R. Lawson Gamble's Blog: R Lawson Gamble Books, page 19

The Reader’s Voice

The reader’s voice has increasing impact on a book’s fate. Agents and editors admit they keep a watchful eye on reader reviews at Amazon and Goodreads, looking for that surge in popularity that suggests a potential winner, and hoping they can acquire that property in time to develop, package, and sell it.

This growing influence puts more responsibility on the reader. In the developing world of book marketing, the consumer plays a large part. There is no neutral corner with the new shape of on-line retail, particularly at Amazon. The reader must make choices.

Generally there are three ways for a reader to respond to a book.

1. Review and praise the book.

2. Review and pan the book.

3. Do nothing.

Many choose door number three, a choice that on the surface seems simple and harmless. But in fact, non-action may do as much harm to the book’s cause as panning it. On-line book retail involves a world of data and number crunching. When the reader buys a book, that purchase becomes a number for the data bank. If that book registers X number of sales but only Y number of reviews, that too enters the data bank. Even a poor review at least shows the reader was moved enough to make some kind of effort. But a book with a low review to purchase ratio suggests a lack of interest, the kiss of death.

If a book is to succeed, above all else it must be discoverable. To be discovered, it must be visible. It is increasingly evident that flash-in-the-pan marketing methods have limited success. The only consistent means of increasing a book’s visibility is a large pile of good reviews from readers and professional reviewers. And, as always, word of mouth recommendations help out. When I go looking for a good book to read, I don’t want to waste my time with poor choices, so I look for help with my decision.

An example of a once dependable marketing tactic falling by the wayside is the free book. The strategy here is to give the book away for a set period of time. It works because a reader can download books at no cost and stockpile them to read later. The free book’s visibility increases with each download and the potential for more reviews grows. There are websites out there entirely devoted to listing free books. But if you visit one of these sites, you’ll see why this strategy is losing ground. Your free book is one of a huge list of books given away every single day. There are a lot of writers out there.

Readers need a way to choose among all the books available. We need to help each other. That is why a reader review is important. It is a compass that points a way through this mysterious and cluttered terrain. Reviews – and ratings – help us narrow the field. Ratings help to structure a hierarchy for this enormous quantity of books.

So readers, please review that book. By doing so you help bring order to this strange new publishing world, and you’ll be doing other readers (and authors) a service.

 

Tagged: Amazon, book marketing, Book reviews, choosing books, free books, Goodreads, online retail, reader reviews

My Five Goals for a Conference

Two days after the convention is the minimum time I need to evaluate the experience, to let it soak in. There is an overload of information that needs to settle, like rainwater on dry soil, to begin the growth process. I need the time to separate my emotional high from the true value gained, the grain from the chaff, so to speak.

After a full week of presentations, activities, meetings, etc., it is easy to forget one’s reasons for attending in the first place; it is too easy to drift off on a tangent within a plethora of fresh thoughts, new ideas, and new methods. Go ahead and revel in them, but be sure to remember your original purpose. That is the lens through which you can most effectively evaluate your experience.

Here is my evaluation process. I have just returned from the Western Writers of America Conference in Sacramento. The goals I hoped to accomplish there are the following:

1. To connect with other writers of western books and literature.

2. To learn more about marketing my books.

3. To evaluate my progress as a writer in relation to other writers.

4. To gain a sense of traditional publishing vs. self publishing.

5. To gain a sense of the market that exists for western writing.

I feel that an examination of my success in reaching these goals offers my best criteria for evaluating the conference experience. I decided not to quantify success for each goal, to simplify the process. Either I reached the goal, or I didn’t.

Here are my results.

I was successful with my first goal; I did connect with other writers. Here I define the word ‘connect’ as establishing some sort of ongoing relationship that manifests beyond the conference, if only on an infrequent basis. I have been to many conferences and met people and exchanged ideas and vowed eternal friendship and never heard from them again. In those cases, the goal was not reached.

But the writers I met at the WWA Conference took active steps to prolong our relationship; they offered to become Facebook friends, one writer asked me to write a guest blog for her blogsite, another invited me to join a writers’ club. These offers demand a response and thus ensure that the relationship will reach beyond the conference. Remembering my decision not to quantify, I confidently state that I attained my first goal.

