Podcasts about k lytics

As we continue our #indiesummmer coverage, we shift gears a little bit to talk to Alex Newton from K-lytics. While writing is most definitely an art, publishing is a business. Did you know that there are ways for you to find out exactly who your competition is, and how saturated a particular genre or sub genre is? Alex Newton has done just that and today he shares some of his wisdom with us. Whether you are an indie author, or have your sights set on a traditional publishing career, Alex has information that can help us all.  K-lytics

As we continue our #indiesummmer coverage, we shift gears a little bit to talk to Alex Newton from K-lytics. While writing is most definitely an art, publishing is a business. Did you know that there are ways for you to find out exactly who your competition is, and how saturated a particular genre or sub genre is? Alex Newton has done just that and today he shares some of his wisdom with us. Whether you are an indie author, or have your sights set on a traditional publishing career, Alex has information that can help us all.  K-lytics

Just starting off in your author life–or in that awkward adolescence? We have all the encouragement for you! Janeen and Amy share their personal then/now stories as professional authors and publishers, with loads of tips (and mistakes you can avoid). Plus, we look at the difference between genre mash-ups and trope combos–and how you can use that love for genre smashing to sell more books (potato chips are mentioned, but not directly involved).  Don't forget to subscribe. :-)  Check out the website: http://www.authorelevate.comSupport us on Patreon: http://www.patreon.com/authorelevate Mentioned in this episode: -K-Lytics: https://k-lytics.com/-Publisher Rocket: https://publisherrocket.com/-The Marvelous Misfits - Janeen's Reader Group:https://www.facebook.com/groups/168444147251310 Go forth and be awesome!

Just starting off in your author life–or in that awkward adolescence? We have all the encouragement for you! Janeen and Amy share their personal then/now stories as professional authors and publishers, with loads of tips (and mistakes you can avoid). Plus, we look at the difference between genre mash-ups and trope combos–and how you can use that love for genre smashing to sell more books (potato chips are mentioned, but not directly involved).  Don't forget to subscribe. :-)  Check out the website: http://www.authorelevate.comSupport us on Patreon: http://www.patreon.com/authorelevate Mentioned in this episode: -K-Lytics: https://k-lytics.com/-Publisher Rocket: https://publisherrocket.com/-The Marvelous Misfits - Janeen's Reader Group:https://www.facebook.com/groups/168444147251310 Go forth and be awesome!

Find out how k-lytics can help you discover what readers are currently buying so you can increase your chances of success. The post Everything Authors Need to Know About K-Lytics appeared first on Author Media.

Do you want to make your characters and writing pop? There are some pro techniques to enhance a character and connect the reader with her/him. One of them is using Deep POV. Join us for a discussion on Deep POV. What is it? How do you do it? And when are there times you can purposefully not use it? We've got you covered in this episode! To check out the K-Lytics report we mentioned, head over to https://k-lytics.com/dap/a/?a=7419&p=k-lytics.com/epic-fantasy And you can check out our book Plot Development here: https://books2read.com/Plot-Development Tune in for new episodes EVERY single Monday.   SUPPORT THE AM WRITING FANTASY PODCAST! Please tell a fellow author about the show and visit us at Apple podcast and leave a rating and review.   Join us at www.patreon.com/AmWritingFantasy. For as little as a dollar a month, you'll get awesome rewards and keep the Am Writing Fantasy podcast going.  Narrator (3s): You're listening to The Am. Writing Fantasy Podcast in today's Publishing landscape, you can reach fans all over the world. Query letters are a thing of the past. You don't even need. And literary agent, there is nothing standing in the way of making a living from writing. Join two best selling authors who have self published more than 20 books between them now on to the show with your hosts, Autumn Birt and Jesper Schmidt. Jesper (31s): Hello, I'm Jesper. This is episode 125 of The Am Writing Fantasy Podcast. And it's now time to discuss Deep point Of view, how we can Help you Story. I think that should be an interesting conversation, Autumn. Autumn (50s): I think so. I liked this one because you know what I like to put up the point of view, and this is like one of my favorite aspects of writing. And so we were just looking at what people liked as well on the, some of the pastor podcast episodes. And it seems like the ones that have to do with writing crafts are quite popular together with our very silly monthly ones where, where we just like go out on something as well. Those are my two favorite podcasts. So I'm with the listeners and I guess it means we have to do more of them. Right? Jesper (1m 22s): Probably we shouldn't do it like two or three times a month with it just to at least a half. I, that might be a bit too much, Autumn (1m 29s): but we can't have a whole, like there has to be a month dedicated to podcast in a room with nothing