Tag Archives: marketing

Monetising the short fiction webzine market

There’s been much in the way of writerly foresight from Jason Stoddard in recent months; plenty of people have been willing to suggest the novel will die (and less people are willing to contest the proposition as time goes by), but Jason is the only person that I’m aware of who is doing concrete thinking about future markets for creative writing from the POV of the writer.

Dude, where’s my market?

Additionally, he’s revived his popular metafiction theme. Popular metawhuta? In a nutshell, BoingBoing and io9 are popular metafiction … as well as proof that people are more than willing to read if you just put the right stuff in front of them. As Jason says himself:

“I’d like to see the science fiction magazines succeed. I’d like to see science fiction become more relevant. I’d like to see it come back to genre that is actively leading us forward, instead of telling us “there’s no use, we’re all going to die anyway.” Unfortunately, there’s little I can do to help the publications directly, so maybe this, in some small manner, will help point the way.

After all, BoingBoing grew organically. It didn’t take millions of dollars in advertising or the combined might of a television network to launch. It occupies a space where science fiction could be.”

Right; I know this first-hand. Now that I’m running Futurismic, thoughts like this weigh heavily on me – how the hell am I going to get that site to pay for the fiction and its hosting fees (let alone make anything on top)? There’s masses of traffic out there, after all; you just have to attract it to your content.

As is probably plain from my rather bitter comment on Jason’s post, I kind of resent the fact that io9 can post 90% fluff and 10% substance and still pay the payroll; it says sad things about the state of the market for fiction, and makes me wonder if I’m barking up the wrong tree entirely.

The readers are out there, they just don’t know where the good writing is

But then I look at the OMFG-Zerg-rush!!!1 we had on Leonard Richardson’s story when Cory Doctorow gave at the thumbs-up at BoingBoingover 7000 page views within the space of a week, and a forty-deep comment thread of people raving about how awesome the story is. Some people obviously do want to read good fiction, and really enjoy it when they do so.

Hell, look at this item I included in last week’s Friday Free Fiction round-up at Futurismica busy gaming and media webzine is doing what its paper equivalents say is pointless, and experimenting with publishing fiction. Fiction that they’re paying the writers for. But they can do that – they have traffic, they have budget, they have leeway. They have the opportunity to throw sh*t at the wall and see if it sticks. I really hope it does, too – more paying markets can only be a good thing, I reckon.

Orienteering

So, where do I go from here? Arguably Futurismic is way closer to the contemporary metafiction model than most other genre webzines out there, and it also has the advantage of domain longevity – it’s a brand that has lasted a while. We’ve got a strong RSS subscriber base, too, and I’m doing my best to grow it further by expanding what we offer – a new non-fiction column goes up later today, as it happens.

But how can I turn that traffic into enough dollar to pay the fiction writers, cover the server bills and possibly throw a bit of cash at my non-fiction contributors too*?


There are options, sure, but they’re mostly not pretty.

Text Link Ads

There’s a couple of direct text-link ad companies who would pay pretty decent money for ads on Futurismic, but they have been proven to be a fast route to a Google blacklisting as they’re essentially a way of selling on PageRank to sites who are, shall we say, “not entirely deserving of it”. Ethically, I’m unwilling to cross that particular Rubicon – sure, there’d be enough money to pay pro rates for fiction, a reasonable column fee and chuck my blog team a bone or two, but what if I ended up boosting the online profile of some hate-group or snake-oil pharma company? Not on my watch, Admiral.

Adsense

Google AdSense offers me little control over what sort of ads are displayed (how often do you see vanity press ads on genre blogs with AdSense? – too often), and I know for a fact I’ve not clicked on an AdSense box in years; I’m not going to patronise my readers by assuming that they will do something I wouldn’t. Same applies to similar contextual ad platforms; the amount of actual clicks and/or impressions we’ll get just isn’t enough to make it worthwhile without crowding out the content with a bad signal-to-noise ratio. We’re too damn niche.

Affiliate marketing

Funnelling traffic to Amazon or similar might work if we accrue more organic click through, but isn’t going to pay the bills at current traffic rates; see above, essentially.

Direct sponsorship

I’d be willing to look into this, but I have no idea how I’d go about doing it, short of a hefty barrage of very polite cold emailing to publishers. I’d also insist on a made-public declaration from both parties that there would be no preferential coverage or favouritism. Independence and transparency is crucial for credibility, AFAIC.

Alternative ad networks

The current solution, namely Project Wonderful, has everything a niche scene like genre publishing should want out of an ad brokerage system. Seriously – I really can’t overstate the potential I see in this system, not just for Futurismic but for the whole industry’s online marketing business. Total control for advertisers and publishers; fine grain locational selection; precise budgeting, flexible low-scale payment options … it ticks all my boxes. The only problem – there’s not enough advertisers of the right type using it yet.


That last point is a shame – I think about small press publishers with a tight budget, and I know they must want to be able to target their online ads more effectively than paying for some keywords. They want to know what sort of audience those ads are going to, what those eyeballs are used to seeing and what they think is cool – they need demographic precision.

I can offer them that with Futurismic – 7000 views of one page over a week by people who expressly have an interest in written science fiction has to be worth something, right? – and so could a score of other sf webzines and blogs. But they don’t know it’s there yet – most internet ad platforms are aimed at traffic sources an order of magnitude larger than Futurismic.

So I guess yours truly has to go and be an evangelist on Project Wonderful‘s behalf … which makes you realise just how crafty a business model they actually have!

