Sad Valentine's Day

by Janis Patterson

It is common wisdom that most murders are committed for either love or greed. It is also pretty much accepted that deaths increase around holidays, especially those celebrating love and/or family such as Valentine's Day and Christmas. All of this, while being pretty depressing in real life makes things a lot easier for us mystery writers.

Today is the Day of Saint Valentine, the patron saint of romantic and courtly love. It is a day of flowers, cards, candy, dinners out, gifts and - in most cases - a whole lot of kissing. It is also a day of loneliness, despair and sorrow. When you have someone to love, Valentine's can be a time of joy and shared affection. When you want someone to love and don't have anyone, Valentine's day can be a day of gloom and loneliness and sorrow. Most people have experienced both kinds of day.

What's truly sad, though, is the person who wants a particular person... and that person doesn't want him. Now this happens all the time - but this situation can turn real scary depending on how unstable the rejected one is. Just how far will he (or she) go to prove he is worthy of love? What will he do to convince his object of desire that she must return his feelings? Or will he decide instead to punish her for not responding to him? (I'm not being deliberately sexist - either position of this scenario can be taken by either sex, though statistically more women are victims than men.) It can go either way, and most of the time neither alternative is pleasant.

We see a similar situation around family-centric holidays like Thanksgiving and Christmas. As on Valentine's Day there are preconceived notions of how we should feel - happy family reunions, fabulous meals, presents, good cheer, decorated trees, peace-on-earth-and-good-will-to-men and all that. Unfortunately, even though so many people have the outward trappings - trees and presents, for example - they don't feel like people tend to think they should feel. The holiday is not a panacea that makes everything in their life all right; in fact, it often makes them feel worse.

There are more suicides around Christmas than any other day of the year. I don't know the exact statistics for murders, but I do know it's generally higher than on the average day.

So how does this help us as mystery writers? If you write about a murder on a July beach or a Halloween murder, not much. Neither the Fourth of July or Halloween are really family- or romance-centric. Of course, any holiday can be used, as can any day of the year, but in general it doesn't carry the same emotional weight as the romantic/family holidays.

The emotional stress of holidays cannot be discounted. If holidays can make the normal ones among us crazy, imagine what they can do to the unstable. These holidays and their often unreal expectations are something pushing at the villain not only from outside but from inside. This offers the writer all kinds of opportunities to give depth and reality to their characters. Good characters aren't just composed of height, weight, eye color and occupation; they are all of that, but what makes them individual are their hopes and dreams and disappointments.

There is no disappointment worse than an unrealized holiday feeling.

HYBRID AUTHORS – WHY THE INCREASING TREND?

You’ve all heard of a ‘hybrid author’, right? Authors who publish via both the traditional and indie routes? After months of debating whether it would be the right decision for me, I have jumped on the bandwagon of the ever increasing number of hybrid authors.

Let me tell you why…

My debut series, Vengeful Love, was published by Harlequin’s Carina Press earlier this year. I loved the experience. From getting the deal and starting up a relationship with my editor, to seeing the finished product. But, as a debut author, I didn’t have my next deal lined up before the series was released. I found myself in a dilemma—readers were calling for my next book and, though I had a complete manuscript, the traditional process meant it would likely be 12 to 18 months before my next novel would be released (although some digital only imprints will publish on shorter timescales).

Therein lies the main motivation behind me becoming a hybrid author. TIMING. If I put out an indie title, I can choose my own timeline. I can give readers what they are asking for, and keep momentum between traditional deals. Timing is a huge positive associated with indie (or self-published) releases. But it was not the only thing I had to think about.

My greatest reservation was that I would not be handed a readymade TEAM of editors, designers and marketeers. I would have to find my own team and how would I know if they were any good? Actually, it was not as difficult as I thought. I asked my indie author friends for recommendations. Most editors will provide a free sample of work and designers have a catalogue of covers you can use to help you make the right decision. It is actually great to be able to FREELY MAKE DECISIONS about your book.

Perhaps my biggest concern, is that responsibility for marketing now rests solely with me. Whereas traditional publishing houses have a loyal following of readers willing to take a chance on their books, indie authors must work very hard to build their own BRAND. (That said, even with traditional publishing, authors these days are required to market themselves heavily through social media and other channels.)

PRICING and ROYALTIES. I am grouping these two together because I consider them related. In terms of pricing FLEXIBILITY, the traditional route leaves an author with little or no influence over the retail price of a book. The reverse is true of self-publishing. Indie authors can set their own prices and utilise mechanisms such a price PROMOTIONS and Kindle Unlimited (i.e. free to subscribers of Amazon’s Kindle Unlimited library in return for royalties). Royalty percentages are also significantly higher for self-published authors. However, indie books are commonly priced lower than traditional books. This, together with more regular price promotions, tends to mean the average retail price of a book is less for indie authors.

Related to pricing and important to remember, is that an author choosing to self-publish will have initial EXPENDITURE for covers, editors etc. whereas a traditional publishing house would generally assume these costs.

Another consideration is access to PLATFORMS. While most platforms (e.g. Barnes and Noble, Amazon) and formats (ebook, print, audio) are available to indie authors just as they are to traditional publishers, there is significantly more work for one author to spread him/herself across multiple platforms, whereas traditional publishing houses are already set up to do this. Also, while physical stores may sometimes pick up self-published authors, they are much more likely to acquire traditionally published paperback books.

Finally, let us consider READERSHIP. While traditional publishing has loyal followers, these days there is a huge indie-supportive readership out there, a community traditional authors may not find themselves part of.

Let us put all this together in a visual and see which route scores best.