but a stupid tub, top 10 list. Jesper (1m 42s): All right. Maybe not, but we'll be fine, but how are things going on you and all of them. Autumn (1m 50s): I don't know if they are good as you know, but the listeners might not be as I just got back from a trip from seeing my parents, which I haven't been down to their house since like pre pandemic, of course, because we are a good little kids, but it was so nice and also so hard because they seem to have, like, it seems like everyone saying like the pandemic was like, what a century. They seem to age on way too much. On the last year, it was just terrifying. But you know, they take their naps and I got to spend some time with them and we went, we did go out, I got my first vaccinations, you know, 50%, 80% protected. I know it's a lot. So I have my next one scheduled. Autumn (2m 30s): And so we, we did go to work to do breweries and we went out just a little bit and then it could be a huge tide dinner or, you know, I'm a foodie yellow food. So I was making potstickers and Tom got gum, like Nike pronounce it Now, but I made it a coconut based supe. And it was just, honestly, it would be nice to go and visit your parents again after such a long while. Oh, it was eight drank too much beer drank too much wine, ate too much sugar. It's all of a good thing. It was a lot to like, exactly. You got to hang out with my folks. And they were definitely, they are definitely my, some of my favorite people on the planet. So it was really excellent. Autumn (3m 10s): And I got to see my nephew and he gave me, and I don't know if you saw the picture I shared on Instagram and Facebook, he gave me a 4k monitor, a 32 and just give it to monitor. So I, well, he wasn't using it and he does coding. He does, he was doing a little bit of a graphic design, but he's going more into coding. So it was like, I don't need for K to read code has got to monitor. I was like 24 inch side by side. He's good. But yeah, he didn't need this one anymore. And he knows I've been doing graphic design on my 13 inch Mac pro. And then it gives me this more as you put it, it was like, I could bring it to you, but it takes up my whole bag. Autumn (3m 51s): Wow. So I'm so excited. It was like the best late birthday present ever. It is fast. Spectacular. I have it. Yeah. I have to find a place to put it in our cabin Jesper (4m 4s): because it's too big for a table. Autumn (4m 7s): Yeah, exactly. It is. It is too big for a table. And so yeah, we were in, and we don't have a ton of wall space cause this captain has a ton of window. So like you don't get there or there are, so I can't wait though. And I already, yeah, I already was playing with a cover on it and going, Oh, I need to fix that. I couldn't even see it before. So, and it was a wonderful trip, Jesper (4m 30s): But we also have a trip that we went to visit my brother and his wife this past weekend, which is probably the first trip we've had in close to a year, I would say too to COVID-19 as well. And it was really nice. And the, the, the weather was good enough for us to sit outside a car, a couple of hours on the terrorist as well. So that was, that was good. Yeah. I like that. Yeah. But also over the past week, I've started watching a new show on Amazon prime. Have you watched the American gods? Autumn (5m 5s): Oh, no, I haven't. Not at all. I have seen it a little bit too. It, Jesper (5m 8s): I am only two episodes a season, but I would have to say, I mean, I avoided For, I don't know quite why, but for awhile I just felt like, know, it's not my thing. I don't want to watch it, but then I thought, yeah, okay, I'll give it a shot. And I started watching it. It's really good. I mean, after the first two episodes, so I'm like, Oh my God, I'm hooked. You know what? It's like, it delivers Autumn (5m 34s): Its kind of the way Jesper (5m 35s): That we liked to ride stores as well. Do you know? It it's very easy. You don't quite understand what's going on it. So it's kind of a bit of a mystery thing going on in there. Like, and, and the main character does not understand either. So he is trying to figure out what is going on here? Why are these people so weird? Did this? I think they are God, but they are behaving really weird and they can do all kinds of supernatural things, but it's not over done. Like is just small things. Like he flips a coin and every time it lands on heads, for example, just like every single time, just small stuff like that. And I still don't quite understand after two episodes of what they're trying to do and what does God actually wants the main character to do. Jesper (6m 15s): I don't know. And, and so that's the main character doesn't know either, but I like it. It is very intriguing and I want to watch more. Autumn (6m 28s): Oh cool. Well that's my husband has some trainings through may. Like he'll be gone half the month at two different times, so maybe I'll go check it out, but it sounds like it will keep me in touch with, Narrator (6m 38s): We can go on to the internet with The Am Writing Fantasy Podcast. Jesper (6m 43s): So back in episode 122, so that's not that long ago, but we had Alex Newton on from K Lytics and she had some great market research about the FANTASY Shamara and Alex were so incredibly kind afterwards that he should be at the latest detailed Fantasy