How to make the New York Times and USA Today bestseller lists: Jasmine Walt (one to watch)

Interview with Jasmine Walt by the Self-Publishing Roundtable

If you can spare just one hour out of your life to watch one video that could influence whether or not you ‘make it’ as an author (in the really, really BIG sense), watch this one.

51mBm-7TkiL

Jasmine Walt has made both the NYT and USA Today top 20 (including top 10) bestseller lists twice in the last month – firstly with her curated/co-authored box-set ebook Magic & Mayhem, and this week with the first in her new paranormal series, Shadow Born, co-authored with fellow HarperCollins ‘Authonomy’ site alumni Rebecca Hamilton.

51diaEoe4BL

As Jasmine explains here, it’s not simply a case of luck. It’s a lot of marketing via social media and mailing lists, a huge advertising budget (hers doubled in the three month pre-order phase for the box-set ebook release of Magic & Mayhem, in order to have the desired impact) and endless navigating of the restrictions and regulations by the ebook publishing platforms, and criteria of the bestseller lists themselves, when pushing for this kind of exposure.

Because you need to watch the interview to get to the real nuts and bolts of how it was done, I’m not going to discuss the interview content further or give you my opinions, other than tell you, this is tried and tested, it happened, and it worked. If you have the time and financial resources to try it for yourself, and achieve the same initial sales figures in the process, there’s no reason why this business model shouldn’t work for you too.

One prerequisite: You do need to have written the book! And as Jasmine says “It does seem to work best with new releases” – so think carefully before republishing something that’s been lurking on Amazon already for the last five years. Look at the current market interests, and get those brain cells in gear – you’ll need every last one of them.

You can find Jasmine Walt on Twitter as @jasmine_writes

🙂 xx

Genre Jazz: Re-cut – copyright, parodies, homage, tributes, image rights and public domain

The Story of Technoviking: The Film

technoviking

The Story of Technoviking, release date today, 15 Oct 2015 (50m06s, free to watch online): http://technoviking.tv/film

Writing parody mash-up on my blog while looking for inspiration in movie scenes made me realise two things: (1) That it’s still my strongest point writing-wise, and (2) Youtube kicks everyone’s ass!

In terms of public use, Youtube is the home of re-imagination. Whether the original muse is a movie, news story, pop promo, video game, or social commentary meme, it’s where users upload their re-interpretations, parodies, mutations, reactions, songs and art inspired by images appearing in the curated mainstream and entering the awareness of the social media sphere.

Perhaps the earliest cult internet muse inspiring an ongoing global artistic phenomenon is the Youtube uploader Subrealic.

Subrealic is the user name of Matthias Fritsch, a film-maker from Germany who took what appeared to be random public footage in a series of different locations, and posted them independently some time before joining Youtube.

The video in question was a candid single-shot in-camera sequence called ‘Kneecam No.1’ captured by Matthias at the Berlin Fuck Parade, a protest street event in response to what many underground EDM (electronic dance music) fans considered to be the over-commercialised Love Parade taking place in the city at the same time in 2000.

Matthias says: “The reason why I filmed this was to document the Fuck Parade as an event. Why I published this sequence was not to show the Fuck Parade but to raise a question for the audience: Is what you see real or staged? To create an uncertainty. I named it ʽKneecam No.1’ and ʽNo.1’ stands for a series of experimental videos that deal with the role of the camera… I started to upload my videos to YouTube to make them more accessible because it was much easier to host videos there than on my own website.”

The Kneecam No.1 video showed a short segment of the street protest party, filmed from the back of a moving trailer playing a mix of rave tunes by Can-D-Music and Winstan vs. Noia, while party-goers followed.

It captured a small moment of conflict, and its resolution by a figure intervening on the distracted parade with undeniable alpha-male status, who then reasserts the purpose of the event by leading the group in dancing behind the trailer for several minutes, before disappearing again.

Although the earliest reactions to the video came only in the form of comments debating the authenticity of the piece and whether it was an arranged set-up, once it began to be shared and re-posted on forums and other websites, the cult of personality of the alpha-male ‘character’ in Kneecam No.1 developed.

Matthias was on a trip to China when he received this email comment: “The video has been posted by someone 2 days ago and now there are 1 990 256 view. I have never see that before on the web. What is the name of those songs in the film? He needs to be on a T-shirt too. Thank you very much.”

Commenters on forums responded to it with custom memes and reaction images, and shortly, reaction videos. In one forum, the ʽstar’ was nominated for a title:

“He doesn’t dance to the music, the music dances to him. His name: Technoviking.”

As soon as the nickname Technoviking was coined, the cult status of the video was confirmed. The character was given the type of hero status reserved for action movie icons, compared to Chuck Norris.

Matthias began to collect and document Technoviking references to study what was occurring in the virtual world once it became apparent that this was a viral internet phenomenon.

“A whole Technoviking universe seemed to appear. So what I did was collect all those responses to my video. And of course most of them were remixes of the original video. So I put together an archive based on this Technoviking meme in order to study the behaviour of users online.”

Youtube users, artists, cartoonists, toy-makers, printers, songwriters and console gaming fans were soon using the original Kneecam No.1 film as a muse to create objects and scenarios in art based around the perceived leading character. The subsequent productivity and social awareness that surrounded Kneecam No.1 far outweighed the original – it had a self-regenerating, self-perpetuating, self-mutating life of its own.

Kirby Ferguson, from the film Everything Is A Remix Part 4, 2011: “This is evolution. Copy, transform, combine.”

Over the years, the film has been re-contextualised with alternative music, animations, re-scripted subtitles and voice dubs. It has been re-enacted hundreds of times over, with students, dolls, hula-hoop performances, in living rooms and outdoors, and uploaded by Youtubers sharing their enthusiasm for the Berlin Fuck Parade encounter scene and the mysterious individual known only as Technoviking, originally curated in Kneecam No.1.

Heinz Drügh, Professor of New German Literature and Aesthetics at Goethe University, Frankfurt am Main, states:It is a bit like the butterfly effect. Something that was not created for a big dimension got such a huge echo. Especially by taking into consideration that most things in the Internet are not getting any attention.”

Technoviking as a cult celebrity figure has been printed on mugs, t-shirts, appeared in graphic novel sequences, and even as in-game characters, epitomising the alpha male action hero – only as inspiration taken from real life, not a Hollywood movie set.

