AMS US Changes

For those of you who run AMS in the US, time to check your AMS dashboard. It seems Amazon has rolled out some new features to the AMS accounts that access AMS through their KDP account.

(If you’ve been running AMS in the UK using an Amazon Advantage account then a lot of this will look familiar to you and you’ll just be wondering why you still can’t also get filtering by time period.)

Three changes to highlight for you.

1. Keyword targeting

Up until now the only keyword targeting option for AMS if you accessed it through KDP was Broad. Now you can do Broad, Phrase, Exact, Negative Phrase, and Negative Exact. You can use these options when starting a new Sponsored Product ad as well as when adding keywords to an existing ad.

I would suggest going through any existing ads you have running and at least adding negative keywords. For example, my romances are contemporary so I can use negative keywords to exclude historical, etc. And free. That’s a big one to exclude unless you’re promoting a free book.

2. Bid+

This “Allows Amazon to increase the maximum bids in this campaign by up to 50% when ads are eligible to show in the top of search results.”

Now, really, you shouldn’t need this. Because you should already be bidding the maximum you’re willing to pay. But in the UK where bids are cheaper I do have this set because I would be willing to bid higher if I have to. In the US I’m only turning it on for a handful of low-bid ads I just started on books I’m not really focused on promoting.

Do the math for yourself. If you’re bidding 20 cents then Bid+ means maybe bidding 30 cents. But if you’re bidding $1 then Bid+ means bidding perhaps $1.50.

You can either turn this on for a new ad or go to the Campaign Settings tab for an existing ad and it’s at the bottom.

3. Bid Suggestions and Keyword Suggestions

When you start a new SP ad now, as soon as you add your keywords you’re going to see a bid range that Amazon suggests and a suggested bid within that range. I have a set of keywords where I’m pretty sure I’m the highest bid and I tried it and the suggested range did top out with my high bid. So it looks accurate to me. But I’ll also say that if everyone were to start bidding at those levels that it would not be profitable for most to do so.

I don’t think this changes bidding strategies all that much for that reason. If you could through series sellthrough and click rates afford to bid at those levels then I assume you already would be. If you’re bidding 10 cents right now there’s a reason for that and seeing that the suggested bid is $1.26 isn’t going to change that approach for you. But it’s interesting.

(I’ll say in the UK where I can run headline ads and this info is available, that for one of my keywords the bid they list to have 50% of the visibility is more than my book even costs.)

The other thing that occurs as you’re entering new keywords is that they provide a list of suggestions as you enter a keyword. (This is something already available in Advantage in the UK and I’d presume Advantage here.) I was able to use those suggestions to find a few additional negative keywords for one of my ads, so even if you don’t want to stop a good existing ad it might be worth trying just for that.

Bottom line:

It’s still not as robust as Advantage, but I’m glad to see the Bid+ option since I think that was giving an unfair advantage to those with non-KDP AMS accounts and I’m very pleased to see the negative keyword options since those have been very useful to me in the UK.

Like it or not, AMS are here to stay so time to learn and adjust to these changes. I expect some shake out in terms of ad performance over the next few months as a result of the changes, but maybe not as much as you’d think since I’m pretty sure the big players were already accessing AMS through non-KDP AMS accounts where these tools already existed.

All the Non-Writing Stuff

I haven’t written a single new word since July 27th. Part of it was working on a consulting idea you’ll hear more about soon, but most of it was deciding to re-do all of my covers.

This wasn’t a big design change. I suspect most people won’t even be able to tell the difference. But I decided to get on the up and up with my font usage. See, problem is that GIMP pulls fonts from your Windows folder but those fonts aren’t always available for commercial use.

Now, there’s a question about whether fonts are even copyrighted and it seems that the computer coding that renders a font is copyrighted but the font itself is not. So maybe I was okay. But I get something into my head and there I go.

