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I know a lot of you are self-published writers, and you might have thought about having your work translated. Find out how I did it here, on the Writers & Artists Yearbook website:
As for Blood of the Wolf – it’s coming along nicely. Almost finished the first draft. Roll on summer! Might even manage another novella starring Will Scarlet before I move onto my next series…
Sorry, I don’t really have any news to report in terms of my writing. Blood of the Wolf is coming along steadily and should be ready for a summer release but not a lot else is happening right now.
However, a very successful author recommends that, to build a brand and connect with readers, all writers should talk about things other than their work, so I thought I’d share this with you…
You’ll probably be aware of my love of music, and it’s mostly metal of the heaviest kind that I listen to. My favourite band is Jethro Tull though, and I even bought a cheap flute a few years ago (an Artley, and from the serial number it turns out it was born in the same year as me – 1977!).
When my books started to sell and I earned some extra money I thought it would be nice to have a framed image of Tull’s singer/guitarist/flautist Ian Anderson, so I commissioned a really talented artist to do something for me.
We chose this as the image to work from:
This is the first work-in-progress image the artist sent me. You can see the layers of detail he was working on here:
Here’s the final image, before he rolled it up into a tube and posted it to me from the USA:
And here it is, framed and on my dining room wall.
Unfortunately my wife made me take it down from there, hahaha! But it’ll be finding a new home very soon and I can’t wait – I think you’ll agree the artist – Iain Stone – made an incredible job of it. He drew the entire thing using a pencil and it blows me away that someone can be so talented. I’m proud to have this one-of-a-kind artwork on my wall!
If you fancy having something similar done, check out Iain’s website. His rates are very reasonable and he works fast.
To see Ian Anderson wearing this outfit , check out my favourite Tull song (if you’ve read Wolf’s Head, this song inspired the part where Robin and Allan play the part of minstrels):
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Auf mysteriöse Weise verschwinden mehrere Menschen in einem kleinen Dorf auf Rhodos. Als zudem drei Mitlieder des Johanniter-Ordens vermisst werde, sendet der Großmeister Foulques de Villaret den englischen Richter Sir Richard at Lee aus, um in dem Fall zu ermitteln.
Gemeinsam mit seinem Waffenmeister Jacob stößt er bei den Einheimischen auf eine Mauer des Schweigens. Er ahnt nicht, dass sich dahinter eine Verschwörung verbirgt. In einem Strudel aus Aberglauben und okkulten Riten, wird nicht nur sein Leben bedroht, vielmehr gerät er an den Abgrund seines Verstandes.
„Ein großartiges, actionreiches Lesevergnügen, in dem trotz der Kürze einer Novella der Autor eine spannende Idee umgesetzt hat.“ Matthew Harffy, Autor von „The Serpent Sword“.
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You may remember I decided to try a little experiment with my novella Knight of the Cross recently. Since it was published a year and a half or so ago it’s been priced at 77p/99p in the UK and 99c in the USA. Sales have never been great despite good reviews, and at such a low price with the 35% royalty from Amazon KDP I was making almost nothing from it.
So I pushed the price up to £1.99 UK/ $2.99 USA almost a month ago. I hoped that even if the sales didn’t go up, the improved 70% royalty would at least let me make a little from each copy someone read.
The experiment seemed to pay off immediately as, for some reason, the novella’s average chart placing jumped from about 15,000 to 7,000, with the highest position being around 3,200 in the overall UK chart which is, I believe, the highest it had ever been outwith its original release. So I was hopeful…
Today I sat down and had a look at the sales and royalty reports for the past few weeks, and it made interesting reading.
I won’t list figures (to be perfectly honest they’re not that impressive, compared to my Forest Lord books at least), and I’m working things out in my head so it’s not going to be exact anyway, BUT, I’m guessing my royalties for Knight of the Cross have TRIPLED in the weeks since I raised the price.
I don’t believe I’ve sold any more copies, but neither have I sold less than I had been previously. So the royalty figure has jumped there. Furthermore, the average number of pages read in Kindle Unlimited has almost, I think, doubled. Presumably people see a book that costs $2.99 to buy outright and think it’s a more attractive option in KU than a 99c book that’s almost a freebie anyway.