market report with me. So I thought I would summarize the conclusions from that report here for everyone's benefit. Right. Autumn (7m 13s): Nice. Yeah, that sounds great. I can't wait to look at it when you summarize it and I know Jesper (7m 18s): You don't mind them. So I've picked out like what is like maybe eight, seven, eight different key points here that I thought I could just a waffle off here and hopefully be a bit helpful as well. Excellent. So first of all, after that, A romance in thrillers Fantasy remains the third highest selling Shamrock of The on the Amazon Kindle platforms. So, and during the first COVID-19 lockdown period, there was a very clear and very sharp drop in sales of APEC fantasy novels. Jesper (7m 58s): But the good news is that here in 2021 sales have been trending upwards again. So I don't know why people don't want to read Fantasy when they're on lock down, but I will hold it against them. I'll I'll have a grudge about that. Autumn (8m 14s): Yeah, I agree. I mean, seriously, you're stuck at home and maybe it's like too, like you can't go out and be in a fantasy world for a long time. Jesper (8m 23s): I would go. So the Epic Fantasy market is quite large. K Lytics measured around 800,000 a month in royalties being paid for Epic Fantasy. So that's pretty good. Mmm, wow. But it also shows actually there is in the top of the Epic FANTASY Shaundra, the competition is quite hard up there. So it means that it, it, it is a pretty good to write it in because there was a lot of readers, but to be on the bestseller lists and the two earn like on the top of the top of the chart, you have to sell a lot of books. Jesper (9m 12s): So it's not easy to get to the top of those lists, but, but at least there was a lot of readers. So I think that's good news. Autumn (9m 22s): Yeah. Yeah. That is good news. I mean even a small piece of a very big pie. It was a piece. It still tastes good. Yeah. Jesper (9m 30s): Maybe depending on what kind of pie it is. I guess I don't like Apple. Is that enough? It's true. I feel like most people like Apple. Yeah. Autumn (9m 40s): Well, you know, its kind of bland. Yeah. Well it, over here that there was a few States where they built cheddar cheese on top the top of the pie and I ain't touching that. Can Jesper (9m 50s): We do like a chocolate pie? Is that possible? Autumn (9m 54s): We Can do chocolate. I prefer coconut, but we can do a chocolate coconut and that'd be good. Yeah. Jesper (9m 59s): I don't think this is in Decatur or K Lytics report. So the next one and this one will interest you Autumn. So if one looks at the top 250 covers in the best seller list, then about half of them show symbols or scenery on the cover as opposed to any characters. Wow. Autumn (10m 26s): That's so interesting. It was surprising for me because me as a reader, I look at it and I'm like, eh, you know, what does it tell me about the Story? It's a pretty Fantasy picture, kind of interesting, but every time I've used a symbol picture as well. So I find it as interesting as well, Jesper (10m 43s): Because then it goes onto say that 23% of covers shows a male, usually like warrior type of character on the cover. Whereas 14% shows a female character. But the interesting part though, is that okay if you compare the sales rank between the books that has a female character on the cover, versus those that has a male character on the cover, the female covers actually tend to rank higher than the ones with a male Now. And I think that's a very interesting to know as, as well. 'cause if you look at the fact that there is 23% of the mails on the covers, you might go to the conclusion to say, Oh, well that means that it's better to have the males on the cover it, but actually it's the opposite. Jesper (11m 32s): It's better to have females. Autumn (11m 35s): Yeah. What do you need to have more, have more female cover? We have an Elvin female assessment. Yeah. Jesper (11m 43s): Got it. Autumn (11m 44s): Yeah. Well we can do, how can I put her into book one? Alright. We won't get in to cover a spectrum and other good Jesper (11m 52s): News for those who write military, that's a category on Amazon and hear the sales rank versus competition ratio is quite in your favor. So in other words, it's a pretty good category to publish your books in. So I think that's a good information to have if you're right. That kind of book. Autumn (12m 17s): Yeah. Yeah. Or if you're thinking of writing that down Jesper (12m 20s): Pricing, so $3, $3 99 and $4 99 is the most frequent price point among FA Epic fantasy books on Amazon. But the highest yielding price point is nine 99 followed by seven 99, which I think is pretty good news for us because we are planning to sell around six 99, seven, nine to nine or something like that. So that's pretty good. That is the highest, highest kneeling price point. Autumn (12m 52s): Yeah. That is really interesting. I'm surprised you think. Why do you think that counts box sites are those individually books? Jesper (12m 59s): I think it is. I think in part it has to do with the traditionally published books where the chart's more and there are, that's probably a school's to data in a bit, I guess M but what it does prove though, is the people who are willing to pay the higher price point for books a day. So if you