20% VAT for ebooks arrives today — what’s your strategy?

If you publish ebooks on any digital platform, you should be aware that an increase in VAT has been in the pipeline for some time. It came into effect this morning and applies to all digital downloads. For the purposes of this brief article I’m going to be talking about how it affects UK-based users of the Kindle Direct Publishing (KDP) platform.

How it used to work

Calculating VAT was always a little arcane in the old version of KDP. VAT was fixed at 3%, but it wasn’t included in the price you set on the book’s dashboard. For example, if you wanted your book to cost £1.99 to the customer you had to set a price of £1.93.

For the kind of prices we’re talking about, 3% VAT was negligible and made very little difference to an author’s bottom line.

How it works now

I woke up to find that one of my titles had been automatically hiked in price from £1.99 to £2.32 (curiously, my other titles remained at their original prices). When I delved into the KDP bookshelf I found a link to Amazon’s explanation of the new rules.

The new VAT panel on the KDP dashboard

It’s actually much easier to use now. Rather than having to figure out the VAT-exclusive price from your desired list price, you just enter your list price and the system automatically deducts VAT. For example, if I want my book to sell for £1.99 then I simply type in £1.99. It ought to have worked like this from the beginning.

The problem, of course, is that VAT is now 20%. Amazon won’t absorb that price. You have a choice: you can either make your readers pay it, or you can pay it yourself. Put another way, if you continue to sell your £1.99 ebook for £1.99 you will make less money for every sale.

Coping strategies

I’ve had plenty of time to think about this since Amazon sent out their first email about the VAT increase. My initial reaction was to absorb the extra cost myself to avoid hitting my readers with higher prices, but in time my stance changed.

Things aren’t as bad as many authors claim — and I am strongly of the view that we are right in the middle of a golden age for writers — but there can be no denying that an increase in books on the market has driven prices down. I believe that authors should be paid for their hard work. When you think about how much readers gladly pay for paperback or hardback books, ebooks (the same content, differently packaged) start to sound like an excellent bargain.

I priced my full-length novels at £1.99 for a long time. £1.99 was a good compromise between value for the reader and value for me, but now the rules have changed. I think the average selling price of ebooks will increase slightly — and I don’t see that as a bad thing.

For that reason, effective immediately, I have increased the price of my full-length novels on Kindle to £2.49. I think anyone would agree that this is still an excellent deal for the reader, considering that the paperback editions of these novels weigh in at £7.99. And people are quite happy to pay what a novel is worth if they really want to read it; in fact, one school of thought claims that a low price actually damages a book’s chance of success.

Not every author will decide to do this. Some might be better served by keeping their prices as low as possible — which is, after all, a tried-and-tested method of getting a bigger audience. But my books are selling fairly well as they are, and I’m long past the point of underselling myself in an attempt to get more readers at any cost.

Everyone needs to think things through and come up with their own strategy, but I’d encourage authors to think twice before decreasing their prices yet again. We do a skilled and time-consuming job for scant reward, and we deserve to be paid for our efforts.

Thoughts on Kindle Unlimited, KDP Select, and being exclusive to Amazon

Kindle Unlimited has launched in the UK! Why is that good news for readers? For £7.99 a month, subscribers will get unlimited access to thousands of Kindle ebooks. That includes every KDP Select title plus a good selection of others as well.

So: great for avid readers, but what about authors?

There's been a lot of debate about this. Some worry that it will dilute author royalties, and others object to the fact that all titles enrolled in KDP Select are automatically put in KU whether the author likes it or not.

For my part, I knew this was coming so I have had a chance to think it through. My two most recent titles are already exclusively available on Kindle, and reports of increased sales from other authors have encouraged me to continue the experiment ... for now.

However, the great thing about being an independent author is that I can review my policy and make alterations at any time. If the time comes when being in KDP Select and KU no longer serve my needs, I'll change things.

Here are my books currently available on Kindle Unlimited:
Crowley's Rival
The Atholl Expedition

The exclusivity question

I am extremely wary about being an Amazon-exclusive author. I know for a fact that some of my readers don't have Kindles and don't shop on Amazon, because they've contacted me to say so. The Only Genuine Jones remains available on many digital platforms.

However, the bottom line is that OGJ has sold abysmally on every platform except Amazon Kindle.

Sales on Kobo, Nook, iBooks, and Sony stand at twenty two to date. Combined. That's twenty two sales in almost two years. I have yet to see a penny in revenue from Smashwords (my non-Amazon distributor). Compare that with thousands of sales on Amazon — who, incidentally, are far more user-friendly than Smashwords — and I think you can see that exclusivity starts to look a little more attractive. You also have to consider the fact that free promotions on Kindle require exclusivity. Amazon won't give you access to that promotional tool if you publish electronically on Kobo, Nook, or elsewhere.

I don't believe in regular free runs — they can do more damage than good, both to the book and the market as a whole — but it's a valuable strategic tool to have in your arsenal. Removing the ability to do a free run ever is a big deal.

So it comes down to this: sign up to Amazon's exclusive KDP Select programme and exercise greater promotional clout, or publish widely on platforms that may never make you a single sale. When you put it in those terms I think you'll agree that it's a difficult decision. Frankly it's no wonder that so many authors are now exclusive to Amazon.

Fundamentally I don't like the idea of being exclusive to a single vendor. It goes against the grain. But for now I find myself moving in that direction for practical reasons, because Kindle is quite honestly the only competitive ebook platform left. Nook is dying a slow death by a thousand cuts and Kobo is to all intents and purposes dead in the water. Sony announced their decision to suspend sales of ereaders some time ago. Like it or not, Kindle rules the roost.

If the market changes then I'll gladly publish more widely, but for now you'll be able to enjoy all my titles (apart from The Only Genuine Jones) as part of a Kindle Unlimited subscription.

