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.

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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.

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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

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Chapter Two – Grey Matter: The Zombie Adventures of Sarah Bellum from Crispin’s point of view – the CtrlVquel

CHAPTER TWO

I hear the Pizza Heaven scooter protesting as it approaches up the mile-long driveway to my enormous stately home, and my equally huge anticipation is turgid, almost vibrating. I’ve never called out for pizza before. Chinese, Korean, sushi, fish-and-chips, shish kebab – many times. The little two-stroke engine is making those annoying noises, only slightly more annoying than the noises that Mrs Fritatta makes when I ask her to change the sheets for me – on the occasions that I’ve had a few too many braaaiiins, or a Jägerbomb cocktail more than three inches deep.

Good Lord, the suspense is killing me… Fuck. I can already smell her braaaiins.

My black stretch Cadillac limo is parked at the foot of the steps, the engine and exhaust still ticking quietly as it cools, as I have only recently arrived home. She will have to pull in behind. My eardrums pucker tightly, straining to hear every detail.

Footfalls scale the enormous marble steps. I wonder what shoes she is sporting now. Boooots?

In spite of the clear view of the morsel on my stoop from the security camera, my hitherto apathetic prostate leaps to attention at the press of the buzzer. Thank God, the damnest thing – it still has life in it! Ignoring the intercom, I loosen the resulting wedgie and attempt a nonchalant saunter across the grand entrance hall, hoping to build up my visitor’s own sense of anticipation.

She evidently gets a shock when the door is opened silently between us. She looks as though the world has just dropped out of her bottom. Or mine, for that matter.

Standing in front of her, my matt-black tie undone and just-dead hair hypnotically dishevelled, is me, Crispin Dry – vending machine magnate, entrepreneur, and the sexiest corpse she’s recently seen – at least, since 4.23p.m. last Thursday, in a wheelie bin under the silver birch tree at the Body Farm, or so the reports tell me…

What does she see in him? A mere Forensic Anthropology donor subject? Bastard…

“Mr. Dry!” she squeaks, terrified – and immediately thrusts the pizza box under my nose. It does not avert the even more delightful smell of nervous pizza-delivery girl.

Mmmm. Yum.

“Miss… Belllummm…” I slur, and feign innocence. “What a pleasant surprise. Do come inside. The kitchen is just this way.”

I turn in the doorway and shamble into the opulent entrance hall, beckoning for her to follow. Come hither, baby.

She has no choice. Sarah Bellum pulls the gigantic door closed behind her. I wonder if she now knows how Gretel felt, upon entering the gingerbread house…

My kitchen is vast – like a bowling alley. When I open the great refrigerator, and start selecting my condiments, I know she half expects to see the bottles deposited mechanically onto the shelf, like a set of ten-pins.

My spine tingles, sensing her tentative approach. Fuck. I never felt this alive in the presence of a woman – even when I was alive…

“I’ll just leave it right here, shall I?” she suggests, sliding the box onto the glassy-smooth granite counter-top. I picture her sliding across it herself, in turn.

I know what I’d rather eat.

Braaaiiins…

“Join me, Sarah Bellummm,” I say, surprising her. “I believe you might be famished, after your long day…”

She looks doubtful, and a flicker of jealousy flares unbidden, in my left gonad, while its master remains cold and unaffected. Bugger. It had better not fall off.

Dinner with me will scupper her usual Friday plans, of waiting outside Bumgang & Sons’ Breaker’s Yard with a Chinese Meat Feast. Ace Bumgang always pretends to be surprised, which actively encourages her for some reason, and sometimes he even takes it with him. He’s usually in a big hurry to meet up with his friends at the boys’ club, Gentlemen Prefer Poledancers – which I am privy to, as I own the place. It means he’s telling her in his own special way that he’s not settled for anyone important yet… Why is he stringing her along? Isn’t it perfectly clear they’re not suited?

“Well – I think the last thing I ate, was a sip of chicken soup, from the vending machine at your office earlier…” she admits, timidly.

“Toooo long,” I agree, and give her a devastatingly wonky nod. “Take a seat. And close your eyes. I have a surprise for you.”

A big surprise, baby. I consult my downstairs menswear department hopefully, but still an armed response from there is pending. My other appetite, however, is already open for business, at full throttle. Braaaiins.

She slips off her George and Mildred and tries to make the most of her helmet-hair as she arranges herself on the seat at the counter. I dart her a meaningful look, still foraging in the refrigerator, and obligingly she closes her eyes.

I wonder if she expects a big tip.

You won’t be disappointed, my love. Haha. My inside leg measurement remains obstinately unchanged. Bugger.

“Is that your Cadillac outside?” she asks, passing the time with small-talk, while I’m putting dishes on the counter in front of her.

“It is just a courtesy car,” I say, dismissively. “The Bugatti and the Maserati are away for servicing, and I only use the Diablo on holiday weekends, when I go hot-air ballooning.”

“Hmm,” she murmurs, disbelieving. Probably picturing more guys like Ace Bumgang, who have a couple of sports cars, a racing bike and a speedboat scattered around, as petrolhead mechanics always do… but she has no idea of what lights a businessman’s candle in the motoring department. A fleet of 1.2L commuter compacts, if anything…

“I hope you are hungry,” I say, rather darkly, interrupting any of her fantasies intruding on us about Ace Bumgang. “I have an idea of your tastes already. Open wide.”

She promptly rearranges herself on the seat.

Braaaiiins! Oh dear Lord – I wish I had something to put there! Perhaps I will have to get a clockwork one…

“I meant your mouth,” I croon, hiding my regret, and she slams her knees together again, like a barn door in a tornado.

Nervously, she lets her mouth fall open, in a textbook Q.

“Put your tongue in, pleeeaase,” I moan softly.

Her tongue is like an inviting ramp. Lead me to your braaaiiins… I can almost peer right into her skull. It’s so beautiful. A man could get lost in that empty space for days…

The Q becomes an O, as requested.

Her stomach rumbles immediately in response as I feed her the first tidbit, and she chews enthusiastically.

She’s eating!

“You approve?” I ask, hopeful.

“Yum,” she nods. “Is there more?”

I will not admit to her that it is my own recipe. Not yet. I have been trying to perfect these Korean Fried Fingers all week.

“Nine more, I believe,” I confirm, as she runs her tongue around her teeth to dislodge any gristly bits. She coughs on something dry, and removes a crispy fingernail from her cheek, which I quickly brush aside. “I think we have found your acquired taste exactly.”

“Do you have anything to drink?” she asks. Her eyes are still rapturously closed, all thoughts of the tanned, toned and droolworthy Ace Bumgang evidently forgotten.

So keen! Her thirst makes my own liver turgid with agreement.

“Be patient, Sarah Bellummm,” I whisper. “I am sure I have a cocktail worthy of you.”

I shock her with my intimate tone.

“It’s as if you were expecting me,” she gasps, blushing.

“But of course,” I say, so close to her ear, she nearly swoons off the chair. I inhale surreptitiously, savouring her heady, pulsating aroma. My stomach acids pump, in a most gratifying response. “I even made sure to re-stock the vending machine in my bedroom, right before you arrived…”

Nothing between us but braaaaiiins, baby…

The Zombie Adventures of Sarah Bellum

READ CHAPTER ONE HERE: GREY MATTER 1

BUY THE ORIGINAL ZOMBIE ADVENTURES HERE: THE ZOMBIE ADVENTURES OF SARAH BELLUM

Grey Matter: The Zombie Adventures of Sarah Bellum from Crispin’s point of view – the CtrlVquel

CHAPTER ONE.

As I approach the reception area of my office on the beach, through the tinted glass door I espy an attractive, brunette newcomer get up to accept the hi-visibility yellow vest handed to her by Heather, my secretary, which has VISITOR stencilled on the back. She pulls it on grudgingly over a badly-fitting Chanel. It looks borrowed.

She appears awkward, like a gazelle through a huntsman’s gun-sights. It sends an arrow of excitement to my rotting guts. Braaaiiiins…

The adjoining door creaks, as I push it open, and she turns, still adjusting her Velcro.

She knows, the moment she sees me.

The black suit. The pallor of my skin. The attractively tousled, unkempt bed-hair. The drool. The limp… Her knees are trembling. She will be putty in my undead hands…

Braaaiiins.

“Crispin Dry?” Her voice catches in her throat.

“Miss… Bellllummmm,” I moan softly, extending a dirt-encrusted hand.

I see her deliciously alive heart palpitating wildly, noting my ragged cuticles and my long, gray, prehensile fingers.

“My housemate,” she begins. “Miss Shitface – she couldn’t make it today. Got the uterine bailiffs in…”

She grasps my outstretched hand in greeting. So warm… and yet so apprehensive… a tingle crawls deliciously up my forearm, and she snatches her hand away quickly, as if scared of her own delightful response. I know my jet-black eyes are glittering, hungry and cold, and my upper lip curls in the faintest suggestion of a smirk. Braaaiiins, baby.