make sure that your covers are indistinguishable from the traditional publishing, meaning that they look just as a professional, then there is, there should be no reason why people wouldn't want to buy it. And at six 99, seven 99 or something like that, even nine 99. I know we talked with the actually twice, I think, but way back when this podcast was a YouTube channel, we talked to Joseph Malick twice and he sells his, all his books are at nine 99. Jesper (13m 49s): So it's yeah, it's a possible, right. But anyway, three 99, four 99, that's the most frequent price points. So if you want to stay within the frame of what people are used to, then that's probably the price point to go for it, but we are going to sell out books a bit higher than that, but it's up to you. Of course. Autumn (14m 7s): Sounds exciting. And also Jesper (14m 10s): About two thirds of all the Epic fantasy books are outside Kindle unlimited. Autumn (14m 20s): Hm. Yeah. Interesting. So there's only a third that are in Kindle unlimited. Oh it's so that is, it makes me wonder if the people, if that's a smaller pool so that they are actually doing well, there's less competition. Or if readers just prefer to be outside of it, you know, there are wide, these books are, or why it's not a hundred a month. Jesper (14m 40s): I can only say got my gut feeling. Is that a, I think there is room to play in Kindle unlimited. If you put Epic FANTASY in there. I think, I think that you can get a new readers because there's not enough Epic fantasy books in Kindle unlimited. They want to read. So I think it's probably a pretty good place to place your books, but that is just my gut feeling. I don't have any data to back that up. So there is a ton more stuff in this report. So if you are curious, do you have listener? I should. Yes. Did you go and check out the full report is mighty helpful in order to understand what is working and what is trending in the Epic Fantasy market. Jesper (15m 23s): And I only gave you the highlights here. So we'll add a link in the show notes so that you can check it out yourself. The full report will cost you $37, but it is well, well worth it and on to perhaps a good place to stop is with a definition. Autumn (15m 47s): Why is it? Oh, that's all it's boring sometimes. You know, I think it was a very good way to start though. It's true. Well, it should be, it helps to clarify things, but yeah. So Deep point of view that has usually referring to a third person limited, which I think that sounds even more confusing point of view. So a third person is when you use, he, she, his, her, you know that tight, but rather than I, which is a first person and limited means not omniscience. You literally are like Writing along on the character. Scholder you can only see, hear, feel, touch what that character feels seasoned here is in touch. Autumn (16m 27s): So if someone has a running up to the character from behind the character is not going to see it, they're going to see what's in front of them, like their best friend standing up in throwing an X and thinking, Oh my God, why is he is trying to get out of my best friend or trying to kill me? Well, really throwing an ax at the, you know, the ogre coming up from behind. So those are the types of stories we're talking about. So if you write it in first person and your property, you are already limited and you are already sort of in a Deep point of view, your really grounded anchored into that character. So what we're doing is we're looking at anchoring the reader into a character, but using third-person now, why is a third person useful for Fantasy Writing? I know, you know this one, right? Jesper (17m 9s): Well actually, before getting that far, I was also thinking that, Oh, maybe I I've tried to prepare some examples just to a few prepare. I always plan things on them. Why do you keep pointing out things? Autumn (17m 29s): Yeah, because I think I just looked at the title of the day and said, Oh yeah, I'm good to know Jesper (17m 33s): This way. I plan things. It was just to try to give you a couple of examples of that. So maybe, maybe make it a bit more real, but basically you, so we are trying to, with the point of view, we are trying to sort of hit a style of writing where we immersed to read as much as possible into the point of view character. And I think it's basically like, if you imagine watching your favorite films or TV shows, you know, we are trying to mimic in the Writing that we only experience in CS and knows what the character knows a and thereby we are limiting the narrative, so to speak. Jesper (18m 19s): So I tried to make one of each, so an example where we have like a third person limited, like that's what most of us Fantasy authors normally. Right. And then another example with a Deep point of view. And I don't know how well I'm going to succeed here. So you'll have your own, my edit there anyway, Autumn. So you will have to edit stuff. Okay. This is the regular third person limited. Okay, ready? I need to do my voice storytelling my voice. I probably can't keep that up without a laughing. Okay, fine. Are you hurt the King's voice? Booming in the great hall, calling him in the way he had come to know signifying the King's anger. Jesper (19m 7s): What had he done wrong? Fi find out. I didn't know yet if a