A Few Thoughts on AMS Ads vs FB Ads

As I mentioned earlier I’ve finally been taking a more serious look at Facebook ads in the last few weeks. I’d dipped a toe in here or there but never really stuck with them long enough to see if I couldĀ  make them work like I did with AMS ads. But I felt like maybe I should circle back to them for a few of my older titles where Amazon makes it harder to advertise them because they’re no longer new and shiny.

So, some thoughts. (And I talked about some of this a bit in Data Analysis for Self-Publishers, too, but this is specific to these two ad platforms.)

I think that Facebook ads are probably an excellent choice for someone who writes squarely in their genre and whose genre is big enough to support ongoing ads. So that would be thrillers, traditional mystery, contemporary romance, etc. (And you’ll notice that the people who run the big ad courses for FB ads meet this criteria.)

One of the issues I’ve had to struggle with when advertising my books on Facebook has been target audience and audience size. My books sell best to fans of certain authors and a lot of those authors are not available as a choice on Facebook. Or if they are available the audience size is small enough that I can’t imagine running ads to that author name for more than a limited period of time. My frequency goes up fast, especially in the foreign markets where the audience sizes are even smaller.

Compare that to Amazon where I can advertise to the most obscure name I can find if I want. (I don’t recommend doing so with just one name like that, but I could. And I can use any name or any combination of words I want.)

The other factor with FB ads is their complexity. I think this can be a benefit for some authors but is a problem for most.

On FB ads you can have any image you wantas well as a lot of text both above and below the ad image. Amazon ads on the other hand pretty much have the book cover and a few lines of text, if that. And the star rating and price.

The complexity of a FB ad is likely a benefit for more experienced authors who have a lot more bells and whistles they can use in an ad. They can include glowing review text AND a punchy little tagline AND a killer image that draws people in.

But for those who are new it’s more opportunities to get it wrong. You can have a killer book cover but if the ad image you choose is bad or the text you choose is clunky, all that choice can work against you.

Another thought about the two is that for FB ads tracking performance is trickier. Which is saying something because we all know that tracking AMS ad performance is challenging enough. But with FB ads, if you aren’t violating TOS and using your affiliate links or reducing ad performance by going to a landing page first, you really can’t tie specific clicks to specific sales.

This becomes a problem if you’re trying to run an ad that has multiple target audiences, for example.

I had an ad running with both Tamora Pierce and Anne McCaffrey as target authors at the same time. And I was getting good cost-per-click for both. Tamora Pierce was actually better at 7 cents a click, but Anne McCaffrey was good at 12 cents a click.

Here’s the problem, though. Turns out that Tamora Pierce doesn’t convert for me. People love the ad, they click on it, they go to Amazon, and then they don’t buy.

Whereas with Anne McCaffrey they do.

So if I were just looking at the data I can see on FB it looks like I’m doing really well getting low-price clicks with Tamora Pierce. But it doesn’t matter what those clicks are costing me because I’m not getting sales. And the only way to know that’s happening is to just run ads to Tamora Pierce one day and just run ads to Anne McCaffrey another.

FB itself has no way to know which of my clicks (if any) from their site actually bought the product on Amazon. (I would love for there to be a feedback system in place where i could manually tell them my estimated performance and have them incorporate that into their allocation algorithm, but that’s not going to happen.)

So it can be easy with FB to focus on the wrong metric. “Ooh, I’m getting lots of cheap clicks, woohoo!” What matters is are you making a profit. Are those clicks resulting in sales. And that takes more effort to figure out than AMS ads.

I do think if you’re in a good genre for it and have everything aligned that FB ads have probably far more potential than AMS ads. But I am also very glad that I started with AMS ads before I tried moving to FB ads. Because I would have probably lost a lot of money on FB ads early on because the books I had to sell were not packaged to sell well through FB ads.