The Atholl Expedition in paperback - a work in progress

The response to my new book, The Atholl Expedition, has been overwhelming so far. It has stayed in the top fifteen mountaineering books on Kindle since it was published, briefly occupying the coveted bestseller position on Christmas Day. Plenty of readers are snapping up the book on Kindle, but to me a book never feels "finished" until it's available as a gorgeous, physical paperback edition.

My current task is to create that paperback for my readers who prefer physical books to their digital equivalents.

Typography matters

One of my key missions with this paperback is to create a book that looks of its era. I want to evoke the atmosphere of the mid 19th century with every word, every chapter heading, every drop cap. That means I have to carefully select my typefaces and pay close attention to the look of little things like running heads and page numbers.

After much deliberation I have selected Garamond as my body text font. It's an old-style serif type that was commonly used in the 19th century, and indeed remains popular today. Most Alpine books of the period used a far denser, 'blacker' Scotch Roman, but I will not sacrifice clear readability for period charm so I have chosen to compromise by choosing the far more legible Garamond as my body text font. The italics are also gorgeous.

Headings are another matter altogether, as they are used comparatively rarely and therefore can be tuned to more closely resemble the period style I am attempting to imitate. I have used a Century Condensed font for headings, expanding the spacing between glyphs to 1.4 points. This creates a close approximation of the headings used in most of the Alpine books of the era.

The overall result looks nothing like the paperback edition of The Only Genuine Jones, and (I hope) succeeds in evoking quite a different atmosphere: an almost claustrophobic feeling, a sense that the mountain voyageur is stepping outside the boundary of the known world and into an alien landscape. This subtle feeling can be sensed whenever one reads a book from before the golden age of Alpine exploration.

Decisions, decisions

I used FeedARead to create the paperback edition of The Only Genuine Jones, and was very impressed by the process, although there was of course a learning curve (and I had a hell of a time getting my spine graphic right!) However, one of the limitations of a print on demand service is that it becomes uneconomical to offer wholesaler discounts, so it's very difficult to get the book on sale in bricks-and-mortar stores. The paperback version of OGJ has sold moderately well but I'm aware I could have sold more copies had it been available in bookstores at key locations.

I would really, really like to get Atholl into bookstores, so I'm investigating other print on demand services that offer this option. One possibility seems to be to go directly to Lightning Source, but the process doesn't appear to be as user friendly and there's less margin for error. I'm still investigating; I may well end up using FeedARead again, as (other than the wholesaler discount issue) I've been very happy with their service so far.

Book launch or no book launch?

When I launched OGJ into the world at the Clachaig Inn in February 2013, it felt like a natural high point in my writing career and a moment of considerable triumph. The fact that it only just broke even, financially speaking, did not matter; it was something I had to do, and I'm very glad I did it.

This time it's different. I am extremely proud of the new book I have written--in some ways more proud of it than I am of my first--but it isn't my first book, and I have to consider financial matters more carefully if I am to make a serious business of my writing. I would very much like this book to generate more profit for me than the last one, and I'm well aware that a book launch party is something of a luxury these days.

Also there's the matter of timing. I want to launch the paperback as soon as possible, and that doesn't leave me with much time to plan and book a launch event. I'm working full time hours at my day job at the moment and most of my holiday allowance for the year is already accounted for. I work in a small team, and getting extra time off is simply impossible.

On balance I don't think a book launch event is going to happen this time, although I am keen to do more signings and talks in my local area (something I neglected with my first book due to the strong Scottish connection).

Remember, if you sign up to my mailing list you will get an early notification when the paperback edition is available to buy on Amazon. You can sign up here.

Every author needs a support team

They say writing is a lonely business. The meat of the work is conducted at your desk, alone: an introverted process of extracting ideas from the recesses of your mind and hammering them into some form others can understand and enjoy.

The reality, of course, is very different. Writing can feel lonely, but it is never a solitary effort. Every author needs a support team!

Your characters

I don't really believe that the author is responsible for creating his or her stories. When I write, it often feels as if I have remarkably little input - at least, when the story is flowing and I'm writing well. I always plan my books but the plan usually changes several times during the execution. Why do my stories change? The answer is simple: I'm not the one in charge!

A novel is written by its characters. A strong character has a mind of its own and has the power to influence and interact with other characters, direct the action, and even persuade the author to change his or her mind. If a character does none of these things, and you find yourself having to operate them like a puppet, the character probably isn't a strong one and needs work.

My job is to write down the images and scenes acted out by my characters - at most to gently guide the action.

Strong characters are a great source of comfort. They whisper to you, direct your hand, and can boost flagging confidence during the difficult central portion of a book. Most importantly, they bring your imagination to life.

Your mentor

Every author needs a mentor: a more experienced, wiser writer who has been through the little triumphs and tragedies inherent to our profession. Not everyone is lucky enough to find a suitable mentor, but make friends with other writers (it's easy to do this online nowadays) and it will fall into place.

I'm very fortunate to have made friends with Susan Fletcher several years ago when we worked together at the Clachaig Inn, Glen Coe, and her support and advice have worked wonders ever since! It makes a real difference to know there is someone on your side who has been through it all before.

A writing support group

Related to the above, it helps to have a larger network of writers with whom you can discuss aspects of the craft. Online writing support groups have existed for as long as the Web has been around, and today there are many forums to choose from. I am a member of the UK Kindle Users Forum (mostly inhabited by authors), and although I don't post there as often as I used to, it's a great community.

Beta readers

It's impossible to read your own work with a critical eye. First draft material is usually pretty ropey, but the author is so immersed in the work they are unable to see the truth. You need a team of beta readers.

These people must be reliable, impartial, objective, and analytical. At this stage you don't want people to shower you with praise and encouragement at the expense of more useful advice; you want people who will read your work and say what they really think. With rare exceptions, family members make imperfect beta readers (although their opinions can be useful at various stages of the process).

Look after your beta readers. They are one of your most precious resources and can make the difference between a good book and a bad one.

Your editor

Perhaps the most important figure in the pre-publication support team is your editor. Writers who think they can publish without professional editing are almost certainly deluding themselves. Yes, it's expensive, but look at it as an investment; without professional analysis and correction, your work will be riddled with errors and will not survive in today's competitive market.