“Were you offered a refreshment, Miss Bellumm?” Remembering myself, I gesture towards the famous vending machines.

She shakes her head, and I turn to glare at the receptionist. Heather cowers visibly, and I emit a long, low, guttural sound. Braaaiiin-dead bitch. The receptionist scrabbles in her drawer and holds out a handful of coin-shaped metal tokens.

“I’m fine, really…” Miss Bellum croaks. Her throat does sound terribly dry. Such a wicked little liar. Mmmm – living braaaiiins…

“Very wellll…”

Her knees appear even weaker as I hold the door open, and I beckon, my head at a quirked angle.

“This way, Miss… Bellummm.”

How she staggers through the doorway makes my own gait feel more impeded than ever. I stumble hazily behind her through into the corridor, hearing the door creak closed again behind me, and only the shuffling, shambling sound of my footfalls in her gazelle-like wake.

Braaaiiins. Must haaave…

“Straight ahead, Miss Bellumm.”

Her breathing is like snowflakes falling onto a headstone. It tickles my inner ear and the back of my throat, sends chills down my disintegrating spine. It resonates with my deepest, darkest, hungriest thoughts.

Things I had not entertained notions of since breakfast…

Sexy braaaiiiins. Gimme…

My arm extends past her to swipe my security card in the lock of the next door, and a waft of her Pears soapy scent washes over my strangely heightened senses.

“Go through, Miss Bellumm,” I whisper in her ear.

The door clicks open, and we step through. Murky grey daylight filters through the tinted windows from the seafront, and she gasps. Another personal assistant is banging her head repeatedly on the steel wall, not three feet away from the door.

“Debbie,” I say, a tinge of disappointment, or possibly disapproval in my voice. “Take Miss Bellum’s coat. You will not need the yellow site vest either while you are with me, Miss Bellumm.”

Debbie turns to look at us, her flat bleached-out bloodshot eyes registering nothing. She holds out her arms to accept the navy-blue Chanel and hi-visibility vest as Miss Bellum shrugs them off, vulnerable and exposed now in an Andy Warhol Marilyn Monroe t-shirt. Boooobs…

Debbie takes her jacket with a soft grunt, but goes nowhere, turning back to face the wall instead, contemplating the smear where her head had been rebounding off it just a moment before.

I take Miss Bellum’s arm to steer her past, the unexpected contact eliciting another gasp from her. She must be so aware of my long, cold, prehensile fingers, closing around the soft warm flesh of her tricep… she trips fawn-like along the next corridor, trying to keep pace with my rolling, loping gait, like that of a wounded panther.

I want to lick her ear. Braaaiins.

“My office…” I hiss, swiping my security pass a second time, and ushering her through.

It is black. Everything is black, from the desk, to the leather seating, to the vertical blinds. The only colour in the room is a giant white canvas, on the wall facing the long window, upon which a modern meditation in red is represented.

“You like my art, Miss Bellummm?” I murmur, seeing her openly gape at the piece.

“It’s yours?” She sounds really very intimidated. She will find much more to be intimidated about, regarding my appetite. “It’s beautiful…”

“I call this one… ‘High-Velocity Spatter’,” I confide in a husky voice. “Sit.”

She plants her quivering haunches onto the soft leather, and starts to take out her notes. The only sound otherwise in my office is the eerie call of gulls, from the windswept pebble beach outside.

I watch her, calculatingly. I circle around the sofa opposite, not yet seated, assessing her professionalism in getting ready – for me.

Braaaiiins, baby…

“Would you like something to drink, Sarah Bellumm?” I move languidly towards the huge, black, state-of-the-art vending machine in the corner.

The sound of her full name on my lips causes her own to part involuntarily, like the opening of a beautiful white lily…

“I am a little parched,” she admits. “Yes, please, Mr. Dry. Thank you.”

“What would you like?” My hand hovers over the illuminated keypad. “Tea, coffee, hot chocolate? Iced water? Chicken soup? Gin and tonic? Bubblegum? Breath mints?”

Braaaaiiiiiins?

“A chicken soup would be lovely,” I hear her say, and her stomach grumbles in agreement. I recall the report of the last slice of cold Pizza Heaven pizza she ate for breakfast, many hours ago.

“Chicken noodle, chicken and sweetcorn, Thai chicken and lemongrass…?” I prompt. She could use fattening up…

“Yes please – the last one…”

She watches as my clever fingers dance over the keys. There is the faintest hum from the machine. In a trice, a large fine china mug appears, steaming, on its own saucer, garnished with fresh chives and coriander. There is even the traditional porcelain soup-spoon on the side, intricately decorated.

I can sense her wondering what sort of businesses I supply this particular machine to. All that the University ones dispense, is various colours and temperatures of pond-water à la Styrofoam. They are at the very bottom of our budget range.

I bring it to the low onyx table in front of her, and present it with the gallant flourish of a red napkin. Something of the gesture, and the way I arrange myself laconically on the sofa opposite, seems to disappoint her slightly.

She looks disillusioned, while I fidget my earlobe in that I’m-ready-to-listen way and stroke my knee with my other hand – I thought women were less threatened if a man threw at least fifty shapes of gay… Perhaps I should tone it down a little. But not too much machismo. Just enough heteropolitan transmosexual metrochismo to tease her braaaiiins a little bit.

She struggles to focus on the list of questions written out for her. She’s starting to worry that maybe she won’t enjoy finding out the answers to some of them. Haha. Braaaiiins, baby.

And when is she going to start eating? I’m literally dying to see her masticate. My bile gland twitches and swells in agreement.

“It’s very hot,” I say, in a warning tone. It startles her.

“Hmmm?” Is she always this jumpy? Perhaps I’ll have to tie her down and use the braaaiiin hooks…

“The soup, Miss Bellummm.” My mouth twitches in the corner, and my black eyes crinkle slightly. I can see into the dark shadows at the back of your own mind, baby. Braaaiiins.

“I can get started with the questions while it cools down,” she says, brightly, apparently batting away the shadows in her head at my curt nod. She definitely assumes I’m gay – I must work on that. She looks down at the sheet of paper. “Now… the first question. Is it true that you employ foreign child labour in the construction of your vending machines?”

“No.” I’m disappointed in turn. This is not the sort of question I hoped for. My answer is as cold as ice, and as solid. “There are other ways of manufacturing our machines to a budget that is mutually beneficial, to the product consumers, and the workforce.”

“Right…” She scribbles this down, in what must be her best pizza-order shorthand. “And is it also true that you sub-contract your perishable goods supplies, for human consumption, out to companies who deal in black market foodstuffs and out-of-date stock?”

“Our sub-contractors are fully vetted,” I assure her. “If any sub-standard products are finding their way into my machines, it is usually the fault of the site owners, outsourcing to cut-price vandals who access the machines without our endorsement. Quality control is of paramount importance in this business.”

The aroma drifting up from the soup is certainly backing up my argument. But still… she doubts me! The complexity of her mind must be delicious… I cannot wait to savour it. I almost croon out loud. Braaaiiins…

“Are you saying that the recorded cases of food poisoning at Cramps University, and at other sites, is the faculty’s fault?” she asks, not a dampener to my appetite in the slightest.

“I am not saying anything, Miss Bellumm,” I muse, my eyes still faintly entertained, my head still quirked. “But you are, it seems.”

She stares down at the page, and blushes at having spoken out of turn. That last question was not on the list, her own impetuous mouth running away with her. Not one of the listed questions at all. Let me punish you, Miss Bellummm!

“Moving on,” she says swiftly, aware that my eyes are mentally dismembering her. She looks at question number three. “How do you explain your current one thousand percent increase in profits in the current financial climate, Mr. Dry?”

“With excellent book-keeping.”

She glances up at me, as if uncertain whether this is merely a stab at humour. I am still lounging on the sofa, the jet black of my eyes resting on her steadily. Her own eyes follow the line of my jaw, and the rumpled Bohemian mane of hair, still intact. My square shoulders in this black suit make her feel weak. What’s wrong with you, girl? It’s just a pretty corpse! You’d be bored sick of me within minutes, same as all the others…

She presses on with the duller questions, covering the various charges of tax evasion, pollution, carbon footprint, and illegal immigration, and I have a cool answer for every single one. I’m relieved when she turns the page, and I find the closing questions are brief.

Finish me, baby…

“…Finally, Mr. Dry. Can you tell me your favourite colour?”

I indicate the décor of the office.

“Black,” I confirm. “With a little fetish for red, occasionally. And sometimes…”

Braaaiiins. My face darkens. I look away.

“White?” Miss Bellum suggests, obviously thinking of the painting.

“When black meets white, there is a certain shade – a very delicate and vulnerable shade – that illustrates humanity in its most primitive state.”

“You mean gr…”

I put my finger to my lips, caressing them to tease her further.