One final thought. I’ve seen both on author boards and in the group for the class I’m taking people say, “What am I doing wrong? My cover is fantastic, my blurb is great, my reviews are wonderful, my landing page is stellar, and yet I’m not getting the sales I would expect.” And I have to say that most times when the person provides a link in those situations that’s not actually true.

I saw one where the color scheme for the cover was completely different from all other books in the genre. Another where the review quote at the top of the landing page was formatted in such a way it wasn’t clear it was a review quote. Another where the blurb text was clunkier than it needed to be.

Trust me, I don’t get this right myself half the time, so I’m not going to wade in there and tell anyone what they’re doing wrong. But if you think everything is perfect and you’re just somehow not getting sales, then everything is not perfect. There is a disconnect somewhere and you have to keep poking at it to find where that disconnect is. That’s true of AMS ads or FB ads. You either aren’t targeting the right audience or aren’t packaging your book in a way that appeals to the audience it should appeal to.

Anyway. Something to think about. (And now the dog must be fed because she’s big enough to make a meal of me if I fail to provide for her.)

 

Amazon Advertising Problematic Change

I’m sure some people received an email this week from Amazon Advertising and were incredibly pleased at the change they announced. Per the email, “As of 1 July 2020, sales for current and new Sponsored Products campaigns featuring Book ASINs will be reported for the advertised ASIN only. Prior to this date, reporting may have included sales for various formats of the title advertised.”

I will tell you why this is bad. My AMS ads for ebook often generate paperback sales and my adds for paperbacks often generate ebook sales. Having that type of data reported in the dashboards confirms that that happens and better lets me see my ad performance.

Now, they think the simple solution is to just list all formats of the book in your ad. But here’s the thing, I’ve found that for each of my books one format or another is the better one to advertise. It’s the price and image that appeals more to shoppers. And I’m not going to list multiple versions of the product in my ad and decrease my ad performance just to see which products are selling.

I know a lot of authors freak out about “OMG, AMS says I sold something but that book I was advertising didn’t sell” so I figure Amazon got tired of hearing about that and having to explain over and over and they thought this was a solution.

But it’s a bad one for Amazon long-term. People will assume that the ads are not doing as much as they actually are and back off on ad spend. Which I guess is good for me since I rarely use the dashboard as the ultimate arbiter of my performance. But monitoring ad performance in the short-term is about to become very annoying.

What they should have done in my opinion is added one more frickin’ column to the dashboard. So you could have sales of advertised products in one column and sales of other related products in another. While they were at it they could’ve included sales of other books in the series when someone one-clicks the entire series…That would’ve been nice.

But no. They had to go and make it worse.

2020, I tell ya. I’ve decided based on events in the year so far that this is the last year in the decade rather than the first year of a new decade.

Three Publishing Choices

When I’m stuck on writing (which is disturbingly often these days), I look at my numbers and try to decide what to do next. It’s all a big stalling game because moving in some direction is better than sitting around trying to figure out the “best” direction to go.

But, well, yeah. Some days spinning in circles is all there really is to do.

When I do this I focus on three key choices I can make. I think I’ve discussed this before, but it never hurts to go through it again.

1. Increase sales of existing titles

This is partially why I’m taking the FB ads course right now. Because I feel like I’ve maxed out what I can do with AMS for my existing titles and I wanted to find some other form of advertising that I could do day in and day out.

This could also involve putting an existing title out in a new format. Or moving a title from wide to KU or KU to wide. Or listing your books direct. Or listing them with all the little distributors you can find.

Sometimes that three hours of effort to do something like that can make more money per hour than writing the next book. Or it can make more money in the short-term than writing the next book.

If you’re not properly leveraging what’s already there, there’s a lot of room for improvement in this area.

(I would probably include as a lesser option here rewriting or rebranding existing titles. It can feel good to rewrite an existing title, but I’d argue it isn’t the best use of your time/efforts. I still remember going back to my very first short story and wanting to rewrite it and realizing there was no point because there was no central conflict to rewrite around. The idea was simply flawed from the get-go. And I did rewrite my first novel after I’d written a million words, but that was time I probably could have better spent on a new novel instead.)