The thesis

But I’m kind of digressing from my original point, which is that there’s definitely a market for fiction as long as you aren’t charging the reader for it directly. Jason also has things to say about how freeconomics effects you as a writer (in a nutshell: play the long game outside the box and you’ll be fine), but it’s us publishers that are caught in the middle. It’s our business model that’s dying, and hence the onus is on us to find a new one that works.

And this ain’t no violin solo, either – this is me thinking out loud, basically, but doing so in front of an audience I hope might chime in with some thoughts of their own. But to boil down my current thinking to the nugget – there’s enough money in genre publishing ad budgets to support the short fiction market in webzine form. I really believe this, and until I see concrete figures to the contrary I’m not going to abandon that belief – because webzines don’t need a lot of money beyond the fiction fees.

The problem is the book publishers are currently throwing their money at ineffective and imprecise advertising channels, and probably only because they don’t know the alternatives are there. If I can get them to a better channel that sends them actual interested buyers and exploits my currently under-used eyeball share, I’ve killed two birds with one stone and solidified the future of what I believe is a worthwhile short fiction market.

So, I have a strategy. What I don’t have are the tactics; I get the feeling the only way I’m going to find those is by getting muddy in the trenches and seeing what works. But if y’all have some advice (or have noticed the inevitable gaping hole in my tapestry of logic), my ears are wide open.

[ * Just to be perfectly clear, I was resigned to the idea that Futurismic will never pay me a red cent long before I took the plunge to take control of it. I am willing to subsidise it out of my earnings as a freelance for the foreseeable future … which is a lot easier to say now that there actually are some freelance earnings on the horizon. But that’s another post entirely; what I mean to say is “this is not a greed post”. ]

Vampire-shaggers redux

JF Lewis's Staked - cover art A chap called J F Lewis is guest-posting at Scalzi’s Whatever today. He claims he’s written a totally new take on the modern vampire novel, but looking at the cover art supplied (which isn’t merely cheesy as all hell but also looks like a bad eighties hair-metal album cover) reminds me why I instinctively recoil from the thought of going near this genre as a reader, new take or not.

This is why book marketing is such a fascinating subject. Yes, I’m aware that many readers would have a similar reaction to the covers of books (and albums) I love dearly. No, I’m not being elitist. This is just another example of why genre fiction is like rock music.

Freeconomics and Futurismic

In lieu of anything more substantial for the time being*, anyone wanting to know where I’m coming from with my plans for Futurismic would do well to read Chris Anderson‘s piece at Wired about the economics of free:

“From the consumer’s perspective, though, there is a huge difference between cheap and free. Give a product away and it can go viral. Charge a single cent for it and you’re in an entirely different business, one of clawing and scratching for every customer. The psychology of “free” is powerful indeed, as any marketer will tell you.

This difference between cheap and free is what venture capitalist Josh Kopelman calls the “penny gap.” People think demand is elastic and that volume falls in a straight line as price rises, but the truth is that zero is one market and any other price is another. In many cases, that’s the difference between a great market and none at all.

The huge psychological gap between “almost zero” and “zero” is why micropayments failed. It’s why Google doesn’t show up on your credit card. It’s why modern Web companies don’t charge their users anything. And it’s why Yahoo gives away disk drive space. The question of infinite storage was not if but when. The winners made their stuff free first.”

Actually, I think everyone should read that article whether they’re interested in Futurismic or not. But it explains why Futurismic will never have a pay-wall, for a start.

And it’s probably too much to hope for, but I hope lots of musicians who up till now have been chasing after a record label to sign them up and make them famous will take note of this bit:

“On a busy corner in São Paulo, Brazil, street vendors pitch the latest “tecnobrega” CDs, including one by a hot band called Banda Calypso. Like CDs from most street vendors, these did not come from a record label. But neither are they illicit. They came directly from the band. Calypso distributes masters of its CDs and CD liner art to street vendor networks in towns it plans to tour, with full agreement that the vendors will copy the CDs, sell them, and keep all the money. That’s OK, because selling discs isn’t Calypso’s main source of income. The band is really in the performance business — and business is good. Traveling from town to town this way, preceded by a wave of supercheap CDs, Calypso has filled its shows and paid for a private jet.

The vendors generate literal street cred in each town Calypso visits, and its omnipresence in the urban soundscape means that it gets huge crowds to its rave/dj/concert events. Free music is just publicity for a far more lucrative tour business. Nobody thinks of this as piracy.”

OK, back to the grindstone – this week is one of those crunch points where everything peaks at once. Which makes it all the more frustrating that I appear to have picked up some kind of minor illness from PicoCon**. Selah.


[ * Busy. Sorry. Unavoidable. Your patience is appreciated. ]

[** It’s OK, Farah, I forgive you – I couldn’t think of anyone I’d rather catch an illness from. 😉 ]

Stealth fiction redux: history hacking

Just a quick extension to my ideas about stealth fiction from a little while ago.

Alternate history is form of (genre) fiction that seems to be particularly amenable to stealthing. Take as an example a blog that is publishing the letters of William Henry Bonser (“Harry”) Lamin, a soldier of World War One, exactly ninety years after they were written.

According to Reuters, people are engaging with it in a very real way:

“Many are braced for the dreaded telegram from the army notifying relatives of a soldier’s death.”

Because he’s not a famous historical figure, Lamin’s fate is uncertain, and people engage with him as a real person.

It doesn’t take a great leap to imagine doing something similar, but with a totally fictional character. The course of the war could start subtly shifting away from historical facts after a while, couldn’t it?

Of course, there are nefarious uses this could be put to. But it’s also another way to hide the fiction-ness of fiction and get the buggers hooked, isn’t it?

[tags]stealth fiction, writing, marketing, fiction, internet, alternate history[/tags]