Matthias, his film only the trigger for all of the extended creativity that followed it, made a modest sum of money over a period of two years when Youtube invited him to monetize his video with advertising, and by selling a few t-shirts. The majority of his efforts were focused on studying the viral influences of Technoviking, where the marketing of products by others based on the video’s character were more visible and aggressive, and where other individuals in the world were sharing and reinterpreting its influences.

He was also making efforts to trace the man himself, hoping to share the phenomenon with him and ensure that the benefits of the original video’s cult status were available mutually.

“…After the video went viral in 2007 I started to search in different gyms by calling them, because I thought he is from Berlin and a body builder, so he must be known in one or the other studio…”

He kept coming up against dead ends, but eventually after a number of years, contact was made – in the form of a Cease and Desist order from the individual’s lawyer.

The most famous unsuspecting internet cult hero of the early 21st Century only wanted his privacy and ‘the right to be forgotten’.

Matthias had to agree to remove the original Kneecam No.1 and all of his own ancillary products.

That part was simple enough. For the complainant, there are a myriad more cases of ‘use of his image’ and constant re-postings of the video by other users to pursue.

It’s a case of ‘Life imitating art imitating life’ – a character inspired by a real individual, given the themes of justice-seeker and superhero by the public, arts and the entertainment world, prompts the individual concerned to pursue his own global justice and protect his own right to privacy.

The man formerly known as Technoviking will indeed take you down, just as the many memes suggested his character would.

Remember also that this is a private individual – not a celebrity. He has nothing to lose by pursuing enforcement of his image rights.

Antonio Broumas, Digital Rights Attorney, Digital Liberation Network: I am very interested in the result of this case. It actually determines many things regarding what we are doing on the Internet. What can be uploaded to YouTube? How can we use people’s photos in public places? What is permitted and what is not? And I believe that the aim of the court in these cases will have to be to make things clear for the citizens.”

Meanwhile, Matthias Fritsch, the Youtube uploader formerly known as Subrealic, has made a case-study documentary of the Kneecam No.1 viral video’s influence to date and the worldwide phenomenon it prompted, leading to the image rights case being brought against him by the perceived ‘star’ – the individual concerned. It’s both a cautionary tale and an evolutionary one regarding the global arts community, including commentary and interviews with legal, social and arts experts.

The documentary covers issues an artist will encounter when using material ‘found in reality’ and regarding visual image copyright and distribution when the image contains persons and their rights. There are forms of explicit consent required for specific further use of the images, beyond merely collecting them.

It explodes the myths regarding the right to use images or footage from crowd scenes, namely the ‘Five or more persons’ myth.

Louisa Specht, Personality Rights Expert, ZAR Karlsruhe: The ʽ5 Person Myth’ doesn’t exist as a law. I am allowed to record parades and demonstrations without the agreement of the depicted people, but when an individual stands out from the crowd this exception doesn’t apply anymore.”

It also dissects what is essentially art and public property – such as whether an individual can claim rights over an image that contains elements of earlier appropriation, whether those are actions or personal style, or the context of their appearance and behaviour. The argument over ‘fair use’ has grounds in whether art inspired by individuals and scenes found in reality, whose own inspiration for image is inspired by earlier identifiable arts and personality icons, can even be claimed as a private or personal image in any new context that an artistically-revised version gives it.

Felix Stalder, Professor of Digital Culture and Net Theory in Zurich: The owner has to be aware that he takes or that she has taken from the public – so he/she has to grant the public also the right to take from him/her.”

Something that’s inspired me in the past is the trend on Youtube for re-edits of trailers and movie clips, by fans. My brothers and I used to do our own re-dubbed voice-overs for Star Trek when we were kids, on an ancient VHS rental with a Play/Rec/Dub setting. Must have been the earliest invented!

For example, I published my parody The Zombie Adventures of Sarah Bellum after writing it chapter-by-chapter on my blog, linking to movie scenes that were my muses and mashed-up music remixes on Youtube. I wanted to show where my influences lay. While searching for the scenes, with the most popular ones I would come across dozens of alternate versions in a creative online explosion, similar to the demographic portrayed by the ʽspawn’ of Kneecam No.1.

I don’t just mean ‘re-edits’ as in, a fan’s favourite bits of the movie put together as a tribute or slideshow. I mean where they’ve used the original as an artistic prompt, and changed the implied genre, or storyline, as a transformative work. Look up the political-thrillerised version of Splash’. That’s really creative, and the great thing about Youtube is everyone can share and appreciate a different slant on what Hollywood does.

And completely reinvented mash-ups, taking an existing concept and changing the context, like the re-imagined works initiated by Subrealic, aka Matthias Fritsch. One example is Youtube uploader Ryan (user name: nigahiga), known for a spoof of the social media game Candy Crush Saga by re-inventing it and shooting it as a Hollywood movie trailer.

It has been done in books already – most notably with Death Comes to Pemberley’ by P.D. James, and Pride and Prejudice and Zombies’ by Seth Grahame-Smith.

Two different interpretations of the same Jane Austen romance. James took the original characters from Pride and Prejudice’ but not the original book or prose, and penned a murder mystery in place of a happy ever after – but her imitation of Austen’s style is spot on, so it is the genre which has changed, but not the voice as such.

Grahame-Smith took the original text – legally, as it is in the ‘public domain’ meaning out of copyright worldwide (literary copyright expires in most countries at the wonderful-sounding date of death [of the author] + 70 years’ or in a few cases death [author] + 100 years’) – and added butt-kicking martial artist zombie-killer action to it.

If you plan to do similar, as in either of these examples, make sure the original content you are planning on mashing up is in the ‘public domain’ (as defined by the time-spans above). Public domain does NOT mean ‘the characters have been discussed in the Daily Mail’ or that they have fan pages on Facebook, or profiles on Wiki. One thing I was asked about by a cover artist – no, images on WikiCommons are not ‘public domain’ – they are provided for contextual use only.

Be wary of falling into the trap of assuming ALL books who fulfil the ‘date of death of the author’ are in public domain. Estates are often set up for prolific or famous authors – for example, the late British author Arthur Ransome.

Under normal circumstances, his books would enter public domain status seventy years after his death. However, the existence of an estate to protect his work, and an existing fan-base, means this is unlikely, and copyright may be renewed before it expires. This came as a surprise to at least two authors I have worked with – one who mistakenly assumed you could appropriate anything ‘from any book over seventy years old’ (misinformation about copyright lifespan, see above for definition), and one who thought you could publish new stories about an author’s famous original leading characters and situations so long as the author was dead (post-burial optional). As discussed before, that’s fan-fiction, and can’t be published for financial gain.

