Updated January 21st, 2023
How do you feel about surpassing 25,000 sales of your first novel, RATTLE? That's not nothing.
2017 seems so long ago. It took over five years to reach my sales goal for the first year, but I'm a realist. With zero advertising budget while living in a non-English speaking country when two million+ new English-language books are being released each year, what could I possibly expect? About a dozen authors make up the majority of total book sales every year. Less than 20% of the public read 80% of all novels, and I'm definitely not mainstream with no easily defined genre. That's the ominous reality of book publishing. I'm proud that I've reached any audience at all and thrilled that I've touched the lives of some. The feedback I've received directly and through social media and my website make up for silence on other sales channels.
If that volume was condensed into a shorter cycle, I might have been able to create momentum that would seduce me to finally complete the sequel. Nevertheless, I'm happy and busy raising our youngest son who brings me far more personal gratification than any accolades for my writing could pretend to emulate. We very busy with the arts. Besides, visual art is closer to music than writing in its ability to quickly reach and impact viewers. Plus, the art production process is much quicker. I'm at ease with my focus on the arts and other projects I'm doing.
Was it at least financially rewarding?
The hours and resources required to successfully write, publish, and market a book make it almost impossible to earn a decent living on fiction writing unless you're one of those machines who can churn out two novels a year. I didn't approach Rattle as a full-time gig anyway. I worked on it in my spare hours, so I can't expect more return than that.
Do I believe the returns are commensurate with time spent? Any dollar helps, and I'm sure Book #2 would be published more efficiently than the first one. Don't forget that for non-Americans, publishing on Amazon means you're turning over 30% in tax right off the top unless you live in a country with reciprocal income tax treaties in place. Then subtract the profits taken by Amazon plus the printing costs. The profit from each sold book can be humbling. Then you need to factor in additional costs when a book is sold through an international affiliate or the extended distribution network. For example, in many cases I earned less than fifty cents on paperbacks sold overseas. Ironically, since I've lived overseas for most of my adult life and thus have connections scattered worldwide, most of my sales were exactly that! Ebooks offer better margins, but the price points are also much lower. I kept my ebook price in the mid-range of seven or eight dollars for a few years, but then I finally decided to go with the flow and dropped it to as low as $2.99. Much better results, much lower profit. At least I made 100% of the profit when selling the ebook on this website. This was by far the most lucrative sales method since I was already marketing this site. Unfortunately, I finally stopped selling on jppaul.com when the security threats from Russia, Belarus and Ukraine trying to hack into the payment gateway took too much of my time to fend off.
Now that you've had several years of data to help in your reflection about the publishing process, how does your experience compare to those of other first time authors you've spoken with? Any advice?
Most have similar stories. I had an offer from a literary agent to sell first publishing rights for only USD 4,000. Since I hadn't developed a social media platform at the time, agents and publishers were reluctant to commit since I didn't reside in North America, had minimal social media exposure, and couldn't commit to book-signing tours in North America or the UK. Overall, the reception was warm, but with the aformentioned caveats. Colleagues in similar situations have reported initial interest but the same tepid conclusions. One received a $7,500 advance, deposited the check, and never heard from the agent nor the publisher again.
Luckily I surpassed the offered advance in profits relatively quickly through some direct campaigns on LinkedIn and Facebook. Nevertheless, it's important to remember that publishers, even the large ones, simply don't have the budgets to build momentum for books by most unknown authors. The onus to do so falls largely on the author.
All I can say is listing on Amazon is primordial for new authors but it's not the end of the story. You need to spend tons of time and advertising promoting the book to drive sales. but even if they don't generate many sales, Amazon listings somehow legitimize all other listings you make. it pays to be active on other platforms. In my case, I've made more total sales on alternative sites, including my own website where I took 100% of the profits on ebooks. Non-Amazon sales are almost 90% of my total after six years, including campaigns on LinkedIn, Twitter, Facebook, JPPAUL.com and several other outlets.
I'd also recommend publishing your work in all formats, including ebook, paperbook, and even the expensive hardcover format. The simple reason is that some sales stat counters consider ONLY hardcover sales. Be forewarned that you won't even sniff any bestseller lists if you're not selling hardcovers.
The most important advice I can make is twofold. First, let a seasoned reader go through your book, preferably someone whose opinion you trust who will be deadpan honest about its potential. It's a complex business. There's story writing and there's quality of writing. Both are paramount, and that's before you consider the potential market for your type of writing and the genre. If you don't ace all of the above and write in an unpopular or limited genre, chances are high that you'll struggle to find readers. Second, under no cicrumstances should you trust your own editing abilities, period.
Damn, that's not encouraging. Should new authors give up their first-born children as well?
I'm not a denier, but the stats are real. Professionally edited books pass one of the largest hurdles. Books with gaffes in the first handful of pages don't pass muster even if the book in general is tremendously written. The reason is the preview section of a book's listing. If interested readers pick up a bad vibe in the preview, they're not buying your book.
