Wednesday, July 9, 2014

Amusing Antidotes to Back Up What Smashwords Says



Usually you want the quantoid evidence to back up your anecdotal evidence – but in this case, you get the reverse.

Quantoids, of course, were pretty much blowed up by Smashwords’ 2014 survey showing, among other things, that readers want longer ebooks, ebooks that are part of a series, and aren’t necessarily as enamored with free ebooks as they were in the past.

Now thanks to the retroactive abilities of the Internet, we have some anecdotal information to back up in part what the Smashwords survey says.

Read this posting at the BookBubBulletin (will the Internet’s hatred of spaces never cease?) concerning major publishers giving ebooks away for free (emphasis mine):

Last year, Doubleday Publishing decided to give away Dan Brown’s bestselling novel, The Da Vinci Code, for free for one week. The ebook freebie ran on the 10-year anniversary of The Da Vinci Code, and a few weeks before the release of Brown’s new book, Inferno.

Why did Doubleday give away a national bestselling ebook that usually retails for $9.99? The promotion was very deliberate, with the goal of hooking new readers on Brown’s thrillers and drumming up interest for Inferno. In fact, the ebook included the prologue and first chapter of Inferno.

"The move is part celebration and part marketing experiment," reported The New York Times at the time. “Doubleday is betting that any loss of sales of Da Vinci, which has outlived its golden goose days, will be offset by the fire it will light under the new book.”

In fact, publishers and authors are finding more and more reasons to discount ebooks. In the case of Dan Brown, it was to promote a new release. Others have used flash sales to build a new author’s following or get readers hooked on a series.

“It makes it almost irresistible,” Liz Perl, Simon & Schuster’s senior vice president explained to the The New York Times. “We’re lowering the bar for you to sample somebody new.”

Go back and read the Smashwords survey and you’ll see Doubleday is hitting every hot button the survey revealed.

So what does this tell me as an as-yet unpublished author, one without a following of any sort?
Well, write a series, for one. But barring that, when a new book comes out, offer a discount – or a giveaway – on a previous title to drum up additional interest. People are always on the lookout for new authors, and a bargain. I’ll just file this in my marketing quiver for the future.

So, What Does the Smashwords Survey Mean to Me?



In light of what Smashwords has to say about the success (or failure) of ebooks in a general sense in which they throw lots of caveats (if I ever open a restaurant it’s going to be cave-themed and be called caveats), I’ve studied my unpublished novel DOLEFUL CREATURES to see where I might end up.

My theory: In that long tail of published but generally unsuccessful novels.

DING ONE: It’s not a romance. I mean I suppose I could punch it up and make it a romance, but given it’s a novel about anthropomorphized animals, I’m not sure I’m up for that kind of punching up.

DING TWO: It’s not part of a series. I’ve thought a lot about series books in the last 48 hours, and have to admit I’m on the fence. I do enjoy a good series. But it has to be a good series. Lord of the Rings, good. Mrs. Frisby and the Rats of NIMH and its series, terrible (well, the first book is excellent, the rest are garbage). But I have read everything published by Robert C. O’Brien, and have enjoyed every bit of it. So I’m not too worried about the not-a-series thing. I’m much more worried about writing a good book, and then following it up with another good book.

DING THREE: It’s not lengthy. It is nearly 75,000 words, far short of what seems to be the popular length of novels at Smashwords. Then again, JONATHAN STRANGE AND MR. NORRELL was long. Far too long. Far, far too long. Good, but waaaaayyy too long. So maybe long can be second to good?

BIG TAKEAWAY: It’s my first novel. I’m going to focus on making it a good first novel, above anything else. So, who wants to beta read?

Monday, July 7, 2014

So, What's Going on in E-Books? Smashwords Reveals All.



So, doing some interesting reading tonight.

Specifically, it’s on Smashwords’ third annual survey of what is driving the sale of independent authors’ ebooks.

Smashwords has a good summary of the study on the linked page, but I’m having some fun going through the study itself to see what comes up. I’ll sum up the interesting points:

Readers want longer books. Or, since correlation doesn’t necessarily mean causation, the most popular books sold on Smashwords tend to be longer. I don’t know what that means. Maybe it’s a perception of cost vs. value. A longer book seems to be a better bargain than a shorter one.



