No Rest for the Wicked Writer

I've spent the last couple of days working on the last three releases for this year and the first two for 2020. It means setting up what I call the blurb pages, i.e. the document that lists the pertinent information about the book, such as title, series, author, ISBNs, ad blurb, links, prices, etc.

As I'm entering the information on Bowker, I realize I've almost used up the first 100 ISBNs I purchased back in 2011. That's two per book, one for the EPUB and one for the trade paperback. What happens when I start doing audio? Or hardbacks? It all adds up quick.

DH and I discussed the purchase of more ISBNs over lunch this afternoon. I'm leaning toward purchasing the 1000-pack after the first of the year. If I get my act together with Alter Ego's releases, I'm going to need a lot more than 100.

Some folks advocate not using ISBNs, and that's their prerogative. However, I've found that having a company name, logo, and ISBNs specifically assigned to that company means retailers of all stripes take my little publishing business more seriously.

After all, I not just a writer. I'm a mad and fluffy micro-publisher!

KU and Wanting to Be Read

Last Wednesday, I posted my initial thoughts on KU. Over the last week, I've read several other writers' thoughts on the matter. I'm surprised how many writers don't care if they are read; they just want to make money from their books.

I have to admit that this sort of thinking boggles me. Fiction publishing is delicate balance between art, entertainment and widget selling. It's a little bit of all three, so believing it's all one thing turns into a self-defeating mess.

Why? Because if the art doesn't entertain, it will not be borrowed, much less bought by the populace. If my first book doesn't entertain, then the reader will not pick up the second, or third, or fourth, etc. I will not continue to make money because I disappointed the reader, and the reader will most likely share their opinions with their friends.

Now granted, it's impossible to please everyone, but writers should hit with a good chunk of their target market. This is where word-of-mouth kicks in. As readers talk about your book, more of their friends and relatives start reading your books. In return, you make more money.

However, some writers just want to be bought, or borrowed under the old KU system. They make money on the appearance of entertainment, not on actual entertainment. It means instead of only polishing the first 10% of a story, they need to polish the whole damn thing in order to for the book not to be returned, or to earn money on the revised KU system.

This is what Kris Rusch was talking about when she referred to gaming in her column last week. It's not about short story writers vs. serial writers vs. novel writers. It's not about genre vs. genre vs. litfic. It's about giving the reader the experience they desire when they read. Which means a quality product for that particular length and genre. That means wanting to be read.

Not throwing up random words. Not posting cut/pasted stories or articles. Not putting in a bunch of filler to pad the content.

Write a great story that has your reader's coffee grow cold. One that makes her forget to move the clothes from the washer to the dryer. One that makes her miss her subway stop.

Write a story they can't forget. That's the way to make money on KU.