You also have to be aware of when a central character is not public domain, while the source story might well be. The fairytale of Sleeping Beauty is ancient and can be re-imagined by anyone. But Maleficent the character, based on the original ‘evil witch’ from the fairytale, as portrayed in all forms by Disney, was created and is owned by Disney. Again, this is similar in context to Stalder’s comment he takes or that she has taken from the public – so he/she has to grant the public also the right to take from him/her.”

Maleficent - before and after 1

Genuine Disney merchandise doll in original packaging on the left, with my re-dressed and repainted custom OOAK version on the right, made for myself as a fan of the character. Even more relevant – the doll on the right that I customised was not a genuine Disney original, but a bootleg version manufactured elsewhere and found online. So the Maleficent doll design has been ‘re-mixed’ twice.

It is possible to develop a new, copyrighted product inspired by public domain work. You cannot legally reproduce Disney’s version of Sleeping Beauty or Maleficent, or any of their named character designs, and equally neither you or Disney can claim the copyright status of sole use of the original fairytale. But you can write your own version of the original fairytale from scratch, change the title, change the point-of-view, add new characters of your own devising (called O.C.s by fan-fiction writers) and you may copyright your own unique version.

This is where the debate rages over transformative works, especially when they cross back and forth over the transmedia line, from imagery to written word to gaming to product marketing and back again. It happens with cultural appropriation in music and fashion – mutual admiration or artistic appreciation of lifestyle across communities leads to imitation, reworking, a new and temporary ownership of those styles for a period of time, and then transition again.

Domenico Quaranta, Art Critic and Curator, Link Art Center, Italy:The idea should have the right to evolve, and who did something shouldn’t have the right to value, to judge the following variations of the idea that he contributed to. Because if this contributed in a significant way to the evolution of the story, this contribution itself must be significant.

Parody, as made by National Lampoon, and the Barry Trotter books etc, is a reworking of a genre, of a recognisable copyrighted current franchise – but with new characters, which may sound and act similar to the originals, and also importantly, with jokes in. Although ‘parody’ is still not recognised in all countries. Some territories consider it copyright infringement where readily identifiable, and deem them not publishable either, as with fan-fiction.

Many books and films, especially fantasy/humour (including Pratchett’s Discworld series) pay homage to earlier works in ways that the reader or viewer can identify with.

For this to work, the parody element – or the tribute, or homage – has to be something that connects broadly with the audience. Kneecam No.1 gave the audience the ʽsuperhero’ identification scene. In generally accepted storytelling, you have a scene with a damsel in distress, an injustice, a battle or a risk to life involved, and a mysterious, larger-than-life stranger swoops in to save the day. After succeeding and re-establishing the status quo, reminding the rest of humankind to look out for one another and what their current priorities are, the superhero vanishes again. He has other places to be and problems to solve. This is the story archetype for that character, and the role that Technoviking immediately fulfilled in the imagination of the audience.

Maxa Zoller, Film Curator, Cairo: “I think it’s a certain male desire to become this CGI, muscular, protective archetype of a man. These guys, when they imitate the viking, film, edit, upload and watch other examples – and that’s also where the fun comes in – there is an affective context that is not just popular culture, that has a certain quality.

Although these stories and scenarios exist as common archetypes, Hollywood homage and copyright is a fine line. George Lucas and Quentin Tarantino are artists in their own right who have included style reference to their influences in their work. Steven Spielberg too. Hollywood director Chris Columbus used his own Young Sherlock Holmes cast and script as reference for many scenes and characters when directing Harry Potter & The Philosopher’s Stone. My mother recalls watching Young Sherlock Holmes on TV as ‘that old Harry Potter film with the unconvincing Dementors running around in dressing-gowns. The one where Hermione gets shot at the end.’

A line is crossed in film when an entire story and its parallel sequences are seen to be ‘lifted’ from one other recognisable work – you can look up Disturbia/Estate of Alfred Hitchcock vs. Sheldon Abend Trust to research how one such case of two films and the original story was raised.

Any writer automatically owns their own prose. That’s word order on the page. Not title, not idea, not basic plot. If someone is proven to have Ctrl+C-ed and Ctrl+V-ed (copied and pasted) from another author’s non-public-domain work, or reproduced chunks of it verbatim, that is written copyright infringement in a nutshell.

A well-reported case in the last few years involved passages lifted from Ian Fleming’s James Bond novels, among others, by a hasty crime thriller writer, drunk on the lucrative new publishing contract he had received (Assassin of Secrets by Q.R. Markham, pen-name of Quentin Rowan, 2011). The portions of work that were stolen were quickly spotted in review copies by existing fans of the originals, and shared publicly in online reader forums. The plagiarising author’s book was withdrawn, and thousands of orders and pre-orders had to be refunded.

Titles, and names such as Discworld can be protected by registered trademark. You can go on that journey if you wish – trademarking is not automatic, unlike copyright, and must be applied for. You will have to prove ownership, originality, and that the word, image or phrase is not in common public usage. Look up the following two words together – ‘space’ + ‘marine’ copyright, for a good example of trademarking which has had plenty of online coverage (see Games Workshop’s Warhammer 40,000 v. M.C.A. Hogarth)

It’s rare to see trademark owners attempt to get it enforced retrospectively, but it does happen.

However, unpublished and indie authors occasionally come out with the well-roasted old chestnut: “I’d love for a huge publisher to steal my ideas, because then I would sue them and be rich.”

When is the last time you heard of this happening? I haven’t – yet I have seen several instances over the years of where a case might be made. The only case I saw followed through and resolved, hopefully to mutual satisfaction, was in the case of an indie author’s unique and personally commissioned cover art on the Authonomy website (now defunct), which was clearly imitated on a different book announced for release by the host publishing house. The publisher blamed the individual working for them on cover design, and had not checked their sources or inspiration – even though they owned the promotional website that the design was lifted from.

Major publishers and film companies always have to be prepared for a deluge of copyright claims, and legally, the complainant has to prove the theft, that the opportunity was in hand. If you research JK Rowling and her product distributors regarding individual authors’ attempted copyright cases against her work – there is a whole Wiki page’s worth – you will discover that the claimants have been bankrupted by such efforts, not enriched.