2. Write more of the same thing

The second option is to write more of what you’ve already written. So you look at what sells best and you write more of it. More in that series, more in that world, more in that genre, more under that author name. You add to what’s available to feed your existing fan base and get another chance to bring in more new readers.

This is probably where most self-publishers spend most of their time and effort although I might argue that pursuing 1 and 3 may be the better option for a lot of writers. Not when you’re new, though. When you’re new production is king.

3. Write something new

The third option is to do something brand new. I usually do this at least once a year. So, for example, this year I wrote a book on regulatory compliance. It had nothing to do with what I’d published before but I figured it was worth the time and effort to see if there was any sort of market for it. I’m not rushing to write more but it did well enough I’m pleased I took the time to write it.

I added the cozy series two years ago and Data Principles last year. If something works, it goes into category 2 where you keep doing more of it. If it doesn’t, you move on. But you don’t know until you try. As I mentioned in Data Analysis for Self-Publishers, data analysis is good for what you’ve already done. Not near as helpful for what you haven’t tried yet.


Yeah, so that’s what I think about. And then I come up with a list with four ways to increase existing sales and eight ideas for writing more or something new. And then instead of doing any of it, I come write a blog post instead. Haha. Being creative while the world burns is not easy to do.

Ah, Amazon…

It took six days but the paperback version of Data Analysis for Self-Publishers is now live on Amazon. Or at least it was when I checked this morning.

This was the first time they ever managed to link the ebook and print versions of one of my M.L. Humphrey titles without my asking them to do so. But it didn’t help much when the book wasn’t available for purchase and no price was listed. I wrote them about it and they told me that was the standard publishing process. No, no it isn’t. But thanks for playing.

I had to wait two more days to politely email again and say, “Hey, this isn’t right” and then it finally got fixed.

While I was at it I noticed that my YA fantasy books which are about 400 printed pages as is were showing as 700+ pages because of the large print edition I did at one point. I’d actually gotten them to fix that six months or so ago and unpublished the large print editions to make sure it wouldn’t happen again, but there it was.

I do find that they generally fix things when I ask them to, so kudos for that, but it’s just one added level of angst on everything else especially when you have a lot of books and can’t possibly sit on top of each one all the time.

Like sometimes I forget that they require you to use HTML coding if you want paragraphs on your print book description. Or that you often have to email to ask them to add a new book to a series page listing. Or that they will often only do so for ebooks and not print books. Or the stupid linking of book formats if you use initials in your pen name. Or, or, or…

But they’re the big player so we’re all stuck with them and their many, varied quirks.

Alignment

I’ve been enjoying the Skye Warren FB ads class I’m taking right now. I have a successful ad running for the series I tested it on which is exciting. Fingers crossed it continues.

I’ve done okay with FB ads in the past, but I have this innate dislike of pricing low so I only ever ran them when I had a promotion going on elsewhere, but now that I have a completed six-book series it’s more palatable to me to put Book 1 at 99 cents to bring in a lot of readers.

I’m telling ya, the more books you have out there that tie to one another the more options you have.

The class uses a FB group so we get to see what other authors are doing with their ads and what questions they have. Today there was a post that reminded me of a conversation I had re: AMS ads a while back. It hasn’t been answered yet but for me it brought up the idea of alignment.

If an ad is getting lots of clicks but not getting lots of sales and price or KU enrollment aren’t the issue, then often the issue comes down to one of alignment.

To bring someone from clicking on an ad (AMS is what I know, but the principle holds for all types of ads) to your product page and on to purchase your book, everything has to be aligned.

I could put up a really sexy picture of a man with no shirt and killer abs and get people to click on that ad. But if the book I was advertising was Excel for Beginners, I wouldn’t get many buys from that click. Because people would click looking for a hot sexy man and find…Microsoft Excel. Not what they wanted.