Don't even think about self-editing. Hire an editor to help you finalize your manuscript, one whose first language is English and whose passion is correct writing. I don't care how good of a writer someone is. Things are always missed. Pay a few grand and get everything right the first time, not only the spelling, punctuation and grammar. Make sure the content doesn't have holes, inconsistent naming is eliminated, etc. A good editor will even offer advice about things like the pace of the book, thumbs up or down on the humor, or perhaps sections where you might want to further flesh out a character or a conflict. I had my book edited twice by outside sources, and I edited myself at least a half-dozen times. The third paid editor after all was said and done still found dozens of minor typos, and there are still some in the currently published version. In short, don't embarrass yourself.
Do you have any other advice for aspiring writers?
Don't rely on your personal opinion of your own work, and thoughts from family and friends are often worse. Okay, they mean the best, but the publishing industry is not what it once was. The percentage of new writers who will be offered major advances for initial works is miniscule.
I get it. Write it because you have to. You'll hate yourself if you don't try, but don't expect it to change your life overnight. Also, just because you're a great technical writer, an established journalist, or a productive content creator doesn't guarantee that you'll be able to write full-length fiction. I can personally attest to this. I thought writing a novel would become second nature to me after many years in journalism, but it was a struggle for me to plan thousands of words ahead and build imaginary characters from nothing.
In many types of writing, several variables are pre-decided. The writer's task is to make sense of them, tie them together, explain them, or perhaps help others get a better picture based on your additional input. When writing fiction, unless you're basing the book on previous real events, you're essentially starting from scratch. That's a daunting task.
In my case, I spent several years fleshing out ideas to get a feel for where a novel could potentially begin and end. Once I determined these, I built a simple point-form list of potential scenes, dialogues, and events that might help move the plot and characters along. These were modified dozens of times long before I wrote a single word of the actual novel. Potential characters were discarded and new ones were added. Only then did I start building upon the story blocks. I never write in a linear fashion from beginning to end, even for short stories or feature articles. Instead, the blocks are expanded in no particular order, and they eventually merge into others. In short, if I had refused to write page two until I was completely satisfied with page one, or if I refused to work on chapter two until I had exhausted all possibilities for chapter one, I would have never completed the book. I understand that each writer is different, but this is the only way I can make progress even on an off day.
December 21st, 2017
First, congratulations on your fine review @ Kirkus Reviews. Before I ask you a few quick questions, I'll copy the review for those who haven't read it.
From Kirkus Reviews:
A stylish family saga in which modernity comes to a small, old Southern town.
In his ambitious debut novel, Paul tells the story of the savvy, artistic Proctar family in Cane Valley, Florida. They find their sedate way of life disturbed when corporate interests and an ambitious technology company, Global Cybernetics, stumble upon their idyllic town and offer buyouts to local landowners. Although some see the influx of wealth as an opportunity, the family patriarch Max Proctar, a sculptor, is reticent, wary of the changes that the town’s growth will likely bring. His social standing and his land holdings in town command respect, but they also make him a target as outside forces begin to infringe on his bohemian way of life. In addition, Max must also face the return of his adult children, who struggle to reconcile their love for him with his curmudgeonly ways. The most compelling character among this cohort is Zara Proctar, an aspiring painter searching for her own path. The Proctars, a collection of witty, erudite aesthetes, resemble J.D. Salinger’s famous Glass family, but they also bring a Faulknerian Southern attitude and 21st-century concerns. Paul writes in a verbose, intelligent style that recalls David Foster Wallace. The narration is lively, but the dialogue sometimes bumps up against the limits of the believable; casual conversation includes comments such as “Isn’t this the century when workers thrive on independence and middle managers with antiquated cattle prods fade into irrelevance?” Still, although such remarks may strain credulity, they also lend the Proctars an indelible charm. This novel will be sure to please fans of family epics, and may also appeal to those with an interest in how technological and corporate culture are encroaching on personal lives in the 21st century.
A strong, stylish novel about one family’s battle to preserve its identity in the face of changing times.
I've known and collaborated with you for many years. I must say I think they nailed both you as a writer and the book, RATTLE. How do you feel?
Thanks, and yes, I'm thrilled that Kirkus seemed to enjoy both the nuances of the story lines and the stylistic decisions I made when considering the writing approach. To have a professional reviewer like Kirkus invoke references to great writers such as David Foster Wallace, William Faulkner and J.D. Salinger is heart-warming and humbling. I admire all three, something I won't consider lightly as I progress in my career. Simply overwhelming. Next question.
It's interesting that the reviewer felt that Zara Proctar is the most compelling character?
In November's Q&A at the time of book launch, I mentioned that I felt that the main female characters like Zara, Chloe, and Lillian were pillars of the story. They're not the main characters, and certainly Max is the lead protagonist since much of the action and plot sculpting revolves around him, but I'm happy to see that Zara is getting her respect. She's a strong force throughout the book. It's important to remember that this family and story were envisioned as a series. There's plenty of time for Zara to glow in Part Two.
Kirkus feels your writing style is verbose and intelligent? Do you feel you're too wordy, possibly long-winded?