“Best left unspoken.” My black eyes burrow into her head, and my remaining adrenal gland surges tumescently, with unexpected concurrence. “A colour for the mind. Not for the lips. Only… under very special circumstances… should the matter pass the lips.”

There it is, baby. She looks distinctly uncomfortable now, and returns to the final questions.

“And what music do you listen to?”

“Soul.”

“And last question. What car do you drive?”

“I have a number of cars, all black, and a chauffeur, who drives very sedately. You must allow me to take you on a tour of the rest of my complex some time. I may have an opening for a new PR girl soon.”

On cue, outside the window behind me, I hear something crash wetly onto the pebble beach from above. Fuck – there goes another jealous secretary. No braaaiiins in any of them. Without looking around, I produce a remote control, and close the vertical blinds. Automatic halogen lights phase on overhead, so there is no change in illumination inside the office.

“Thank you, Mr. Dry.” She’s on her feet in that instant, suddenly appearing too wary of being in an enclosed office alone with me. That’s right baby – you should start running. Those dark shadows have all sprung to attention in the back of her mind, at the closing of the blinds. “You have been very accommodating, but really I mustn’t keep you any longer.”

“Indeed?” I ask in turn, unable to resist a further moment of mental torture, rising out of my seat. It gives her time to notice how tall and manly I am… was, I correct myself angrily. Big fucking braaaiiins, baby. “Keep me for what purpose, I wonder?”

So arrogant! But she loves it!

She just nods, blushing fiercely, and heads for the door. Run away, baby, as fast as you can…

“I will have to show you out,” I remind her, taking out the security pass again, and lurching forward to accompany her. “It has been a pleasure, Miss Belllummm.”

Her trembling is driving me crazy. I can’t resist putting my hand on her arm again, guiding her out of the door and into the corridor. She practically scampers ahead, snatching her coat back from Debbie.

Run – run – I want to part your cranium and taste your terrified braaaiiins…

“Thank you for your time, Mr. Dry,” she says, back in the near-safety of the lobby. There is no sign of Heather the receptionist, and I can’t wait to get a new one. Sarah Bellummm would be – most serviceable. “It has been very educational.”

“I’m sure it will be,” I agree, with a courteous nod. “Au revoir, Miss Belllummm.”

She runs to the Hummer in her pointy Pigalle pumps, and locks herself in, while the gulls continue flocking to the spot on the beach outside my office, on the far side of the building.

I watch her mournfully.

Braaaiiins, baby…

I reach for my cellphone, and dial the house.

“Mrs Fritatta,” I greet the housekeeper. “You will not be required to cook tonight. I wish to order in a pizza.”

The Zombie Adventures of Sarah Bellum

The full-length original The Zombie Adventures of Sarah Bellum parody is available in print and ebook on all devices – search for it in your e-reader store 🙂

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

Another tutorial: Linking to multimedia in ebooks

Hello! Spring has sprung, the holidays have come, and hopefully we’re all outdoors getting some sunshine and healthy fresh air, not indoors with a TV movie marathon and a serious hand-blanket-stitching cosplay costume-making addiction. Just me on that one, I think…

Ok now, we all want to publish ebooks that stand out in the current market, and one thing you can do to perk them up is to add links to multimedia content:

Remember that you must own the content to share it (visual AND audio), and you must keep in mind that many of the more basic e-readers will not be running Flash player, or support video and audio content, and you don’t want their own enjoyment of reading the rest of the book interrupted with large blocks of non-functioning embedded content.

Check out the ‘Look Inside’ preview of this ebook that I formatted for a true-life memoir author, Sophie Neville: The Secrets of Filming Swallows & Amazons.

She’d shown me some old home-movie footage her family had taken at the time the film was made, and I suggested editing it into short clips that could be linked to in the text inside the book, as well as create a book trailer from it.

You’ll see hyperlinks under the first two photographs on the title pages of her ebook, linking to footage uploaded onto the author’s Youtube channel. (I also edited the footage for her, and used music soundtracks available from the copyright-free libraries). I edited the ebook’s description on Amazon to include the line “contains links to behind-the-scenes home movie footage for readers with browser-enabled tablets” – so that customers would be aware of how this worked.

If you own one of these non-browser, non-Flash Kindles or e-readers, you can download the reader app to your PC or other internet device to read and view books with multimedia content, where the links will work on your PC or device with an internet connection and fully-functioning browser.

On the iPad or iPhone, for example, when you tap on the video hyperlink in this ebook, the video appears full-screen, ready to watch. When it has finished, you just tap on the Youtube prompt ‘Done’ – it closes automatically and you’re back on your page in the Kindle book. Neat stuff.

Here’s how to format and publish a standard text or illustrated ebook – click here.

Start with your content – you have to own it, as will become clear shortly, and also have permission of anyone (or their property, or music) who appears in your footage, whether it’s made using stills or video. Make sure you include a written acknowledgement of their contribution in your ‘Thank You’ list at the end of your book, for granting you permission.

Firstly, set up a Youtube channel in your author name, and upload your edited content.

In your video’s description on the Youtube edits page while uploading, include the words ‘(Book title) Copyright (your name) (year) Thanks to (names of contributors in this video). All permissions obtained.’

Copy the shortlink to share the video you want to link from the ‘Share’ tab under the video on Youtube, e.g. http://youtu.be/chXkQ8m8tKM Make sure you only have the link to your video copied. Don’t copy any longer links from the address bar, which may contain ‘play all’ loops or playlists, which prompt the link to include the rest of your videos, or ones with the same title or search terms in the content that plays when the link is clicked on. If you can only copy the link from your browser’s address bar, make sure that if it contains the symbol ‘&’ you first select the ‘&’ and anything that appears after the ‘&’ symbol, and delete that part, before copying the first part of the link only. Also delete the ‘s’ from ‘https’ at the beginning of the link – otherwise your link is set to ‘private browsing’ and will only work if the reader is also signed in to Youtube.

If your ebook is illustrated, you can do the same as I did for this particular author, and put links under appropriate illustrations. This means that folk with regular e-readers still get something nice to look at, and the video is just enhancement for readers with fully-functioning browsers. Don’t link the video to the illustration itself – this will mess with the ‘zoom image’ tap function on touchscreen tablets, and no-one will know it is there! It’s best for clarity to type the line ‘Click here for video’ or something similar as I have done, and hyperlink the sentence.

Highlight the phrase you want to link on your document in Word/OpenOffice etc, click on the ‘Insert’ tab, select ‘Hyperlink’, select ‘on the web’ in the left-hand sidebar of the control box that pops up, and paste your video’s link into the box saying ‘web address’, then ‘Apply’ and ‘Done/OK’.

Once you’ve added your video hyperlinks, whether they’re book trailers, vlogs, author interviews with yourself, you dressed up as one of your characters acting out a scene etc, finish formatting your ebook document, and upload and submit it for publishing as described in the Formatting Ebooks tutorial.

Your book will appear in the Kindle store. Now, at some point, you will receive an email from KDP stating that your book ‘contains content freely available on the web’ and to ‘verify that you are the owner’ of this material, otherwise your book will be removed and the rest of your author account as well. You must reply immediately, as they only give you a few days’ notice to answer. All you need do is send a polite and prompt reply confirming that it is your own footage on your own Youtube channel (see name on your Youtube channel) and has been uploaded for the purpose of marketing your book (see book title and author name in your video descriptions). The same goes for images if queried, or your own written blog posts, that you might have replicated in your published books. Also follow any prompts they have given you in their email to confirm ownership by re-submitting the book, by opening the edit menu of your book on your KDP dashboard, re-selecting ‘All territories’ on the ‘Rights & Royalties’ page, and re-submitting your book for publishing. They will later reply to your reply, confirming acknowledgement of your right to publish the content. These emails are not automated, and your content and written verification will be checked by actual people.

For the above reason, make sure that any video content you have created to link to in your ebook does not contain anything illegal, defamatory, plagiarist, obscene, or that could be interpreted as an actual declaration of war in our Universe or the next.

Also, be aware that browsers with some child-safety ‘nanny’ programs running to block adult content may be set up by readers with families on shared computers (to whom your own book and content might be perfectly safe and suitable, as is the one I formatted), but the fact that your book contains Youtube links will mean it does not appear on their home computers in online searches. This is because Youtube and other video sites overall contain content blocked by these programs, and there’s nothing you can do to get around parenting shields that detect and block Youtube and video links (I’d be very concerned if there was a way around it). If the parents have alternative access on other computers and tablets without these parenting shields, they will be able to find your book without any problems. Just because your book doesn’t appear on or is blocked on one family’s computer doesn’t mean it will be blocked on all of them. (One of my author clients got quite excitable when she thought her extremely tame book had been ‘banned’ after trying to look it up at a friend’s house and found it was blocked by their online family filter).

So it can be done, and managed effectively, and if it all ties together nicely it makes a really good transmedia reading experience for the customer – you only have to see what the Amazon reviewers have said about the video content in the book I formatted for Sophie Neville (although she has allowed one reviewer to give her ALL of the credit for technical wizardry, LOL!)