My second goal, to learn more about marketing my books, went unfulfilled almost to the end of the conference. Most authors I spoke with struggle with marketing and few had anything new to offer. But goal number two was ultimately salvaged by one presentation on the final day, when two publicists and an author who was experienced in marketing offered specific strategies. They satisfied my needs. Success turns on such fleeting moments. Check off goal number two.

My third goal, to evaluate my progress as a writer in comparison with other writers was more difficult to assess. Writers today must, unfortunately, self-promote and thus tend to inflate their accomplishments. It is therefore necessary to sift through their claims and research their body of work. How many books have they actually published, how were they received, what other writing have they done, and how well were they compensated? And further, what does it really mean to have been a finalist for such and such an award? With due diligence in research I was ultimately able to come to a conclusion. Again, I did  quantify, I simply reached a conclusion regarding my status, and thus I realized goal number three.

My fourth goal was to gain a sense of the relative status of trad publishing compared to self publishing within this group. But the writers who attended the WWA conference were older folks, people who began to publish their stories before self publishing was an option. In truth, self publishing was seldom mentioned during this conference and when it was mentioned (at the agents and publishers panel) the reference was skewed. Further, the writers themselves seemed to have little knowledge of self publishing. Necessarily, the conclusions derived when reaching this goal are dependent upon the nature of the group itself. I decided that this goal had not been met, or if met, was not useful.

My final goal was to get a sense of the market for western writing. This was a resounding success. Clearly there is a market, and it is growing. Every writer in attendance was published and some multiple times (the outgoing President had just published his 145th book!). Clearly, publishers are buying western works.

But are the books actually selling? Here again, it depends on the publishing house, the marketing skills of the writer, and the topic and genre. I spoke to several writers who received minimal amounts from their publishers over multiple years. But there were others who have published many books and are in a wider market (the Chinese market for westerns is huge and continues to grow) are doing quite well.

My conclusion? Goal number five was met.

To summarize, of the five personal goals I had set for myself at the conference, four were met. Thus, I rated the conference a success. But honestly and ultimately, the evaluation comes down to an emotional level after all. Did I, in fact, have a good time?

Well yes, I did.

 

Read Mestaclocan

Read The Other

Tagged: compensation, connecting, marketing, publicists, self-promotion, self-publish, traditional publishing, western novels, western stories, writers

How I Write

If you write books, sooner or later you will be asked how you came to write them, in essence why have you written what you have written the way you have written it? I have been asked such questions. I have even been asked, “Do you use a formula or something?”

Well, yes.

The genesis of my desire to write fiction grew out of a level of personal dissatisfaction with what others have written. I had arrived at a point where most novels I read failed to fulfill me in some way; something I sought was no longer there, some element or elements that once captivated me were missing. Books no longer transported me into another dimension.

What had changed? Was it me? Had I outgrown the books of yesteryear? True enough, when I tried to return to those special books of my youth my feelings for them were not the same. How can you ever replicate those first moments of discovery?

The books most memorable to me are the ones I read during my youth and young adulthood. I recognize now that a book may have a different impact when one is young; when all things are possible and every road lies open before you.

But are dreams, fantasies, heroes only for the young? I refused to believe that. I knew that those same reveries lay dormant somewhere within me, waiting for the right stimulus to bring them back to life. Those stimuli, those catalytic ideas may no longer be dressed in the same clothing as my youthful ones, but would not their essence remain unchanged?

When I thought back to those books that so memorably marked my passage, I found that they had many of the same features in common. I wrote them down. There were not so many, but I knew that the odds of finding those exact same elements in the desired proportions between the covers of someone else’s book were remote. I realized then that if I wanted to read a book with those specific features, that formulated fiction, I would have to write it myself.

And I did. My first book, THE OTHER, is the product of this process. All of the ideas on my list are present in this story. I was excited to find that this formula still works for me. I was captivated while writing the book, much more so than while reading other books. And even now having read it many, many times, to edit or quote from it or present talks about it, I can still read it with enjoyment. It is the perfect fit for me. I wrote my next novel, MESTACLOCAN, the same way. The greatest challenge now was to make it different while making it the same. And my third novel is nearing completion. It, too, is being written according to the formula (look for that book this Fall).

Do all authors write the same way? I suspect we do, at least in part. We are all prisoners of our formative years; the people and places and moments from those times will always color our world view.