Even if the small fry have afforded their losing legal costs, the big fish may counter-sue subsequently for tarnishing their reputation, or something called ‘lack of good faith action’ requiring substantial damages to be paid to them by the original complainant. Cue small fry bankruptcy…

You may also be in trouble if you use a celebrity as a character in your published work, never mind a private individual, such as the Technoviking case. This comes under ‘appropriating and distributing a person’s image without consent’ – a French traditionally published author fell foul of this recently, using a current Hollywood actress as the person his female leading character was mistaken for and used to her advantage in his story. He had to pay damages to her as his book was found to have defamed the celebrity’s persona, tarnishing her public image (by his character’s behaviour in the story), while further damages for appropriation of her likeness and personality had also been sought. (Scarlet Johansson v. Grégoire Delacourt re. La Première Chose Qu’on Regarde, 2014). A major console gaming designer was subjected to a similar case by another Hollywood star, who claimed that she and her clothing style, including specific visual images and a recognisable corruption of her name ‘confusing to fans’ had been used as a model for an in-game character, without licensing or consent. (Lyndsay Lohan v. Rockstar Games/Take-Two Interactive re. GTA V, 2014).

Lyndsay v. GTA V

Lyndsay Lohan in a selfie-style pose on the left. GTA V in-game character Lacey Jonas mimics on the right.

Alexander Paschke, lawyer for Technoviking:My client asserts the rights that he is entitled to. And if this includes a claim for compensation – then it is part of that. But again: He is not after money – it would be much easier to make money out of this in other ways – but this is about others not exploiting and commercializing his persona. If you look at it from the other side: If the violator, who is marketing somebody else illegally, if he can even keep the profits coming out of the violation – what kind of understanding of rights would this be?

In non-fiction, there is the established referencing system for quotes and sources. Even if your own work is a paraphrased version of the source and not quoted directly, a lot of non-fiction requires supporting evidence, not just credit to the originator. Verbatim quotes will still need permission, including for credited song lyrics. Look up the Harvard method of referencing to fill out your bibliography of research to include in the endnotes of your book. (See Dr Raj Persaud plagiarism case).

That’s the bare bones of it. The part I can shed a positive light on today is the genre twist option, accessible to authors. Where, like P.D. James, you take an old public domain tale, and tell it for a different audience. I hear that very kinky things are currently going on in the world of crusty old romances at the minute, never mind murder mysteries and zombies.

By the look of things happening elsewhere in fictional mash-ups and re-inventions, Technoviking got off lightly. The audience in general respected him.

Wolfgang Ullrich, Professor of Art History & Media Philosophy, Karlsruhe:If one wanted to speak very traditionally and philosophically, one could see a phenomenon such as the Technoviking as a nice piece of evidence for a thought that was first prominently formulated by Immanuel Kant in his book ʽCritique of Judgment’ in the year 1790, where he asks himself the question: “How does one recognize a work of art?” – and he explicitly means a great work of art, the work of a genius. And the criterion for him, which is actually the only criterion for him, is the reception, the effect of this work. For him it’s clear: The work is a work of a genius if there are copycats, if there are a lot of copycats, if it has something compelling that other humans can’t resist its effect. This would be an indicator of the original’s power, that created new rules and established new forms, and for Kant this would be the proof for a really great art work in the case of the original video of Technoviking.”

Supposing as a writer, for example, you became such ʽa copycat’ and took the genius of Conan Doyle’s Sherlock Holmes, re-writing him in the style of Bridget Jones’ Diary or Are You there, God? It’s Me, Margaret. Or Frankenstein in the style of a CSI police procedural, analysing all of the body parts going missing. I’d like to see Kathy Reichs do that one… It was done fantastically with Johnny Depp as a police forensics expert in Sleepy Hollow’ – so it’s not an entirely new concept (just look at the action-style on show in the last Sherlock-based TV and movie releases, which are frequently re-invented for new audiences), but potentially there are many forms of almost-unexploited literary mash-up yet to reach the mainstream bookshelves.

You just need to find your genius to emulate – that’s unless you manage to become one, in your own right.

Matthias gives the impression that he still hopes to share an open dialogue one day with the reluctant star of his early film project.

“There is not only ʽmy intellectual property’ but also his, the work of the DJs, the people who made the music, the background dancers – they also were part of the creation – and therefore I don’t see myself as the only originator that owns everything.”

However, if you’re an author investing your time in words on the page, you’ll have to run to catch up with the creativity of online users making re-cut trailers and their own tribute videos on Youtube. That’s if the man formerly known as Technoviking doesn’t get to them first.

The documentary by Matthias Fritsch is released today on http://technoviking.tv/film – it’s free to watch, and compulsory viewing for anyone interested in the future of artistic interpretation, image rights, copyright, global cultural appropriation, viral marketing, and the individual right to privacy and maintaining the personal context of one’s own life, given today’s open social media culture. It’s a fascinating case study, showing how the phenomenon grew chronologically and in its exponential aspects, in which Matthias, the originator, had no promotional role.

Felix Stalder: Transformative uses – using something to make something new out of it… In a way this is covered theoretically by fair use in the US. But the way fair use has been interpreted in the court, it is very very narrow.”

Thanks to Matthias Fritsch of technoviking.tv for permission to quote from interviews in ʽThe Technoviking Story’ and to share the documentary

The Voodoo Viewpoint: Is new media stealing our souls and memories?

Halloween bookshelf

I haven’t blogged for a while, having had new things to deal with through the summer and autumn along with writing, and waiting for other things to be resolved – everyday life has got in the way, and all of it worthy of my time – so I can honestly say I don’t feel I’ve missed anything by not procrastinating online too much.

This post has been on my mind for a while over the past year, and I’ve turning it over further in my mind since a topic came up on Facebook regarding the well-roasted old chestnut of ebook vs. print books, and what might supplant them in the future. When I made my comment, I didn’t realise how much of an observation it really was. But the thought of it keeps returning to me, so I’ll attempt to dissect it further now. (I’ve used ‘Voodoo’ in the title as I was originally going to post it as Voodoo Spice first – but there is another relevance to the reference).

My comment on the post was:

I think real books will stick around for another reason – the same reason as real music disc collections, and real movie DVDs, and real photo albums. The death of these things will mean the end of being able to remember lost loved ones. Imagine going into an elderly relative’s last residence, and instead of shelves full of their favourite media that you can pick up and read and smell, and admire, all that’s there is a computer tablet full of password-protected cloud-storage erotica. Supposing they’re survived by 20+ family members all wanting a memento? Will they have to take turns hacking into his or her tablet to read their, erm, favourites???