Whatever the reasons might be, the figures are certainly up in every way – chart placing, books sold and pages read.
Again, I’ll just say, these aren’t huge numbers I’m talking about. My Forest Lord books do much better than either of my novellas but it seems clear to me that the raised price hasn’t harmed Knight of the Cross in any way. The opposite in fact.
So if you’re currently selling an ebook for 99p/99c and it’s not doing much, why not raise the price and see what happens? The great thing for authors is, if the experiment fails, you just drop things back to where they were, no harm done.*
Give it a go, and let us know how you get on!
Below is the reason I wanted to improve my earnings from Knight of the Cross: it’s the first of my books to be translated into another language (German). There was no point in me paying a translator to do this when it’d take me years to recoup their fees, so I’m hoping German historical fiction/fantasy fans will snap this up by the virtual wagonload.
*Incidentally, I’m going to leave my other novella, Friar Tuck and the Christmas Devil, at 99p/99c, simply because I get the 70% royalty on that anyway since it’s in the Kindle Singles Programme, and I believe it’s good to offer ALL new readers a price point that appeals to them, just to hook them in. If some think £1.99/$2.99 is too much, they can still try the Friar Tuck novella by shelling out almost nothing. Or, they can get a completely FREE short story, exclusive to my Email List subscribers, by joining here.
FREE! Get Knight of the Cross for Kindle at the much reduced price of absolutely nothing! Click here to get yours —>>> getBook.at/KotC-Kindle
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Looking for a bargain Kindle book to read over Easter? Check this out, and don’t forget to click the “follow” button if you use Twitter!
As ever, my cover designers came up with something striking and I hope you all like it. For once I didn’t do a crappy sketch, I just told them what I wanted and this is the final result.
There’s some symbolism here and anyone that knows the Robin Hood legend will know how it ends so, since this is the final book in the series you can make up your own minds what the cover is saying. Let me know what you think please, I’d love to know your thoughts on how this compares to the other covers since it IS a little different…
There’s no point asking me questions about how it will all pan out, because I honestly do not know myself yet. I’m working hard on it and it should be finished by this summer but I have no idea what will happen as I work. Just as an example, I was writing a scene tonight and, totally out of the blue, a whole new plotline presented itself – it literally came out the mouth of Robin and has opened up an idea I’d never thought of before!
So if you want to know how it’s all going to end -don’t ask me!
You’ll just have to read the book when it comes out around July/August.
To whet your appetite here’s a little extract from the scene just before that one I was working on tonight. As ever, totally unedited, this is straight from the manuscript and you might recognise a couple of guys here…
Philip watched in surprise as the arrow tore past his face by quite some distance and, from the sound of it, buried itself deep in a tree trunk.
“The bastards are shooting at us,” he muttered, turning, one eyebrow raised, to look up at Eoin.
The giant’s eyes widened as another arrow sailed past them at an almost leisurely pace – clearly these villagers were no crack shots – then he lumbered forward, placing himself in front of Philip and using his bulk to shepherd his friend backwards, into the safety of the trees, like some great mother hen.
“The bastards,” Philip repeated, shocked at the organised resistance they’d met. This had never happened before when they’d visited a village and he cursed Robin Hood once again. The man was a thorn in his side that he’d need to remove sooner rather than later. “Attack them,” he ordered, waving his hand forward distractedly. “Show these peasants what happens when people stand up to us.”
His men needed no further encouragement.
The bald headman had retreated behind a building when the shooting had started. His furious voice could be heard castigating the man that had loosed the first, wayward arrow – both for starting a fight that might have been avoided and, more importantly, missing the target.
The arrows continued to slam into the trees though, and the outlaws waited, judging the best moment to charge, before, at last, half a dozen of them sprinted towards the village screaming unintelligible war cries.
Philip watched as an arrow – probably more by luck rather than any skill – hammered into one of his men, spinning the unfortunate backwards, howling in rage and pain and effectively out of the battle.