Romance books are highly popular. They account for 7 out of 10 of the service’s top sellers. They tend to be “more experimental” Smashwords says (no word on what that means). Smashwords provides data to back up something I’ve noticed on GoodReads anecdotally: Most of the books people are searching for in the “What’s the Name of That Book” category are romance novels.

Free books tend to be the biggest movers – but the value of free has declined dramatically in the Smashwords surveys over the past three years. For example, in 2012, free books were downloaded on average 100 more times than books with a price tag. The number fell to 91 times in 2013 and plummeted to 39 times more in 2014. Free books continue to be a strong platform builder, but not as strong in the past. It’ll be interesting to see where this free phenomenon goes in the future.

Part of me wonders if the free phenom is being diluted by poor-quality books, or if its plummeting numbers is linked to authors publishing consecutive times and asking for cash from loyal readers.

Other interesting pricing info, with a caveat (the $2.99 price is the most consistent seller for both fiction and non-fiction):


Better Student Writing -- Through Chaos



I’m grading my students’ research papers right now, and am wondering if there’s a better way to do this.

And by “this” I mean student peer review.

Here’s what I already know about peer review: The second I, the teacher, jump in with a comment, any other peer review stops. My word is the law. Students are obviously used to having the teacher have the final word – classes have been set up that way for a very, very, very long time. I do have, each semester, a few students – I can count them on less than five fingers – who challenge what I have to say regarding their papers. For the most part, they’re right. They catch me being inconsistent with the syllabus, or missing something that on second reading is obvious. 

The obvious solution seems to be to have a session of peer review, have me grade the paper, and then have another session of peer review following revisions.

But again that leads to another problem: In peer review, my word might be law, but I’ve noticed an interesting trend in revisions after I’ve graded: More often than not if a student is satisfied with the original grade, the “revised” paper typically contains revisions for grammar and punctuations, leaving the more fundamental feedback unresolved.

So: I can grade lower on the rough drafts and see, over time, if students remain satisfied with the lower grades rather than do the additional work, or if their work improves for better grades.

Another obvious solution: Provide examples.

But examples are limited in their uses. I can see, for example, an example of stop-motion animation. I can appreciate its beauty:


I can even watch tutorials on how to do my own stop-motion animation:


But proof is in the pudding. Even if I have the tools, do I have the experience?

I do not.

The example and the tutorial provide good frames of reference and good tools and instruction, but when it comes down to translating those references and instruction into my own stop-motion product, there is a lot lacking. Particularly the time needed to produce a good bit of film on a tight deadline.
So I need to find another solution for my writing students.

Maybe there’s a solution in what Clay Shirky says about open-source programming. I could try an experiment on open-source paper writing.


(There’s more on Shirky’s TED talk here.)

So what am I thinking?

For each essay, the students provide the example. And that example comes the same way open-source programming provides software: Open collaboration, with tracked edits linked back to individual authors (and the number of edits and the reasons given for the edits counting toward individual grades, with a portion of the individual grade coming from the end product, not from individual contributions.

Now, this sounds like a really odd thing coming from a person who despises co-authored books and committee writing. But that’s only because of that vision of the individual artist sitting alone and cloistered, writing a masterpiece. For some authors, that works.

But the students I’m working with, for the most part, are not authors. They’re looking for a grade. And that’s fine. We can’t all be Aardman Animation, after all.

We could obviously use GitHub for such writing, but any tool where a paper could be centrally-accessed and where changes could be tracked and attributed automatically would work. Microsoft Word has such capability, with Dropbox or iLearn being the repository. GitHub might eliminate certain training problems (though it might introduce others).

And, as Shirky says in the video, “More media always means more arguing.” We might see the collaborative writing process rile students up.

But maybe they’d learn more – because they’d be forced to justify their changes and concede when others make changes they might not necessarily agree with, due to deadline and grade pressure.
The longer I teach, the less I’m convinced that the key to better writing is more writing, but seeing the processes involved in good writing. As a writer myself, I know that it’s through reading and re-writing and letting writing simmer and then reading for the purpose of analyzing writing that is making me a better writer, not necessarily the act of sitting down to write long strings of stuff that might turn out to be a short story or a novel or what have you.  I’ve learned a lot just by studying the processes. My recent reading of the Pratchett/Baxter collaboration on The Long Earth sure taught me a lot.

Mere criticism isn’t doing a thing.