…If you are formatting a paperback version later on, change your hyperlinks to the original shortlinks as above. That way readers can find your video content by typing in the address itself, as there’s nowhere to click on paper yet 🙂

To learn how to format and publish a paperback or hardcover, click here.

Have fun, and good luck. And remember to get out more 😉 xxx

Formatting text and illustrated ebooks for publishing

Since you’ve all been so good to me reading my nonsense, or my making nonsense out of other people’s literary works, I wanted to share my latest instruction handout on formatting ebooks, and also formatting interior print files and covers for POD (Print-on-Demand). So long as you stay within the permitted file size, it’s possible to publish illustrated ebooks for all devices, as well as text-only books, and the idea is to ensure the reading enjoyment of the customer is optimised by making sure everything is clear and easy to navigate. If you want to, you can also include links to multimedia, and that minefield is covered here.

Some things, like linked endnotes, are also still a bit of a minefield, and what works for Kindle won’t work for Smashwords. But the main thing is to get the basic formatting of your book right. So once you’ve cleaned up your spelling, grammar, checked you know the meanings of all the words you’re using (I could write a whole blog post about misplaced meanings that I’ve come across, it’s one of my favourite things about proofreading!), double-checked your research, and decided you’re going to unleash one of the 25,000 new books currently being published every week (source: London Book Fair seminar, April 2013), here’s how to deal with the technical stuff…

FORMATTING E-BOOKS FOR INDIE/SELF-PUBLISHING:

© Lisa Scullard for Writing Buddies, February 2013

Format your ebook first, before your print version.

Your original document may be in Word, Works, Rich Text Format or Open Office text (ODT). The most usual format to save it as and upload into Kindle for sale on Amazon is as a webpage file (HTML). However, if your computer’s word-processor is OpenOffice, your formatting will be preserved better for Kindle if you save it as a Word 2007/XP document (DOC) instead. If you find persistent conversion errors in your HTML file after uploading and previewing it on KDP and Kindle, such as changes to line spacing or font sizes (the ‘Look Inside’ preview on your book’s product page on Amazon is a good indication), go back to your document that you formatted and save it as Word for upload to KDP instead.

Firstly ensure that there are no manual reasons for corruption in the end product. Different fonts are not supported, so your e-book should be set in either Times New Roman or Arial, and no larger than 12-point font size (the e-reader devices support zooming-in and re-justifying of font size for easy reading, so having larger fonts in your original document is not necessary).

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For clarity, set your paragraph formatting like this:

  • Left indent: 0cm
  • Right indent: 0cm
  • First line (special): 0.5cm (if centralising a heading or picture/caption, re-set to 0cm or ‘none’ at those points only)
  • Above paragraph: 0cm
  • Below paragraph: 0cm
  • Line spacing: 1.5 lines
  • Paragraph style: either – Normal, Default, Body Text or None – not a combination

It is up to you how you set out your justification. Both left and parallel margin justification is supported, so it is your choice depending on your preferred aesthetics. Centralising chapter headings, and right justification for other information, also works.

Always insert a page break at the end of a chapter or information page. The page break should be immediately after the last full stop of the chapter.

Remove all headers, footers, and page numbers. These will not convert.

Make sure border styles in your ‘Page’ formatting is set to ‘none’.

You can use bold and italics in e-books. These convert well into e-reader format.

Most readers of Kindle prefer a hyperlinked/reverse hyperlinked table of contents, and for other converters including Smashwords and Lulu for Nook and Apple, it is compulsory for distribution. If you do not know how this is done, we will cover it as well.

Automated footnotes1 and endnotesi always convert to appear at the end of a document in e-books. The automated links will not convert into Kindle format unless you manually hyperlink them – they will be numbered, but not navigable otherwise. Remember to link the endnote back to the start of the text where it originated as well. Use the same method to hyperlink them as you do for the contents list and chapters. For Smashwords, all automated bookmarks for footnotes/endnotes must be edited manually to include the prefix: ref_ Then each endnote and its reference will have to be re-hyperlinked manually as well. This ensures that rogue bookmarks do not convert into additional chapter numbers at the end of their automated Table of Contents.

You can use internet hyperlinks in e-books, as most e-readers are browser-enabled. This is useful to direct readers to your website or blog, to online references in non-fiction, or to research articles. Put your personal links in your author page at the beginning of the e-book. Distributors like Nook and Apple will reject books where outgoing links appear at the end of the book.

Straight apostrophes (‘) and speechmarks (“) look better in e-reader screen format than predictive curly ones (“”) and you will also have no problem with them appearing back-to-front as typos. Use ‘Find/Replace All’ to change them – remember to search for both (mirror) versions of each.

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Some important DO NOTs:

  • Do not use multiple returns for line spacing. E-readers convert multiple returns at the end of paragraphs, or at the top of pages, into completely blank e-reader pages. For a text pause, use one return and then ‘*****’ as a break (see above), which is the accepted format. You may use a single line return only before a chapter heading following a page break, for aesthetics.
  • Do not use space bar hits for indents, spacing or positioning text. Although fashionable in prose poetry for print books, your formatting will be lost once converted to an ebook. Again, these will convert into blank pages or empty lines, depending on the size of screen your book is viewed on. Phrases positioned using space bar strikes will not preserve their position when converted into e-books, but will simply ‘shunt’ phrases unevenly. Always use paragraph formatting settings (as described above) to create indents. A paragraph indent should never be more than 0.5cm – larger indents, such as 1.5cm, will push the first line of your new paragraph too far across the screen on smaller e-readers, such as the iPhone. You can use ‘Find/Replace all’ to remove multiple space bar hits – simply search for two spaces and replace with one space, and repeat until no more double spaces are found. This ensures that only one space at most appears between words, or in error. You can also use ‘Show Non-printing characters’ to scroll through and find spaces inserted in error at the start of a new paragraph.
  • Do not insert an additional blank line/return at the end of a chapter – this will convert into an empty e-reader page between the chapters.
  • If your writing style includes ellipses (…) make sure your ellipse immediately follows the previous word, without a space in between, i.e. ‘ellipse…’ or ‘ellipse… continued’ is correct whereas ‘ellipse …’ or ‘ellipse … continued’ will give the e-reader the ability to shunt the ellipse by itself to the start of a new line, or even to the top of a new page. This is frustrating if the ellipse appears at the end of dialogue or a paragraph, meaning that the sentence will appear to cut off dead on the previous page, while the three dots, or three dots and closed speech-mark, will appear all alone on a new line, or at the top of the next page. (The same can happen when formatting print books as the lines re-justify to your trim size). For your prose to make sense, always anchor your ellipses to the previous word by leaving no space in between them. Use ‘Find/Replace all’ to search for ellipses with a space before them ( …) and replace with ones without (…)
  • Do not include hyperlinks leading to other e-book retailers – for example, e-books containing links to Amazon, including your Amazon author page, will be rejected by Apple, Kobo and Nook etc. Link instead to the ‘books’ page of your blog or website, to direct readers to find your other work, on your ‘About the Author’ page at the start of your e-book.
  • Do not include pages and pages of reviews and comments at the start of your book, unless they are by celebrities! (This is a Kindle audience preference). A few comments are fine, should you wish, or a single page ‘Introduction’.
  • Do not use Wingdings, smiley faces or other non-typographical characters, even if they appear predictively through key-strikes. These do not convert into e-reader format. On my first attempt, I found these converted into empty square boxes on Kindle, and Chinese lettering on Smashwords! If you want to insert a character which is not on your keyboard, use ‘Insert/Special character’ from your chosen font only (for example, when writing the word pâté) and if you want to insert a smiley face or swirly shape as an artistic form, use ‘Insert/Picture/From File’ – there will be more on inserting pictures later, as the saved file format and layout is more complicated.
  • Do not leave a hanging space bar strike at the end of a paragraph. This will insert a blank line under the paragraph.

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Once you have cleaned up and formatted your file as above, there are a few inclusions to add. You will need a title page – just the title, in Bold, and your name underneath. This is usually centralised, and should have no more than one line return above the heading for aesthetics. Do not try to position it halfway down the page using line returns, or the first few pages of your e-book will be blank on smaller e-reader screens. A page break should follow immediately after your name.

The next page is your copyright page. Some authors write long-winded copyright pages. The legal minimum, to protect your rights, is to say ‘Book title © (your name)(year)’ and on the next line ‘The moral right of the author has been asserted’. You do not need to write anything more below that. If you have given yourself a publisher name, also include it on this page, e.g. First published by XXX Press in (year). Do not say ‘published by Kindle’ – they are not your publisher, just your distribution platform.

However, when publishing on Smashwords for Apple and Nook etc, and accepting a free Smashwords ISBN for distribution, they require acknowledgement as your distributor. In this instance, you must have ‘Smashwords Edition’ on the first (title) page, or the copyright page under your name, to be accepted for distribution. If you have paid for and supplied your own ISBN, then you are the publisher and must use the publisher name you bought the ISBNs with.