Category	Traditional Publishing	Indie Publishing
Time from writing to publishing		X
Building a team	X
Choice of covers, artwork and marketing strategy		X
Ease of establishing a brand following	X
Ability to set prices and flexibility to utilise price promotions		X
Royalties		X
Initial expenditure	X
Ease of access to multiple platforms	X
Readership – brand loyalty / indie-supportive community	X	X

In summary, you can see both the traditional and ‘new-age’ routes have positives and negatives. Looking at this table, it may not be difficult to see why many authors are choosing to combine the benefits of both routes and become hybrid. Perhaps the greatest benefit is that there are two tranches of readers, those loyal to traditional publishers and those supportive of indie authors. Even acknowledging some crossover, being hybrid affords authors access to a much greater readership by combining both.

My first indie title and standalone novel, Scarred by You, releases on 24 October 2016. For more details, follow me here:

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Boxed Sets, Anthologies and Collections

Is the “boxed set” marketing's new black?

The collections are everywhere. Some center on a holiday, a theme, the hero/heroine's profession. Others are linked more loosely. But they fill the Top 100 ranks of more than one genre category.

Some people decry them as yet another devaluation of the author’s material. This same argument, of course, was applied to the free book and is now targeted at the 99-cent price point. There is a valid point, that people who expect “free” aren't going to buy subsequent books, but over the past year, as the algorithms at Amazon moved away from counting free downloads and the “free days” offered less bounce, fewer people gave away books. And readers moved to the “new” darling, the 99-cent book.

Now the hot marketing device seems to be a collection of novels/novellas. While bundled products, buy-one-get-one-free, and other promotions have been around for ages, the collections are everywhere. The driving force, of course, is to obtain new readers. If author X has a story in the set, the reader may also sample (and read! And Love!) author Z, whose book is next in the collection.

Forgive me if this post rambles a bit. It's very late and I'd planned a different post for today.

Let me tell you the story of two anthologies.

The first, The Ultimate Mystery, Thriller, Horror Boxed Set, was released in early November 2013 by a group of independent authors. The stated goal of the group was gaining new readers, building on each other's networks. The group planned its release strategy, chose advertising, and actively promoted the collection's release. We communicated clearly with each other, shared results of each campaign. The set sold well and has remained #1 or #2 (yay! It's number 1 at Amazon this morning!) for nearly three months.

Then there is the set I planned today's post around. 

Love International Style was supposed to release on Monday. Barnes & Noble, Kobo, etc had the box set for presale – with the wrong cover – but Amazon didn't offer it until Monday morning, when apparently it was available for a couple of minutes. It was subsequently removed from sale, with no explanation. The authors who had banded together with other authors in the imprint and worked out a sales campaign were left standing with our mouths open when the book wasn't available on its stated date. All of this occurred with a deafening silence from the publisher. Emails received only a terse, "we're working on it." 

When the set still was unavailable this morning, with a heavy heart, I revised my planned post.

I won't bore you with all the other details, but communication appears to be a key element in the different results for the two anthologies. I hope we (the authors and the publisher) learn both what happened and how to keep a similar snafu from impeding another release.

A multi-part question for you – 

What's your opinion on boxed sets? Devaluing product? Gaining readers? 

Have you ever run into a situation where clear communication could've averted a mess?

Expectations: Help or Hinder?

I don't know about you, but I try to practice what I preach. Of course, sometimes it's easier said than done. I tell my daughter not to expect things. Go into a new experience with an open mind, make the best of it and let it play out the way it's supposed to. It's kind of like going to a movie. Don't you hate when you go to a movie that you've heard glowing reviews about and you leave thinking "meh?" But when you go to a movie that you know nothing about and end up having a great time, you get so happy you feel like you might smile for hours?

Take our careers for instance. We all strive to be the best we can be (in an author's case, to write the best book we can every day), but how do our expectations help or hurt us? If I expected to be a NY Times Best Seller, I might be waiting my whole life, not to mention be hugely disappointed if I never made it there. That might very well affect my writing which might affect future books. But if I go into a book, concentrating on my expectations for that ONE book and make it the best it can be and move on, then my expectations can be met (more easily). Let's face it, there are a TON of great books out there that never make lists for many reasons. Poor marketing, lack of promo...there are so many factors involved. Not to mention luck and timing.

I bring this up because in mid-March I attended the SoCalRWA Writers Conference and met Barbara Vey. I'd met her briefly years ago at an RWA conference, but never really had the chance to sit down and talk to her. Of course, I'd always (and only) heard lovely things about her and was thrilled to discover they are all true. She's fun and honest, very refreshing and I'll toss in delightful for good measure. (It all fits!) I was beyond thrilled when she asked to interview me for her Publishers Weekly Beyond Her Book Blog. What really floored me was her invitation to be one the authors at her Readers Appreciation Luncheon next April in Milwaukee. Talk about exceeding my expectations! (Of which, I should stress, I had none! BTW - Here is a shot of us after I moderated her workshop on Building Reader Loyalty.)

When you think about it, I have a conflict actually. How does my "no expectations" work with my publishing goals? I've been on this writer's road for thirteen years now and am doing the best I can to keep up with the job. (Sometimes it's overwhelming and sometimes it's pure bliss.) If I don't expect to make a list, but a list is my goal, then will I ever make it? I guess the answer is in the Universe somewhere...unless any of you can help me with it.

Let me know, what are your views on expectations vs. goals?


Dee J. Adams lives in Southern California with her husband, teenage daughter and 2 rescue dogs. Her Adrenaline Highs series is available at Carina Press and wherever e-books are sold.