It’s not only the issue of having physical objects with which to remember a loved one, though. When you first make a new friend, visit their home for the first time, you see immediately by their books, music, film collections, and photographs what you have in common. Without those, it takes far longer to define. How do you learn about a person who wears nothing on their sleeve in real life? Are they hiding something about their personality, their cultural and entertainment tastes, behind password-protected anonymous digital storage products? How much of their social media persona is genuine – do they really like Top Gear, or do they just ‘Like’ it on Facebook? How long does it take to make early judgements of compatibility when all you see in their home is the faceless packaging and housing of technology? Is this creating the hacking, snooping, prying, suspicious culture that troubles present-day relationships?

Are we sacrificing our personalities, our ability to connect with one another in real life without the social media screens, in favour of electronic packaging?

Back to the subject of bereavement and memories, there is another agenda surfacing to consider.

Electronic media itself has no re-sale value. The tablets and electronic devices can be re-sold, but they lose value in the very short term. Unlike physical books, vinyls, cassettes, picture frames, CDs, and DVDs – when you buy anything in digital format, to watch, read or listen to, its solvency value is zero. So even if your descendants, friends and family don’t want to share the digital tablet and know your passwords to enjoy your *ahem* favourites, they can only sell the tablet itself. Even if you have bought 70,000 books, movies, and songs in your lifetime, they do not add up to £70,000 worth of house clearance on ebay to divide among the mourners. They add up to zero.

They money you spend on electronic books and media to fill your device has gone for good. You cannot donate the products to an Oxfam bookshop after you have enjoyed them in order for others to benefit. You cannot have a yard sale or a car boot fair stand of portable entertainment to fund a party, or to pay a few bills. You have not invested your money in anything physically reminiscent that can be enjoyed as part of the soul of a lost loved one, or liquidated as an asset in the future.

The money has gone for good, into the great black hole of the business that also sold you the device to enjoy it on, or to store in some online cloud.

So in the future, without personal possessions for family and friends to remember us by – not even the chance to flick through the same books and photo albums we held, and no idea how to access our family photographs and music – and more and more social lives being conducted online – how will anyone remember their grandparents and great-grandparents beyond faces on a screen?

Will the youngest family members have the sense of identity and individual heritage that children before the digital age grew up with?

Will old people just die and disappear, leaving nothing behind but an online account full of media they spent thousands on, which is worth precisely nothing to their descendants even if they have the ability to access it? Will their living memories and personalities evaporate the second you tap on ‘Confirm shut down/log off device’?

Will folk start leaving clauses on their departure, that no-one is to hack into the tablet at all to avoid finding out how much porn and erotica they downloaded to keep them warm in their old age?

Never mind what to do with Granny, the last Will and Testament says we have to burn her Kindle first… aptly named device, if ever there was one. I see a new business opportunity looming – the “Kindle Crematorium” where dirty old reading habits go after you die…

It’s a mystery that leaves me very curious. I already find houses without books, music, photograph or film collections very odd – rather like pictures of home interiors in advertising, with no identity of the occupants visible. Sterile, like a showroom to sell a product or furniture lifestyle – not a working, living home. And if that is what remains in the future, when individuals die, what is left to know of them? An indentation in the sofa, perhaps – where they sat while playing Candy Crush Saga online?

So never mind that a computer tablet doesn’t provide the same decorative impact as a bookshelf, or provide the same soundproofing from your neighbours. Never mind that it’s a good way of hiding your reading habits, and a bad way of storing your nekkid selfies. It’s also a good way of spending your children’s inheritance – permanently. Throwing your small change onto the Kindle Fire (literally), never, ever to return as second-hand small change, ever again. Quite possibly thrown away along with the material potential for any of your descendants to remember you for more than one surviving generation…

Happy Halloween! 🙂 xxx

If you want to learn to how to format a print-on-demand book, publish and distribute for free, click here for my tutorial. You can also learn how to format ebooks and multimedia booksIf those still light your candle 😉 x

Q&A: Lisa Scullard – writer, editor, formatter, parkour enthusiast…

A surprise invitation from David Powning of Ink-Wrapped…

Ink-wrapped

Today I’m delighted to welcome writer Lisa Scullard, who works across the zombie, parody and romance genres. She caught my eye recently after releasing a novel under a pen-name with no fanfare or marketing frenzy, and yet achieved surprising results. Lisa also works on the editing side of things, and is a font of knowledge when it comes to formatting.

I was intrigued by your blog post about releasing a book under a pen-name, in a genre that you hadn’t previously written in before, and with next to no promotion. What prompted you to do this, and how surprised were you by the reaction?

I’d dreamed of writing romance from the age of about thirteen, and had a very rose-tinted view of it – meaning I never felt qualified. I believed for a very long time that romance authors all led very romantic lives, whereas I’m more self-isolating and insular…

View original post 2,490 more words

…Apparently, I can…

Hey, happy Sunday 🙂

I’m not sure what I expected would happen, publishing an unknown pen-name into the most overcrowded genre, with no advertising or solicited support. A dive into the community pool of obscurity, most likely. The genre has the highest turnover of readers as well, who devour a book in a day and are in a hurry to pick up the next one, like a chocolate fixation. Interest at the most optimistic level is likely to be fleeting.

I jumped the gun too, having had the book requested in full by Harlequin M&B and waited three months for a response after submitting. As the novel, a stand-alone story, only took me five weeks to write (76,000 words, a cakewalk compared to some of my others) I justified that part as not thinking it decent that I should have to wait more than twice as long for a reply than it took me to write. And I’d started writing four more in the meantime, which if I finish this year to follow it up with, would be unlikely to find such quick slots to fill in a traditional publisher’s catalogue.

Anyway. From my previous experience of running repeating freebies as promotion, when I put it on KDP Select to release it as free in the first weekend after publishing it last week, I was expecting a few hundred downloads on Amazon.com, a few dozen on Amazon.co.uk and one or two elsewhere. After the freebie ended this time, however, I had 1732 downloads on Kindle UK, outstripping everywhere else almost three times over, and had reached the UK #4 in its category and #24 in the Kindle top 100 bestsellers in Free ebooks. Two 5* reviews had turned up from nowhere, and it has continued to sell (and be borrowed on Amazon Prime) at an average rate of 1 per hour ever since.