The free ASIN e-book identifier that appears automatically on your Kindle copy when you publish through KDP is not an ISBN, and not transferable – likewise, you cannot list your Smashwords-supplied ISBN on your Kindle version.

Lulu do not require to be referenced in your e-book as the publisher, when issuing their exclusive free ISBN for distribution on Nook and the iBookstore. If you have used Lulu, and also wish to publish on Kobo directly, you do not need to reference them as your publisher in the file either, or require your own ISBN. One will be issued free for Kobo once your book goes public, even if you leave the ISBN field empty when uploading the book on your Kobo Writing Life publishing dashboard.

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Following the copyright page is the Table of Contents. This should be hyperlinked. Your chapters can be named or numbered, standard numeric or Roman Numeral, or simply headed by title, e.g. all of these are acceptable:

  • Chapter One

  • Chapter 1

  • One

  • Chapter I

  • Ch. 1: A Mysterious Event

  • I – A Mysterious Event

  • Chapter One ~ A Mysterious Event

  • A Mysterious Event…

Or any combination of the above. A chapter heading should be long enough to understand and to navigate via hyperlink on a touch-screen, but not too long that it takes up several lines on a smaller e-reader. For example, the longest chapter heading I have in the Zombie Adventures series so far is ‘Chapter Thirty-Nine: The Leg of Extraneous Genito-Urinary Medicine’ – in the contents list, I only used the titles, not the chapter numbers, and it still took up two lines!

The way to hyperlink your chapters for Kindle and Smashwords is to insert bookmarks above each chapter heading, thus:

^Top of Contents page following page break^

(Insert bookmark in blank line here: Position cursor, Insert/Bookmark, e.g. ‘Contents’)

CONTENTS:

Introduction

About the Author

Chapter One: A Mysterious Event

(^Hyperlink to corresponding bookmark ‘001’^)

Chapter Two: Another Event… etc.

^Top of new chapter page following page break at end of previous chapter^

(Insert bookmark in blank line here: Position cursor, Insert/Bookmark, e.g. ‘001’)

CHAPTER ONE:

(^Hyperlink to bookmark ‘Contents’^)

A MYSTERIOUS EVENT

Where the bookmark is positioned determines the top of the e-reader page when the link is navigated. You can have the bookmark on the word ‘Contents’ but having it in a blank line above is aesthetically pleasing, and less overcrowded at the top of the screen.

Then hyperlink your chapter headings in the Contents list to the start of the corresponding chapters, by selecting the text to link and then using, from the toolbar, or by right-clicking: ‘Insert/Hyperlink/Target in document/Bookmarks(show list)+/(select appropriate chapter bookmark)’ and reverse-hyperlink the chapters themselves as shown above by selecting the chapter heading at the start of each chapter, and using ‘Insert/Hyperlink/Target in document/Bookmarks(show list)+/Contents’. Click ‘Apply’ before ‘close’ on the hyperlinks window, and your links should appear as above. Remember this style of contents list formatting is compulsory for Smashwords, for distribution to Apple, Nook, Kobo, and other outlets. They do not currently serve Amazon.

If you are using Lulu for your Nook, Kobo and Apple distribution, the chapter list is linked differently. Simply ensure that the rest of your document contains no ‘Heading’ styles, and format the title page heading (your ‘book title‘), the ‘Contents‘ heading (but not the chapter list) and each chapter title (at the start of each chapter only) all as the style ‘Heading 1‘. Then save as a Word 97/2000/XP doc. This is much simpler and quicker to do, and they have recently added distribution to Amazon Kindle and Kobo – previously they only sold to Apple and Nook. They pay regularly at a minimum of only £3 ($5) revenue gain. If you use Lulu and choose to have them distribute to Amazon Kindle as well, you will not need to use Amazon KDP.

Once your linked Table of Contents is complete, and you are sure there are no other potential conversion corruptions in the file, you are ready to save and upload. All of the below options are 100% free:

To save a file for upload to Kindle (kdp.amazon.com – you will need your Amazon account details to sign in and set up, and a bank account to receive royalties – for EFT payments there is no minimum payout threshold, except for sales in Amazon Brazil, and payout direct to bank takes place in the month 60 days after sale. Click on ‘Save As…’ and save it as Webpage (complete) – .HTML. Other file types such as Word are accepted and convert well if properly formatted as above. Kindle Help recommend HTML to prevent corruption of things like the linked Table of Contents and image cropping.

To save a file for upload onto Smashwords (www.smashwords.com – you will need a Paypal account to receive royalties quarterly, at a $10 minimum threshold) save it as ‘Word 97/2000/XP’ – .DOC.

To save it for upload onto Lulu* as an e-book (www.lulu.com – you will need a Paypal account to receive royalties), save it as Word 97/2000/XP as above – .DOC.

*You can also self-publish e-books on Kobo, if you have only used Lulu for Apple, Nook, and/or Kindle. (www.kobo.com/writinglife – you will need a bank account to receive royalties), save it as Word 97/2000/XP as above, or Open Office Open Document Text – .DOC or .ODT.

If uploading to Smashwords, you will not need to use Lulu, and vice versa. Smashwords does not distribute to Amazon, so you will have to use KDP for that.

COVER FILE:

In all of the above cases, you will need a separate JPEG cover file, high resolution, aspect ratio ‘portrait’ minimum 1400×2000 pixels to ensure reduced image quality. Do not insert these images into your e-book file – the online converter will do this for you, and you will be asked to add it via a separate instruction. The cover file and image is entirely your taste and choice, but for Lulu and Smashwords ISBN distribution, they must contain the title and your author name, exactly as they appear on the book’s title page (i.e. no alternative spellings, initials or additional extensions). It is recommended that they appear eye-catching in both thumbnail and full-screen, but there is no tried-and-tested style guarantee.

Thousands of free photographic images without copyrights attached or credits required, are available on www.morguefile.com, which you can customise and adapt any way you like, and appear in a range of resolutions and sizes. Search their site by keyword, e.g, trees, rainbow, cocktails, church, clouds, military etc.

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PREVIEWING BEFORE PUBLISHING AS AN EBOOK:

If you want to preview your ebook without the risk of publishing it on a public platform first, you can convert the file on your computer using Mobipocket Creator, a free non-nagware program to create mobi (Kindle) files. Your document will need to be saved as Word (see the instructions for illustrated books for Smashwords, Lulu & Kobo below if your file contains images). Once you have installed the free (full unlimited use) program, follow the prompts to create a mobi version of your book. If you don’t have a Kindle or Kindle app to try it out on, you can also download the Mobipocket Reader app for your computer or tablet desktop, which will open your mobi file for you automatically when you click on the new ebook document from its saved location in your hard drive files. Your mobi ebook can also be transferred like any other document to another file or memory stick, or attached to emails if you want to send it to reviewers for feedback.

ILLUSTRATED E-BOOKS:

So far I have had success creating illustrated e-books on Kindle format, because the accepted file type (HTML.zip) supports inclusion of an image file, and for Smashwords in Word document (.DOC), where the graphic links have been broken (meaning that the images are embedded, not in a separate file) and the images are compressed to be optimised for ‘web/screen’ i.e. to 96 dpi.

After creating your e-book document as above for Kindle, add your images where you want them to appear in the text, right-click each image, and in ‘Format Picture’ ensure that ‘page wrap’ is set to ‘none’ and the image is centred. You can also crop at this stage.

Images should be no more than A4 in original size before inserting, and should be saved once inserted, using image menu ‘Format/Picture/Compress’ as ’96dpi/Apply to all images in document’. This reduces the file memory size to a manageable one for uploading. Images can be landscape, portrait or square (in fact anything), but remember they tend to appear at the top of a new e-reader page due to shape and size, so the previous e-reader page may cut off early, as it shunts the image to the next page. For this reason, do not place images in the middle of a sentence or paragraph, where a large gap in the previous page would make no sense. They work best at the beginning and/or end of chapters. One way to have a neater presentation is to always have a page break before an illustration, and to insert any caption as text on the illustration itself before inserting, using MS Paint or Picasa image editing tools. As you will have no control over where text on the previous screen will cut off, depending on how much the reader has zoomed in on your font for reading, it may be more aesthetically pleasing – particularly in non-fiction books – to have the phrase ‘Photo (or ‘illustration’) on following page’ on a new line below the last paragraph before the page break where you will insert the image.

The e-reader conversion means that larger images will automatically be sized to fit the screen being viewed on, while tiny images will stay tiny. This does not always appear true in Amazon’s ‘Look Inside’ preview, which is quite scarily random as the page boundaries are not set, but on the e-readers you can trust that your images will fit the screens.

Illustrated ebooks for Kindle:

Once complete, save as ‘webpage’ (HTML) as before. Then right-click on the icon for your HTML document, and select ‘Send to… Compressed/zip file or folder’.