It's easy to assume that you'll be able to edit your own work, but trust me, unless you are trained as a copyeditor you won't have a hope of finding more than maybe 50% of the problems with your manuscript. Even experienced authors can rarely produce publishable prose by themselves. We all need a skilled editorial team.

My editor is Clare Danek, and I've worked with her on all three of my projects to date. I'd recommend her to any author looking for an attentive, professional editor whose charges are reasonable and whose work is of high quality.

Your illustrator

If your creative gifts happen to include the visual arts in addition to the written word, then you're truly blessed. Unfortunately most of us aren't so gifted and, if we want pictures in our books, we will need to employ someone to do the work for us.

My illustrator is Catherine Speakman, and her work fits my themes and subject matter very well. I recently blogged about the artwork she has produced for The Atholl Expedition.

Your evangelists

When you publish your first book, you are starting from a blank slate. You (probably) have no fans yet, no loyal readers. If your work is good and you have found your audience, this group will grow over time.

Loyal fans will do a lot of marketing work for you. They will help to build enthusiasm about new releases, share your blog posts and social media utterances, and help to spread the word. In my opinion a corps of loyal fans is the single most precious resource in the arsenal of any modern writer, for without evangelists your fanbase cannot grow and the success you crave will always be out of reach.

Look after these people. Ask your most loyal fans if they would like to be beta readers; they will appreciate the chance to help you out, and may feel privileged to be given early and exclusive access to your new work. If they are also bloggers or have their own social media platform, do what you can to help promote them in turn. Build good relationships with your loyal fans, and they will help to look after you in turn.


I'd like to take this opportunity to thank every single person who has helped me over the last year and a bit since the publication of The Only Genuine Jones. As I work towards a new release I am very conscious of the fact that I couldn't have done this alone, and I'm very much in your debt.

Authors: who do you rely on during the writing process?

I maintain a mailing list exclusively for new releases and special offers, and subscribers to this list get early access to my new releases - and at a lower price than the standard published rate. For the opportunity to get The Atholl Expedition before it goes on general sale, please subscribe to my mailing list.

The Atholl Expedition moves into beta

After a weekend of intense activity, I have succeeded in converting the second daft of The Atholl Expedition into a beta advance copy: that is, a rough-and-ready (but presentable) version of the book suitable for distribution to a small number of beta readers.

This is something I recommend all writers do with their work before they push the 'publish' button. It is completely impossible for an author to be objective about his or her own work; you need another pair of eyes, or preferably several, to read through and tell you about the inevitable inconsistencies, plot holes, character problems, and bits where it just doesn't make any sense. If possible, I recommend you recruit experts in specific fields who will be able to provide targeted advice on areas you aren't strong on yourself.

Who are my beta readers? Two are family members, one is a Twitter follower who has offered to help me out, three are people who have provided feedback on my work before (and whose objectivity and attention can be relied upon), one is an expert on Prince Albert and Queen Victoria, and another is an expert on the history and geography of the Cairngorms.

Beta reading isn't a substitute for professional editing, however, and as soon as I have acted on the advice of my readers the manuscript will be heading off to my editor for a closer look at what still needs work.

Remember, as indie authors we have a duty to our readers: to be diligent, to hold ourselves to the highest professional standards, to strive to do our work as well as authors who are with a mainstream publishing house. I believe we have absolutely no right to charge readers for our creations if we haven't done everything in our power to get them to a professional standard before publication.

I hope to publish The Atholl Expedition by Christmas. To get the chance of downloading the book at a lower price before general release, click here to sign up to my new release mailing list.

I have a rough draft for "The Atholl Expedition"

Months of work have paid off, and today I wrote the final paragraph of The Atholl Expedition, my second novel and the first in an exciting new series of books.

The final word count is a shade over 65,000 words, which is far longer than my original intentions but a good length for a short novel, I think. The final word count is subject to change as I have a couple of rounds of editing and polishing to go, but is unlikely to change by more than 5,000 words either way. I have a pretty good idea of exactly what needs to be done to get my rough draft into a publishable condition.

Now the real work begins!

Amazon deleting reviews - the plot thickens

Amazon is deleting book reviews: this is a well-documented fact. Up until now it was understood that Amazon's bots have been stealthily erasing any reviews that they think* fit the following criteria:

1. Sock puppetry (ie. fake reviews written by the author using a second account);
2. Biased reviews written by friends and family;
3. Reviews written by other authors.

The first category is fair enough. Nobody benefits from sock puppetry in the long run; it's just cheating the system, and Amazon is quite right to stamp out. It's also true that gushing 5* reviews from family members are not always helpful and can skew results. However, deleting reviews from other authors is going too far: writers are readers too, and it's good to have a support network of authors who help each other out by reading each other's books and posting honest, constructive reviews.

* How they determine which reviews to delete is highly mysterious and a little creepy.

Demanding exclusivity

Today I discovered that my number of total reviews for The Only Genuine Jones has dropped from 18 down to 17. I soon discovered that the review which had been deleted was a particularly fine 5* rating, including the rather magnificent phrase "one of the most anticipated books in mountaineering circles in recent years."

I have no personal connection with the reviewer and, as far as I am aware, he or she is not an author. "MLC" is simply a reader who loved my book and took the time to post an excellent and heartfelt recommendation. Such readers are the lifeblood of every author's career, particularly in the crucial first few months.

Why was it deleted? Because I quoted the review on my website.

Until recently, this review took pride of place in the "From fans" section on my front page, and is also quoted on the OGJ page on this site. It has been pointed out that Amazon's guidelines state that "reviews that are not your own original work or have been previously published elsewhere" count as "inappropriate content"

What does this mean? Amazon wants exclusivity; they want to make sure that reviews posted on their site are not quoted elsewhere. I don't think I'm alone in saying that this is unjustified.

What are reviews for?