Initially I was just going to buy a subscription to a font package that included all the fonts I needed. I figured $9.99 a month wasn’t much to pay for peace of mind. Unfortunately, because it’s a subscription and they don’t trust you, the files were hidden somewhere on my computer where GIMP couldn’t access them. So there I was with access to the fonts already but no access to them through my subscription. And could I really be sure that the Bodoni version I was using that was already on my computer was the same as the Bodoni version in the subscription? No.

So, long story short, I tried, it was a miserable failure, I cancelled the subscription, and switched over to free fonts instead. Which meant going through all of the covers I’ve done and checking the font on each one to see if it was a free one for commercial use or not and changing it over if it wasn’t. I also figured I’d update backmatter at the same time.

Now at this point I have about sixty books that are live where I’ve done the covers myself. And almost all of them are wide. And a lot of them are in paperback.

So my August so far has been: check and/or redo ebook covers for all sixty books, check links for all sixty books, regenerate ebook for all sixty books, load to five different sites (Zon, D2D, Kobo, Nook, Google), redo paperback for all sixty books, update also by in paperback for all sixty books, submit paperback for approval to CreateSpace.

It’s an ongoing process. I suspect this will take at least another week. Especially because I’m spacing the CreateSpace submissions out so that all of my books aren’t down at once.

Also, me being me, it’s lead me to redo three covers (but oh my god the CreateSpace for Beginners cover is so much better now) and reformat two paperbacks into a new size.

I’ve also had to angst about which books to list where. My ego hates to have books on Amazon with bad ranks even though I know that at least if those books are there they’ll occasionally sell to those who want them. So I sometimes take books down from Amazon. But then I change my mind. And then I decide to take them down again…

(As of now, five of the M.H. Lee short stories are up on Amazon again. Until the next time I go through this.)

Anyway. Writing is not all sitting in your posh office creating new worlds or puzzling out how to explain a complex topic. Sometimes it’s just hours and hours of uploading files and checking that they look good. At least, that’s the way it is if you self-publish.

Let’s Just Dial It Down a Notch, Shall We?

I have been hip-deep the last couple days in updating covers and links for all the M.L. Humphrey books. Turns out I have 23 of them. And even though the covers are a bit basic, it still takes time to redo the font on all 23, do a few new covers while I’m at it, and then generate new ebooks and load those everywhere.

Which means I’ve been tempted to procrastinate and popped into various forums or FB groups or blogs. And, seriously….Some of the things people are saying…

And since I really don’t want to upload more files right now, let me address a couple of them.

The first one went something like this: “Don’t bother wondering what’s wrong with that book because you’re already past your 30 day cliff on Amazon so all hope is lost.”

Say what? Are you kidding me? Sure, I’ll grant that a book that does well immediately has a better chance of getting and staying sticky at a good rank on Amazon. But…

First, Amazon is not the only game in town. So there are plenty of other vendors out there to sell your books on that don’t have this “new is better” churn mentality.

Second, even on Amazon you can still make money on a book after the first thirty days. My first-in-series romance made four times as much last year as it did the first two years it was out. On Amazon.

How? AMS ads. (Because I didn’t really advertise that book when it came out. Live and learn and all that.) And releasing a book two.

Which means it is absolutely worth considering whether your blurb, cover, price, or writing can be fixed to make an existing book sell better. And if you can make one of those fixes without spending a lot of time or money why not do it?

(Just remember that if people can’t see your book all the changes in the world aren’t going to help. So if people aren’t actively looking for what you’ve written, you’ll need to follow those changes up with at least an initial promo boost, if not sustained advertising.)

The second one I saw today was something along the lines of “Before AMS existed the world was fair and readers were able to choose the books they wanted rather than the books that were advertised to them. Now good books get lost because of that dirty AMS advertising.”

Hahaha.

The world was never fair.

There were always authors advertising.

Do you think that every single book was put in Amazon’s emails to its customers? No. Do you think there was some magical time when every customer who went to Amazon and asked for “legal thrillers” was shown every single available book and took the care and time to evaluate each of those books on their merits and only chose the “best” one? No!