A folder with a zip logo on it will appear under the same name, e.g. ‘Mysterious Events.zip’. Also a new separate folder will appear with the same the name as your book, e.g. ‘Mysterious Events files’ in the same location. This contains the tagged image duplicates required for your Kindle book. Click on the new ‘files’ folder containing these duplicated images, and drag it over into the HTML ‘.zip’ folder so that it is inside the zipped folder as well. You now have a complete zipped HTML file with tagged images, to upload as an illustrated e-book. When you sign in to KDP, select the ‘.zip’ folder as your file to upload.

N.B. When formatting illustrated ebooks in OpenOffice for Kindle, use the html-to-doc method described below, as for Smashwords, Lulu or elsewhere, and use the ‘saved as Word doc’ version for upload to Kindle KDP – NOT the html original. You are only saving your OpenOffice odt file as html initially in that instance in order to select and break the image links into an embedded format, but they are not preserved in the html for upload to KDP.

The previewer for ‘Kindle Fire’ and ‘iPad’ on KDP will show your illustrations in colour, but remember the basic Kindle has a grey-scale screen only, so the previewer will only show what your images will look like in black-and-white. This does not affect your original file.

KDP will offer to show a list of perceived spelling errors in your book, and after viewing this it is worth clicking on ‘Send this to me as an email’ so that you can review them and make any corrections before re-saving your file and uploading again.

Illustrated ebooks for Smashwords, Lulu and Kobo:

After inserting your images, go to ‘Edit’ in the Toolbar and select ‘Links’. In the dialogue box, a list of your images and their source locations will appear. Hold down the Ctrl key plus A, and select all the Graphic file locations in the list, then click on ‘Break Links’ and confirm the command. Your images are now saved within the file, which will be much bigger. There is a maximum file size limit, so you will also need to compress images as below – but not necessarily reduce their dimensions.

To do this when using OpenOffice rather than Microsoft Word, you will have to save your odt document as ‘webpage’ (html) first to embed the images. After doing so and closing it, go to its saved location and right-click on it, and select ‘Open using… OpenOffice Writer.’ When it re-opens for editing, follow the process for breaking the image links as above. Then use ‘Save as’ to save it as a Word (.doc) and confirm. Check that the links are still broken by clicking on the Edit menu (if the ‘Links’ command is not clickable, you have succeeded and won’t have to do so again). Use this saved-as-Word document for your upload – check your conversion previews carefully to ensure the images are in place.

To reduce the memory size required for the illustrated Word document (it will need to be less than 10MB for Smashwords and less than 600MB for KDP) in MS Word, right-click on any image in the document and select ‘show image toolbar’. Hover over the small white square in the pop-up toolbar that has an arrow pointing inwards at each corner. This is ‘compress pictures’. Select the option in the dialogue box that says ‘Web/screen’ (96dpi) and ‘delete cropped areas of pictures’ and ‘apply to all images in document’ and confirm the command. Your illustrations will look exactly the same in quality and size as you have placed them, but will take up only about a third of the original memory. Save as Word 97/2000/XP .doc. You now have a complete illustrated ebook document ready for upload onto Smashwords, Lulu or Kobo. Only upload this document as is – do not ‘zip’ it before uploading.

You can reduce image resolution of very high-res images in OpenOffice by using the ‘Mosaic’ filter in the Picture Tools toolbar – try a re-scaling of 4 pixels or 2 pixels to adjust them. If they subsequently blur or pixelate in your book, then they were already low-res enough and just click on ‘Undo.’ I’ve found this does not necessarily change the memory size taken up by the file significantly, but may do so with very densely-illustrated ebooks.

Always check your conversion previews. On KDP there is a good online previewer, while the best way to preview and check your Smashwords or Lulu version is to download your converted .EPUB file for Nook from your finished product page, and view it using Adobe Digital Editions (free to download and install from Adobe). The online-reading previewer for Smashwords strips out all your links and paragraph formatting for simplicity, so it is not true to your final version – it is only meant as a sample, so don’t take it as your final conversion. The .EPUB file on Adobe Digital Editions will show you the final version, fully-converted and functional.

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Editing your book after publishing:

Make your edits to the original document (right-click on your HTML document, select ‘Open using…’ your chosen word-processor) edit and save it as before. Select the title of the book you want to update on your Kindle dashboard and in the menu select ‘Edit book details’. Scroll down to ‘Browse for interior file’ and upload your new version. Preview your changes to ensure it has updated, click ‘Save and Continue’ and then ‘Save and Publish’ on the next page as before. Always make changes to the existing book – do not start again from scratch, as it will appear as multiple books with multiple product pages on Amazon.

The same when updating versions on Smashwords, Lulu and Kobo – edit your original Word document and save it again, select the title from your dashboard online, and edit/update it from there. On Lulu, at the interior file stage, delete the old file as it appears on the dashboard below the ‘Browse’ button before uploading the new one. Otherwise you will be asked to select from the multiple files available, which can get confusing.

KDP Select: AT YOUR OWN RISK 🙂

Smashwords discussion on FB

A version of your e-book must be exclusive to Amazon Kindle to use this. If the identical e-book is available elsewhere, your book is not eligible for the scheme. But you can publish the book in print, have 10% samples available online on your blog, continue to submit to agents, or have your book serialised in print magazines and journals.

They are getting stricter, but at your own risk, you can try any of the options below. If they judge that your book is not exclusive, they will contact you within around 14 days of enrollment:

You can publish alternative content versions or ‘special editions’ either exclusively to Kindle, or elsewhere as e-books – with bonus material, or omnibus editions, without risking your KDP Select status. So long as the content of the book, its title and cover enrolled in KDP Select is not identical to other e-books available on Nook, Apple etc, you will have no problems with it. For example, you could have ‘Mysterious Events’ on Amazon Kindle and enrolled in KDP Select, and also ‘Mysterious Events: Omnibus Edition’ with a slightly different cover available on both Smashwords and Amazon Kindle, but not enrolled in KDP Select.

If you enrol your book in KDP Select, it allows Amazon Prime readers to ‘borrow’ your e-book rather than purchase, should they wish, and also gives you five days you can list your book as free every three months in any order you choose using ‘Manage promotions’. Wet bank holidays are good uses of this, and will gain you a number of downloaders looking for freebies.

However, this is no indication of actual reads, these free promotions tend to attract no reviews, and then often negative ones, or ‘one-star review’ protection racket-style scams, whereby you are then spammed by pay-per-review promotion schemes. You may attract one or two follow-on sales, and I mean literally one or two!

But you may be lucky, and find readers keen on your subject who continue to share and promote it on your behalf.

Smashwords promotions:

Smashwords allows you to set up free promotion codes any time of your choosing, by generating a 100% off cover price coupon for you to share privately or publicly with friends, family, customers, blog followers, or in contest giveaways – simply select your published title and set up a coupon for your chosen time period, which will email you a code. There are no limitations of usage for this facility on Smashwords, and your book does not have to be ‘exclusive’.

Pricing:

Amazon is the only site so far I am aware of which sets up competitive pricing. If your e-book is cheaper on Smashwords, and it is reported to Amazon by a customer as ‘cheaper elsewhere’, Amazon will also cut the price and thereby your royalty. So it is best to have your prices congruent. Having a coupon code available on Smashwords will not affect this, as the ‘for sale cover price’ visible on your product page online will remain the same, and the coupon details remain private to you and those you share it with.

1 A footnote appears on the relevant page in a document, but will convert to an endnote in an e-book, like this.

i An endnote always appears at the end of a document, like this. All footnotes also convert to endnotes in e-books, in a separate list.

Have fun and good luck 🙂 xxx

The Groanies: A Zombie Parody

Pendulum remix of Prodigy’s ‘Voodoo People’…

“Mrs Frittata is going to be very annoyed that you’ve taken her Sunday wig as well,” Crispin scolds his brother, while the transvestite zombie cowers in the closet, attempting to hide his face in shame, behind a bejewelled clutch-purse.

“Who’s Mrs Frittata?” I ask, wondering if they refer to their mother so formally in this house.

“The housekeeper,” Crispin groans. “She and her two sons, the Frittatas, form the main hub of my staff here. Jerry Frittata is my driver, while Ben Frittata is the gardener. There was a third Frittata brother, who did odd jobs as handyman on the estate – but he fell down a well in the sunken garden some years ago, and has never been quite the same since.”

“Is he in care?”

“No, still down the well. He likes to try and entice female visitors to climb down and kiss him, impersonating a cursed frog. Honestly. Like you say, as if women persist in believing that you have to kiss a lot of frogs before a prince appears, these days.”

“Quite,” I agree stiffly, thinking of my brainwashed housemate, Insert-Name-Here – who was virtually born with a glass slipper between her legs – and had been discussing the very same myth with me (in her usual deluded fashion) earlier this evening. Before having her boyfriend-amputated thumb reattached.