When readers search for a book, they expect to see a range of honest reviews, and these opinions will help them make the crucial choice of whether or not to purchase it. Bad reviews will reveal a bad book for what it truly is, and likewise, a large number of good reviews will boost a good book. Readers also expect to see reviews quoted on an author's website. It helps to build up an aura of respectability and authority for the author, something particularly important if you aren't well known or established. As authors, we need to be able to take quotes from good reviews and post them on our websites.

Fortunately Goodreads provides a vibrant, independent community where people can look for reviews without meddling from Amazon! Oh wait, Amazon just bought them. So we can't consider Goodreads reviews to be safe for much longer. Shelfari is also owned by Amazon.

The road ahead

I think it's got to the point where we need to figure out how to protect ourselves from Amazon's interference. The company is starting to become a little too zealous in their mission to stamp out sock puppetry. Perhaps the acquisition of Goodreads indicates that Amazon is trying to learn and become more balanced and fair in how it deals with reviews, but I worry that it is simply another move to assert dominance and control over the entire book industry. It's a little ironic that Amazon has provided thousands of authors with a way of reaching audiences they could not have reached before, and yet now it is starting to clamp down on our new-found freedom.

I still think that Amazon are, on balance, a force for good ... but we need to remember that they are a voracious business first and foremost, driven by numbers and profit margins, not a love for books. The indie publishing world is changing day by day and we have to be agile enough to adapt. Unfortunately at this point I don't have an answer; the only thing I can say for certain is that I will be very cautious before quoting a review on my site from now on.

Authors: any ideas on how we should react?

UPDATE 12th of April

Amazon have now restored the review in question without comment.

Hosting an indie book launch event - my thoughts

As most of my readers will be aware, I recently launched my first novel as a paperback. In this article I'd like to talk a little about the process leading up to the launch event, what worked and what didn't, in the hope that fellow authors might learn something of value.

During the planning stage I chatted with a number of authors to learn as much as I could from them. Some had staged successful launches and gave me plenty of tips to work with, while others had left everything in the hands of their publishers. Interestingly, the most common reaction to my questions was, by far, "I could never do a book launch--far too much hassle," or words to that effect. Another common reaction was "Why would anyone come to a launch event for my book?"

My experience has taught me that, with a little preparation, any indie author can stage a successful launch event. I also believe that every book has a unique selling point that can be used to help bring in readers.

2-3 months before the event

Before you even start thinking about the launch itself, it's vitally important to make sure the date you have set is realistic. Will everything be completed on time? Self-publishing the print on demand way can take longer than you think; if errors are discovered in the proof copy and a new version has to be issued in the printers, your process can be set back weeks. Just to be safe, give yourself several weeks longer than you think you need.

At this point I'll assume the author has done his or her job properly and is producing a thoroughly professional book. It's important for a Kindle edition to be professional, but doubly so for a paperback. There really should be no visible difference between your book and something a traditional publishing house would put their name to. The front and back covers need to be eye-catching and vibrant, and just as much attention needs to be paid to interior design, which is an art form in itself.

Consider a venue for your launch. Your own book will probably dictate the best place to use, but practicalities also come into it (staging a launch far from your home will eat into your budget). To use The Only Genuine Jones as an example, my book has a strong connection with Glencoe and the Highlands (and I also have personal connections with the location), so it was the obvious choice for my launch. Most importantly, the vast majority of my readers also have an interest in Glencoe. If I had launched the book in my home town the event would probably have been a flop.

Does your venue require payment, or a donation of some kind? Make sure this is settled well in advance. I opted to donate 10% of proceeds from my launch to the Glencoe Mountain Rescue Team.

Think about your readers. If you have written an historical thriller set in Warwick Castle, get on the phone and talk to English Heritage. If your book is set in a Cornish village, look up the nearest bookshop or cafe. Your own words (and your readers) hold the answers. I think this point proves just how important it is for an indie author to be aware of their target audience.

What is my unique selling point? My book has a connection to the history of British mountaineering, a history that strongly involves Glencoe. I am also known for experiments with Victorian mountaineering equipment--something I have integrated into my book and a subject popular with my readers and fans. These factors, combined with interest in the popular climbing blog Glencoe Mountaineer which I established, helped to make my book launch newsworthy. Most authors, if they have done their homework, will find they have something similar in their book's background they can use.

What format will your launch take? I opted for a short presentation (20 mins) followed by a reading (5 mins) and then book signing / general hobnobbing. This worked well for me, but every book is different. It's worth thinking about alternative ideas but very important to bear in mind that your audience will have a limited amount of attention they are willing to devote to you. If you are staging your launch in a cafe or bookshop during the day, a single brief presentation might not be appropriate; similarly you might not have a large volume of people all there at the same time, but rather a trickle of readers throughout the day.

Start telling friends and family about the launch, and make full use of your social media platform. Generate some buzz! Hashtags can work well if you use Twitter.

1 month before the event

At this point you ought to start thinking about real publicity. Connections here are useful, but I was surprised how easy it was to obtain exposure in newspaper articles, blogs, and even a radio interview. A well-written press release targeted to the right publications, and an active Twitter profile, are the only tools you need.

You will need a stock of books before your launch; how many you need will vary depending on a variety of factors, but I think it's better to order more than you think you will sell. Firstly it gives a better impression to be signing books surrounded by piles of them, and secondly you shouldn't have too much trouble selling excess stock. I ordered 60 for my launch which was just right. 32 were sold at the event itself (which was attended by about 50 people), and the rest were reserved for pre-orders or sent out as review copies.

Printing books through print on demand takes time. Order your batch several weeks before the event. It would be a disaster to turn up only to have no books to sell!

To help generate momentum, start taking pre-orders for signed copies for readers who will be unable to attend the launch. Make sure you will be able to fulfil these orders.

1-2 weeks before the event

By this point you should have a stock of books waiting to be sold, a confirmed venue, a solid plan, and at least a rough idea of how many people are likely to turn up. Hopefully you will have secured some exposure in local press and radio, or at the very least have a robust social media campaign.