* * *

Read THE OTHER and MESTACLOCAN

Tagged: best books, how to write, Mestaclocan, The Other, Writing, writing discipline, writing influences

To Series, or Not to Series (It’s a Serious Question)

Up to this moment in time, I have thought that I am writing a series. I have written two novels linked by common characters – my Zack Tolliver and Eagle Feather adventure mysteries. I am 220 pages along on the third novel with the same protagonists. But when is a series not a series?

This question is greatly influenced by marketing strategies. Mark Coker of Smashword has assured us that bundled books, and particularly a series, sell better than single novels. It seems as if every successful author who has written more than one crime novel or police procedural or adventure or paranormal or fantasy novel has written a series. It seems to work.

It’s not difficult to see how this comes about. If an author writes a novel that develops a fan base, there will be a natural affinity among these fans toward the protagonists, for his or her characters, wiles, mannerisms, personalities. It is much like having a friend, someone who shares experiences with you; you are comfortable with this person, the adjustment period has passed. It is much more difficult to make a new friend, no matter how charming, and it is much more difficult to adapt to a new protagonist. Naturally, then, there is a certain amount of pressure to continue with the same character.

But if I simply carry over the principal character to my next novel, does that make a series? Or is there more to it? Should there be, for instance, consistency in time and place? Should subordinate characters be continued as well? Should the story line, the plot development, the twists and turns and climax all be similar?

I suspect the answer is yes, yes, yes, yes, and, ad nausea, yes.

Then what is to prevent me from writing myself into a corner? As the construction parameters grow narrow, what happens to creativity and freshness?

When asked, I describe my books as stand-alone novels in a series. It seems a contradiction, but my intent is to write a group of novels each of which may be read in any order and enjoyed as a unit within itself. But I continue my principal characters, sooner or later. Zack and Eagle Feather are always the protagonists. But I add new characters, new situations, new environments. In short, I try to introduce new, fresh material in each book. This does not satisfy everyone, I know. Those who enjoyed the Navajo culture and desert sands of The Other may not enjoy ending up in San Francisco with reporters and homicide detectives when reading Mestaclocan. But for those readers, I carry forward a hint of the former elements and the possibility of returning to the burning sands in another book.

A reader who reviewed Mestaclocan in Amazon (thank you!) made the observation that to make the most of Mestaclocan, one should first read The Other. While I would certainly be pleased if everyone purchased and read BOTH books, this remark suggests that I have not succeeded in extricating myself from the greatest weakness of a series; namely, that the reader must begin with the first book. Some series start in the middle, perhaps to avoid this very problem (Star Wars?). That way, the author can move the protagonists ahead or back chronologically from book to book. But so long as the same protagonists are involved, they must do what you and I must eventually do: age.

Yes, I am writing a series; there is no escaping that fact. Indeed, I plan to write other novels, with stories that are unrelated to others I have written. The principal characters will live and die between its covers. Novels such as those written by Thomas McQuane, Elmore Leonard, and Philip Meyer with great new characters experiencing great new lives. But that will be later. I have not yet finished with Zack Tolliver or Eagle Feather. And I hope my readers have not, either.

Tagged: book marketing, common characters, Eagle Feather, Elmore Leonard, Mestaclocan, novels, Philip Meyer, protagonists, stand-alone, The Other, Thomas McGuane, what is a series, writing a series, Zack Tolliver

A New Partnership of Self Published and Traditionally Published Books: Five Ways We Will Benefit

Recently I viewed a documentary on the history of Western movies. I was struck by the challenge these movies faced with the advent of television. The Western B movie almost died then and there. But it didn’t, and isolated salvage efforts resulted in another surge in popularity that continues even today. It turns out there was a place for TV and there was a place for movies.

People prefer to remain home after a tough day at work and enjoy the entertainment that TV provides in the comfort of their living rooms (and snacks are free). But occasionally we all love to see a movie in the theatre, on the large screen, with amazing sound, uninterrupted. The impact of a movie viewed in such an environment far exceeds that of a television set.

The point is, after much wailing and cries of doom and gloom it turned out that both viewing forms were viable. That got me thinking about books.

There are those who are convinced that eBooks can never replace physical books, to have and to hold, to smell and to touch, to store on shelves. There are others who have discovered the liberating simplicity of owning just a tablet, easy to hold while reading in bed, , adjustable print size, with limitless books in its reach. What a dream to pack only a tablet for entertainment on a long trip.

So where are we going? As a student of history, I think we can expect this issue to resolve itself the same way as movies and TV. Physical books and eBooks will survive together. But how will this work?