As I only tweeted it about a dozen times for the freebie, and didn’t solicit or advertise for any promotion or ask friends for help, all I can guess is that folk genuinely like this book and are recommending it.

That’s a writer’s dream. Still early days, but at the the moment I feel as though I should be pinching myself to see if it’s really me dreaming it.

Possibly in danger of giving myself a small identity crisis, but that’s nothing new. One audience for the zombie parody, one for the psychological introspection, and now another, under a new name altogether.

And it means the opportunity to invest more time in writing 🙂

It wasn’t a quick decision to write in another genre – I’d been writing experimentally in this genre for about twenty years, but never published anything. Writing and publishing my other stuff turned out to be relevant experience – the more you write, the more fluent you become. You can learn something new about language and prose every day, which I discovered when writing a novel as a blog in 2012. When you write in a fully-conscious state of mind, you’re less likely to repeat yourself or slip into stereotypes associated with writing.

But I found I also have to be aware of being a storyteller, imparting an atmosphere and emotional tone as a major priority – allowing the reader’s imagination to have as much control without distracting them with ‘wordplay’. There’s good writing that demonstrates the mental gymnastics and intellect of the author, and then there’s good writing that you forget is writing because you’re absorbed in the story. In this case, I was aiming for the second one – which meant switching off the part of me as a writer which wants to flash around some skills and intellect and behave as if I have something to gain by proving them. If being too clever makes your writing inaccessible, it’s like pricing your books too high – they may be praiseworthy, but only a few folk will invest in them.

For me, writing will always be a spontaneous activity, meaning that most of what I achieve is down to luck and enjoying the time spent by myself working on it, which includes any social media (I have a great deal of writer friends, but I’m not known for turning up ubiquitously on dozens of blogs or joining marketing campaigns and the review culture). One reason I enjoy writing as a career is it doesn’t involve any group effort or teamwork – and I’m not into competitive sports either 🙂

Genuine success will always be down to the readership in that particular genre and their judgement. It’s a very grounding and humbling thought, knowing that as the writer, you’re always outnumbered by the potential readers, by millions to one 🙂

L xxx

“Tell me honestly. Can I pull this off?”

Matt Lucas as Dongloor in Krod Mandoon

Switching styles, like Dongalor in “Krod Mandoon”, played by Matt Lucas

So yesterday I got bored, and to distract myself from watching my ‘selling’ items on ebay, I published one of my recent romance novels under a pen name I’ve been cultivating for a couple of months, Lauren Boutain.

This is the one that M&B requested the full MS of three months ago, and having just won round one of their Facebook and Twitter-based #TemptedToWrite contest pitching another idea, I have too many stories in my head now to sit around twiddling my thumbs waiting. For now, I’ll stick to self-publishing until something better comes along… (like I don’t know, having a life?) 🙂

I did get some encouragement from having had it requested, and a couple of good friends. Friends are very important when you’re venturing into anything new, and contemporary modern romance is definitely new ground for me…

Matt Lucas, Dongalor

Supposing Dongalor wrote the next romance blockbuster, who might he ask to take a peek? 🙂

And then there’s all the stuff I don’t usually write. The bedroom stuff… I found that was where planning to write under a pen-name up front really helped. Not by trying to distance myself from it – by getting inside the head of someone else while writing. And not just the characters, for a change. By being another author completely.

For the first time I started a Pinterest board for my muses and also a Facebook page early on.

However, I found that waiting to hear from publishers still didn’t really fit – I had momentum in my creativity, and didn’t want to let it drop once I’d finished the story, I wanted to get it out there and move straight on to the next. So I’m afraid to say that yesterday I decided I couldn’t wait for either the good news or a rejection, and published anyway 🙂

Matt Lucas as Dongalor

“Can I pull this off?” Chancellor Dongalor’s big, er, ‘reveal’

Ahem… probably the main relevance to Krod Mandoon and the Flaming Sword of Fire is I recently watched it all again on DVD, and the line “Can I pull this off?” (besides being bloody hilarious in this scene) is very pertinent to me as an author who has been writing contemporary romance mainly in secret for a long time, but has not yet put it out there for readers to judge. I’m feeling brave. Perhaps not quite brave enough to slap on a bearskin codpiece, but definitely to sneak a book out under the radar, in the deluge of self-publishing going on in the world today 🙂

If you want to take a peek, or a download for 77p (99c) and judge for yourself, you can check it out on Amazon Kindle here.

I promise I don’t do executions in response to criticism, unlike Chancellor Dongalor 😉

One Stolen Kiss

Does not contain zombies… 🙂

L xxxx

Netiquette for the indie author

Schmoozin' cocktail

Okay. So you’ve formatted and released your books, and established who your target audience is.

The next dilemma you’ll face, is how to market your work.

First of all, make sure you’ve written the best book that you can pull out of your head and heart. Not any other part of your body. If you’re dredging it up from elsewhere, the strain will show in every paragraph.

Secondly, make sure it has a clear and attractive cover.

Third, that the blurb is appetite-whetting enough to attract readers – don’t give too much away, but don’t be so vague that you could be describing pretty much any book. Try to avoid tag lines in the form of a question. It’s very pulp fiction noir, but if you’re not skilled in that particular genre, you’ll just come across as a lazy tag-line writer. Below are examples of weak tag lines:

~ Will he/she succeed?

~ Does love conquer all?

~ What will they do?

~ In a race against time, can they beat the clock?

~ Will truth/justice/honour prevail?

The above are all too vague and over-used. Number four, in particular, basically describes everything from the school run to the TV quiz show Countdown. You don’t actually need a tag-line. Just write a decent story, package it nicely, and keep your fingers crossed that enough folk will enjoy it to recommend it to one another. That’s the best form of promotion, because it doesn’t actively involve you.

I have one opinion about asking for reviews:

How to lose friends and irritate people.

Amazon Kindle frowns on reviews written by friends and family. Reviews posted on request in exchange for free books have to state in the text ‘I received a free/gifted book in exchange for my honest review.’ Editors, formatters, publishers, cover designers, contributors and other people involved in the book’s development and production cannot post reviews of the book. Any reviews unearthed seen to be breaching their guidelines are unceremoniously removed without notice. You can say all you want about the practises of major publishers and their methods, but down at the other end with the indies, you have to play fair. And if the book itself doesn’t live up to a ream of glowing, paid-for or solicited reviews, it’s one of the best ways to attract a shed-load of bad ones.