That’s what Nate Schumate at Lousy Book Covers discovered. So he created another website, Cover Critics, where people can submit book covers before they’re published, benefitting from critiques before the books end up at the other site.

Maybe a collaborative effort where I was able to chime in from time to time without halting any and all other edits by the students. Possibly the edits could be made anonymously, with numbers assigned to individuals rather than names (with those numbers being translated into names for grading purposes on the teachers’ end. They might not know it was me they were arguing against. Or for. If I played it right.

This is a deeper collaborative process than our current peer-editing model. With that deeper process, they might see how a “good” paper or essay comes together and actually learn as they go about things.

To take it a step further, maybe one assignment could be a collaborative effort, followed up by a solely individual effort in which they were graded on what they learned from the previous collaboration.

I’ll need to think more about this.

Thursday, July 3, 2014

Our Pneumonia Week

On Sunday we ended up taking Isaac, our youngest, to the hospital.

Let me back up just a bit: He's been sick off and on (mostly on) for the past two weeks with a fever that would break but that wouldn't necessarily go away. It got compounded by a week spent in the snow and rain at Treasure Mountain Scout Camp. So by the time last weekend rolled around, we knew we'd have to take him in to see the doctor.

That's how we ended up at the hospital, getting him admitted for double pneumonia.

Which is what my wife was worried about, what with him being sick that long. Still, I got a surprised "What?" when I called her from the doctor's office to say he had pneumonia and that we were heading for the hospital.

And we had good reason to do so: The doctor said he'd been fighting the infection well, but could very well get to the point where his body got tired of fighting. He needed antibiotics quick, which he got through an IV in his hand.

He was very brave through the whole thing. He didn't like the needles going in, but once they were in, he was okay with things. I think part of him liked the attention -- except that the nurses made him pee into a jug so they could measure his output. That didn't impress him. But he did get to the point when h needed to go to to the bathroom, he'd unplug the oxygen monitor they had on his big toe and haul his IV and such into the bathroom and close the door for privacy's sake.

We appreciate the prayers and visits from our family. Just so you know, he was well enough Monday night to come home and well enough Wednesday morning to head back up to scout camp for the rest of the week. Prayers were answered, folks.


Wednesday, July 2, 2014

We Look Like Bad Guys. INCOMPETENT Bad Guys!



So, The Long Earth turned into a bad Star Trek episode.

A bad Stark Trek: The Animated Series episode.

By the way: HERE BE SPOILERS. Stop reading now unless you don’t want to finish reading the book.

Which I did – and which I recommend, but only for study purposes if you’re a writer trying to deconstruct a genre.

The ending, sentient, symbiotic yet entirely innocently menacing Blob Monster aside, is acceptable. But the philosophical discussions of having unlimited Earths to explore and exploit are rather tepid and unimaginative, and The Long Earth’s characters are beyond cardboard-cutout dull.

Even the villains and their motivations are dull – or at best, incoherent. Where Pratchett and Baxter could have painted a much more menacing menace than the wimpy, pseudo-whatever (is he a religious zealot? I don’t know. There are only enough hints to make me assume, but not near enough detail to make me even know why he decides to nuke Madison, Wisconsin, in reaction to the book’s phenomena) Brian Crowley. (Is that really his name? I don’t care enough about him to verify.)

Same can be said of Joshua Valiente and Sally Whatshername, the paleo chick he connects with just before Lobsang and company find and become voluntarily absorbed by the Blob Monster. Yes, that sets up something neato nifty for the next book, but part of me wishes they’d spent more time with the neato nifty in this book.


And then in the acknowledgements the authors profusely thank someone in Wisconsin for taking them on what appears to be a complicated tour of Madison so they can get to know the city as a setting for the novel – and then share nothing more about the city than what could have been gleaned from a few minutes’ perusal of Wikipedia.

This book is weak sauce, through and through.

I’ve said this before about the differences between fantasy and science fiction: Sci-fi is the realm of ideas, while fantasy is the realm of characters reacting to ideas. I’ve never read a book as pronounced in this effect, but of course I’ve never read a sci-fi book co-authored by Terry Pratchett before, so I’ve never had such a vast wad of material with which to make comparisons. I certainly prefer the character-driven pursuit of ideas that Terry Pratchett has perfected in his fantasy novels. And I’m pretty sure I can pass on the rest of the books in this series.