I suggest that there will come to be unique benefits from coexistence. Consider the freedom to self publish. Anyone can publish what they want so long as the document is properly formatted for the on-line publisher. It means that quality is no longer determined by publishing house editors. And for the reader, it means that the quality of a book is unknown. We must rely heavily on the reviews of other readers and rating stars and professional reviews to determine the quality of a book. This is the reader’s dilemma.

But on the other hand many eBooks are free, and those that are not can usually be purchased for the cost of a large candy bar. Yes, we need the evaluation of other readers, but there are a zillion readers out there ready to perform that task.

But there is another step evolving in the evaluation of books . Publishing houses are paying close attention to the successes of eBooks, hoping to find a financial bonanza like Shades Of Gray. I predict that the publishing houses will become the sixth star in the on-line rating system. Their agents will seek out the best of the best self-published books and try to obtain them for publication under their labels as eBooks and paperbacks (I fear for the future of expensive hard-cover books).

And thus the issue of book quality will take care of itself: anybody who desires to publish, whatever their reasons, will publish, and reviews and rating stars will direct reader’s choices, and publishing houses will produce the works of superior quality or greatest popularity.

To summarize, we benefit from this partnership in these five ways:

1. Anyone can publish for any reason, from memoir to novel

2. There will be a greater volume of books, many of which will be free, and most of them inexpensive

3. The reader can evaluate and select books from reviews, ratings, and the choices made by publishers

4. Royalties for writers will be larger and the cost to readers less

5. The ability to have and to hold a physical book will remain with us

 

Tagged: book ratings, book reviewers, ebooks, eBooks and paperbacks, Editors, evaluating books, future of traditional publishing, paperbacks, publishing house, reviews, self-publish

Books That Kickstart Writers

Recently I read an interview with James Patterson. The interviewer asked him if there was a particular book that influenced him in his writing career. This is an interesting question, because where you might expect most authors to respond that many books influenced them, most can identify a particular one, a book that was the genesis of the dream.

Patterson was no exception; he identified Lawrence Stearne’s “The Life and Opinions of Tristram Shandy, Gentleman” as that book. Why? Because this author, writing three centuries ago, ignored all the rules yet wrote naturally and engagingly. It set Patterson free to believe he could do the same.

I find Kickstart Novels fascinating. I’ve begun to list them as I learn of them, hoping I might read them one day, wondering if I will see what it was that fired up the author. Some, such as “Grapes of Wrath”, need no explanation, while others are head-scratchers.

Here are several Kickstart Authors named in interviews: Chekov, Cheever, Salter, Jennifer Cushing, James Joyce, Denis Johnson and Thornton Wilder.

I have my own Kickstarts, of course. They occupy the shelf next to me. Here you’ll find T.C. Boyle, Umberto Ecco, William Faulkner, Hemingway, Elmore Leonard, Louis L’Amour, McMurtry, Margaret Mitchell, and Steinbeck. They all influence me and I turn to them frequently. And I keep adding new ones. Two of my latest are Thomas McGuane and Phillipp Meyer.

But if I had to identify just one author and just one book that Kickstarted me into writing? That would be Owen Wister’s “The Virginian”.  What does that say about me and my writing potential? I have no idea.  But I do know my imagination was sparked by this novel and had it not been, I might, I say “might” not have decided to try my hand at writing.

If that is a good thing, or a bad thing, I leave to the reader.

 

 

Tagged: Elmore Leanord, great writers, imagination, James Patterson, Owen Wister, stimulating authors, stimulating novels, T.C. Boyle, writing influences

Which Fiction Sells?

 

On a shelf next to me as I write are fiction books by authors I read, authors I should read (I’m told), and authors to whom I refer for hints on style and technique.

I’m currently reading Iain Pear’s “An Instance of the Fingerpost”. It is long, 685 pages, and it is long, as in slow going, yet Pears employs remarkable English prose. “Fingerpost” is about the Cromwell era of England. He offers four perspectives on his story in the form of individual testimonies from four men, participants in the circumstances in question and thus necessarily written in the style of the times.

 

I am also rereading “The Sun Also Rises”, by Hemingway. This novel was written in the style of Hemingway; need I say more?

 

I will confess to some difficulty in staying with both books. It is not a question of quality, obviously, but one of pace. I count myself among those of a generation used to a much faster pace in literature – and in everything else, for that matter. And I believe I am in the majority in this way.