If you're going to do any talking, start rehearsing! I used a set of revision cards to prompt me during my talk, but in practice I didn't use them and ad-libbed it. Push any worries about nerves to the back of your mind. People will be there to listen to what you have to say and this is your moment to shine!

Think about what you plan to wear. It's a professional occasion but not necessarily a formal one; I think in most cases venue will dictate dress code. I opted for a suit jacket, dark shirt and no tie.

Do you have a support team? I was lucky enough to be accompanied by my partner Hannah, who dealt with cash transactions and kept track of how many books I sold. I was also helped by a number of friends who turned up to support me. I think it's important, particularly if it's your first launch, that you have someone you can rely on for support and a few friendly faces in the audience. A friend with a camera is also a useful person to have at hand.

Prepare some publicity material. I gave out business cards, vouchers prompting readers to review my book on Goodreads, and also Smashwords coupons entitling readers to a free digital download of the book (which I forgot to give out to some readers!) I also made sure my short story Crowley's Rival would be on free promotion during the launch. If you have an email newsletter, prepare some signup sheets; if you have other books out, print off some leaflets.

On the night

If possible, set up early and be there to welcome readers as they arrive. Test any technical equipment you are using and make sure you know how to operate it.

If you are speaking, have a glass of water ready, but don't drink any alcohol beforehand (my launch was in a pub so this was a temptation to be avoided!) Set out your books where you are going to be doing the signing and make sure you have a pen. These may sound like obvious tips but there is a huge amount to remember so something small is bound to be forgotten. Write down everything you need to do; don't rely on a mental checklist.

Most importantly, relax! This is your night, probably a high point in your career as an author, and you deserve to enjoy it. Try to talk to everyone, engage in conversation with your fans. Answer as many questions as possible. Consider planting a friend in the audience with a pre-planned question to get your Q&A session going.

If it's busier than expected and you sell out of books, that's fantastic. If it's quieter than you had hoped, don't be disheartened--look at it as an opportunity to find other ways of selling the books in your personal stock. Any opportunity to increase exposure is worth it.

Throughout the event make sure everyone present is aware of your social media channels. These events are brilliant ways of increasing your online readership.

Afterwards

Write everything down you have learned--it will be valuable data for next time. Did you order too many books? Too few? Was the venue spot on or did you need more space? Was there any way you could have spread the word more effectively?

If you have collected email addresses for your newsletter, resist the temptation to pester people for reviews straight away. Reading a book takes time, but if you have chatted with the reader and made some kind of personal connection with them, I think they are likely to write a fair review for you when they have finished the book (particularly if you have put a piece in your afterword about how important reviews are to new authors!)

It's also worth contacting newspapers and radio stations a second time to let them know about the launch, particularly if sales have been strong since. Even if they didn't bite the first time, they might think a successful local book launch is worth writing a piece about.

The main thing I learned about my book launch is that it's surprising what you can achieve if you put just a little effort in, even without the backing of a publisher. The launch gave me a brilliant opportunity to showcase my work to some of my most dedicated fans (plus some new readers), and made me feel pretty good about the book. Even viewed as simply a morale-booster it was worth it, but combined with the fantastic exposure, the extra sales, and the opportunity to talk to the people who actually buy my work, I really can't think of any negative aspects to the entire process! I would wholeheartedly recommend a book launch to every indie author out there, even if you think it isn't for you.

I think that just about wraps it up! Authors, what further pieces of advice would you give to new writers pondering the question of whether or not to do a book launch?

Photos thanks to Martyn Cooper and Guy Daynes

My first book launch (spoiler: a success!)

Well, the long anticipated date has come and gone! Yesterday I took to the stage in a room I know well, having worked there as a member of staff between 2008 and 2011. On this occasion  I was there as an author and speaker. The journey of life can be strange at times, but in many ways yesterday evening felt like a natural culmination of my time in Glencoe and was, of course, the crowning pinnacle of my writing career to date. The Only Genuine Jones has been launched as a paperback special edition and has been given quite a sendoff.

Hannah and I enjoyed a meal with our friends before setup began. I dragged the boxes of books in from reception, set up my laptop and projector, and for a few minutes I felt like a member of staff again as I helped Alan clear the tables and shift around the chairs.

People started coming in not long after 8:30. After a final shout out in the Boots Bar to round up any stragglers, I ordered a glass of water from the bar and commenced my talk.

Photo with thanks to Samantha Munro

I didn't do a headcount, but I would estimate about 50 people were present--a mixture of friends old and new, readers, fans, and walk-ins. I was a little nervous as I took to the stage, but plenty of friendly faces in the audience kept me going! Strangely I forgot to refer to my prompt cards during the talk, and basically ad-libbed it, which worked well I think although there were a couple of occasions when I forgot items I had intended to mention.

Timings worked out well; I talked for about 15-20 minutes and read for about 5 minutes. The scene I chose to read from Chapter One was also just the right length I think.

After the talk and reading, it was time for the book signing to begin!

Photo with thanks to Paul Wilkinson

Photo with thanks to Guy Daynes

I sold 32 books in all, which is fantastic. I managed to have a chat with most of the people who came to the launch although I decided against an open Q&A session in the end, mostly to avoid dragging out the talking part of the evening too much (you can only expect to keep an audience's attention for so long, after all). I had intended to give out vouchers with a code for downloading a free copy of the ebook, but forgot to give them out to some people who bought books--if you'd like one then just get in touch!

Photo with thanks to Guy Daynes

I left six books at reception in the inn for them to sell to anyone else who might want one, and apparently two of them have been snapped up already so I don't think they will last long.

Last night was an unqualified success and I'm tremendously pleased to have got the paperback edition of The Only Genuine Jones off to such a fine start. Initial sales have been very strong (when combined with pre-orders and healthy Amazon sales) and Crowley's Rival has also been doing very well over the last few days, with over 130 downloads and counting since Monday and a respectable Amazon rank of #475 (at the last check!)

