Solid Introduction Prequel – And Marketing. This is one of the shorter short stories out there at just 22 pages, but it does its job remarkably well – it shows us where our lead characters are just prior to the opening of Marsh’s earlier book Did Not Finish, as well as some of their initial motivations, setting up perfectly to lead directly into that particular book. Which makes it a spot-on prequel. In serving up this book just ahead of the launch of the *sequel* of Did Not Finish, One Star Review, it *also* reminds readers of the story and brings these characters back to the forefront of the mind, which as someone who has read nearly 200 books *since* reading Did Not Finish, was greatly appreciated. As to the actual story within these 22 pages… yes, they are more like an extended scene or two from each of our leads for Did Not Finish than a complete tale of its own here – but it seems that this was never *intended* to be a complete tale of its own, instead being exactly what it is – an “introduction” that also serves as a “reintroduction” to those of us who had already read Did Not Finish. Ultimately, it does everything it needed to do and not anything more, and thus this is actually a successful story. Very much recommended.
Imagine The Outsiders. Now Set It In A Poetry Commune. That’s largely how I wound up seeing this book. Our main character is a great fish out of water that gets sucked into this world she really has no clue about and finds herself navigating new friendships and controversies along the way, all while trying to understand the enigmatic leader of the group and uncover what this leader is hiding. There is quite a bit of meta commentary here, both generally and in the final reveal of exactly what had been happening for all these years, but even that didn’t really ascend to “preachy” levels, more just spice to the overall story. Yes, there was quite a bit of humor in this book too, but for me the humor made it more readable without taking away from the overall serious tone I was getting for some reason. But perhaps I’m just weird. (I know I am, but maybe my reactions to this book were particularly weird?) Very much recommended.
This week, we’re looking at a book that the author originally had no intention of writing… and then the reviews began coming in from her fans (including this very blog) begging for a sequel… and so here we are. 🙂 This week, we’re looking at A Dancing Tide by Grace Greene.
Here’s what I said on Goodreads:
Beautiful Sequel. Full disclosure up front on this one: I read the book a month ago and somehow forgot to write my review then. Fortunately, I’ve been slowing down and I’ve only read about a dozen and a half books since. 😀 This book was a great continuation of a story… that the author originally had no intention of continuing. But she listens to her fans – including myself – and when we began clamoring for a sequel to A Barefoot Tide due to several unresolved threads at the end of that tale, Greene eventually wrote this tale as well. And while I think we could continue in this world for at least one other book, most of the threads that were left a bit too open in the previous book are more fully explored here, and thus if this series ends as a duology, I think that too could work. But while it *can* *technically* be read first, you really should go read A Barefoot Tide before this book… and then you’ll be glad the rest of us begged Greene enough for this book that she finally wrote it. 😀 Very much recommended.
DJT == AOC. Yes, that is actually a point Seargeant makes in this book – and no, it isn’t for the reasons some of my fellow Libertarians/ Anarchists like to point out. (Which are accurate in their own way, but I digress.) No, here the point Seargeant makes is that both of these seemingly diametrically opposed candidates have actually embraced the same narrative archetype to tell their stories. Overall, the book is an excellent examination of just how storytelling – and in particular, a few of the classic archetypal stories/ heroic journeys – has completely reshaped at least American and British politics of the last few years. Reason seemingly no longer matters so much as narrative, so it is important to know these narratives, how they are structured, and how these structures play into political messaging in order to more effectively play both offense and defense in the political arena. Masterful work that makes a few missteps here and there when it deviates from its central premise at times, and thus the reduction of one star. Still much recommended.
In the next few days, I am going to write an article with my answer to the age old question: “How can I get an ARC?”.
But in thinking about my answer to that question, I realized that there is a more critical topic that needs to be discussed before we can intelligently look at how to obtain an ARC – “What are ARCs and why do they exist?”
Quite simply, Advance Review Copies are the literary equivalent of an early screening of a movie – they exist as part of a marketing strategy to build word of mouth (aka “buzz”) about a particular book in the days/ weeks/ sometimes even months before its release. But the goal is always pretty obvious: To sell more books. Period.