The person I talked to a while back had an issue where they had written a book that was fiction but targeted the book as if it were non-fiction. So readers would click on the book thinking it was an academic sort of analysis of a historical event and then find that it was a fictional retelling of those events. This led to a lot of clicks and no sales.

Because the ad and the book page weren’t aligned.

Another way to think of this is that you don’t want any friction along the way.

It’s like when writing your story. You don’t want to say things that pop the reader out of the story and make them remember that they needed to do laundry today. You want to grab ahold and pull them all the way through without them having to think about it.

To create alignment with advertising you need everything to tell the same story: cover, ad copy, ad image, product page, customer reviews, etc. All of it has to point to the same potential experience.

That customer has a need and is trying to determine if what you’re offering will fill that need.

To carry this further, if you want sellthrough in a series then you actually need to continue that alignment through the entire book.

The customer has a need, you tell them you can meet that need, everything external to the book indicates that you can, and then you have to actually meet the need if you want them to ever buy from you again.

“This is a rip-roaring adventure that’ll grab ahold of you and never let go” sounds really good to a certain type of reader. But if you give that reader a book that has a hundred pages of navel-gazing ponderings about the nature of the universe, you will never see them again.

Just like a book advertised as “a cerebral examination of man’s search for meaning in a desolate world” can’t then be an action-packed comedy.

You’ll get the first sale if you do that, but you won’t get any more sales.

So, bottom line.

If you’re getting clicks on an ad but no buys, something isn’t lining up between the promise the ad is making and the product page.

If you’re getting buys and no follow-through to other books then the promise you made to the reader with your cover, blurb, and advertising wasn’t met.

(In non-fiction it could have been met and the need is now satisfied so no need to continue on but with a fiction series that first book is building trust and a promise about what experience you provide as an author. You need to deliver on that promise to keep that reader.)

Anyway. My thoughts for the day as I (yet again) struggle to start the next novel. (This is the hard part about finishing a series. There’s no pressing need to continue on with a specific project. Sigh.)

 

Data Analysis For Self-Publishers Now Live

I published a book yesterday. One I actually didn’t set out to write. What I wanted to do was quickly update the screenshots and text in Excel for Self-Publishers since I’d just gone through 600+ screenshot updates with my other books and I figured why not do it real quick and get it back out there.

Instead I ended up realizing that what I actually wanted out there was something more high-level that just dealt with the concepts of what data to look at as a self-publisher and how I use that data myself. (This is all in the introduction, by the way.)

Publishing this book shows that I don’t listen to my own analysis as often as I should. But this is my way of dealing with writer’s block. I get stuck on one idea so I do something else rather than just sit there and wait for inspiration to strike. Hence, the absurd number of non-fiction titles I have out at this point.

Anyway. The book is in KU and only $2.99 ebook instead of the normal $4.99 I’d charge. And the paperback whenever Amazon actually decides to show it as genuinely available will be $7.99.

So if this is something you need, enjoy. I will say that I published it yesterday and was already having mental debates with myself today about one of the things I said in there, so it’s not gospel truth, just one way of approaching things.

Also, I made the self-publishing/writing books I’d unpublished from the wide channels available on Payhip for anyone who comes looking for them because I ended up mentioning two of them in the book. You can go to https://payhip.com/mlhumphrey and then click on “Titles Removed from Wide Distribution” to find them.

Data Analysis for SP 20200522

A Few Random Thoughts

We’ll start with writing.

I’m taking a course on FB ads right now (by Skye Warren) that looks pretty good so far. It was hard to decide to spend that kind of money ($600 or so) but I figured I’m about at the point where I need to expand beyond using mostly AMS ads and I’ve been impressed by what she has to say over the last couple of years. Our mindset aligns on a lot of this.

But making the decision to spend that money isĀ  part of one of the trickiest things you have to deal with in this business, which is knowing who to trust and when a big money spend makes sense.

There are a lot of people out there who charge a lot and don’t deliver. They may rank high but they’re doing so by buying that rank and you really don’t know up front that that’s what’s happening. (I took another class recently that wasn’t as expensive but where I suspect that was the case.)

