.

However, the other thing I am trialing, and loving (!) is Aeon Timeline... more to follow on that one soon...


Publisher warning signs - learning from experience

Edited 20 August for me to add in bold and capitals...

IF YOU ARE LOOKING INTO BEING PUBLISHED WITH A NEW PUBLISHER THEN...

TALK TO EXISTING AUTHORS AT THAT PUBLISHER, AND NOT JUST ONE BUT MANY!

GOOGLE IS YOUR FRIEND. TYPE IN THE PUBLISHERS NAME AND SCROLL PAST TO ANY POSTS FROM PEOPLE CITING PROBLEMS AT THE PUBLISHER.

DON'T FEEL LIKE NO ONE ELSE WILL WANT YOUR STORY. THIS IS JUST NOT TRUE. 

NEVER PUT ALL YOUR EGGS IN ONE BASKET.

Original Post

This is just a summary of the warning signs I wish I had had the bravery to react to as Silver imploded.

It took me way too long to get in the mindset that like all authors who hand over their babies to a publisher, I was owed respect. I wish I had someone like me telling me what to look out for.

A lot of it is common sense, but let's face it, somehow despite all of the crap Silver was pulling they still managed to convince some authors that everything was going to be okay (Including me at the beginning!).

Here were some of the warning signs that I wish I had acted on and just somehow walked away from it all.

Insistence that authors should trust that that the management know what is best

I don't know where to start with that one. Authors at Silver were made to feel that we couldn't doubt the company. If we doubted then we were traitors (yep, that was the word used).

Someone in charge who seems to glamour everyone like a vampire

A team of people under the owner who appear to trust the owner implicitly and aren't given the space to question actions being taken. A team who appear to be cut off from the owner and not told a thing about what is going on and so follow the party line.

Long rambly emails explaining how everything will be okay if only the authors would calm down and listen. 

When it all went tits up at Silver we received page upon page of how we should just stay calm and keep writing. How it was our fault. How we should keep our heads down. How going public would tear the company apart. I could go on...

Blaming third parties for delays in payment.

Silver were adamant that apparently Amazon fell *way behind* in paying them. Months behind. Amazon have never missed payments to us in the three years I have worked direct with them - just saying.

Blaming third parties for a fall in sales.

Silver said Amazon sales were low, because *insert various reasons here*.

Saying that a sale throgh the publishers website means more money to the author because you get the most money on a website sale as opposed to a third party sale. 

What they mean is that they get more money direct to themselves to shore themselves up. Most authors will earn more from Amazon and ARe and all the other third parties simply because their audiences are bigger.

Suspicious expansion/contraction

Expansion that Silver promised would make everything better. Expansion that Silver insisted would not be paid out for from author funds.

Not getting paid

Oh and this is the doozy. If I can leave anyone with one piece of advice. Always know where the money is. I ended up losing thousands, as did a lot of other authors who trusted Silver.

And remember

You are worth more than being jerked around.

HUGS TO YOU ALL... RJ X

EDITED - 20 August with points raised in comments... (summarised for brevity)

LM - If something looks or sounds odd, strange, dodgy or anything other than totally normal, look into it. Ask questions, research, do whatever it takes to get to the bottom of things. If things are not as they should be, talk to one or two of your fellow authors at the publisher, someone you trust. Chances are if there is something underhand going on they will have their own suspicions for the same reasons you have.

Be aware if author groups are shut down

Anon - be aware that you have self worth. 


Other publishers will want you, don't feel like your writing career is over because of one bad apple.


Compromise and Success

Shared because it is
my favourite poster
I read an awesome article today from Josh Lanyon about artistic compromise. I wont summarise it here because I think to any writer it's an important post and you should go read it in full.

You can read it here: 

I have compromised in my writing career, I doubt there is an astute writer out there who hasn't changed a story in their head a little for the resulting book to be commercially viable. 

All I can say is that in every story I have written I have always attempted to stay true to my characters. Sometimes that means a lucky commercial success (Texas, Sanctuary, Throwaway, Heroes) and sometimes it leads to a book touching the Amazon 100 and disappearing with a fizzle and a pop. 

I know a lot of my readers want more Texas, more Sanctuary, and hell, the good thing about that is that I WANT to write more of these. I have so many stories in my head you would not believe. I know a lot of my readers want a sequel to Throwaway - I can't do it. I don't have the story in my head and I wont compromise on that book at all. I thought I could. I can't.

Josh talks about three kinds of writers - that lucky writer who appears to be able to write and sell, and the writer who writes what they want to but doesn't sell, and the writer who compromises their artistic vision in order to sell.