It doesn’t matter if a particular author just wants to be published at all and would maybe like to make enough money from their book to buy a Nintendo Switch or if the author in question is a “mega/ mega” – has a mega contract with a major publishing house. At the end of the day, writing books is a business and it is about making money. Yes, authors by their nature are very creative people. And particularly at the Indie level, they tend to be almost Renaissance People with how many different artistic abilities they have to have, since they themselves do *every* job that a major publishing house can farm off to dozens or potentially even hundreds of people. But at the end of the day, the goal is always the same: to sell this product – in this case, books – to make money. And the money isn’t just for the author, even on the indie level. While the author and their family are important enough, many times authors will realize that they are simply not capable of being a master of all things, even if they have the ability to do all things – which not all authors have to begin with. So an entire industry of assistants and editors and cover designers and marketers exists even in the indie realm, though obviously with a fair degree more independence and a fair degree more reliance on individual books selling particularly well.
There are many components to making a book stand out. It needs a compelling story, obviously – but there are many compelling stories that you will never hear of. It needs a solid, eye catching and mind engaging title – but there again, there are books with such titles that do not get the attention of others with lesser titles. It needs to be from an author that a reader recognizes – but how do you get this recognition without selling more books? It needs a compelling cover, preferably one that relates to the book in some way – but again, other books have sold well with little more than the title and author name in black ink on a white background. Once all of these factors draw a reader to at least glance at the book’s description, that discription needs to compel them to buy the book if the other things didn’t quite get them to do so.
And while all of these are important, there is one step in there that is specifically where Advance Reader Copies come in: what the marketing people call “brand recognition”. Maybe it is just the author – which is excellent and can lead to major sales in and of itself. (Looking at you, Stephen King, Lee Child, Nicholas Sparks, among many, many others.) Sometimes it is just the title – “1984” is arguably more well known than “written by George Orwell”.
In order to build this “brand recognition”, businesses – not just authors, but businesses generally – are often willing to incur small, short duration losses if they can genuinely expect these losses to lead to larger gains in the mid to long term than would be possible without these losses. The business people even have a term for this: “loss leaders”. The entire definition of the concept is simply “a product sold at a loss to attract customers”.
Which is exactly what an ARC is – literally giving a book away for free in the hope that it will attract many more paying customers. And this is the very reason ARC etiquette is so very important – if you don’t leave the review or if you share the ARC with someone without permission, you are cutting into the very reason you as an ARC reader exist. And if it ever gets to the point where ARCs stop leading to higher sales in the long run because of poor etiquette on the part of ARC readers, it will no longer make business sense to offer ARCs at all.
On the other side, of course, are the Lee Childs and Stephen Kings and such who already have such brand recognition that loss leaders are far less critical, and therefore can be far more tightly constrained so as to maximize profits. (Though even Lee Child’s latest Jack Reacher book was on NetGalley for ARC copies, though I didn’t have the courage to apply for it, anticipating the very scenario where such ARCs were only authorized for the biggest players in the review side of the business.)
Again, authors make money by *selling* books, not by giving them away… but Amazon and other retailers also trigger internal promotion mechanisms based on a critical mass of reviews, and it is via this very “priming the pump” mechanism that ARCs become loss leaders.
If a particular book can get X number of reviews in Y period – whatever those numbers are, and I don’t think Amazon actually releases them, for somewhat obvious reasons – then Amazon, one of the most powerful retailers on the planet today, becomes at least somewhat of an ally in helping the publishing agents to sell books. And often the best way to hit that target is to give away ideally exactly that number of ARCs and have every single person that receives one leave a review within the time period needed. But unfortunately not everyone can be trusted, and unfortunately far too many break the (usually implicit, but I see becoming explicit more and more often these days) ARC “contract”. So publishing agents have to have ways of finding out how sincere and trustworthy you are, and that is the very subject of the next post.
So there you have it – a brief look at the business side of ARCs. Next time, we look at ARCs from the intersection of the business and the reader and explain some ideas of how and why certain actions can help a reader be a better candidate to receive ARCs – to become a loss leader – while other actions may make a particular reader a less desirable candidate.