Thank you to the staff at the Clachaig Inn, my friends and loyal fans, and everyone else who came and helped make the book launch such a fantastic success. Same time next year for book 2? (Hopefully!)

Pre-orders

Plenty of people unable to attend the launch have ordered signed copies, and as of tomorrow I will begin to fulfil those orders. If you have reserved a copy but not yet paid for it, the books are £7.99 plus £2 postage and I accept either PayPal or direct bank transfer; email me and we'll get it sorted out. I currently have enough stock to fulfil all existing orders although it's going to run out pretty quickly. After next week I will have to order another print run before I can accept new orders for signed copies.

Don't forget, you can also order the book from Amazon, Waterstones, or direct from the printers. Check out the book's page for the full list of ways to get hold of the book.

Farewell to the most beautiful place in the world ... until next time.

All is ready for the book launch

In four days I will be travelling up to Scotland to host my very first book launch party! The event is taking place at the Clachaig Inn, Glencoe, on Wednesday the 27th at 9pm. As you can see in the picture I have been busy doing a bit of admin for the event today: newsletter signup sheets, business cards, 'please review' flyers, and freebie vouchers.

Every attendee who buys a paperback will get a free ebook copy in the format of their choice, and to sweeten the deal yet further, my Kindle novella Crowley's Rival will be on free promotion for three days over the book launch.

10% of all profits from the night will be donated to Glencoe Mountain Rescue team.

I have been rehearsing the talk today and have timed it to around half an hour including a brief reading from the first chapter. Hopefully that will be about the right length to avoid sending everyone to sleep!

The mountain weather forecast for this week is currently spectacular, so I'm hoping there will be enormous crowds of climbers in Glencoe. If my brother's adventures over the last few days are anything to go by then we should be in for a treat.

The only remaining question marks are a) will I be left with loads of surplus, or will my stocks sell out? b) will I make it off the hill for 9pm after my day's climb? c) will people like what I have to say, or will I get booed off the stage?

We'll find out soon enough! If you're going to be at the launch I will see you there, and if not I will be writing up some coverage of the event (hopefully with photos) on this blog.

OGJ paperback launch: T minus one month and counting

Crumbs! Time has flown past and it's now only a month until I will be standing in front of a (hopefully enormous) crowd at the Clachaig Inn talking to friends and strangers alike about my book.

Although I have been on holiday for the past week, I've been far from idle. I have ordered two batches of books: forty to be sent to the Clachaig, and twenty for my personal use. These will be divided up between copies to be given away (to friends, relatives, and potential reviewers) and a small stock of signed copies to be sold directly. I don't really know if forty will be enough for the launch but I can always supplement them with my personal stock if required.

So far, so good. What's the catch? I cannot be 100% certain the book will be available to purchase from Amazon on the 27th of February.

Although I have approved distribution through FeedARead, this process can take up to six weeks so there is a chance that it might not take effect before my launch. It isn't a disaster if this happens, but obviously I would like readers to be able to purchase the book anywhere they like at their own convenience from day one. Needless to say, I have learned from this experience, and next time I will allow at least an extra month for the entire process.

The launch itself is going to be a little uncanny. You see, I am going to be launching the book in the same building--perhaps the same room--in which the first chapter takes place. A lot of time has passed since New Year's Eve, 1896, but even though my book is fictional I will be able to sense the shades of Jones and Professor Collie leaning against the bar and watching silently (one hopes benevolently). What would they think of this unusual tale I have spun about them? I believe they would be mystified and amused; but hopefully they would not be offended, for these men are my greatest inspiration and every sentence I have written is a tribute to their heroic era.

For full details about the launch of The Only Genuine Jones in its paperback form, please click here.

BBC Out of Doors interview on location in Glencoe

Today was a great day for me. Back in November I bumped into Chris Sleight, a radio journalist with BBC Out of Doors, and he suggested that we go for a climb together so that he could record an interview for his show. The date was set and we prayed for good conditions.

The morning dawned calm, clear and cold. We decided to climb a route on Stob Coire nan Lochan, a famous Scottish mountain that features prominently in the first chapter of The Only Genuine Jones. The goal of today was simple: to climb a winter route using my Victorian period equipment, and to record the events of the day while mixing in some Q&A sessions about my book.

My trusty stepcutter

We climbed up the narrow gorge of Coire nan Lochan in similar conditions to those faced by Jones, Raeburn and Barkis in Chapter 1: deep snow! The stream pouring down from the high coire was almost totally frozen and might have made a good ice climb. That was not our objective, however, and we made decent time up to the base of the crags despite stopping on several occasions to make recordings.

Several climbing teams passed us and, as always when I'm dressed in my Victorian gear, I got a few strange looks! Most of the climbers up there today seemed to be hard men with hard climbs in mind. It was also good to bump into Jamie Bankhead who I haven't seen since I left the glen a year and a half ago.

"... finally they broke out into the upper bowl of Coire nan Lochan--a place of such silence that Jones could hear his own heart beating. The sky blushed pink in the east, over the shoulder of Gearr Aonach. Stars burned steady out of the cold depths. This felt like a primal place where humans were not welcome; it belonged to atoms and frost, the slow turn of the heavens, and the ravages of geological time."

The cliffs were painted frosted white, coated from base to summit with atmospheric  rime ice. Conditions were stunning. Despite the snowdrifts we saw the glint of old ice in the gullies, and as the rising sun glowed on the upper buttresses I reflected on how lucky I was to experience yet another perfect day in Coire nan Lochan--a place of many good memories for me.

Our chosen route was the "Wandering Wombat", a lengthy Grade II mountaineering ridge directly left of Boomerang Gully. Chris had brought a climbing rack and I took a rope, but they were not needed as the climb was technically easy. After some floundering in deep snow at the base of the route, things settled down and we romped up the iced rocks, pausing on several occasions for Chris to make some more recordings. We mostly discussed the route and how my Victorian equipment was coping with the conditions, how it compared with modern gear, and also how it all tied in with my book.