The reminiscing is interrupted by the ‘DONNNGGG’ of the impressive doorbell, reverberating through the mansion.

“Strange…” hisses my host for the night so far. “Who would call at this hour? I only ordered the one pizza…”

“Er – which you still haven’t paid for!” I point out, hurrying after him, as he leaves his mother’s boudoir.

With a squeak of abandonment, I hear his brother Homer disentangling himself from coat-hangers and designer footwear on the floor of the closet, and shuffling quickly to keep up – jabbering ‘Home… home…’ as he scuttles after us along the corridor, to the second-floor landing.

I risk a glance behind. His progress is hindered, Pippa-Middleton-style, by the pink fishtail wiggle dress.

Well – he doesn’t look too dangerous… At least, not to humans, I think, as he burps a chicken feather.

We descend the two flights of stairs to the ground floor again. Reaching the doors first, Crispin answers it himself – just as he did when I first arrived, with that pizza.

I wonder how I’m meant to ride the Pizza Heaven scooter back, now I’m only wearing his loaned pyjamas.

“Luke,” Crispin greets our Legally-entitled-to-work-since-1971 Nigerian taxi driver, from the hospital. “What brings you here?”

“The young lady left her mobile phone on the seat of my cab,” Luke announces, holding it out to me. “I was passing by on another passenger route, thought I would see if you folk were home.”

“How kind!” I say, although I’d barely missed it. The only calls I get are from my housemate Twatface, when she has some new drama with Carvery Slaughter…

I pocket the phone, and look up again, just in time to see another movement in the doorway behind the taxi-driver…

Fuck.

Speak of the Devil…

“Hey, this doesn’t look like The Astoria,” Miss Novelty-Tricks slurs, staggering in behind Luke.

“No – this is way better,” says another familiar voice, and – oh, no – Ace Bumgang lopes in as well. “Where’s the bar in this place?”

Last and definitely least, Mister Slaughterhouse himself walks in, and spots me immediately.

“Don’t know about the bar, but I’ve found the toilet,” he says, meaningfully. “Hello again, Sarah.”

“I’m sorry.” Luke apologises to Crispin, trying to herd the three of them back outside. “Drunk customers. Always leaping out of the cab if you so much as stop at a traffic light. Let‘s get you nice people home…”

“Home!” shrieks Homer N. Dry, tripping over his skirts, at the bottom of the stairs.

“Oh, do we have to?” complains Whatsername, pointing at the fallen zombie. “It’s fancy dress here as well, look…”

“Please,” Crispin steps aside, gesturing into the grand hall. “Make yourselves all at home. It is the least I can do to thank you, for returning my friend’s property. You will find a drinks bar in the Three a.m. Lounge – straight ahead to your left.”

“Very kind of you,” Luke grins, and strolls jauntily after the others.

I grab Crispin Dry’s sleeve.

“None of them are virgins,” I warn him, under my breath. “If you were thinking of including them in your little experiments in the basement!”

“Not at all,” he smiles. “Why would I need them, when I still have you, Sarah Bellummm?”

And he limps after them. Homer manages to get to his feet in turn, and hobbles along in pursuit.

A moment later, the cockerel appears in the kitchen doorway, gives me a sidelong glance, and flutters in the same direction.

“Et tu, Brute?” I sigh. “Looks like everyone wants to go and play with the big boys tonight…”

I hesitate, wondering whether to just go back to my scooter, taking my chances with the unknown zombies out there, and my boss at Pizza Heaven instead. It would beat the company of two very definite zombies, and one certified girlfriend-battering psychopath, right here in this house. Although the thought of Ace Bumgang getting himself approachably drunk in the same vicinity is hard to resist…

But with escape resolutely in mind, as I’m aiming for the kitchen to retrieve my crash helmet and keys, I’m alerted by the creak of floorboards overhead – and the unmistakeable sound of someone moving around upstairs…

“Someone else is in the house!” I cry, bursting into the Three a.m. Lounge. Miss Tosspot has somehow ended up wearing Homer’s hat, and Crispin is mixing up cocktails. He looks at me and holds out a Sloe Gin Sling in his gray-skinned hand. My legs betray me immediately, carrying me in a bee-line to the bar. “Didn’t you hear me? There’s someone in the room above the kitchen! I heard them moving around!”

“Ah,” Crispin muses, as I drain the cocktail in one gulp. “Our antics have awoken the housekeeper, Mrs Frittata. Homer, I hope you have prepared your apologies regarding her Sunday wig?”

“Homer!” cries Homer, clamping the wig to his ears, with both hands.

“What will she do?” Ace queries.

“Well, as she usually does when roused by strange noises in the early hours, she will wake up her two sons, Ben and Jerry, arm themselves with shotguns, and scour the property looking for interlopers.” Crispin leans idly on the bar, twirling a paper cocktail umbrella between his fingers. “Oh. I haven’t introduced any of you to the Frittatas, have I? How remiss of me.”

“We should go,” I announce, putting the hi-ball glass back down regretfully, and wishing there was a full one right next to it.

“No need,” says Crispin, smoothly. “The mansion is full of secret passageways. It is rather fun to play at avoiding the persistently dogged Mrs Frittata and her sons for a few hours.”

He pulls a lever under the bar, and a wall of bookshelves abruptly disappears. I’m disappointed to see that Carvery Slaughter, who was leaning nonchalantly against it, doesn’t follow through, but merely straightens up with the slightest acknowledgement of one eyebrow.

Grrrr… that butcher is going to pay in blood one day… and maybe sperm, given the opportunity.

“Shall we?” Crispin suggests. “And quickly? The Frittatas are always bad-tempered before breakfast.”

The others shrug and follow. I take out my Trevor Bayliss wind-up torch again, and duck into the narrow passageway behind them. I hear the shelves grind back into place, after I’ve gone less than ten feet into the walls of the great mansion.

“There are some minor hazards en route in these passages, designed to prevent misuse,” Crispin’s voice intones, from the front. “Just be careful to only follow my lead. Now – here we have pit of spikes. The ladies – yes, that includes you, Homer – will need assistance to step across…”

“This is scary,” I hear Miss Fuck-Nose whining, somewhere in front of me. “I can’t see a thing down here!”

“NOW you’re complaining of being scared?” Carvery mutters, in disbelief – much closer than I like to think.

Bringing up the rear, I approach cautiously, and shine my torch downwards. My toes are at the edge of a pit so deep and dark, even the torchlight fails to illuminate the bottom.

“When you’re ready, Sarah,” says a grim voice.

I look up into the evil eyes of Carvery Slaughter, feet braced across the abyss, holding out his hand to help me bridge the gap. Oh boy. I know where I’d like those spikes to end up…

I put my torch in my pocket, and allow him to take my shaking hand. But my feet panic, both wanting to go first – and my heels skid off the edge of the precipice.

I’m left dangling by one wrist, held at arm’s length by the monster Carvery Slaughter.

“Thinking of dropping me?” I challenge, numb with terror.

His amber eyes bore into my brain, faintly disgusted.

“You wish,” he replies. “Pervert.”

“I know what you’re like!” I hiss at him.

“No you don’t,” he says. And with barely a flick of his elbow, deposits me on the other side.

What? He didn’t try anything??

“You’re the kind of guy who’d break into my room, and wank on my diary!” I hiss again, and cover my mouth, horrified. Did I say that out loud?

“Only if it was full of stuff about cars and firearms,” he shrugs, easing himself over the gap, and falling into step again. “But I’ve read it already, when you’ve been at work. It’s all about dead guys at the body farm, and your fantasy notion about Ace Bumgang being The Stig. And if I wanted to, I could just wank on him when he crashes out at my place, so your diary is kind of a poor substitute. You don’t even talk about your tits or touching yourself in it.”

Outraged, I can’t even speak, let alone think of a response.

“Up ahead,” Crispin’s impeccable monotone breaks the fuming silence, ringing in my ears. “There is a giant pendulum. But it may be quite rusty now – and is a little unpredictable…”

Behind me, I hear a distant clatter, and the grumbling of three apparently male voices.

“Aha, Mrs Frittata and Sons have joined us,” Crispin continues. Odd. I thought the third son lived in the well? But Crispin seems to sense our communal doubt. “…Hers is the bass voice with the hacking cough, that you can hear. It might be an idea for the seven of us to split up at some point.”

“Hmmm…” I hear Carvery’s voice, right by my ear again. “That would make things more interesting…”

Short clip of the original – classic 🙂 Enjoy…

More mindless mayhem: The Zombie Adventures of Sarah Bellum

The Zombie Adventures of Sarah Bellum

See what everyone’s laughing about… 😉

(Also available on Smashwords for all other devices)

Hot on the Trail…

Living Hell trailer - final slide

Having spent a week chilling after my eye op, accumulating housework to do over the weekend, and working – yes, working – doing that thing that I left my last job to do! …I’ve introduced DS10 to Youtube as part of her birthday treats, and she’s torn into it like a bat out of Hell on a mission, churning out some jaw-droppingly awesome stuff in less than a week.