The other five of his followers made it to the village and were met by a similar number of locals, led by the headman with his war axe.
Fascinated now by the melee, Philip stared, rapt, as the big, bald man brought his weapon down on the head of an outlaw, then used his foot to brace himself as he tried to free the blade which had become trapped in the dead outlaw’s skull.
He wasn’t fast enough though, and an attacker hammered the blade of his sword into the headman’s torso. The blow was a powerful one and it sent the headman reeling backwards although the ill-fitting mail shirt he wore absorbed most of the force so no blood was drawn.
Philip’s eyes flickered on to the next of his men and he cursed inwardly as a villager, face scarlet and terrified, landed a lucky blow with his crude hammer, smashing the wolf’s head’s eye socket into a bloody mess.
His gaze moved on again and this time the view was more pleasing.
Mark’s toothless mate, Ivo, was competent – skilled even – with his sword, and he skewered one of the villagers before drawing the crimson blade free and moving to hack at the next in the defensive line.
Look out for the Blood of the Wolf pre-order on Amazon around June, and please keep the reviews for the other books coming, they really do help.
I’m chatting today with Wayne Grant, author of “The Saga of Roland Inness” series.
Wayne’s books have been selling by the (virtual) truckload and I’m sure most of my readers will have noticed the likes of Longbow showing up in Amazon’s list of books you might like after you’ve read one of mine.
So, I asked Wayne if he’d like to do a Q&A and here’s the result. I hope you enjoy it and check out his books (links at the bottom of the page).
First off, tell us a bit about you, and why you chose to write about an archer. Are you a fan of Robin Hood in general, or other re-enactments? I know your series isn’t a direct re-boot of the Hood legend, as mine is, but you take elements from it don’t you?
Longbow, the first book in the series, was written 15 years ago for my two (now grown) boys who were still little—so I wanted to have a young protagonist. I had just read a great history of the Templar knights and the 3rd Crusade, so I came up with the idea of a young (14 year old) boy who becomes squire to a knight and goes on that Crusade. Of course, my young hero needed to have something that made him special and what could be better than a longbow? While this time period is the setting for many Robin Hood tales, I didn’t intend (at first) to have that be a part of the story. Once I decided on the longbow as Roland’s weapon, however, I couldn’t resist pulling Robin and Tuck in as supporting players. They are such wonderful characters. My Robin is a pretty traditional version, but my Tuck—now he is quite different.
What’s your writing process? Do you have plan everything out? Work off the cuff? Do you have to write every day (personally I don’t like that old myth – I write when I feel like it and it’s worked so far)? Do you like to work in silence or have any favourite music to help you concentrate?
I always have a general plan for the main arc and the key scenes of my story from the beginning, but my outlines always die an early death. I quite often write scenes that I know are completely out of order because I know what I want to say in those scenes. Once those get done, then writing the connective scenes becomes much easier for me.
Like you, I am a streaky writer. When I get in a rhythm I write for long stretches and I write fast, but then I tend to set it aside for a while. That said, I do set pretty firm personal deadlines for finishing books, and so far, I have not failed to meet one.
Writing historical fiction does require setting aside time to read up on events and characters you include in your story. In The Broken Realm, I introduced William Marshall as a character and needed to do some research. Luckily there have been a number of great biographies of him published lately. I also spend a lot of time on the historic timeline, which is probably the most challenging part of my process. Everything moved so damned slowly in the 12th Century! It’s hard to stick to the actual timeline and maintain narrative drive, so I do sometimes fiddle with that. Anytime I make a major deviation from the documented history, I cover it in my Historical Notes at the end of my books.
Regrettably, I am easily distracted, so no music while I write. Otherwise, my musical tastes run to storytellers—Warren Zevon, Van Morrison, Richard Thompson, Lyle Lovett, Tom Waits, etc.
Can’t beat a bit of Richard Thompson – his playing on “A Sailor’s Life” is mesmeric!
I see you’re planning on making your series run over four books – a tetralogy. That’s exactly the same as my series – I’d set out to write a trilogy but decided I had enough to say to stretch it over an extra book. Did you plan four books from the start? And, if so, why?! Hahaha, it seems you and I are the only ones writing a four book series!
