bite me: the week in bite-sized chunks

*Writing from somewhere in a hermetically sealed room* As I am now in the brain-melting throes of writing my dissertation (12,000 words and four weeks to go), these round ups are focused on what dedicated SFF UK imprints are doing to digitally market themselves, their books and their authors to their fans and wider readerships.

Gollancz: have recently announced they’re making the Encyclopaedia of Science Fiction, ‘the definitive reference work in the field’, available free online. In another step towards helping more genre books reach wider audiences, and helping audiences to reach more books, Gollancz are launching the SF Gateway. It’s going to be the ‘world’s largest digital SF library, which will make thousands of out-of-print titles by classic genre authors available as eBooks’ (so not an intergalactic gateway to other such gateways, but still pretty neat). Available to access this autumn, the project has been headed by Gollancz’s digital publisher, Darren Nash. This really is an amazing venture, and really utilises the digital form. In a further step towards digital domination, Gollancz are also teaming up with pulp website Good Show Sir, with the goal of making every cover linkable to the actual text by 2012 (this last part might be a lie, but they’re missing out on a trick – who wouldn’t want to read about Nazi gnomes?!).

Angry Robot Books: are back again this week because I’ve been writing the section in my dissertation (known henceforth as the ‘Big D’) about how negative perceptions of the fantasy genre are often linked to cheap, and badly written, swords and sorcery fiction from around the 1950s. This was otherwise known as ‘pulp’ fiction (so-called due to the cheap wood pulp paper that enabled the printing of several key fantasy and science fiction magazines around that time). The Big D points out that publishers have been trying to put their sordid, scantily-clad maidens past behind them. Commissioning editors who were interviewed for the Big D all agree wholeheartedly that negative perceptions are linked to the covers for these texts (please see Nazi gnomes cover for reference). Art Directors and the like have been working for years to rebrand SFF away from these ‘pulp’ covers, only returning to them in a retro, ironic fashion. I write all of this because this week, Angry Robot announced the signing of swords and sorcery author Paul S Kemp. Kemp is ‘unashamedly a fan of the classic ‘swords and sorcery’ fantasy’. His series of novels will be bringing ‘swords and sorcery right up to date’. But with a few key changes. It’s about thieves and treasure hunters, who are the new assassins (Douglas Hulick’s Tales of the Kin helped with that), and Angry Robot are keen to emphasise that it uses ‘very modern language’. I’ve done a few questionnaires for my essay, and people generally find the language and names used (see Tolkien’s works for detail) off-putting when it comes to reading fantasy, and so would rather not. Could more books of this ilk being published, with modern covers, modern language and trending themes, be part of the key of helping SFF to reach wider audiences, without the need for a HBO series?

I will leave you with a quote from H. P. Lovecraft on the matter of being published by pulp magazines (which he was): ‘the field is so repugnant to me that it’s about the last way I’d ever choose to gain shelter and clothing and nourishment.’ Beautiful.

digital marketing - Gollancz

Over the last few weeks this blog has been focusing on what the four imprints I’m using as case studies for my dissertation do to digitally market their books. Like a bookish clash between Come Dine with Me and Whose Line is it Anyway?, each imprint has had a turn, the rules are made up and the points don’t matter. I have so far blogged about Tor UK, Orbit UK and HarperVoyager. This post is about Gollancz.

GOLLANCZ

Website: Gollancz has a section on the Orion Publishing Group’s website (which they’re owned by). When I first started this blog, this part of their website, and their blog, were not updated very often. In recent months however, particularly as it’s their 50th anniversary year, Gollancz have hit their stride with their webpage and blog. On their main page you can find their book of the month and author of the month (including links to their previous books so you can buy them, the author’s website and information about them), a bestseller list specifically for their titles with clickable links to further information and ways to purchase them, a list of their upcoming events and a nice link to a webpage for their most popular series, Charlaine Harris’ Sookie Stackhouse/True Blood books. They also have a ‘What’s hot’ section that contains recent news: this week, brilliantly, they’re in cahoots with National Blood Week – cross-promotional AND charity points, they’re also showcasing a trailer for their book of the month, Songs of the Earth by Elspeth Cooper, a link to the Masterworks Reading Project, (old) news about Ian McDonald’s Dervish House being shortlisted for the Arthur C Clarke Award (won by Lauren Beukes’ Zoo City) and a celebration of the last 25 years of the Arthur C Clarke Award (or should that be the first?). Gollancz does have a young adult page, although I’m just focusing on adult fiction here.

