Insights

Reader Reviews Vs. Critical Reviews

I'm back from visiting Columbia, Missouri and the Hint Fiction Art Show (well, I actually came back earlier this week), but before I do a post about all of that I want to talk about the different kinds of reviews out there in this crazy world wide web of ours.

First, though, I want to preface this by saying that whenever a reader takes time out of their busy life to read something of yours and then spends the extra time telling others about it on their blogs or Twitter feed or Amazon or whatever, no matter if it's positive or negative, you as a writer have to be appreciative. Obviously we would love for everyone to enjoy our stuff and sing our praises, but the simple truth is that you can't please everybody all of the time.

Now, with that out of the way, it seems there are two kinds of reviews you find on the Internet: the reader review and the critical review.

The reader review is just what it sounds like. When your every day reader reads something and talks about it on Twitter or Facebook or posts a review on Goodreads or Amazon or something like that. They aren't an actual "reviewer" ... though then again maybe they are. In fact, I know they are. It's like asking what's the true definition of a writer -- someone who writes. Sure, some can argue that you need to be published or have some kind of degree or whatever, but then that opens another can of worms and ... well, you get the idea. Just as someone who writes can be considered a writer, someone who reviews can be considered a reviewer.

That, however, doesn't always mean their reviews are helpful. Oftentimes you'll see Amazon reviews that give a book such glowing praise as to say "This is the best book I've ever read!!!!!!!!" and you have to pause and think, Really? Was this really the best book you ever read? And then you have the one-star reviews from people who say something like "I didn't care for the main character's first name" and those kind of reviews can of course be easily dismissed.

But every so often you do come across Amazon reviews that are thoughtful enough to let you know the reader really spent time with the book in question and, despite whether or not they liked it, is giving the book a fair shake. These reviews strive toward what we'll call the critical review, which doesn't necessarily need to come from such a prestigious place as the New York Times ... though that can always be helpful.

The Internet has made it possible for the "book blogger" to rise up out of the ashes of obscurity and become well-respected. Then again, this isn't necessarily a good thing for all involved. Because anybody who has a blog can become one of these reviewers, and the reviews range from anywhere between the reader side to the critical side.

Even with this in mind, though, there still needs to be some professionalism maintained with these critical reviewers. Case in point:

Last year when the Hint Fiction anthology was released I came across an early review that ... wasn't so hot. Basically, the review didn't care much for the book. Which is fine -- everyone is of course entitled to their own opinions after all -- but what wasn't really fine is the fact the reviewer continuously misspelled my last name (I'm sure you can guess how it was spelled) and even went so far as to mess up some of the story titles from the book. The anthology's split up into three pretty easy to remember sections, and even those titles were messed up in the review.

So here we have a book blogger who's trying to move away from being a reader reviewer to becoming a critical reviewer but then makes clumsy missteps like this and expects to be taken seriously?

The reason I bring this up is earlier this week Hellnotes reviewed The Calling and gave it a somewhat positive review (important note: the review contains some major spoilers; like, the plot of the entire book is given away in the review). One line in particular -- "This novel is small town horror at its best" -- makes for a great blurb, so I'm happy. Still, there are some things about the review itself (besides giving away the entire plot of the novel) that sort of ... worry me as the writer of the work.

The biggest issue I have is that the reviewer refers to the main antagonist as Sammael when, in the novel, it's Samael. A major deal? Not really, I guess, though, on a lark, I went and did a quick search of the document and the name appears 68 times, which is more than enough times to be properly spelled in a review, I'd think.

The reviewer had certain issues with the plot of the book, which is completely understandable on my end. I don't expect everyone to love my characters or the plot or the tension or whatever else. Someone is bound to have issues with something. (Again, as long as the book gets a fair shake, the reviewer can completely blast the work for all I care; at least then I know that they actually read it.) But here the reviewer goes on with this line (which is a big spoiler, btw):

"Sammael reveals Chris’ family history and that his parents (and grandfather, to be more exact) weren’t exactly the paragons of virtue."

Now here's the thing: while Samael does, at the end of the book, mention this, Chris actually learns about his family history on his own near the middle of the book. And his parents, while murdered, were completely innocents in everything that happened with no knowledge of the family history. Even Chris's grandfather didn't have much to do with anything (it was Chris's great grandfather and his great grandfather's friends who did something long ago and which caused a curse on the families, though what they had done at the time was in fact quite heroic).

So that's one thing.