And that top 100 list in each category was never some rotating display of all available books. It’s always been the 100 best-sellers in that category. Period. Not 100 best books. 100 best sellers.

Oh and then there was the person a week or two ago who basically equated anyone who uses AMS ads with ruining indie publishing and being evil.

Seriously.

I realize there is a lot of angst out there right now, but come on people. Maybe, just maybe, if you find yourself using the words “all” and “always” or “never” and “no one” or “everyone knows” or declaring that the world is about to burst into a ball of fire and we’re all doomed, doomed, doomed it’s time to step away from the computer.

Go outside. Dig your toes in the grass. Breathe deep. Accept that life is change. That it’s never fair, but sometimes quite doable. Quit flailing around for things to blame. Quit reaching back for something that’s already gone. Assess where you are. Assess where the world is. And move forward as best you can.

And if that doesn’t work, change direction and try again. It’s all you can do.

Now back to file uploading. Woohoo! Life is exciting, what can I tell you?

On Writerly Differences

I think I mentioned to you before the Write Better-Faster course, which I loved. I’m currently taking a more advanced version of that class and an interesting topic came up in the discussion for the class.

So what I loved about WBF was that it confirmed for me that we are all different and have different strengths and approaches as writers. I’d always done my own thing and just shrugged off what didn’t work for me, but that class gave me the supporting evidence for following my gut the way I always had.

What this new class has brought home for me is how fundamentally different some of our views of the world are. I’m over 40 at this point and coming to grips with the fact that others don’t experience the world the way I do has probably been one of my biggest struggles in life. One I still am working on.

Especially because a lot of things come to me very easily. So when my very intelligent friend in high school just could not get Geometry, I didn’t understand. You just flip the triangle in your mind, right? I mean, it’s not hard. Just mentally line up A with A and B with B. (But it is hard for those who don’t see spatially.)

One of the tests we take in WBF is called the DISC assessment. And one of the components of that assessment is Compliance.

Now Compliance is my highest of the four, so I’m motivated to see things done right, essentially. I will put in the work to make something a good product. That need will drive me to work until the product is good. Not just done, but good.

But I’m not really high in Compliance. So when I noted an extra space at the beginning of an entry in a numbered list during the formatting of my latest ebook and fixed it, I didn’t write that down to make sure I’d also fixed it in the print version. Because it was just one little space and I’d already submitted the file for review.

(Now, turns out I found a few other errors that needed fixing, including a horribly misused word. When that happened then I did update the print file and did actually scan through all hundred pages to find that missing space. Because if I was going to fix those other issues, then I did feel like I should fix the spacing issue, too. It’s just that I would have been willing to let it slide before even though that meant the book wasn’t perfect.)

What’s been interesting in this latest class is seeing how others with different levels of Compliance talk about writing and writers and what a book requires. And also the way our instructor has broadened that discussion to cover readers, too, and to help us understand that some readers are high in Compliance and some are not.

Let me give you an example.

Last month I was at a conference where someone mentioned pulling Patrick Rothfuss aside and giving him the rundown on how he’d messed up in his books by referring to both linen and cotton in his character’s wardrobe. This person could not believe an author would that kind of mistake. (They’re an editor so at least they’re in the right job for their level of compliance.)

At the time I thought, “Seriously? That’s what you got from his books? That he used the wrong kind of fabrics in someone’s clothes? You are so not my reader.” Because even knowing how much that person cared about that fact I knew I would never take the time and energy to learn that much about every detail in my books. Not gonna happen.

But that’s how someone with really high Compliance views the world. And writing. And their fellow writers.

Those very precise details matter to people with high Compliance.

I’d never notice something like that. But if I somehow had acquired that knowledge, then I’d get it right when I used it or be annoyed at myself.

For some writers, even if they knew this issue existed, they wouldn’t care if they got it wrong.

And the key here is to realize that there are readers who fall into all of these categories, too.

For me, high high Compliance readers are “not my reader”. It’s why I’m not writing PhD-level papers on my non-fiction topics. I will never be that precise a person that puts in fifteen footnotes to explain something exactly. 95% is good enough in my book.