I’m so glad I’m not the only one to experience a run-on trilogy! Yes, three was my original plan, but I just couldn’t get to a proper stopping place in The Broken Realm. There was just too much chaos back in England when Roland returns from Crusade to sort it all out in the third book, hence Book 4 is in progress. My plan is to complete the “coming-of-age” arc of Roland’s story in that book so that readers can move on if they please. That said, I expect I will add additional standalone books in the future with the same characters.
I notice you have your books listed in the children’s charts, but looking at the reviews suggests the books are equally suitable for an adult audience? Do you have a target audience in mind when you’re writing? Do you, for example, make sure there’s no profanity in your work so it’s more accessible?
When I first wrote Longbow for my two boys, I very specifically crafted it to be suitable for kids of ten and up so, while I had a pretty high body count, the violence wasn’t all that graphic and I did avoid most profanity. I tried to follow the example of CS Forester and Hornblower rather than some of the current popular historical fiction writers (though I love many of them and relish a good gory battle scene). When I later decided to self-publish, I did edit it to be a bit more gritty and mature—more young adult, but still light on the sex and graphic violence—and it seems quite a few folks actually like things a little less bloody.
I think it’s true that people get more interested in historical themes as they age, but I was a bit surprised that my readership turned out to be primarily adult with many of middle age and up. Kids seem to be more drawn to a dystopian future—I like to write about the dystopian past!
Your cover art is very engaging. It’s simple, with snappy titles and, to me, that’s perfect for Kindle. Who designs them?
I was very lucky to find a great artist on the internet named Brian Garabrant (http://www.briangarabrant.com/). He has been a real pleasure to work with and his pricing is very reasonable.
I wanted an old fashioned kind of cover in keeping with an old fashioned kind of adventure tale and Brian hit the mark for me. The Broken Realm is my favorite of the three covers, but it was a challenge because, for the first time I wanted all three of my main characters shown. Roland and Declan were no problem, but getting Millicent right was difficult. The first version was a “damsel in distress”, which was nothing like this bad-ass young girl. In the next version, she looked like a Frank Frazzeta Amazon warrior. Bad-ass, but geez, she was only 14, so I had to have him scale back the bust etc. In the end, he got her just right.
I agree with you, Broken Realm is also my favourite, and that brings me to my next question: you are, I believe, self-published, like me. Did you try to find a publisher before you decided to go it alone? Further to that, do you have an agent?
What about branching out into audiobooks or translations into other languages? I’ve been using ACX to make all of mine into audio and they do really well! I’m also looking at translations although that’s just as expensive as audio and, to my mind, probably not as likely to sell as much. What’s your thoughts on this?
Whew! There’s a lot in that question. Yes, I am totally self-published through Amazon CreateSpace and Kindle Direct and have no agent. Back in AD 2000, when I first wrote Longbow, I got an agent rather quickly (to my surprise) and made it to the final editorial review at Harper Collins before they passed on it. I was told they already had a book in the queue about a young medieval archer. The following spring, Harlequin was published by Harper Collins, so I suspect I got bumped by Bernard Cornwell and Thomas of Hookton. As much as I love Cornwell, to this day I have never read his Grail Quest series.
Back in 2000, self-publishing was not very feasible and I had my “regular” career to tend to, so I put Longbow on the shelf for 14 years. In 2014, I retired and did a rewrite/edit of the book and sent out queries to agents, but generally got the response that there wasn’t much of a market for an historical “boy’s adventure” in the U.S. Enter Amazon.
I committed myself to finishing The Saga of Roland Inness, in part as a legacy to my two sons. I put Longbow out on Amazon with zero expectations. It was published in October and I told my wife that I hoped it would sell 100 copies by Christmas. That would mean that someone, somewhere (besides friends and family) had purchased it. Somehow it caught the eye of the wonderful folks in the UK (God love you all!) and it started to sell. By Christmas 2014, 3000 copies had been sold and everyone, including me, was astonished. So my retirement hobby morphed into second career. All-in-all it’s been better than taking up golf.