I see so many people who’ve taken expensive classes later blame themselves for not being able to make it work when sometimes it was the instructor that was the actual problem. Maybe not deliberately, but sometimes they think they have it worked out when they don’t.

(I say this as I’m about to release a new book for self-publishers….Ah, irony. In so many respects.)

So I’m always nervous about a big spend like that, but sometimes you have to spend that big money to get to where you want to go. (This goes for covers and maybe editing, too, not just courses.) It’s a calculated risk.

One thing writing the new book and taking this class have reminded me of, though, is that at the end of the day what we have available to sell is what it is, which is very likely a flawed product in some respect.

(For newer writers it can be flawed in many respects. Maybe the writing isn’t there yet or it’s a genre mash-up that’s hard to advertise effectively or the cover isn’t what it needs to be or the blurb or the editing or…all of it. My first attempt at a romance novel the couple agreed at the end that they were better off as friends. Talk about violating genre expectations.)

So we can learn all these lessons about packaging and marketing and see that others had great results, but at the end of the day the book we wrote just can’t perform the way we need it to. We can bring readers in, but if the book doesn’t satisfy them then all that effort and expense is wasted.

Sometimes you can fix the book, but often you have to just let a project go and move on and do better the next time. Or lower your expectations. Know that this project isn’t going to be a top 100 title or a premium title or one that people shout about to their friends, but it may still be profitable for you…It may still pay those bills and have a loyal following.

Something to think about…


In non-writing news, I picked up my grandma yesterday and took her to see my mom. In these times something so simple is fraught with worry because they’re both at risk if they get this.

I’d been home except to walk the dog for ten days, my mom had been home for three weeks, my stepdad had been home for six days, and my grandma had been home for two months but with people dropping in probably more often than I’d like.

So there was risk. Ideally given what we know about disease spread none of us would’ve gone anywhere for fifteen days before we all got together. But it seemed like a manageable level of risk. And it was good to hug one another and share a meal.

But I do worry that my grandma took this as some weird sign that it’s now safe and okay to have people over or go to people’s houses. And that my mom and stepdad are now getting out more than they were before because somehow our state moving to a “safer at home” mode has changed things. (Nothing has changed, though. I think our governor just decided he couldn’t keep people at home much longer so he’d lighten restrictions rather than face insurrection.)

Hopefully we’ll see a seasonal dropoff with this thing and they will be relatively safe, but I suspect a lot of people will get caught out by this loosening of restrictions thinking that somehow the fundamental facts of the situation have changed. But as long as we have free movement across the country, and across the world to some degree, that’s not the case. It only takes one or two uncontrolled introduction events for things to flare right back up.

I’m lucky to work from home, but I worry about those who can’t. And I worry about some of the ridiculously stupid shit I see people say. (Nextdoor is a vision to behold in my area. Not to mention what I’ve seen elsewhere.) You’d think we could all agree on a set of objective facts, but it turns out that we actually believe different facts and I don’t know how you solve that when people don’t trust the methods used to determine those facts.

Anway. Life is weird right now.

For anyone looking for a good overview of the current understanding of SARS-CoV-2, Johns Hopkins has a Coursera course on contact tracing. The first week takes about an hour and is all about what’s known about the illness. (https://www.coursera.org/learn/covid-19-contact-tracing?edocomorp=covid-19-contact-tracing) You can take it for free and get a certificate, too. I thought it was worth the time.

And now back to editing…

50,000 Paid Sales

I realized just now that sometime in April I passed the 50,000 paid sales mark. It’s a lot less than a lot of people have hit, but it’s a helluva lot better than the 53 books I sold my first year of publishing.

So what changed? How did I go from just over 50 books sold in an entire year back when things were supposedly easier to almost 20,000 last year? And not at 99 cent price points either. Last year I averaged about $3 in revenue per unit sold.