Blog: also on the Orion website, you will find the Gollancz blog. If you click through their archive, you’ll see there was a post in November, the next post wasn’t until April, and then you get to the May tab, and you’ll understand what I mean about a lack of activity until recently. Every day for a week in May they celebrated 50 years of Gollancz with a new blog post (I’m sure they did more than write a blog post, 50 years is a long time). They had a readers’ vote for their favourite titles, which is now closed, but this flurry of activity shows what can be done. However, I imagine it took a lot of time and resources, and it’s possible they’re another small team (the entire team seems to have written a post for this seven day session) that can’t afford to do this all the time. So, 50th anniversary points (admittedly, very particular to Gollancz). And it’s a shame that more can’t be done with the blog, because it is a great way to connect with readers, if they allowed for comments, and Joe Abercrombie’s post on George RR Martin shows its potential for entertainment. But that’s where, for Gollancz, Facebook comes in.

Facebook: this is where the digital marketing really happens for Gollancz. Their main technique is to run competitions for readers to win their titles (admittedly, this was more prevalent a few months back). Many competitions. They have all the competition points. It would be really interesting to find out how these competitions affect sales, if at all. I really hope they help sales, I think it’s a unique way of marketing, and great for smaller budgets (although the postage and packaging costs must be immense). You can really see the dedication of the marketing team (person?) here. They also post YouTube links to author interviews and trailers, flag up signings, reviews, post pictures, links to other relevant information they feel their readers will find interesting (points for not just talking about themselves), news about their award nominations, and just a whole host of other links and comments. Some stats: 1859 people ‘like’ their page, on average they post 2-3 times per day, and they have 1 sister Facebook page, Gollancz Dark Fantasy, which has 3526 ‘likes’ (and does much of the same, only with more of a focus on Charlaine Harris).

Twitter: here, as well as the beauty of hash tags, there is more of the same frequency of posts and topics as on the Facebook page. They have a Gollancz, Gollancz Dark Fantasy and a temporary account for their 50th anniversary. They also have mystery book quotes for followers to guess, tweets about events they’re currently attending (like the David Gemmell Awards – topical), and are just generally entertaining. They definitely know their way around a hash tag. Hash tag points.

Digital advances: Orion has a ‘Reading room’ area of their website, which is an ace way of promoting your titles, taking a cosy concept but making it digital. Here you can access sample PDFs of some of Gollancz’s titles, like Charlaine Harris’ Dead Reckoning. Cosy concept points.

Recently their author Charlaine Harris became the latest writer to exceed the 1m Kindle eBooks mark. So they’re doing well here, particularly with this author (the TV series possibly helps).

Gollancz have a digital publisher, Darren Nash, who promised the following back in August 2010 for Gollancz’s digital future: ‘enhanced e-books and apps, backlist projects, building virtual communities and developing online interaction through social media such as Twitter and blogs.’ I would definitely say that social media (barring the blog, perhaps) has taken off and looks to be going very strong. However, apps and enhanced eBooks haven’t yet shown their faces. In a blog post, their author Joe Abercrombie did mention a meeting with his editor that resulted in an absolutely amazing sounding eBook package, but I can’t find any further mention of it. I’m not sure about issuing ‘just around the corner’ points, but, what the heck, I’ll do it anyway.

Oh, and Amazon.co.uk shows that they have 391 eBooks published by Gollancz. That’s a good number.

Extras: the Orion Publishing Group has a general YouTube channel where you can find Gollancz trailers and author interviews. I can’t find many uploads by Gollancz, however, but it’s good that they’re utilising Orion’s page.

Conclusion: contain yourself - an exciting summary will follow shortly. Disclaimer: none of the imprints will win £1000 presented to them on a silver platter. They will not get to read out the end credits in the style of someone trying to propose just as their loved one discovers a beetle doing backstroke in their soup.

digital marketing - HarperVoyager

Over the next few weeks this blog is going to focus on what the four imprints I’m using as case studies for my dissertation do to digitally market their books. Like a bookish clash between Come Dine with Me and Whose Line is it Anyway?, each imprint gets a turn, the rules are made up and the points don’t matter. This post is about HarperVoyager UK.