Chris climbing mixed ground on "Wandering Wombat"

As the route climbed higher conditions changed, and we came across several ice slopes that required my favourite technique: stepcutting! My waist-high ice axe came into play now, efficiently cutting steps in the compacted neve. Chris, equipped with crampons, whizzed up the slope while I took my time using the older technique.

My boot in a step cut from the ice

The summit, when we reached it, was a place of swirling winds, spindrift, and some truly stunning views. Plumes of snow were blowing off the pointed summit of Bidean nam Bian, the next mountain along, and white peaks stretched from horizon to horizon. This is what it's all about and why winter climbers put themselves through so much punishment: in the end, the reward is simply the opportunity to immerse yourself in ethereal beauty.

Bidean nam Bian, the monarch of Glencoe. Although has recently been the
scene of tragedy it is still beautiful.

We descended at a leisurely pace, crossing the coire rim and observing the hard climbers battling it out on the main cliff. We took the opportunity to descend a step of brittle water ice so that Chris could record the sounds made chopping steps in this much tougher medium.

After being dropped back off at the Clachaig Chris departed, and I tucked into a bowl of venison stew (well deserved I think!)

Today was a stunning day on the hill as well as a brilliant promotional opportunity for my writing. It's also great to get to know Chris, who has done much to further the cause of winter climbing in the UK media--quite unlike the misinformed, sensationalist reporting you usually see from the national press.

My interview should be featured on the radio next month--I'll be sure to let you all know when it airs!

The 2nd FeedARead copy is here--and a possible challenge

Now a rare beast

So this morning the second author copy of The Only Genuine Jones--which I was advised to order so that I could double check my final version--arrived from FeedARead. This means that all I have to do now before publication is one final read through (I will be getting tired of reading my own book soon!), then order a batch for launch day and approve distribution to Amazon. Fortunately I still have well over a month until my launch so it looks like the risk of a delay is starting to pass.

I'm hoping there are no further errors in the second edition, but to be honest at this stage if there are any typos left, they're staying in!

So what to do with the first copy?

My first author copy is now a very rare beast: it is the only copy in existence of the first edition. The new version can be considered a second edition even though the changes are only very minor. Print on demand doesn't work on the principle of print runs, so when I ordered my author copy last month that was literally the only copy of the book on the planet.

I was tempted to add the copy to my stash of books to give out to friends and family, but then it occurred to me: this is the very first copy, and in a small way, totally unique. I think it would be great to do something more creative with it.

A friend has suggested hiding it in a geocache somewhere in Glencoe, placing subtle clues to its location in a future novel, then offering a prize to the intrepid reader who finds it. The idea appeals to me on a number of levels although there may be even more creative things I could do with it.

Any thoughts? Authors, have you ever arranged a similar stunt for a first copy of one of your novels?

Book launch poster

I now have a poster for my launch event! It's very different from the original poster I created for the book, but I think the cleaner design and bold typography help make it less 'noisy' and more effective. It's also in keeping with the design language I use for everything I do as an author: use of the Cambria typeface and a mixture of blue and grey shades.

The event is still weeks away but I'm already starting to feel excited/nervous. This will be the first event of its type in my career, and I'm organising every aspect of it myself. All part of the learning experience!

An update on my progress with FeedARead

I've been so busy with writing and reading since New Year that blogging and book promotion have suffered a little, but I promise to be better from now on! An important job I am keeping on top of is the production of OGJ's paperback edition. I thought I would write this brief post to bring you up to date with recent developments.

Readers will be aware that, well before Christmas, I began the process of turning my novel into a paperback.  The proof arrived in mid December and I spent a couple of weeks diligently reading through to check all was well before approving things with the printers.

Surprisingly, several errors had slipped through the net! I noticed a few minor spelling and grammar errors ("fi" instead of "if"--that sort of thing), a comma instead of a full stop, and (worst of all) a missing paragraph indent. A few readers had also emailed me to let me know about typos they had noticed in the digital edition. These issues may sound minor, but one of the major complaints readers have against indie authors is amateurish publication standards. For this reason I will not accept anything less than the most professional result possible.

It took a little time, but I carefully hunted down these errors and corrected them in my manuscript, then sent it back to FeedARead on about the 29th of December with a note explaining things.

I received an automated reply saying that nobody would be back at the office until the 6th of January! This threw me a little (as I am on a fairly tight timescale), but I figured I would still have enough time to get everything done.

Shortly after the 6th of January, FeedARead emailed back to thank me for the amended proof, and to inform me that the printers charge £29 for alterations at this late stage. I was aware of this alteration fee thanks to other authors who had used their service, but it is not actually made plain on their website; I do, however, think it's completely fair considering this is a print-on-demand service. The £29 is payable once the new version has been accepted by the printers, which can take several days.

I received a communication the day before yesterday saying that the new version has now been accepted and the book is ready. However, I was left with a dilemma: do I need to order another author copy to check this version, or can I just go ahead with production? I emailed them to ask what the team would advise, but have not yet received a reply.

At this stage I can still say that FeedARead are acting in a very professional manner and are replying to my emails helpfully and as promptly as can be expected. My anxiety is due to the ticking clock: I need to have a batch of books ready for the 27th of February, and ideally I would like to leave myself enough time to approve Amazon distribution as well (which can take up to six weeks!)

Ultimately I'm new to all this, and it's a learning process--next time things will be smoother, and to make things easier I will release the digital and paperback editions at the same time!

P.S. Now that The Only Genuine Jones is (hopefully!) typo-free, I have issued a second Kindle edition. I have also made a few other tweaks such as adding the "All events after July 24th 1896 are imaginary" advisory line before the story.

Facts and the historical novelist

Fact or fiction? 