And I’ve realised, holy crap – that’s my audience, in some part at least. Anyone writing for young adult, teens, or even children’s fiction now has to realise that this market are using computers, creating their own content, deciding on their identity and choosing their entertainment, much faster than JK Rowling can say “Let’s have a meeting to discuss the strategy.”

Some friends on Goodreads invited me into their YA Lit group, and one of them has set up a (stunning) YA trailer website purely for the posting of trailers for teen fiction, and it is really inspiring. I’d done one trailer previously, a slideshow, for Living Hell, my current major YA work – an alternative-history stab in the dark at a fantasy dystopian contemporary society – written originally when I was 18 years old – which actually functions rather well, considering (it’s called social evolution, baby – no vampires or werewolves here, not that any are admitting to). But when I saw the work already on the site, and the material that DS10 is creating, I decided things needed cranking up a notch (or ten) and using a bit more imagination, even with only a scanner, WinXP and MS Paint at my disposal at home. I guess ‘disposal’ is a good choice of word – but it’s got me through publishing everything so far, and will darned well continue to earn its keep until I can afford myself one of those fancy offices and staff, with a water-cooler for equally cool people to brainstorm and flirt with each other around. 🙂

Okay, so I plug in the scanner and grab my notebook, and basically make this up as I go along. I had some idea of what I was doing, but not until I was actually holding a pen did I know what was going to come off the end of it:

Living Hell trailer - slideI remember writing lists, essays, and occasionally angry letters to imaginary Points of View presenters in my schoolbooks, and also doodling and drawing, which was where I wanted to head with this ‘animation’.

I decided to use a transition rather than painstakingly draw each letter (the ‘invisible hand’ writing across a screen style, which has been used to good Living Hell trailer - slideeffect many times).

What was fun was how organic this process was – I let my gut dictate each stage that I scanned, without really knowing what I was going to draw or write on the page next, just sticking to themes in the book and keeping the schoolbook graffiti style. Just like drawing at school, or in my room when I was a kid. Frequently I’d Living Hell trailer - slide 6start a picture or painting back then not knowing what it would end up becoming – those often turned out more pleasing than the ones I’d planned and could see clearly in my head.

I haven’t got to the stage of constructing a ‘formal’ book trailer, where titles take the place of Hollywood movie voice-over (“A man.  A woman. A ship. An iceberg. A date with destiny”). My style leans more towards the ‘teaser’ type of advert, at the minute. Maybe because those voice-over styles don’t work on me so well… I have seen some great ones on the trailer site, however, so I may give traditional trailer composition a shot at some point.

But for me, hearing a teenager say “Cool!” is as good as it gets, feedback-wise. 🙂

Here’s the finished trailer. Tell me it doesn’t make you glad you’re not still in school, LOL! 🙂

The Great Cover-Up.

Had a discussion about book covers yesterday after getting some constructive criticism on mine. As an indie author – covers were the last thing on my mind. Until seven or eight months ago, I seriously never intended to self-publish.

But as an artist, over the years I used to think a lot about covers. Covers on published books attracted me all the time, although it was blurbs and first paragraph reads which dictated whether or not I bought a book. I realised that as well as covers, I’d never really thought about blurbs either. For me, the important thing was getting my interiors up to scratch, spellchecked and edited. Rarely when I do a drawing or painting does it come up to my own expectations, and sometimes themes in the books require more than a flower, a puddle of blood, or a cleavage…

My favourite book covers of all time always contained real art, especially fantasy art – science fiction book covers in particular featuring spaceships, alien landscapes and adventurers. Some of the best artwork on covers appeared in the 1980’s, mostly on historical romance covers, oozing classical portrait talent and dripping with Fabio.

Fabio LanzoniI could look at just the covers for hours, purely for the artist’s skill – I would study Boris Vallejo and attempt to imitate every line in pencil form. Nowadays, sadly, those style of covers are considered ‘cheesy’ and it’s all about graphic design and branding, creating a cover more simplistic and iconic, like a Coca-Cola label. I can recognise many of those ‘designer’ covers, but could tell you nothing about the story between the covers, or the genre, or the author – but with realist fantasy art, it was easy to understand what the genre and story was – especially if it was science fiction, romance, a pulp detective novel, or an early Ian Fleming.

In a way, these ‘brand’ covers tap into a form of label marketing which goes along with clothing, soft drinks, and fragrances. You don’t have to know what it stands for, what the story is. It’s an accessory, a lifestyle choice. The reader who buys Alexander McCall Smith might also wear Alexander McQueen (ahem, if they’re lucky). The same goes for movie posters – but luckily, movie posters haven’t moved on as far as book covers. The most iconic artist posters include Star Wars and Mad Max: Beyond Thunderdome, and the films represented didn’t disappoint. You saw the poster, and the film lived up to it.

In Death & The City, the protagonist Lara has issues with personality and the way people market themselves, and their motives, and likens it to book covers. You see a big title and it represents a catchy blockbuster title, or a big author name and it represents a celebrity author. Pathway at dusk equals mystery. Pastel colours equals chick lit. Fangs and cleavage equals vampire horror. She compares the way one of her subjects of investigation was drawn unawares into prostitution by saying: Like she’d unwittingly bought a book about the sex trade, based on a misleading cover claiming to be a supernatural spy detective novel.

So I was aware of this ability for covers to be ‘misleading’ when designing my own, and also didn’t want to misrepresent myself as a publishing-house-style author while I’m currently an indie – no quotes from reviews on the covers or in the introduction, although I’ve had hundreds of comments from friends and peers, none that would qualify with the job description ‘Guardian Books’ or ‘TV Book Club’ – so I left them out.

Although I only have MS Paint to cobble them together, luckily Lulu.com on the hardcovers had an online formatter in which you simply upload images of the right quality – had a fun time searching for some I could use – until I can get the right images and artwork out of my head and onto paper, I’m happy with what I’ve done and feel that although amateur, it’s not misrepresenting anything.

But going by my taste in art, I have a feeling my own ideas brought to life won’t have any place in the contemporary market. 🙂

Writers Swap Reads ~ July 2011

Hidden

(Also on Amazon Kindle UK/DE. Paperback available from Amazon US, or Shalini Boland)

Went out for a birthday lunch today to meet the effortlessly fabulous Shalini Boland, rising Young Adult fiction star and author of Hidden, and the forthcoming futuristic/dystopian novel Outside. We did a book exchange – I got a paperback copy of Hidden (paranormal/vampire romance), and I gave her a hardcover of Living Hell, and threw in a paperback proof of Death & The City: Book Two to follow up the first one she already has at home. I told her about my own ‘challenge’ I’d set myself, to write a romantic novel à la Harlequin/Mills&Boon, and she shared some of the promoting tips she’s learned around indie publishing.

One of the things she’d heard about is running temporary freebie promos on eBooks. I thought this sounded like a fun idea. She also submits queries to book blogs for reviews/interviews and promotion, and is doing well out of it. In comparison to me, who hasn’t put together a press kit at all, and sells on average one Terrible Zombie Of Oz per week, she’s proof that marketing yourself a bit in the right places can definitely work.

Living Hell, on SmashwordsI’d already dropped my Amazon Kindle prices, having bought an Android-based eTouch Toys’R’Us tablet (it’s fantastic, and has the added bonus of a rounded shiny silver rear cover that looks as though you’re perusing the inside of a tiny Smeg refrigerator – and almost as heavy). I realised that for my £49.99 investment in this electronic toy, and downloading the free Kindle app, what I mostly wanted was to benefit from amazingly cheap books.

So I’d swallowed my pride and put my own prices down, from a few bucks to amazingly cheap as well.

Death & The City, on SmashwordsWhen I got home I checked out Smashwords, and had no new activity in the last month – but noticed they were running a July sale list, with vouchers which you could apply to your books to make them either discounted or free. So I signed both of my Smashwords epub/html/LRF/RTF format books up to it (Apple/Sony/Nook etc versions), and almost instantly sold two, and then two more. It was definitely worth doing – as it’ll be a while before I see any royalties anyway, gaining a readership in the meantime is definitely up there in my list of preferences.

I’d already decided to give myself a year, from publishing the first two in the Tales of the Deathrunners series (Death & The City: Books One and Two – combined in the hardcover edition, and in the Heavy Duty Edition eBook, which also includes an original feature screenplay), as well as Living Hell and The Terrible Zombie Of Oz. One year will be enough to gauge reader interest in whichever sequence of books is likely to be strongest – at the moment it looks like the title containing the most Z’s is winning – and I have sequels already in progress. In the meantime I’ll work on giving this Romance Fiction challenge a shot, and try and keep the zombies at bay – until appropriate for them to be unleashed 🙂

My Smashwords Author Page

Enjoy! 🙂