But it’s also possible that low low Compliance readers are also not my reader. Because I will want a certain level of logic and coherence and accuracy in what I write and that means there are certain crazy, fun stories that I am incapable of creating. I would have to break too many rules to write a story like that so I literally could not force myself to do so.

A reader with really low Compliance will choose a book with a crazy, fun plot and horrible grammar over my more coherent, more grammatically correct book every day of the week.

For my fellow writers I think the lesson here is that a well-written story is not a singular thing that can be defined and put in a box. If you were to sit all readers down and asked them about their favorite story of all time and their most hated story of all time, the same books would be on both lists. Not because some readers have trash taste (which is what people often think to themselves), but because we are not all the same. So what we each want in a story will also not be the same.

I would add that this is why I really don’t like critique groups, because I have yet to see one where the other participants said, “I see the type of story you’re trying to write here and I’m going to set aside my preferences and help you to make the story you’re trying to write the best story it can be of its type.” Usually those groups act as if there is one correct way to write each sentence and one correct way to tell each story. There isn’t.

But maybe they work that way because it’s not actually possible for us to set aside who we are when we read. I personally can’t read a story that has tense issues. I just can’t do it. But some readers? Don’t even notice. Blow right past the fact that we just went from present to past and back again in two paragraphs.

So I personally will miss what’s great about a story that has tense issues because I can’t set aside my belief that a story with tense issues is poorly written.

What I conclude from all of this is this: Be careful how you tear down your fellow writers over these kinds of things.

I’ve for years had issues with the way people criticize Dan Brown and E.L. James and Stephenie Meyer. Because those criticisms miss the fact that those writers do something very right for their readers.

After learning more about personality types and how different we all are, I’m tripling down on that view. Instead of saying “That really sucks.” Practice saying, “Yeah, that just wasn’t for me.” It might make the world a nicer place.

(And I know those high Compliance types are shaking their heads and saying. “No. There is one right way to do things and they are not doing it that way.” But that’s okay. You be you.)

 

Why You Wait

In a blog post earlier this year I mentioned that some advice had been given at a conference to not even advertise until you have at least three books out. And I objected to that advice. Because in this climate just publishing a book and not advertising it means selling that book to your friends and family only (which will mess with your also-boughts, assuming those continue to exist) and then not seeing any sales until you do finally advertise. And with the Amazon cliffs at 30/60/90 days, that means an uphill battle to get sales and movement when you do start to advertise.

(If you’re going to do that, might as well hold back the books and publish all three within a very short period of time. Either all at once or a few weeks apart with clear pre-orders up.)

My argument was that putting out a book that doesn’t sell is soul-crushing and will lead to feelings of failure that make it that much harder to keep going. And I do still stand by that.

I have also said more than once that I think I am a good enough writer that people will keep reading the rest of my books if they’re there and available, but not such a good writer that people will wait for me for years and come back when my next book is out.

Which means that the more sales I get early on, the worse that is for my long-term success. Because if I get 1,000 sales on Book 1 before Book 2 is out that’s at least 500 and maybe more readers that never buy Book 2. And if I get 1,000 sales on Book 2 before Book 3 is out that’s 750 or more readers that never read Book 3.

So it’s a fine tension you have to live with. Do I get sales now to feel good about myself and stay motivated to keep writing? Or do I wait and get sales later when I have a better chance of sell-through and converting a casual reader to a fan? Not an easy choice to make.

I did this chart yesterday of Book 2 and Book 3 sales on my fantasy series to illustrate this point. It’s just Amazon US and nothing from KU, but representative of my book sales.

Riders Rescue to Riders Resolve Sales

If you look at September onward you can see that things fall into a pretty consistent pattern where if people buy book 2 they also buy book 3. But that I never make up for all those people who bought book 2 before book 3 was out.

Something to think about…

(I’ll still advertise before a series is complete because I need that validation as I go along, but it’s worth reminding myself that it’s best to save the biggest push for when the whole series is ready to go.)