And then here's another thing (again, major spoiler):

At the end of the novel, Chris begins having dreams or visions just like Joey. He wakes one morning and knows he has go to Boise, Idaho because thirteen people are going to die. The number is never the same, as neither is the place. Even in the epilogue, Chris is asked and responds with the place and number. But still the reviewer says this (the bold is mine):

"I understood why Chris’ new role involves saving thirteen people in every town ..."

But, like I explained, it's not in every town. Just that one.

As you can imagine, I'm a little confused on how to take this review. Again, it's somewhat positive and gives that great line for a blurb, so on the one side it's a plus, but then the reviewer gives basically the entire plot away and seems to misunderstand a few possibly crucial parts of the book. Because then it makes me wonder what else was possibly misunderstood.

Then again, maybe I didn't do my part right as the author in question if there were such issues on the reader's end ... though, as far as I can tell, this is the first time I've heard of such issues.

So anyway, reader reviews and critical reviews.

Sometimes they're different, sometimes they're the same.

Sometimes they're good, sometimes they're bad.

Whatever the case may be, we always have to be thankful that someone took time out of their busy day not only to read a few words we wrote, but to then in fact write about those words.

Even if they do sometimes remember the book differently than how it was written.

Adaptation

For the longest time I made it a point to keep my eye on the publishing industry. Besides keeping up with the GalleyCat and Publishers Weekly feeds in my Google Reader, every Monday, like clockwork, I checked out the new fiction reviews from PW, seeing what was getting the starred reviews and who was publishing them and the type of books they were, etc. Then every Saturday, like clockwork, I would check out the New York Times Bestseller list for fiction, both hardcover and paperback (trade and mass market) to see what was selling and who was publishing them and the type of books they were, etc. And I don't know when it happened, but over the past few months I slowly stopped checking until I can't really even remember the last time I checked on either of those two things (the PW reviews mostly because now you need to be a subscriber to view them online). Why? Well because my focus has gone less from traditional publishing to more independent publishing or -- should I say it? -- self-publishing.

The reason for this is because I've come to see it as a more viable source of income. Currently I'm averaging about 40 ebook sales a day. That's not a lot compared to some of the heavy hitters out there, but they do add up. And hopefully with the more novels I release in the next year, that number will increase. Of course, the number could decrease or it could stay the same or whatever else, but the fact is Borders, once a major book retailer, is now gone forever and, despite what the naysayers will tell you, ebooks are in fact here to stay.

Yesterday The Wall Street Journal ran this article about the new economics of publishing in which they talk about publishers reducing advances, slimming print runs, and cutting fixed costs to reflect the new marketplace:

The economics of the book business are changing so rapidly the industry barely looks like it did just six months ago.

The era of the book superstores, with their big windows and welcoming tables stacked high with books, has gone into decline. Many of the country's most enthusiastic readers have already switched to less-costly digital books. Amazon customers now buy more Kindle titles than hardcovers and paperbacks.

Divining the profitability of a book is a mysterious art. But basic book economics suggest an e-book is more profitable than a hardcover, even at substantially lower consumer prices, due mostly to the inventory and return costs associated with physical books.

At least 80% of all books purchased are still physical copies, however, which means that publishers must still pay legacy costs at the same time as building their e-book business.

Yes, currently only 20% of the market is digital, but here is their projected growth.

And as digital copies go up, what must come down?

That's right, print copies.

Not that print copies aren't a good thing because there are still a lot of readers out there who prefer print over digital. I'm not saying that print will eventually disappear completely. It won't. But digital will, at some point, become the majority. It's all part of the adaptation of the marketplace and, also, of the reader.

But do you know what's amazing?

Last week Simon & Schuster inked a deal with John Locke to distribute his novels in print. Yes, he's the guy who sold over one million ebooks in five months, so of course a publisher would want to snap him up. But Locke, being the smart guy he is, is not giving up his digital rights. He knows the power of ebooks. So does S&S. But they want to make some money, even a little, and so they're going to distribute his novels in paperback ... even as Locke continues to sell his ebooks at 99 cents.

Again, it all comes down to adaptation.

This isn't some Kool-Aid, kids.

This is the real deal.