 

What of Hemingway, then? His name continues to be synonymous with superior writing. But is he still read in this age of distraction and immediate gratification?

 

I decided to check it out. I googled (instant gratification) the most read authors today. I found a list of best-selling authors to date. Hemingway is not on it. Shakespeare and Agatha Christie top the list. Barbara Cartland and Danielle Steele come next. Dr. Seuss is on it, and J.K. Rowling. Also Tolstoy (Tolstoy??) and Alger, King and L’Amour, Patterson and Grisham, Brown and Crichton, Cussler and Rice. But Hemingway? Not to be found.

 

What does that say to us? For those of us attempting to write good fiction, where is our model? It’s all well and good to say, “I write for quality, not quantity”, but the fact is, to be recognized for quality one’s work must be visible. In that sense, we must all write for quantity.

Clearly, the accepted standard for writing has changed. The pace has quickened, the rules have wavered, the length has shrunk. I was recently told by a publisher that any novel over 200 pages won’t sell – no matter how good it is. No one will pick it up. With all the books to choose from, people just won’t give the time.

 

Perhaps there is some comfort in the fact that Michener is on the best-selling list, and Burroughs and Hesse and Carroll. But Richard Scarry is outselling all of them by over 50 million books. I enjoy Faulkner (not on the list) and Steinbeck (also not on the list). And I enjoy Cussler (#48) and Follett (#64).

 

I guess I will continue to write my own way, to a standard that satisfies me, for I can do no less, and simply hope that there are other kindred souls among the globe’s billions who will read my work and be entertained and in so doing validate my efforts

 

Tagged: best selling books, best writers, fiction today, good fiction, top authors, writing standards, writing today

Some Thoughts on Launch parties

I have done three launch parties to date and would like to share my thoughts and experiences.

Before continuing I should define a launch party in my terms, as there are many concepts abroad.

I see three purposes: to celebrate, to introduce, and to sell. So it should indeed be a party, which means refreshments and probably adult beverages.

One celebrates with one’s friends. They should be invited.

One introduces to strangers. They, too, should be invited.

One sells to all.

The venue for this party is not limited. Mine took place at wineries, because they are in abundance around me, but any comfortable local venue will do, if the proprietor is flexible and supportive. Of course, it can be done in the home, but strangers are more likely to attend if the venue is neutral. I have done in-home celebrations, but in those cases my purpose has been more celebration and less introduction and sales.

Wineries as venues are wonderful. They thrive on party atmospheres and continually look for ways to draw new customers. Often their grounds or shops are most attractive. And, of course, the adult beverage is right there.

Wherever the party is held, it should be a convenient location, centralized in the community where it is offered, comfortable, easy egress and exit.

My personal experiences suggest that one community will support only one launch party. I found that my first launch for my first novel did best in all three categories, probably because then it was a novelty, an unusual occurrence and a new opportunity for friends and strangers in the community. But the succeeding launches drew fewer friends as well as strangers. By the third, it was old hat and prioritized as such.

It is important to find connections with which to draw guests. That there is an author among the people of a community is a draw (but only one time). Perhaps the book is set in that particular community. Perhaps characters were built upon actual people of the community. Perhaps it is a history of that community (you get the idea). Be sure to include these connections in your invitations or advertising.

Good connections allow you to move to communities outside your personal circles to hold a party. Or you might host a launch with another author who has strong connections with that community.

Finally, continual entertainment is a must. Do multiple readings, tell personal stories from writing or researching, describe how characters were developed or plots devised. And have music, so that even those who don’t particularly care to read can sip their adult beverage and just listen , if they wish.

It is, after all, a party.

 

Tagged: author talks, book celebration, book launch, book promotion, book selling, entertainment, launch party, Marketing and Advertising, sales, Writing

The Power of Free Revisited

As my sales lagged this month I went back to my surefire method of the past: free books. But I found that downloads of the free book during this time diminished by half, or more. I wondered why. I took a look and thought I’d share my conclusions.

There are several variables to be considered.

First and foremost, how and where did my give-away take place? There are three major venues available to me: Amazon, Smashword, and GoodReads. I have given away books at Amazon and Smashwords. I have yet to try GoodReads.

How did I advertise the give-away?