I’ve said this before and I’ll say it again and again and again: What you’re publishing matters. All titles are not created the same. The market size isn’t the same, the price points aren’t the same, and your personal ability to deliver to that market is not going to be the same.

My first year of publishing I put out a handful of short stories and a couple non-fiction titles in an area where I had no established expertise.

With rare exceptions, short stories just do not sell as well or for as much as novels. If I were still only publishing short stories I do not think I’d have increased my sales all that much. It let me practice publishing, but if you’re writing short stories, and especially in SFF, you are much better off submitting to the SFF magazines and getting published that way.

I honestly am not even sure short stories as a lead magnet are all that worth it. I remember a few years back an author who got the rights back to a series and republished it and did really well doing so. I read their first book and enjoyed it, but when I then went and picked up their lead magnet I did not. If I had been a reader who found the lead magnet first I would’ve never read that series.

Personally I believe that short stories and novels are two different forms that require different skills and I’d argue that readers prefer one over the other most times and that most writers tend to do well at one given length but not at any length.

(I do think that can vary across genres. My mysteries naturally come in at 45K words, my fantasies come in around 90K, and my romances around 75K.)

What else changed?

I also learned more about marketing and covers.

My first covers were horrible. One might argue that my current covers aren’t amazing works of art, but I do think they get the job done. Those first covers…did not.

But I kept trying until I got something that did work. I didn’t just quit right away. Or leave it as is.

It’s also scary to look back and realize that I didn’t spend any money on advertising until fifteen months after I’d published my first title. Maybe that was a good thing because, like I mentioned, the covers weren’t where they needed to be. So I may have been throwing money away if I’d tried to advertise early on.

Then again, back then there was a lot less expectation of quality covers.

When I did finally start to spend on advertising, I would argue I didn’t initially spend my money on “good” advertising. Some options, like AMS, simply didn’t exist back then. But I was also cheap. So the list-based advertisers I used were not the best. When you are only willing to pay $5-$20 for a promo you’re going to get what you pay for and it’s not going to be a whole lot of anything.

These days I primarily spend on AMS because I can advertise full-price books that way. But if I can get a Bookbub feature or a Kobo promotion I’m all for that, too. With a Bookbub feature I’ll add in Facebook and Bookbub click ads. I’ll also run the occasional other promo with a well-regarded advertiser like Freebooksy/Bargainbooksy.

There are still many flaws in how I approach all of this. And I pay for those flaws. I am not doing as well as I could be. I know enough now to know what I do wrong (for the most part, there’s probably more I don’t know I do wrong yet) but I’ve had to accept that I am not going to be that perfect book-producing machine.

The way to maximize your performance is to test things out until you find what you’re good at or good enough at and then to keep producing in that one area.

And ideally to find something you’re good at that can support that continuous production. That’s why genre fiction is such a good choice. Fantasy, mystery, romance. Any of those will work if you’re giving the readers what they want. Do so consistently and frequently enough and back it up with promotion and good packaging and you’re on your way.

I do think it’s the rare author that can actually do all of that, though. They’re out there, don’t get me wrong. There are hundreds of authors making six figures each year who manage to do that. Who produce a product people want, do so on a good consistent schedule, get it in front of that audience so they know it exists, and package it in a way that appeals to that audience.

But there are probably tens of thousands of authors who don’t do that and never will. And I probably fall on the upper end of that group of tens of thousands.

So am I pleased with where I am?

Yes and no.

I’m glad I’ve improved as much as I have. (I wouldn’t still be doing this if I hadn’t. There’s a difference between having faith in yourself and being blindly foolish about something. I’ve put in enough time and effort to expect improvement year over year.)

And my profit per month is now at a point where I could live on it if I weren’t extravagant in how I chose to live or if I lived somewhere cheap. But I want to be a little extravagant, so I’m not where I personally want to be yet.

(I don’t really want to get back to my consulting-level income, though. I don’t honestly need that kind of income and it creates weird barriers with the people in my life who matter to me. Plus, it’s easy to become a jackass when you’re making a lot of money or maybe that’s just me.)