I'm not ashamed of verbosity, if that's what you mean, and I don't read it as a criticism. To be compared to David Foster Wallace under any context is an astounding complement for me because he was a master contemporary writer who I admired immensely. Again, last month I mentioned that many years immersed in Latin America influenced my style. One consequence of this is elaborate, lengthy sentences, and layered descriptions. English teachers and editors warn students to be careful about using too many adjectives and adverbs. I guess I missed those classes! I love modifiers and descriptions that clarify. I mean, if this is what comes out when I'm constructing sentences, and if I feel the text is still fluid and approachable, then why go back and simplifiy it for the small minority of readers who prefer to speed-read through a story? I've always mentioned that my writing isn't for everyone, that many people from different backgrounds may not recognize my references, but I believe that a reader can engage with this book at different levels. For those who want to delve into the subtleties, they can. Others can fly through the story, if they prefer. I purposely made a novel that has many skins.
So you admit that sometimes your writing requires patience and time to absorb?
I guess, sure. I enjoy telling stories, but I also enjoy the craft of using words to paint stories. The latter intrigues me about the process, much as I've spoken about the types of novels that pull me along simply for the unique style of the writing. I enojy writers who challenge readers and have tried to provide the same experience for my readers.
One last question, this one in regards to the reviewer's comment that your lively conversations may at times bump against the believable and strain credulity even while they serve to provide the Proctar family their indelible charm. Do you believe you went over the top in some passages?
Of course. That was the intent, and I'm ecstatic that it was mentioned. I don't want to dumb down conversation, in fact, I abhor writing that does. Think about it. You have two people in a room with no other action on the set. The focus is 100% on the conversation. You have the readers, or the audience viewing a play, concentrating solely on the dialog. I say go big rather than use simple banter to steer the action of a story. The conversations in RATTLE are the most important action -- and ultimately an important takeaway -- of the book. There's absolutely no reason for me to apologize for challenging a reader to think beyond the words. I respect my readers and know they're more than ready for it.
A major reason for writing this novel, as others have mentioned before, is to explore certain cultural dichotomies and challenge stereotypes. I wanted farmers who weren't bumpkins, creative street dwellers, corporate managers with heart, thieves with a pulse who weren't necessarily rotten to the core. And, in an age of Trump-fueled anti-intellectualism and slang-laden, dumbed-down conversations, I wanted to honor preparation and attention to form. I'm unabasheduly pro education but my characters are still allowed to rise or fall in different occasions. If people have trouble with challenging writing, there are plenty of other options. I don't apologize for expecting and trying to offer a little more.
Previously:
Why Rattle: When Even Wealth Misses the Itch?
This was the story that came to mind and was waiting to be written for over five years. It combines lengthy recent experiences in Jamaica and Florida that remained fresh in my memory. It also deals with corporate politics, the art world, dysfunctional families, and various dichotomies, such as rural / urban, rich / poor, developed / undeveloped nations, and cultural peculiarities that many of us sometimes misinterpret. I think it's timely, given the recent political climate in North America. Beyond that, I've dealt with all of the above on a daily basis for the past thirty years. Rattle isn't cathartic, rather an attempt to explore some deeper issues within the guise of a compelling and humorous story.
There's a unique bouyancy to your writing. Clear and straighforward, yet often complex and melodic. How would you describe the voice or style of Rattle?
I believe it's current, conversational and fluid. I hate to say contemporary since that has weighted connotations of its own, more so in the visual arts world more than writing, I suspect. I don't want people to think that this book is overtly experimental or bizarre. I've been told by one editor who I admire that it is acrobatic and dizzying -- in a good way I think -- and aimed for the reader who prefers to engage with the writing and the life-like situation rather than escape to an unreal place.
I wanted the story to seem familiar and well-paced without being hectic. I don’t want to confuse readers but I admit it will certainly help if the readers reserve some time to get lost in the book's layers. I try to write as a reader, not a word scientist. I use humor when I think it works, drama where its intended. I’m not out to game readers. That said, I hope my writing makes people contemplate the issues that lay behind the story.
Some characters are regular Joes with huge upside, people working to build careers and create a better life for themselves and their community. They are fictional depictions of imperfect people who you might know or meet on any given day. I've always enjoyed studying the human condition and strive for recognizable protagonists who are credible even if they're not pleasant or easily-accessible hero types. That said, I think my characters have plenty to cheer for. Some, albeit, after rough starts.
Rattle created a dilemma for me in the modern reading world. My work often has character arcs with difficult beginnings and positive endings. The protagonists may seem unlikable for many but they grow into better persons through the story. Balanced against the need for instant hooks to soldify the reader's engagement, it's difficult to set the protagonists properly in the first few chapters for the sake of the plot without the reader saying, "Wait a second, I don't like this character, or that one. Why should I continue reading?" I hope readers can get into the minds of my characters and see where they're going rather than let personality flaws dissuade them. I believe they are thought-provoking and worth getting to know. They better be since at least one sequel is in the works for release in 2018!
Updated December 21st, 2017: Questions were culled from conversations and correspondence with author JP Paul.