I don’t ask for reviews, but I’ll happily give away books if someone thinks they’d enjoy a book I’ve written. I don’t set them homework afterwards. I’ve seen good friends of authors run at the sight of them approaching on social occasions, crying for mercy the familiar pleas of “I haven’t finished reading it yet!” or “I don’t really know how to use the computer or post reviews on Amazon!”

It’s crass to treat your friends and family as a marketing machine for your work. Do you promote them and their business? Do you give them any help or support with their dreams and ambitions, whether it’s getting them a make-over, working to create the house and garden they most want, helping them find a date, arranging for them to have the car they’ve always dreamed of driving, writing them endless job references and endorsements? Because that’s what you’re asking for, in a nutshell. There is a mentality among some authors that family and friends are there to be used. If you need private feedback or approval, or help proofreading your book, ask one or two to take a look BEFORE you publish it. Don’t ask them to do your heavy lifting afterwards.

Be dignified.

Mannequin

Remember – you are the front window for your writing.

Authors themselves are the best support network, many of whom now have learned, to their cost, that nobody close to them socially is interested in their new hobby as a self-promotion machine, and liked them better while they were still only writing in their bedroom after school with paper and pen.

I was once asked to post the same review on several sites, having genuinely written a nice one of my own volition, because I enjoyed the book. I said no, explaining to the author that having it pop up on every outlet or listing for the book would instantly imply that it had been an insincere, solicited review, possibly paid for as well. You have to put your foot down when approached about these things yourself – it turns the whole author support network into a protection racket of back-scratching. If an author then leaves you a sour comment on your book, with you having either declined to review theirs or having not read it, most likely, ignore them and move on.

Don’t sink to their level. It won’t endear you to the audience. Trolling the internet is time wasted that you could be writing a bestseller in.

Make sure you are always working on the next thing, and having new ideas. There’s nothing sadder than pimping your one solitary book for years, waiting for Hollywood to call. In the same vein, make sure that you have a life, and are taking a healthy interest in the people around you from day to day – and not in the desperate search for material for your own work. What are their dreams? What are their life stories? When was the last time they took up a new hobby? For that matter, when was the last time you did?

I’ve got to the stage now where I’m starting to receive unsolicited spam from ‘social media experts’ on sites such a FB, LinkedIn and Twitter, who haven’t looked at what I do and seen that it’s also my own job. All they trawl for is the word ‘author’ and send out a pitch for their services, announcing that I can’t possibly have the time to promote my own books as well as write and that the cost of their services is very reasonable. Which is true. I only teach others how to promote their own books, in between writing my own books. And I’ve never had to spam or apply for work. I get referred by word-of-mouth, and have to turn down or suspend jobs all the time because I’m too busy. And because my job is so easy I’m sure most folk could do it, my I.T. and technical services are damn near rock-bottom 🙂

That’s one of the reasons I’ve written these tutorials. So long as you can write a good story, format it nicely, present it in an attractive way, behave yourself online, and not alienate all of your family and friends in person, you could get lucky and sell a handful of books. The best way to sell more books, is to write more books. If your readers are keen on your material, they’ll come back for more of it.

Remember, in the real world, selling yourself online isn’t everything. Getting on with life and enjoying yourself is. Make sure you leave time for that. It’s scary how fast the time passes while following your book’s progress up and down the Kindle charts, and trying to influence it in any way possible 🙂

L xxxxx

London Book Fair 2013: After it has all sunk in…

Kobo at Clapham Junction

Kobo reader at Clapham Junction, awaiting train home after LBF13, 15th April

There’s not much I can say about this year’s London Book Fair that hasn’t been said already. Authors ruled. Early in the day on Monday, you could see the tumbleweeds blowing through EC1 – while in EC2, at the Author Lounge, it was an ants’ nest of inquisitive and industrious minds around Mark Lefebvre‘s talk ‘From E to Eternity’.

Mark Lefebvre of Kobo speaking at the London Book Fair 2013

Mark Lefebvre discussing the Zombies Run app as an example of progressing interactive e-reading experiences

The authonomy blog shared a mind-blowing fact afterwards – that around 25,000 new titles are currently being released to a worldwide audience every week (April 2013). With more and more folk picking up on how easy it is to self-publish using free ebook and POD platforms, this number looks set to continue growing exponentially.

Standing room only inside and outside the LBF13 Author Lounge

The outcome of this year’s Book Fair was that there was some traditional publishing buzz afterwards, but even the high bidders, staking claims to their meaningful contribution in the industry, couldn’t contend with the sheer overwhelming presence of (and interest in) the independent authors at this year’s event.

Photo by Kobo Writing Life

To me, the most daunting thing facing a writer today is the sheer number of people doing it. The same thing has happened with the indie music industry and indie film industry over the past 15 years.

Suddenly everyone is producing work, and putting it online, and trying to reach people with a taste for their style using the promotional platforms available – and while the creative market is exploding, the audience is progressively shrinking. As consumers, we don’t have enough hours to see, hear and read everything out there (even less so if we’re also the creators, and need most of that time to be creative ourselves), and the chances of finding our perfect entertainment to fill our small amount of spare time, although it may be out there, is tiny – like hunting for our own personal needle in a haystack full of needles.

Which is why it’s important to ensure that your creative hobby is fulfilling you, before you even conceive of who else might appreciate it. You are your primary audience.

The major concern that I’ve heard other authors voice recently, is that their one fear about publishing their work is “being judged on the content” which suggests they’re not writing for themselves, or from personal experience, but for some seedy underbelly kind of voyeuristic audience that they wouldn’t want to meet in a dark alley, let alone at a book signing.

If you wouldn’t want to be judged on the content of your writing, why are you writing for that particular perceived audience? For the potential money? For the notoriety? Are you simply in denial of a fetish for that specific genre yourself? Writers who enjoy their work, and are writing in a way that reflects them accurately, aren’t suffering from that fear. Anyone meeting them will find their personality consistent with the writing. They’ll leave them feeling that they were indeed the only person qualified to have written that particular work, and that if it was to their taste, that they’d happily want to learn more – in effect, to spend time with that author getting to know them better through their writing.

Sometimes, as a reader, there’s nothing more disappointing than an author who doesn’t live up to their stories. The author is supposed to be ‘the authority’ on their individual writing. Not a collector of ideas applied to writing, in order to make a fast buck.

Sometimes, that’s the reason true life stories are more interesting than fiction. You already know that it really happened to the author, which makes them an interesting person – one with a story to spend time on.