Also, it frustrates my ego that I’m not doing better on the fiction side. I get good reviews but I haven’t cracked the launch and marketing combination to get the sales I want on that side of things.

I may never crack it, honestly. I have a love/hate relationship with getting attention for my work and I don’t think there’s a way to get to where I want to with sales that doesn’t involve developing a fan base which comes with headaches I really don’t want.

So, anyway. That’s me. Big milestone-yay. Not where I want to be yet-boo. Still going to carry on for the time being because working at home with my dog and not having to deal with office politics is my personal idea of bliss.

 

 

 

 

Random Publishing Thoughts

For any of the writers/publishers who follow this blog I imagine that my focus on other issues recently has been a bit disappointing, so let me see if I can share some writing and publishing thoughts that may be of help to someone else.

I spent the last month(?) updating my print book covers as well as my interior files that had screenshots. It was one of those situations of you don’t know what you don’t know and when you figure out what you didn’t know feeling compelled to fix it. In this case there were at least four different issues I needed to figure out and the cover and interior issues were not the same ones.

Of course, knowing it in the first place would’ve saved a lot of effort, but that’s the journey of self-publishing. You try your best, you learn that your best isn’t the best possible, you level-up, try your best again, learn that it still isn’t the best possible, and so on and so on forever. And most of what you realize wasn’t the best is stuff that the average person on the street won’t even have noticed or if they did notice won’t have been able to actually describe to you.


For me personally there was a month there where I saw a big dip in sales/revenues because of Amazon and how they chose to handle print books. That seems to have resolved itself although IngramSpark is now reporting printing delays of up to two weeks. And turns out with IS if there’s a pending print order for a book of yours you can’t update it, which is annoying since I submitted updated files for each series at the same time but some books are through and approved with new files and others still are not after almost two weeks. But what are you gonna do? Old processes, new situations, they don’t always work well together.


In the world of AMS ads, I’m pretty pleased. I can’t check AMS spend from a year ago but I’d say that I’m probably spending less on ads right now than I was then but getting a better return on them. Also I think cost per click is down for me from a year ago. Keep in mind that’s very much dependent on what you’re advertising so that may not be true in genres like romance. But it seems to me there was a lot of stupid money in the ads last year that has since gone elsewhere. (Probably Bookbub ads or it seems a lot of folks have circled back to FB ads if public comments are any indicator.)

I have two ads that have generated more than $20K each in sales, so I’m still a big proponent of getting a good ad going and then keeping it alive as long as I possibly can.


David Gaughran posted on his blog recently that there’s now a portal for Apple for uploading books via a PC so you no longer need a Mac to go direct. I used the portal today to update three books and it looks like it worked. No idea why Apple didn’t tell anyone about it yet, but that’s how it goes it seems. Nice thing is that it makes it clear you have to provide your cover with each update even if it’s not changing which I didn’t realize the first time I updated an interior file on Apple.

The last page of the update process acts a little weird if you didn’t have an ISBN, but clicking on the help icon for that field seemed to address the issue for me. And there was no clear easy way to update a second book without going through the whole navigation process again but I assume they’ll smooth out the bugs over time. It was nice to not have to go break out the Mac just to upload those files. (I still need it for Vellum, though.)


A friend in another group recently mentioned the power of backlist. They have a pen name they abandoned years ago that still makes a few hundred a month for them. And I think it’s important to remember that a new reader doesn’t really care when a book was written (unless it’s dated somehow). All they care is that it’s a good read. So don’t give up on old titles just because they’re older.

Having said that I’m definitely an unpublisher. Sometimes it’s because information becomes outdated (for non-fiction) and sometimes it’s because those stories aren’t a good fit for who I am as a writer now. And sometimes it’s just because I want to reclaim the mental space I was giving to that title.