The historical novelist has a very important responsibility. Most people stop formally learning about history at school, which means that as an adult, the bulk of our historical education comes from fiction: in the broadest possible sense, that includes books, movies, and costume dramas on the BBC. Historical fact is a precious resource that can be used (and abused) in numerous ways. Some fiction sticks religiously to the established facts and does not deviate to the slightest degree. Other work play fast and loose with evidence and fails at the first hurdle, needlessly introducing anachronisms that will irritate the informed reader.

As a novelist who specialises in the 'faction' genre (the blending of fact and fiction), I believe that the perfect balance lies somewhere in between these two extremes. I take my responsibility as an author very seriously, but I believe the average reader is intelligent enough to appreciate why changes are sometimes made to history in order to craft a good story--if it is carefully explained in a historical note at the end.

Let us consider the first scenario. An author who is unwilling to alter history in any way (or fill in the gaps where evidence is lacking) is enormously constrained. The resulting novel has no give to it; there are no areas where the author can use his gifts of imagination to smooth over the rough edges of history. Historical figures are limited to doing what the official record dictates--and nothing else. Moreover, unless the author is an expert in the period in question, the amount of research is going to be completely overwhelming and will take many years. You will never be able to learn enough to make the story 100% accurate, and you'll get so bogged down in research that the book runs the risk of never getting written.

In the second scenario, the author is intimidated by the idea of becoming an expert on a historical period, and conducts only the most cursory research. Errors creep in and they can sometimes be huge. Who wants to read a book in which a character in 1895 is listening to a radio broadcast ... unless it's steampunk? Readers who know their stuff will feel cheated and may give up on the book, and the less knowledgeable will come away with a warped view of history.

What's my own experience? My policy these days is, I believe, a sensible one for me: I learn as much as I can, then I make an informed choice on what to do with that data. I'm no expert on the 19th century, but I read constantly on the era and never get complacent. There is always more to learn. The history of climbing is a topic on which I have read even more extensively and I think I am finally getting to the stage where I can call myself reasonably well-read on the subject, between certain dates at least; after about 1935 my knowledge is very patchy!

My fiction deliberately makes changes to historical truth: it's alternative history, a subgenre that has produced some amazing 'what if?' stories. I choose a date (in my case, July the 24th 1896) and decide that everything after that point happens in a fictional alternative timeline. If suspension of disbelief is maintained, the reader is willing to accept this, provided the boundary is clear.

Full explanations are always given in a historical note, and changes are only made if there is a good reason to do so. I don't always get it right--readers have emailed to point out minor anachronisms--but I try hard and I think for the most part I do a good job.

SOME EXAMPLES

The original Fort William railway station

Fort William in the Highlands is a setting that features on several occasions in my work. In the present day, it boasts a modern train station. The casual researcher might assume that the railway station was always on that spot, but in fact when it was first built in the mid 1890s, it was some hundreds of yards from its present location--and looked completely different.

Map of the Fort before the old station was demolished
in 1975. The new station is just beneath where it says
'Distillery'.

In my book it is quite clear that the terminus is in the old location, next to the Loch. One reader, familiar with the town, emailed me to point out this 'error' but in fact this is simply an example of historical truth being carefully applied. Fort William has changed significantly since 1897 when my novel is set.

The Bear Hotel, Grindelwald. It no longer exists.

The Alpine town of Grindelwald, another location in OGJ, has changed even more drastically since 1897. I visited the town in 2010 to conduct research on the ground (a tactic I am a huge believer in, because it makes a place more real and you are free to explore in a way you cannot through the pages of a book). In OGJ, the characters stay at the Bear Hotel for a few nights. I wanted to find this hotel and have a look around to see what I could discover about its interior. How had it changed since the 1890s, I wondered?

I spent an entire day searching for the Bear Hotel before concluding that it no longer existed. A sports centre now stands on the promontory of land once occupied by the hotel. Unable to investigate the hotel in real life, I did my best with books and some old colour postcards of Grindelwald from the 1890s.

The Pelton Ring

One area where I have made subtle changes (while sticking within the boundaries of historical possibility) is climbing equipment. Readers will be aware that I have introduced the idea of short ice axes, crampons, karabiners, and pitons--all years before they became mainstream items of equipment amongst climbers.

However, I have done nothing historically impossible. Karabiners did in fact exist in 1897; they were patented in 1868 by a Mr Pelton (see diagram). Crampons had been used for many years by climbers and the addition of front points was a minor innovation that may have happened at any time under the right conditions. Even pitons had been used by climbers in various forms since at least the 1860s.

I am very careful to do nothing in my fiction that breaks suspension of disbelief, and while several events in The Only Genuine Jones might stretch it, that very quality has proven popular with readers. It's a bold story and most people seem to like that.

I tread a delicate line between fact and fiction, but I think my approach has many advantages: I don't pretend my work is a depiction of true events, and I enjoy a degree of flexibility denied to the strict historical author. I get to explore ideas and tell stories that otherwise would never see the light of day. However, I am very conscious of my responsibility as an author and would never want readers to confuse my stories with strict historical fact.

What do you think? If you're a historical novelist, what is your approach? As a reader, how much historical fact do you like served with your fiction?

The first ever paperback copy of my first novel is here

The very first paperback copy of OGJ

Well, today is proving to be a rollercoaster of a day! Crowley's Rival has already been downloaded over a hundred times, partly because it was actually on the Kindle store yesterday, priced at free to enable a few of my most valued fans to download it before general availability. However, a lot of other people also noticed it and downloaded it before the price went up to 79p. The book has shot up the charts and is currently sitting at #3 in the mountaineering bestseller list and #5,686 overall.

In other news, the very first (ever!) paperback copy of The Only Genuine Jones dropped through my letterbox this afternoon!

This is my 'author copy' sent by FeedARead for me to read through and check for errors. I've only flipped through it so far, but I have one word to describe it: gorgeous. The cover is flawless and glossy. The interior text is crisp, sharp, and perfectly formatted. Even the pen and ink illustrations, which I had worried might not be reproduced clearly enough, are very sharp (although not quite 300dpi).

I will write another post to let you all know my verdict on the proof, but for now here are a few photos.