I have not had the books translated or made into audio books, but I am somewhat interested in the latter. The vast bulk of my sales are Kindle with only a few hundred a month in paperback, so I’ve been concerned that audio would do about the same as paperback. What has your experience been there? ACX looks like an interesting option.
I’m in the same boat – I hardly sell any paperbacks compared to Kindle versions. But I do pretty well with my audio sales. I wrote a blog post for the Historical Novel Society which you can check out here. I’d recommend ACX/Audible to anyone who’s selling well with their Kindle versions.
What about your feedback from readers? Do you have a favourite review, or compliment someone has said about your work?
I’ve had some wonderful reviews, like the mom in South Africa who thanked me for finally getting her 12 year son to read a book and the care giver for an autistic boy in Australia who says my books got her 11 year old into archery and an archery club.
My negative reviews are just as interesting. I had one that began “Absolute pants!” I had to Google that, as it is not an expression here in the States. I’ve also learned a number of things from fans, like:
- Fall is not a season in the UK.
- You never “fire” a bow (I should have known that one.)
- There are virtually no tides in the Mediterranean
Hahaha, yep, I also fell into the “fire” trap – the original version of my second book actually started with Robin giving the command to, “Fire!” I had to sort that before any reviewers noticed.
What do you have planned for the future, once your fourth and (perhaps!) final Roland Innes book is finished? More historical fiction, or something completely different?
I plan to have the fourth in the Roland Inness series out by sometime this summer (I’m almost half done with it) and I have had a new series in my head for a long time. It would be set in the first decades of the 19th century and would focus on a young officer in the early American Army. 1800-1820 is sort of a golden age for historical fiction (Hornblower, Aubry, Richard Sharpe), but there isn’t a really good American series set in that time period. I would like to take a stab at that, though I would hate to alienate my wonderful British readers by taking the opposite side in the War of 1812. Somewhere in there, I will do the other two Roland Inness books as well.
Do you have any advice for aspiring writers? Or any tips on marketing?
There are no sure things in this business. Amazon puts out over 100,000 new titles a month so it is hard for even a great self-published book to get noticed in the flood. On the other hand, trying to get through the bottleneck of traditional publishing remains a long shot.
At this point, I doubt seriously if I would sign a traditional publishing contract. With the royalty differential, a publisher would have to convince me they could sell 4-5 times as many books for it to be in my interest financially. Finances aside, I love having complete control of the process. I do my own editing, with a big assist from my gimlet-eyed wife, and set my own prices. If I find a mistake in a book, I can go in overnight and fix it, no fuss and no muss.
Of course, if none of my books were selling, I would probably feel differently. So what are my thoughts if you choose self-publishing? Nothing that original, but:
- Edit, proof, repeat. Lots of self-published books turn off readers because of bad grammar and typos. Be sure there are none in the first 20 pages and very few thereafter.
- Get a good cover. A lot of covers are similar in this genre. Be different, but good different.
- It’s all about visibility on Amazon. Choose your categories carefully. Drill down to the lowest possible subcategory. Early on Longbow rose to the top of the tiny “Children’s Medieval Fiction” category, got slapped with a #1 Bestseller tag by Amazon and sales quadrupled overnight.
- Be lucky. I picked a simple title for my first book—Longbow—only half realizing how that title and that weapon resonates with the British people.
Excellent tips, I agree completely with all of those. What about you as a reader, rather than a writer? What are your own favourite books?
I love to read good histories. Right now I am reading Six Frigates by Ian Toll about the birth of the US Navy. My very first historical fiction was the Bruce Trilogy by Nigel Tranter, which I read as young officer in the US Army in Germany many, many years ago. I still think those are great books. Then, of course, there is the gold standard for American historical fiction—The Killer Angels by Michael Shaara—great book. I also indulge the guilty pleasure of an occasional Lee Child Jack Reacher thriller!
Huge thanks to Wayne for answering my questions. Our writing careers seem to have followed a very similar trajectory and it’s been great to find out more about him and his work. Do check out his books via the links below!