I've said it before and I will say it again - The Fireman And The Cop was a compromise. At the time I desperately wanted to write another Texas book, but I couldn't because it was tied up in the Silver mess. Also I was hit so hard by that financially, that I needed a commercial success. But, as soon as I sat down to write a formula that would sell - my characters yanked me away from the edge. So yes, I have the fireman, yes I have the cop, but they have complicated back stories, and their romance whilst quick, is fraught with danger.

Reading Josh's post makes me feel very bloody lucky. I think I am the writer who writes what she loves (with an eye to what sells) and does manage to sell.

I guess that is compromise... :)


Kindle Unlimited


Kindle Unlimited is only available in the US at the moment.

As an established author I have my opinions on the matter.

My understanding of KU is that a reader can pay a monthly fee and then can *borrow* as many books as you like.

An author gets paid if the reader gets past a percentage (10%, 20% ?) of the book.

So I have three choices:

1. Do nothing, and see what happens to my sales.

2. Leave Amazon altogether and make my books only available at say, ARe, or B&N

3. Sign up to have Amazon sell my books exclusively (no more Sony, B&N, direct sales etc)

Can I afford to not use Amazon? Would people buy my books if I ONLY used ARe? Or Only had them on my own Love Lane site? Would people even find them on my own site?

So many questions. I am likely to go with option 1. I hope that the KU books don't swamp all the other MM books to the point no one actually finds my books and those of other non-KU authors.

However, some questions come to mind about how this could affect independent authors in general:

What would my readers do if I restricted selling my book JUST to Amazon? Would that be fair? (Answer: I don't think it's fair!). I have established myself as an author who sells across all outlets. I know some authors only sell on Amazon, but I can't, and won't go back on the precedent I have set.

Will the Kindle Unlimited books dominate the top 100 best sellers, thus hitting those of us who don't use the service? (Answer: Probably, yes, which means non KU books may just sink).

Should I put an older book, say for example, Gallows Tree, to KU only and see how it affects the sales? If I did this would it make readers signed up to KU want to go out and buy my books elsewhere? Or should I try it with a new book?

As a fairly established author I hope to hell I can ride the wave. But what about new authors? Does this mean that they really only have the one option? Kindle or bust?

Or should I bother at all?

I spend £600 a year on books (so hubby reliably tells me)... as a reader I would benefit from this. As a reader of MM I probably wont. A lot of independent publishers will avoid this. Also I can't see the likes of DSP and TB going this way, as they sell the books on their own sites which immediately makes them ineligible for the KU programme... I think.

*So confused*

This is a good quote from an article by David Byrnes on why he has his music taken down from that famous music sharing place, Spotify (which incidentally I pay for each month and listen to all kinds of music! The irony...)

"But the arts “streaming” phenomenon, which now appears inevitable, does come at a price that no one seems willing to pay. And when it rolls all the way down, it inevitably hits the creators, especially those who don’t have the time and space to write your next favorite books, songs, and scripts. It is not a world without entertainment, but it’s one nearing all-or-nothing status. And that’s a problem." (http://www.forbes.com/sites/michaelhumphrey/2014/07/18/david-byrnes-warning-about-kindleunlimited-from-last-october/)

What do you think? Are you an author who is worried about KU? Or are you happy to use KU? As a reader will you be interested in signing up to KU?

And last of all... a useful analysis of RJ Scott sales by outlet...

Click to enlarge

Self Publishing using Calibre

Recently there has been a lot of news about authors self publishing or *independently publishing*. Including me. The vast majority of my work is now independently published, and more recently Love Lane has become an independent publisher in it's own right.

I deal with all the file creation. I could farm it out, but I am really nervous about someone else in fiddling... rofl... so, yeah, my normally non-existent OCD kicks in.

Following a chat yesterday with a couple authors, and a few emails I have received I thought today's post could be about Calibre.

Calibre is this awesome piece of FREE software that I use to create my Mobi, epub and pdf files. You can find it here: http://calibre-ebook.com/

Calibre is a powerful tool which you can use to sort out your ebooks and I know there are a few of my readers who use it to tag and group books on their Kindles. I don't, I just use it for file creation and management.

There are a few steps to getting the word file you need to use in Calibre.

Note - this is the way I use it, that doesn't mean it is the most effective way, or even the correct way, it's just the way it works for me.

Important things about the word file:
  • Use H1 code for chapter headings, and other headings such as *about RJ* or *Copyright* (This feeds the table of contents that Calibre creates for you)
  • Be as simple as possible with fonts and sizes (I use Book Antiqua 12 for my main text)
  • Save it as a filtered HTML file - Web Page, Filtered (htm, html)
Using Calibre is trial and error and you need to spend some time playing, and also checking your resulting files in a kindle app, and an epub app, and making sure the PDF looks ok... There are plenty of places to get support in how to use the software including the help screens inside Calibre.