VOYAGER

One thing that I have not taken into account so far with blogging about Tor UK and Orbit UK’s digital marketing is business models. The term ‘business model’ tends to make my brain prepare to be imminently baffled, but what I mean by it here is pretty basic – the number of staff within the imprint and their roles. In Voyager’s case, having done work experience there, I know that there is a grand total of two staff members dedicated purely to this Science Fiction and Fantasy imprint, one of which handles the majority of the digital marketing. Solo points to her before we even begin.

Website: like Orbit, Voyager’s website is really a blog. While Orbit’s site is maintained in by a triumvirate of worldwide imprints (note: not as evil as it sounds), Voyager’s is hosted by HarperCollins and maintained mainly by one dedicated Assistant Editor, and a few guest bloggers. There tends to be about one to two posts every fortnight, and they can consist of: reviews from HarperCollins’ staff members of Voyager’s books, an huge ongoing campaign for George RR Martin’s A Song of Ice and Fire (HBO’s TV adaptation - Game of Thrones, new covers, eBooks and the date for the upcoming, long-awaited A Dance With Dragons), countdown widgets for upcoming titles for blogs and websites, trailers, occasional book of the month (book of the every other month?), cover launches and a heads-up for their new venture into YA fiction, a post on their physical consumer marketing campaign for Peter V Brett and a few non-marketing related posts, which arguably is good digital marketing in itself. The blog/site also contains links to other sites and every post can be commented on – so community points to them.

As a side note, Voyager’s sister Australian imprint has a great site – complete with blog, online community, search engine, news and events listings and the tantalisingly titled ‘fun and games’. Who can resist such a tab?

HarperCollins hosts a page for Voyager on their main site. This contains links to the Voyager blog, as well as the Voyager Twitter feed, information about authors and their titles and upcoming books, and press releases. It’s not as updated as their blog, and while it is useful, it feels a bit more perfunctory, and not as welcoming as Voyager main. I will allot practical points for this.

Twitter: their Twitter page contains links to their blog posts as well as plenty of perky communication with fellow tweeters and readers, particularly considering there is only one person behind the tweets. What I like about this (warning: personal preference) is that HarperCollins is a hugely commercial publisher but the Voyager feed feels personal. Points for letting people know when they’re going on holiday, or that they left their pen back at the office when they wanted to mark proofs on the bus.

Facebook: I can’t find a Facebook page for Voyager UK. If there is one and I’ve missed it, I’m sorry (although no points for hiding well).

Digital advances: thanks to HarperCollins’ dedication to all things digital, Voyager has a healthy backlist of digital titles available, although the books don’t have any additional interactive features. They get extra goodwill points however for taking advantage of the digital format for the benefit of their customers. George RR Martin’s beasts tend to be unbindable and a few have been released in two parts – but their digital editions have been combined. Voyager even went a step further and bound the whole 3000 page series so far together in one digital volume for a relatively cheap price.

Blog: see ‘Website’.

Extras: Voyager has a monthly newsletter and a YouTube channel, but it hasn’t been updated for a while. Points to them, but not as many as for a well-maintained channel (admittedly these values mean very little).

Conclusion: contain yourself - an exciting summary will follow after all four imprints have had their turn. Disclaimer: they will not win £1000 presented to them on a silver platter. They will not get to read out the end credits in the style of someone delivering urgent information to someone on a bouncy castle.

digital marketing - Tor

Over the next few weeks this blog is going to focus on what the four imprints I’m using as case studies for my dissertation do to digitally market their books. Like a bookish clash between Come Dine with Me and Whose Line is it Anyway?, each imprint gets a turn, the rules are made up and the points don’t matter. This post is about Tor UK.

TOR

Website: the imprint has a section on the Pan Macmillan website, but it works as a shop rather than a marketing tool (although it does contain a list of author events). This is unique for a publisher – to sell direct to customers and cut out the middle Amazon-man, so points to Tor for that. If you select a particular book by an author you can then go to a page specifically about the author, and subscribe to certain RSS feeds. More points.