Author Beware

My friend Nick Kaufmann just did a blog post (or LiveJournal post, which is like a blog wannabe, right?) about some shady shit happening in the publishing world. Here's some of the post:

I was recently contacted by the former book review editor of the Rocky Mountain News about working for the new review website she started, where I would review self-published horror, science fiction, and fantasy novels. It sounded like something that could be a bit of an endurance test--how long would I be able to stand each poorly written military science fiction adventure about the best pilot in the fleet who's also a hit with the ladies before contemplating my own death?--but I'd done similar work before as genre judge of the Writers Digest Self-Published Book Contest, and the promised $100-per-book payment was more than a little tempting.

Then I started to wonder how they could afford to pay me $100 a book, seeing as how even Publishers Weekly with its thousands of subscribers can't pay that. Fearing the worst, I checked their website and, sure enough, they charge authors for reviews. A lot. Here's the reply I sent back. Maybe I should have waited until I cooled down a bit, but I was aghast.

Dear [redacted],

Thank you for thinking of me, but I'm afraid I'm going to have to pass on your offer. I cannot get behind, nor associate myself with, any review source that charges authors for reviews. According to your website, you charge a belief-defying $395-$495 per book, as well as a $19.95 handling charge for books sent to you as a PDF instead of hardcopy. Frankly, I find this appalling. Not only does it automatically draw the truthfulness and impartiality of the review into question, it is, in my opinion, just another way of fleecing authors who have already been wildly fleeced by vanity presses.

Again, I thank you for thinking of me, but not only would I not want to be a part of a pay-to-play service like this, it is exactly the kind of thing I have been consistently warning other writers against for years now.

Sincerely, Nick Kaufmann

Kudos to Nick for having strong principles. Some reviewers might feel inclined to take the fast money. Then again, I do have to wonder where the rest of the $395-$495 goes if the reviewer (who is doing pretty much the bulk of the work, no?) only gets $100 per review. Oh, and let us not forget about the $19.95 handling charge for PDF!

But this outfit is professional, right? Well, they certainly think so:

Professional reviews are a critical cog in the book business. While not infallible, they offer informed, reasoned assessments that put the book into the greater context of literature. They are not replaceable with this sort of sophomoric review. They do, however, provide a nice complement and reality check to crowd sourced reviews.

At BlueInk Review, we use professional reviewers who know their genres and offer opinions that are more than thinly supported snap judgments. I am proud of our roster and would never use reviewers who weren’t committed to reading the entire book.

If you're an author looking to get your book reviewed, there are, like, a gazillion websites and blogs dedicated to reviewing books. Seriously, The Dishonored Dead has been reviewed four times on blogs, The Serial Killer's Wife two times so far. I didn't pay a cent, just contacted those website asking if they would be interested in seeing my book. In fact, a few other places even requested to see the books after they were mentioned elsewhere. So just contact them. The worst they can say is no.

Actually, I take that back.

The worst they can say is, "How much is it worth to you?"

Matt Damon Is Awesome

Out of all the movies he's starred in and all the charities he's donated to and all the organizations he helps, Matt Damon is probably best known for his performance in Team America.

httpv://www.youtube.com/watch?v=ZWTzyU5MFgM

But this past Saturday he was down in Washington, D.C. speaking on behalf of teachers everywhere. He was the only celebrity who appeared at the rally. Of course, it helps that his mom who is a teacher no doubt helped organize the rally, but still, he flew from a movie shoot in Canada to New York and then from New York to Washington just to give his time. And you know what? He said a lot of great stuff.

httpv://www.youtube.com/watch?v=k7Jh3Z52KV0

I've never been a fan of standardized testing, which (to me at least) relies on the notion that all students are basically the same. Which, of course, they are not. Each student is different and learns at a different pace and has different interests and motivations and so to try to test them all equally is just asinine. When I started my student teaching back in 2004, I was very against state standards. But my cooperating teacher at the time had come up with a way to simplify the standards to use them to our advantage. He too had been very against the idea of being restricted to teaching to a series of standards until he realized that those standards were just a guideline, and that as long as you stuck with that guideline, you were okay. Like teaching parody? As it was a Senior Media Lit class, we watched an episode of The Simpsons and then had the students respond to the different types of satire that occurred. Story setting and characterization and flashbacks and other story devices? We watched a few episodes of Lost (this was during the first season of the show when many people didn't even know what it was yet). Anyway, it goes on and on. Thinking outside the box was what got me through student teaching and which helped the students become more engaged. The standards didn't become a limitation so much as a chance to do something different. Of course, I still think they're asinine, but that's okay, because Matt Damon is awesome.

httpv://www.youtube.com/watch?v=WFHJkvEwyhk

Price Is Everything

At what point is it acceptable to raise the price of your ebooks?