Let’s Talk Categories

I was having a conversation in a private group yesterday that touched on categories. In this particular case the question was about what constitutes YA and what you do with a book that doesn’t fit neatly into a category. This comes up a bit in Achieve Writing Success, too, because a lot of early novels aren’t targeted to existing categories. And if you self-publish you will soon find yourself asking, “Well, where the heck do I put this?”

So let’s break this down. Categories are a kind of short-hand that indicates to readers that they’ll get a certain emotional experience or a certain type of story.

So romance, which is one of the ones where these discussions happen often, tells the reader you’re going to read about the journey two people take to find their happily ever after together. If you put a book in romance and it isn’t about that journey, you will have disappointed readers.

Mystery says there’s going to be something that is solved, most often a murder.

Science fiction says it’s going to involve things in the future.

Fantasy says it’s going to involve things that aren’t real or possible. So magic.

YA is about a coming of age journey focused on a teen protagonist who is generally around 16 years of age.

Those are all general guidelines, but there are rarely hard and fast rules. Categories exist so that I can walk into Barnes & Noble and find the three shelves worth of books I’m interested in without having to dig through all the rest. That’s all they are. A selling tool.

And so if you can write books that fit into existing categories it will be easier to sell those books. One, people who are looking for the type of book you’ve written will be able to find it easily. And, two, people who buy books in that category will get the emotional reading experience they’re looking for.

But not all of us do that. My YA fantasy series is YA (although I prefer to think of it as coming of age fantasy which is a separate category) but it doesn’t fit into any of the provided subcategories on Amazon. It’s not sword & sorcery. It’s not really epic. It’s just a little lost.

Which is why I love AMS so much. Because I can say, “I don’t what category you want to call it, but people who like Mercedes Lacky, Kate Elliott, and Anne McCaffrey are going to like this.” And then I can target them with my ads, put that cover in front of them, with a blurb about what the story covers and let that sell the book. Do I get the people browsing categories? No. But I do get the people who like those authors and might like me, too.

In an ideal world,  you write to an existing category. But if you’re life isn’t ideal, like most aren’t, then you find other ways of getting your book to the right readers. CPC ads (Bookbub CPC, Facebook, AMS) are probably the best way to do that.

Keep Spending The Money or Not

I once more find myself in that stage where I’m contemplating where to go from here. One of the big issues I’m trying to figure out for myself is if it matters to me to be a fiction writer or not. Or if it’s enough to write non-fiction only. It’s a heart-head fight going on and I’m not sure yet which will win.

But while I’m working through that I ran myself a report that looked at sales by series for March-April-May of this year versus advertising spend, which was 95% AMS ads.

And what’s interesting is that for most of my non-fiction I’m spending about $4 for every $10 I make. There was one that was losing me money that I’d already shut down. And another that was closer to $9 for every $10 I make, but overall it’s about 40% advertising costs.

For my fiction, both fantasy and romance, it’s about $7.50 for every $10 earned. I’m still profitable, but half as profitable with those as I am with the non-fiction.

Which bugs me. But is understandable. More competition means higher advertising costs. And as much as I’d love for the conspiracy theorists to win and drive everyone away from using AMS, I don’t see that happening anytime soon.

So it raises the question: Do I keep spending advertising money on low-margin products like the fantasy and romance? Or do I focus my advertising money on high-margin products like the non-fiction?

Both are profitable, which would argue for spending that money because I’m making money even if it’s less per dollar. And it’s not like I spend time on the ads. Maybe ten minutes a day total across all of them, so there’s no added cost in that respect. And it is nice to see things you’ve written sell as opposed to sinking in the rankings.

I guess if I had a finite budget for things and was maxing out that budget with the non-fiction it would be an issue. But I’m not. AMS, the way I use them, only spend so much per title.

So I guess I keep them going. But I do miss those lovely halcyon days before everyone else had discovered AMS and I was spending $2.50 to make $10 on the romance and fantasy novels, too…