An author whose only personal story is that they churn out ideas, like a machine, in the best tried-and-tested manner to generate income, may be running an effective business, but are they living a life worth sharing with lessons worth learning? Are they inspiring people to live differently or explore life by being the best example of that lifestyle that there is?

By accident, I found out that parody sells. I enjoy parody, as a consumer – fantasy and sci-fi parody is my favourite genre, alongside graphic novels. I wrote my first parody as a test of publishing platforms, once I’d taught myself the technical know-how to format and publish for free – which led me to publish other original works I’d written years earlier. But ironically, it’s the parody that keeps selling. Is it because it’s my favourite genre as a customer? Or just that it fits a mainstream contemporary audience?

But here’s what I wanted to write. When I was about fourteen, I read an interview with a Mills & Boon author at the time, Mary Wibberly. She had been writing romances for years and submitting them to Mills & Boon for about a decade before finally getting published (she’d even been submitting them under different author names, in imaginary fear of having been blacklisted by the editors). It made me want to write romances one day. I still do. But although I can satirize and produce parody of it, I feel like a fraud whenever I attempt more traditional ‘romance’ with a straight face, because I don’t have any romantic experience. Ideas aren’t the same as having experience. I can read all the advice books around, from writing advice by Sue Moorcroft to relationship advice by Greg and Amiira Behrendt – but in the real world where nothing remotely like romance is happening and the only nudity I see is dead and trussed up in the frozen meat counter at the supermarket, I have to kick the daydream of writing romance aside and stick to comedy and fantasy for now (and sometimes zombies, see above). I’m one of those writers that has to be identifiable to myself first, and if I tried to write something that could only be comfortably and authoritatively written by a happily married housewife or a happily dating city girl, it wouldn’t seem real to me and most likely wouldn’t seem real to anyone else.

I guess we all have dreams of creative and professional success, the same way we have dreams of achievement in our personal lives. The internet makes it possible for everyone to compete in the same playing field. Meaning that the potential for anyone to rise head and shoulders above the rest, where everyone has the same level of electronically-supported social skills at their disposal – subject to time and budget – is slim.

If you picture the internet as such a playing field, with the population of the world strolling around on it trying to get noticed with their business cards and check-lists saying ‘reviews’ and ‘advertising’ (or ‘dating profile’ and ‘has genuine recent photo’) – what would stand out to you, as a potential customer? It’s not Dragon’s Den, where you get five minutes to pitch individually. Everyone selling themselves online, is online at the same time as you. You have, at most, about 0.4 seconds to catch someone’s eye and make them look again. (If they’re an RAF pilot, about 0.1 seconds).

And your budget doesn’t stretch to getting them all sociably drunk and conveniently impressionable – and that’s even if you could fit them all into Groucho’s.

As a customer, for me, it’s in regular high street bookshops and the supermarket where I look for books, so the dream is probably still to reach one of those publishers who can distribute to those places. I’m a proud reader. I think people being able to see what I’m enjoying reading on the train is better than writing a review any day.

Although perhaps not this book… I was laughing, but I don’t think that’s what the intention behind it is…

IMG-20130904-00296

Weirdest thing I’ve ever read on a train… didn’t make me want to try it out, let alone read past page 45…

So, besides misrepresenting myself as a person occasionally by picking up weird cult books to read, my philosophy of ‘write what you know’ is about as flexible as it is to continually increase what I know, to a valid and confident level where I know I won’t be misrepresenting or misleading anyone else.

That way, the fear of being ‘judged on the subject/content’ as a writer doesn’t sabotage my enjoyment of writing. After all, I may be the only person who ever reads it for more than 0.4 seconds, and I wouldn’t try and delude myself with artificial knowledge and lack of experience, so why try it out on anyone else?

So like I found with parody – what you think you want from writing early on may turn into something else, leading you down other creative pathways.

How writing affects you as a person – whether it defines you or misrepresents you – is probably more important, particularly for your sanity and whether it affects how comfortable you are around other people, talking about your work. If you’re considering pushing for a career in a certain genre, or as a certain kind of writer, and want to reach those upper echelons of success obtained by JK Rowling, James Patterson and Sir Terry Pratchett – try recording yourself in an imaginary interview, answering all the most awkward questions you can imagine being thrown at you, or write down your answers. Watching it or reading it back, you’ve only got to convince yourself that you’re the star for this job.

If you don’t seem convincing as the star candidate for this subject or this story – maybe try interviewing yourself about a different genre or story. Because if your passion doesn’t come across and your personality doesn’t sparkle as you talk about your work, how are you going to convince others that it’s a story worth selling?

The real challenge is, how to stand out from the 25,000 other books being released the same week as yours… never mind in the weeks following, under the increasing deluge 😉

IMG-20130415-00135

Mark Lefebvre of Kobo Writing Life Author Relations at London Book Fair 2013

Zombies Run 2 app trailer

WE WANT YOU for Hard Ink Café…

Hard Ink Café Hall of Fame

Join us in the Hard Ink Café Rogues’ Gallery of Contemporary Authors

You may have noticed, no matter how much I love you all, author promotion here is not my bag. In fact, bags are not my bag either, so perhaps I should say, not my cup of tea. I’m just not attentive enough (in the time that I’m not thinking about zombies) to keep it up.

But if you’re looking for an author promotion opportunity that’s a bit different from the rest, pop over to Hard Ink Café for a browse. It’s two weeks old today, and just passed 100 likes.

It’s free to feature, and submission rules are on the ‘Rogues Submit!’ page. You can feature as many times as you want, and gradually build up your own author profile gallery under your author name tag.

You don’t need to be published yet to feature, just have a blog or website featuring your writing, to link your name in the Author Index to your work.

So be brave, get the cameras out, and show us what’s beyond the screen 🙂

L xx

Win a paperback copy of ‘The Zombie Adventures of Sarah Bellum’

The Zombie Adventures of Sarah Bellum 002

 

Visit The Zombie Adventures of Sarah Bellum Facebook page to enter…

If you’re not on Facebook, you can still view the post about the draw on the link above, and enter using the comment section below here on WordPress instead of commenting directly onto the post on Facebook. You don’t have to post anything special, or like or share – just saying “Me please!” will count as an entry, and make sure your profile contains a contact email for if you win 🙂

Entries close in 24 hours, or however much longer it takes to get more than one entry 😉

Good luck! 🙂