This is the question I'm now struggling with.

As this recent article on ebook pricing shows, there are ten rules as found by Vook:

1 Zero variable cost means it's okay to significantly lower prices to maximize revenue.

2 Optimal pricing is highly content specific.

3 Certain pricing thresholds trigger psychological "automatic" purchases.

4 Categorization plays a large role in optimal pricing and discoverability.

5 Merchandising whole catalogues is more effective than single titles: "a rising tide lifts all boats."

6 Containers are critical to driving upsell in app environment.

7 Lift effects through savvy launch promotions have a profound impact on sales.

8 In general, apps cannot support as high price points as e-books.

9 Real-time sales tracking is necessary to adjust pricing in a dynamic e-book world.

10 For each retailer there are distinct best practices to maximize discoverability and revenues.

A lot of this is basic obvious stuff, but still worth thinking about. When I first started releasing novels back in April, I priced The Calling at 99 cents, seeing as how it was my first novel and I wanted to lure new readers in with what is pretty much an impulse buy. The problem, of course, is that many 99 cent ebooks go unread. Readers just like stocking up on ebooks, and at 99 cents they can squirrel them away like, well, squirrels.

But then the next month I raised the price to $2.99 so I could get that 70% royalty as I wasn't making much on the 99 cents. I thought that sales would decrease some and ... well, here are my numbers for The Calling on Kindle since March, as the e-book did become available within the last two weeks of the month:

March -- 41

April -- 124

May -- 238

June -- 276

July -- 287

So as you can see, there is steady growth. Not a lot of growth, mind you, as I would like to see those numbers advancing by at least fifty if not one hundred every month, but still, the ebook is doing okay, especially considering that some of May and all of June and July it was priced at $2.99 and bringing in a 70% royalty and especially since I do pretty much no promotion for the book at all.

Now why I am thinking about raising the price? Well, why not?

I must admit, I do like the $2.99 price point as it's not that much for your average reader, yet it gives the author a very big percentage. Depending on the file size, an author can earn about $2 for every unit sold.

But should every ebook be priced at $2.99?

Recently I've been thinking of the novel's length.

The Serial Killer's Wife is 80,000 words long, so I think $2.99 is a reasonable price to ask readers to pay for the book.

But The Calling and The Dishonored Dead clock in at 100,000 words each. In printed book length (I know, because I just recently finished designing the interior for both novels) it comes to a little bit over 350 pages, as opposed to The Serial Killer's Wife, which is right around 300.

So I've been thinking, would adding an extra buck for the novels over, say, 100,000 words be too much?

What many readers don't understand, too, is that the larger the file size, the more Amazon takes away. So charging $2.99 for a 200,000 word novel doesn't leave the writer with the same royalty as a 60,000 word novel.

And of course, what about that gray area of novels that fall between the 40,000 and 60,000 area?

It doesn't seem to make sense for me to charge $2.99 for one of those and then charge the same price for a novel that's 120,000 words.

One of the reasons I've been thinking about this is because with my print books that I'm prepping. At first I was going to make them all $13.95, but the truth is The Calling and The Dishonored Dead are fifty more pages than The Serial Killer's Wife. And just like with file size, the more pages you have, the less of a royalty you get. Not that I expect to make a fortune off the print books, but there should be at least a little something coming back in return, right? And making The Calling and The Dishonored Dead $14.95 isn't too much more to ask readers for a thicker book, is it?

Of course, there will be the readers out there who just want to be read no matter what, and while that's great and all, I would actually like to start making money on my writing. In fact, I have been making money and seem to continue to, which is a blessing. And this isn't a question of trying to take advantage of the reader, either. I'm not implying that I plan to jack some of these book prices up. Just a dollar or so, no more than that, at least for the novels that are much lengthier.

But, honestly, I'm scared to do it.

I'm afraid that sales might slow down.

Right now I'm making about $2 for every unit sold of The Calling. If I raised the price to $3.99, I would make a little under $2.80. It might not seem like much, but it does add up. And with more ebooks out there to sell, the more readers finding your books, it's finding that right price that is crucial. Unfortunately, every reader is different, just as every book is different, so trying to find that right price is sometimes very difficult.

So experimenting is a good thing, except for when your sales already seem to be increasing.

By raising the price, the sales might decrease.

Or they might increase.

Or they might stay the same.

But will I do it?

Again, right now I'm just too scared to try.