But if you still like a story and still think it will appeal to readers then give it another chance. New covers, new blurb, some ads. I definitely have titles that made more money in their third or fourth year of publication than their first. Often publishing more under a name helps tremendously. You have a new title boost and if you’ve learned better packaging and marketing that can flow back to the first title.


What else? I think the current situation is probably stressing different people in different ways and I’ve seen a lot of talk about how it’s harder to be creative right now than before. I suspect Strengths play into this so that’s not true for everyone. And maybe where you fall on DISC as well.

For me I’ve been working more hours than usual but what I’ve been doing is very rote as opposed to creative. I just finished recreating probably 600+ screenshots and putting them into documents. But since I’d already worked out what those should look like it was moderately mindless work. Detail work, but not in the same way as writing something new.

So if you’re stuck right now, finding tasks like that might help. I had other ideas on my to-do list like checking all of my pricing and streamlining it. With currency exchange rates changing over time my Canadian and Australian prices were out of whack. I like to at least be consistent across a series if nothing else. (And pay attention to the suggested prices from Amazon because those are way off in a few of the listed currencies.)

Or you could spend time checking your book categories. Your blurbs. Your links on your website. The paragraph spacing of your book descriptions on each site. (Paperback on Amazon is a notorious issue. HTML tags are a must.) Basically just all that housekeeping that needs to happen. I’ve let my ad spend tracking fall by the wayside and need to enter all of that. Submit for a Bookbub feature deal or a Kobo promo. Run a few list-based promos. Finally figure out how to list direct on some sites rather than through a distributor. Etc. etc.


I don’t think this whole situation is going away anytime soon. Even if you’re in a country that has it relatively under control if you’re a writer/publisher then the U.S. is probably a big part of your sales and we’re going to be dealing with this for I’d say at least the next year. In terms of ebooks and audio things are probably pretty good although I wouldn’t be surprised by slower response times if you have an issue and perhaps more publishign delays. If you sell heavily in print I’d expect further disruptions due to staffing and supply. And if you’re POD perhaps more quality issues. (My last batch of books from IS that I ordered to check the cover changes clearly showed someone wasn’t being as careful about things as normal.)

All we can do is continue on as best as possible and adjust as needed. As always.

The Beauty and Danger of Publishing

One of the things that appeals to me most about publishing is that something I created long ago can continue to pay me money. I have titles I published in 2013 that continue to sell today. (Not many copies because those are all dead pen names that I don’t do much to promote, but sales are sales and that effort was done and dusted long ago.)

But most titles won’t continue to sell forever without continued effort to release more material under that name or promote them. So the same thing that appeals to me about publishing (long-term income from a project I finished long ago) is also what I have to guard against.

So far today I’ve sold 36 books on Amazon, which is great and will help pay my rent. But book sales are a lagging indicator. They happen after all the work has been done. After all the words have been put on the page, all the editing and formatting has been done, after the cover and title have been chosen, and after the publishing and promoting have been done.

It can be easy to focus on the sales number and forget about the months of effort that were required to get those sales. And because sales of most titles do trail off over time that means you can be headed for a fall off a cliff and not realize it. And when you do realize it you can be months behind where you should be to get things back on track.

So far today I haven’t written any words. I could probably continue to do that for six months without seeing any sort of huge impact on my income. It would probably require more promotional effort over time, but I could keep pretty steady for a while. But if I did that for a year? Or two? I’d definitely feel the pinch.

That’s why it’s important to track leading indicators as well. My big one, of course, is words written. (And to some extent, titles published. Writing words is meaningless for what I’m talking about here if those words aren’t going to lead to publishable titles.) The words I write are always the first step in the process. Without those, I have no new material.

The other one for me–that I also make into a New Year’s resolution–is ad spend. I target a certain amount of ad spend per month with the expectation that ad spend leads to sales.

So while it’s nice to see those sales and it helps take a little of the pressure off to know that money is coming in two months from now, it’s not safe to focus on just that sales number. I need to instead focus on production and building a base of material because it is far too easy to get lulled into a sense of false security with publishing.