Twitter: this site is Tor’s hub for marketing. Events will get mentioned, review links posted, pictures of tours, author ventures plugged (like China Miéville’s short story 'Covehithe' in the Guardian not long ago). Editorial Director of Tor Julie Crisp is always present on Twitter, tweeting their latest campaigns, communicating with readers and providing relevant links, whilst not being overly pushy about the books she’s publishing, so kudos points for that last part. Tor trends topics like #towelday – 25 May is Towel Day in memory of the great Douglas Adams - really taking advantage of what Twitter can do. Tor UK is on there too, obviously tweeting about subjects relating to their list, but with personality and, dare I say it, vim. They’re also using Twitter to advertise their competition in cahoots with SFX magazine for cover designing. More points to them.

Facebook: I can’t find their Facebook page, so I’ve assumed there isn’t one, or it’s nigh impossible to locate. Correct me if I’m wrong.

Digital advances: Amazon’s Kindle store lists 81 of their titles, and it can be assumed that this list is going to grow. They’re all ‘vanilla’ at the moment, however, in 2009 an anniversary iPhone app for Douglas Adams' Hitchhiker's Guide to the Galaxy was created that had plenty of special features. A Bookseller article from February 2008 details how Tor gave away free copies of some of their titles in eBook form to advertise a ‘website’, but it provides no further detail other than saying that readers were, understandably, pretty well-pleased. There are no other articles in the Bookseller that talk about Tor’s digital initiatives, and none that I can find elsewhere. It was a great start – but did it end here?

YouTube: ADDITION - When I wrote this I hadn't found Tor's YouTube page, which is part of Pan Macmillan's page - you can see trailers, interviews, TV appearances from their authors, and more. Points to them, and a few more because I missed it the first time around.

Blog: N/A

Extras: Tor UK do have an e-newsletter that you can sign up to, which is great, but it’s not released nearly as often as I’d like to receive it. Genre for Japan: the imprint offered a year’s supply of their books for the cause. Charity points to them.

Conclusion: contain yourself - an exciting summary will follow after all four imprints have had their turn. Disclaimer: they will not win £1000 presented to them on a silver platter. They will not get to read out the end credits in the style of a sports commentator.

bite me: the week in bite-sized chunks

Voyager: are very excited about the upcoming HBE adaptation of George R.R. Martin’s A Game of Thrones with Sean Bean in the lead. They’ve released a TV-tie in cover. I’m mainly showcasing this because I put a full stop in there on my work experience. I feel that, overall, it has made the reading experience better. OK so it was in the prelims, but seriously, you'll thank me for it.

Tor UK: have provided an extract from China Miéville’s upcoming science fictioner Embassytown (due to be released in May). Read and enjoy! Here’s a bit of blurb for you too (you’re welcome):

Embassytown, a city of contradictions on the outskirts of the universe. Avice is an immerser, a traveller on the immer, the sea of space and time below the everyday, now returned to her birth planet. Here on Arieka, humans are not the only intelligent life, and Avice has a rare bond with the natives, the enigmatic Hosts - who cannot lie.

Only a tiny cadre of unique human Ambassadors can speak Language, and connect the two communities. But an unimaginable new arrival has come to Embassytown. And when this Ambassador speaks, everything changes. Catastrophe looms. Avice knows the only hope is for her to speak directly to the alien Hosts.

And that is impossible.

SF Signal: this is just an amazingly comprehensive site for all things SFF. Compared to SF Signal, my blog doesn’t even register on the radar, it’s just a bit of fluff on the screen that someone could eradicate with a little puff (that’s a quick blow, not a tiny, slightly offensive stereotype, obviously). An unbelievable amount of time and effort must go into this web of knowledge. Sad to say I’ve only just cottoned on to its weekly roundup of free science fiction and fantasy available on the internet. They do the research and I get to say ‘Look, free things!’ Grab a coffee and enjoy.

SFX magazine: speaking of great blogs, SFX have just launched the voting for their first ever Blog Awards. They’re celebrating ‘the best that SF and fantasy fan-driven and insider-developed internet activity has to offer.’ The shortlist is already there. You can pick from six categories: Best SFF Podcast, Best Fan Community, Best SF News Blog, Best Literary Blog (which SF Signal is in), Best Franchise Specific Site and Best Celebrity Blog. I was, of course, a very near shoe-in for that last one, just missing out to the likes of Neil Gaiman and Orbit author Kate Griffin, who is part writer, part lighting technician. She also prone to lengthy, enjoyable posts about anything.

