We all know how traditional publishing ignores readers. But how do indie writers ignore readers?
By focusing on sales and “promotion” and “discoverability” and downloads and free to the exclusion of everything else.
Many indie writers have one book and they promote the hell of out that thing. They give it away for free, they join Kindle Select to “maximize discoverability” (ignoring Nook & IBook readers), and they sell it for 99 cents, thinking that will increase their sales.
So…let’s imagine that these writers are successful. Let’s imagine that they do get millions of people downloading their books. Out of those millions, at least half a million will read that book, and out of that half million, 250,000 will like it.
Then nothing. That’s the problem. Nothing happens. Even if those successful indie writers eventually write another book, they have to start all over from scratch, because the readers who like what they did—those 250,000 readers—they will have forgotten the indie writer in six months.
How many of you folks can tell me without looking what you were reading in the last week of January 2011? How many of you can tell me the name of the author who wrote the book? How many of you can tell me the name of an author who wrote one book—and only one book—that you read and liked five years ago?
I’d be surprised if any of you can.
You indie writers treat your readers as badly as traditional publishers do. And you do it in the exact same way. You deny your readers the next book.
The reason so many writers, like S.M. Stirling or Mike Shepherd or Patricia Briggs, hit the bestseller list with a book from the middle of their series is because readers who have been reading previous books in the series want that next book the moment it comes out. If you look at last week’s post on bestsellers, you’ll see that bestsellers are tied to velocity (the rapidity of sales) in the week of release. Well, what’s better suited to that than the next book in a beloved series?
The writer has earned that velocity, that instant readership for the new book, by writing excellent books in the past and building reader loyalty.
Until two years ago, the writer needed luck as well—the luck that they were with a publisher who was willing to build the book, or a sales force that was willing to promote backlist, or an editor who fought to have earlier titles in the series re-released. The writer also had to gamble that something bad didn’t happen during the week of release. (For example, Sara Paretsky had to recover from her bad numbers on one of her series books, which was released on 9/11/01—yep, that September 11.)
Now the writer has time to build readership. If a traditional publisher has taken books out of print, the writer can get her rights back and issue the book herself (sometimes with a hefty fight, but she can do it). The writer can continue a series that traditional publishing determines isn’t worth their time. The writer has time.
If she has the patience.
And what’s going on with so many indie writers is that they only look at the short term.
From the perspective of a long-term career, painstakingly built one reader at a time, I believe that the writers who are happy that they’ve had 10,000 downloads of a free book (and that’s their only book or their only mystery novel or their only romance novel) don’t understand what they’re doing.
Not only are they getting nothing for their years of hard work. They’re also pissing off the readers who think of a free book as a promise of more good things to come.
Save your promotions for your tenth book. Better yet, don’t promote at all. Write the eleventh book.
Read Rusch's whole article here.