Metrics of Fiction-Writing Success

Every writer wants to know the secret to publishing success. How can you get your first story published? How can you make more money from your writing?

What if somebody did a statistical analysis comparing successful writers to unsuccessful ones to find out what one group has and the other one lacks?

Someone did.

Written Word Media performed that analysis a few years ago, and their founder and Chief Operating Officer, Ferol Vernon, blogged about the results.

They polled a large group of authors and concentrated on two groups: financially successful authors earning greater than $5000 a month from book sales, and “emerging authors” earning less than $500 a month from book sales. What follows is a summary of the five main differences between the two groups.

The more successful group:

  1. Wrote more;
  2. Hired a professional book cover designer;
  3. Hired a professional editor;
  4. Used free promotions; and
  5. Wrote in a popular genre.

Written Word Media drew the obvious conclusion—to be a successful writer, do the things successful writers are doing.

I don’t doubt their methods or their numbers. I’d be a bit skeptical about some of the conclusions, however. Here’s why:

  • In my experience with metrics, I’ve learned people tend to measure only things they can easily measure. Statisticians like quantifiable numbers, or specific questions with yes or no answers. However, success is filled with intangibles, too. For example, how do you measure the quality of a writer’s books? How about the luck of writing the right book at the right time?
  • Sometimes, statisticians fall prey to mistaking causes for effects. For example, they see a high correlation between high-earning authors and the hiring of book designers and editors. They conclude that those authors are successful because of those factors. However, once an author becomes successful, that author is in a better position to hire a book designer and editor, so perhaps the success caused the hiring of experts, not the other way around.  
  • Last, there’s the ‘necessary but not sufficient’ argument. The list of five things may well be characteristics of successful writers, but it doesn’t necessarily follow that if you do those five things, you will be successful.

I don’t mean for my quibbles to detract from the value of the analysis, though. I’m certain if you write more, offer free promotions, and write in a popular genre, you’ll stand a greater chance of getting more book sales than if you don’t do those things.

As for paying book cover designers and editors, I’m a little less certain.

Regarding the intangibles, the unquantifiables not included in the analysis, I’d suggest you strive to write well. Write good stories readers would like to read. Write with your own, consistent, distinct style. Write from the heart.

How do you measure and graph those things? No idea. Don’t ask—

Poseidon’s Scribe

September 26, 2021Permalink

Wagging the Long Tail

A few authors sell vast numbers of books, while most authors sell very few. If you could amass accurate data on that, it would probably look like a decaying exponential curve. It would have the Pareto property, where 20% of the authors sell 80% of the books—those on the left. However, today we’ll focus on the right side of the curve. Statisticians, with their penchant for arcane, hard-to-understand terminology, call that part “the long tail.”

The curve I present here is approximate and intended for illustrative purposes only. Note the vertical red line. Believe it or not, the number of books sold to the left of that line equals the number of books to the right.

Out on the tail of that curve are many, many authors who sell very few books. Looks a little lonely out there, doesn’t it? Most of those authors would love to move left on the curve, ideally all the way left. Readers only have so much money to spend on books, though, and they’re more likely to read books by authors they know.

Very few of those “long tail authors” will move much further left from where they are now, and only a tiny fraction will make it near the vertical axis into the stratospheric heights of the best-seller lists.

That may sound depressing, but let’s squint and take a closer look at that long tail. Each author represents a single point on that curve, but book distributors look at the curve differently. These days, they see the near-infinite length of the long tail as a new profit opportunity.

Distributors have realized we now live in the age of instant and easy searches for obscure information. With the ability to print books on demand, it doesn’t matter how few readers seek, for example, alternate history books about trips to the moon. What matters is that the book “A Tale More True” pops up in response to that search and a sale ensues.

In Wikipedia’s article on the long tail, they quote an Amazon employee as saying, “We sold more books today that didn’t sell at all yesterday than we sold today of all the books that did sell yesterday.”

You might have to read that again and let it sink in. I’ll wait.

In fact, now is the best time to be a long tail author. Let’s consider the set of those readers searching for steampunk books about planet-threatening comets. They easily find my book, “The Cometeers.” Among that admittedly small set of readers, I’m a best-selling author!

Here are a few more examples included for instructive purposes, and certainly not for crass self-promotion:

Readers search for books about: They find and buy:
Alternate histories involving the Ottoman Empire To Be First  
Romance stories taking place in Ancient Greece Against All Gods  
Stories involving Leonardo da Vinci’s inventions Leonardo’s Lion  
Sequel to War of the Worlds After the Martians  
Shakespearean clockpunk Time’s Deformèd Hand  

If you’re a long tail author, don’t despair. You have plenty of company; readers can find your books more readily than ever before; and book distributors now regard you as a profitable part of the book-selling enterprise. Happily wagging my tiny part of the long tail, you’ll find—

Poseidon’s Scribe