Orbit: last week announced a new short story venture. Curiously, they’re using a robot logo and Angry Robot too have ‘nanos’, short stories available for download only from their authors, something that’s obviously catching on. That’s my passive aggressive way of implying that the robot could be replaced with something less robot-y. Like a tiger. Or they could stick with what works. Orbit’s short stories will also only be available as eBooks from a variety of eBook retailers. No prices yet, but some authors have already been listed, including Mira Grant and Jennifer Rardin. I do love short stories and these do seem perfect for reading on an eReader or an iPhone so it does seem like they might be the gateway drug to full-blow eAddiction. But I just can’t bring myself to part with the physical copy just yet. I still love the way I have to carry an extra bag to work, and how it squishes my sandwiches and banana to a pulp by the time I arrive (banan-dwiches).

bite me: the week in bite-sized chunks

Orbit: have posted a response to blogger Leo Grin’s derisive prejudgement of Joe Abercrombie’s new title The Heroes. Grin is tired of modern fantasy and its ‘writers clearly bored with the classic mythic undertones of the genre, and who try to shake things up with what can best be described as postmodern blasphemies against our mythic heritage.’ He then goes on to use Abercrombie as an example of this, likening his First Law trilogy to:

Think of a Lord of the Rings where, after stringing you along for thousands of pages, all of the hobbits end up dying of cancer contracted by their proximity to the Ring, Aragorn is revealed to be a buffoonish puppet-king of no honor and false might, and Gandalf no sooner celebrates the defeat of Sauron than he executes a long-held plot to become the new Dark Lord of Middle-earth, and you have some idea of what to expect should you descend into Abercrombie’s jaded literary sewer.

Maybe it’s because I (whisper it) didn’t actually enjoy Tolkien’s meandering epic – ‘stringing you along for thousands of pages’ is about right - that alternative ending sounds bloody brilliant to me. He doesn’t stop there. Modern fantasy can also be comparable to: ‘artists taking a crucifix and dipping it in urine, covering it in ants, or smearing it with feces’. I bet Tolkien never expected to be in the same group as fecal blasphemy.

Abercrombie’s response is understandably confused and irate. He hasn’t superseded Tolkien and Howard, Grin’s faves (‘I’m reasonably sure Lord of the Rings is still in print’). As Abercrombie aptly puts it in that nihilistic way of his:

In the words of Mr. Pink, “fuck sides, man, what we need is a little solidarity here.” To me, it’s not really about politics, and it’s got nothing to do with sides, just various writers coming at a genre with their own set of unique concerns, influences, interests. Why must it be steak OR chicken? Can I not enjoy both?

Well met. I’ll meet you in the jaded literary sewer.

Angry Robot Books: Editor Lee Harris has been in discussion about the worth of eBooks, which is a worthy topic when a lot of people seem to think that they should be free. The vast majority of people place a helluva lot of worth in the physical copy. Is a book not its content? Would you love a blank page? To sum Harris’ points: Production cost differences between an eBook and a hardback is minimal; it does not spell the death of the publisher (have you read Harry Potter fan fiction?); an eBook (like any book) represents the publisher; it’s the culmination of a shed-load of work between editor/copyeditor/production/designer/marketer etc; it’s the product of investment; it’s priced to make a profit; and it’s worth blood, sweat, profanities and tears to an author.

So, reader, what it’s worth to you, you know, in your heart?

Gollancz: quick one this week – Ben Aaronovitch’s most excellent mash up of ghosts and waterways Rivers of London is in the Sunday Times top ten bestselling hardbacks list. I would link if I could but unfortunately it’s subscription only – a flaw in an otherwise foolproof digital content plan.

bite me: the week in bite-sized chunks

Orbit UK: completely bypassing the awkward ‘where’s my book?’ author queries, Orbit are releasing the eBook version of Paolo Bacigalupi’s award-winning debut novel The Windup Girl before the paperback in the UK. Print runs be damned. This title has won an astounding five major international SF awards this year, including Hugo, Nebula and Locus. In the words of Bella Pagan at Orbit, read a free extract HERE. It’s set in the near future of Thailand and the world’s food stuffs are depleting. What will America do? PB out 2nd December, for the hardcopy romantics still out there.