On Amazon, one can only list free books while in the KDP Select program. When not in the program, but still selling through Amazon, it is their option to go with the price change at other retailers – or not. In my experience, Amazon used to scout the other retailers and match their prices. No longer, because they wish to keep the incentive to enlist in KDP Select strong. But when in KDP Select and utilizing my five free days, the advertising was handled by Amazon, and by extension many other sellers (sites that list free books, etc.).

But through Smashword, I must do the advertising myself, and so I use Social Media. My reach here is limited. My best hope is that each retailer will list the free books separately, that sites listing free books will list mine, and that word will get around.There is a lot of work involved in this method, mainly posting reminders as frequently as possible through Twitter, Facebook, and all the rest.

There are other variables, such as how high the price was before the give-away, the timing of the offer (Christmas? Vacation times?), and how long the give-away will last, etc.

But to my mind the central question is this: does giving books away work as well to promote sales as in the past?

I think not. Whether it is the growing number of authors publishing on-line and hence the cornucopia of free books to choose from, or whether it’s simply that everybody’s tablet is full to bursting by now, I don’t know.

But the fact is, where I gave away thousands of books just six months ago, it has been only hundreds this time. But I believe giving freebies is still the best sales tactic available to self-published authors.

Tagged: Amazon, book price, free books, Goodreads, KDP Select, sales tactics, sales timing, self-published, Smashwords, Social media, tablet

The Wrong Side Of Amazon

Is there a wrong side of Amazon? Is there a punishment algorithm for those who violate the expectations of this mighty retailer?

I’ve heard many stories from those who have failed to follow directions, particularly authors. Have they reviewed another writer on amazon who writes in a similar genre? Has someone who is closely related to them or with the same last name posted a glowing review? These are among the no-nos.

Yet there seems to be an expectation that authors will do a myriad of small things, such as check the box to agree with glowing reviews and so manipulate them to keep the best foremost. And authors are expected to tag books by genre, but only from a specific provided list, despite any signature uniquenesses the book may possess. But you must know to do it to gain this advantage.

Such restrictions and expectations have spawned many “How To” books for succeeding on Amazon. Those who simply publish a book and walk away will lose out to those who learn these ropes. Make no mistake; this is competition. In fact, given the number of self-published authors today, it is fierce competition. Your book could be pushed beneath so many other books on Amazon that it will never ever see the light of day.

But what of those who cross the lines set by Amazon, those who mistakenly (or not) go against the rules?

You will be warned. And you may be punished. You will receive an email chiding you for your action. You will be warned that if the action is repeated, your work will be removed from the location that is under contention. And perhaps it will.

Make no mistake, I am sure that the folks at Amazon are fine people who only wish to help every author succeed. I know that there needs to be structure to prevent authors from running amuck at the site. I blame the software, the algorithms that are in place to provoke the release of such messages; not the humans.

A case in point. My first novel, THE OTHER, sells at Amazon, but I never enrolled it in KDP Select. I published through Smashword and it went out to all the distributors represented by them. I did enroll my second novel, MESTACLOCAN, in KDP Select and was pleased by my sales. In fact, the sales of both books seemed to be invigorated. So I decided to enter THE OTHER in the program. I knew I must remove the book from all other distributors and I did so through Smashword. Slowly, one by one, the book was withdrawn from each. Except one.

Two distributors were engaged in a merger and my book was apparently forgotten. It remained shelved. Not realizing this, I enrolled in KDP Direct. All was well but in about a week I received a note from Amazon that I must remove that book from that retailer’s shelf, or be dropped from KDP Select. I tried to do so, but had no way to connect to them and my book remained with that retailer and I was dropped from KDP Select.

Well, fair enough. But then my book sales slowed. Again, no surprise here. I re-published at Smashword and gradually THE OTHER took its place on their shelves. Back to normal, I thought. But then my sales at Amazon shrank to the lowest level ever. And stayed there.

Now I don’t believe that the folks at Amazon decided to bury my books. But I do believe that the algorithm applied is designed to make sure my book doesn’t enjoy any of the advantages that may come with KDP Select, even those that may have already existed without the program.

We all know that book sales is all about exposure and that without it, book sales will plummet. And yes, there are other ways to gain that exposure and I will pursue them. I am hard at work on my next book and, yes, when I publish it will go right to KDP Select. I have learned my lesson.

Tagged: Amazon, Amazon algorithm, Amazon Kindle, Amazon rules, distributors, ebooks, free book, KDP Select, retail outlets, sell novels, tags