Black Library: their eBook Fridays have proved hugely successful – the first three they’ve put up, First & Only, Nightbringer and the first issue of Hammer & Bolter have been downloaded over 25,000 times. Sheesh. The best thing about it? They’re all still available. Have a look-see at the latest, Trollslayer, the first in the acclaimed Gotrek and Felix series. There’s also an audio book of their most popular title, Horus Rising. It’s probably no coincidence that they’ve launched their digital section this week with pre-ordering available. A lesson for other specialist publishers out there.

Solaris: Dark Fantasy writer, Gail Z. Martin’s blog is currently going with the Halloween theme as she’s detailing her Days of the Dead Tour. Go-to for free excerpts and a list of her guest blogs as she’s gone guest-post mad. Author of The Chronicles of the Necromancer, Martin is a lesson in exhaustive self-promotion. I need to read her.

Gollancz: is going competition MAD on their Facebook page. I’ve been entering but have so far remained prize-less. You can’t join their page, but you can coyly express your ‘like’ of them. Current competition is a Halloween one – two books in Suzanne McLeod’s Spellcrackers series, and some sweets apparently. As is Gollancz’s way, they’re using the billboard promotional method for their book covers and McLeod is no exception – her site spellcrackers.com is proudly perched between the title and her name on the front of the book. I am coming around to the idea that Gollancz are cheekily bold, rather than quite mad.

weekly round-up (mini first attempt)

This round-up admittedly makes it look as if it's been all quiet on the SFF front. Please note: more than three note-worthy things have occurred in the world of SFF in the last seven days.

It’s eBook Friday down at the Black Library

HarperCollins’ Voyager are inviting readers to review their new SFF titles, and there might be a free book for you (do it now). I’m definitely going to give this a go (and fail, but hey, free book right?).

Orbit author Brent Weeks in interview with Aidan Moher, fiction-blogger extraordinaire. And also, Hachette Livre (overlords of Little, Brown, the publisher umbrella over Orbit & Co.) have gone for the page turning gadget (insert technical words) thing. Which is like the Amazon one, only faster, clearer, and just as likely to make you want to give them your money.

how many books can you fit on the head of a pin?

I know this is supposed to be a Bad Thing but I love judging a book by its cover. In this increasingly digital age (as we keep being told), covers might be the last bastion against against the mounting need to cram all the books into a teeny little living space. Or, to put it another way, it's the greatest and most exciting challenge a publisher now has to face: how to market a book without a cover.

If done well, a cover can be a great marketing tool. Blurbs, carefully wrought designs, author quotes, and, if you're lucky, a lovely big picture to gawp at and reference in case you forget what the main protagonist looks like.

It can also be a dead giveaway that you're reading a fantasy about a big dragon who enjoys shouting things like 'puny mortals!' and burning villages to the ground (thanks, Hobb).

But publishers are sly. They know that some of us like our Science Fiction, Fantasy and Horror in anonymous jackets that could easily pass for semi-intelligent thrillers or modern romances (shudder). Many want covers and jackets that will blur beneath the common commuters' eye and don't invite judgement on the reader. This is also a great marketing tool if you want to spread the net a little wider and target the fabled Mass Market. One point to eBooks then. You can't judge a book by its eReader (although, interestingly, it is possible to judge a person).

But what will this do to the content? And will happen to the content that the SFF 'fan' has been loyally consuming for all these years? Those of us who have been here from the start, since before being a geek became cool? Who still aren't cool? When SFF publishers begin to commission with everyone in mind, will these genres suffer, and be resigned to the subbasement of SFF in place of the new favourite kids, Urban and Dark Fantasy? Suddenly everything might become about vampires and catering to fragile tweenage hearts.

Or will it? There are still license-based imprints out there like Games Workshop's Black Library, or midlist imprints like Solaris, who are doubtful to ever snub Warhammer in favour of another Urban Fantasy about a kick-ass girl fighting sexy demons.

Anyway, really a cover shouldn't matter, or the format either. A book is made up of its content. But I still want to be able to judge a book by its appearance (on screen or off). I want to know that publishers are working hard, keeping on their toes, to make their content look appealing. To publish content they can make look appealing. And I want to know how they're doing it, and I want to be there when they do so that I can make my choice.

Join me. Revel in it. Judge.