familiar unease ceased his stomach. Okay. So that was like third person limited, pretty standard regular. And now my attempt of a transforming the same scene into a Deep point of view. So, and now you are the editor here. Remember the penetrating force of the King's voice echo throughout the great hall. Find out, felt it in his bones. And as he had so many times before, what has he done wrong this time? Come here right now. Jesper (19m 47s): Shout at the King as if he was nothing but a laptop find out it felt the knot twisting and tightening in her stomach with every step toward the red faced man. Autumn (19m 60s): Yeah. That's perfect. Congratulations. I think that's fantastic. I think it's pretty obvious. Yeah. Jesper (20m 5s): Obvious. Which one is the most engaging, right? Autumn (20m 11s): Oh yeah. The second one that was just, I mean, you know, to me, it's so brilliant because you really, you feel it. It's not, you're not just being told what's is going on with the character or what he's thinking and feeling that you kind of, you feel it, you were like, Oh, the gut twisting, you know, the anxiety. It, it heightens to me like, if I'm thinking of it as an art terms, it's upping the contrast, your getting that really kind of gripping engagement, what you don't get with just regular sort of center or a third person limited. Yeah. You definitely don't get up. Jesper (20m 42s): All righty. You, you feel the blood boiling and all of that stuff right in that that's the way anger or the sadness or whatever the character feels that we feel it that's at least that's how I feel like Deep point of view, just bring so much more to the story. I actually learned what act in preparing, because yes, I do prepare for these episodes, all of them. But in preparing for this episode, I a, I actually learned that a star, this a Deep point of view Writing is actually only became popular in WRITING like 20 to 30 to 40 years ago. I didn't know that before or researching this. So that's that I find that quite interesting. Autumn (21m 26s): Yeah. I mean, before that, even if you look at Tolkin, it is technically omniscient, even though you're mostly staying with Frodo, but there are times token head hops because you know, no one else what other people are doing. They had more of a Narrator type of voice. Now we have more of a character. Yeah. Jesper (21m 46s): You told her why is that in the beginning? It is. It's much more akin to what you normally see in movies. And so on. I mean, I know of course you don't get under the skin of the characters in the movies, But, but watching the character's in a movie, you sorta get the feeling about their feelings. Right. So it's different from being told that The, then he went there and then he did this and, and so on. Autumn (22m 12s): Exactly. And it's, I mean, that's where you have those little tension. I think it really ups the tension to be in the point of view, even in movies, you had that moment where you might dwell on something like just the breathlessness or if a panting I have watched a movie recently were the whole seen was black. And you had just heard someone say breathing, that's a Deep point of view. So that is when you're just, everything is down to just that one little focus. And because it is so tension, field and emotion field, you really engage with the character. If the bad news is, if you hate the character, you really like, Oh, I don't think engage with this character. But if you like the character, if you were rooting for them, Oh, you are just like grip in the book or the Kindle. Jesper (22m 52s): Now I talk to my son. Well, so far away from what you were saying early on that, I completely forgot now. Autumn (23m 1s): Oh, well, why, why are there to see the author specifically writing in third person verses first person? Or what's the better angle that this is? What is the main mode? I do know there are some first-person stories out there, but majority of the authors are the right person. Jesper (23m 17s): You think the last part of it is because we like to have multiple point of view characters. And so when we write the third person limited, it, it allows us, for example, between chapter's to switch to another character. And then we are getting inside the head of that character. But if you were writing in the first person, you can see call every character. I then it would be pretty confusing for the reader who is I now? And then this is all of a sudden another person. So yeah, as you said, a fantasy novels do exist with a first person, but they are, they are pretty limited a that there is not that many of them, I think in the grand scheme of things. Yeah, Autumn (23m 55s): No, mostly urban fancy. Yeah. I think urban fantasy is mostly an AI-based Story, which surprises me. And even when I write from urban Fantasy and I always stick to a third person because I like characters that that's what Epic Fantasy I can think of Tolkien, how many doors and every one that was running her off onto this quest, all of the hobbits. I mean, there were so many characters. You could not write that in first person or he could do like, who are we here? What are we talking about? You know, I'm in small, I've got to just stick with a small, we're fine. Right? Jesper (24m 27s): Yeah. But I think as well for us, for this whole thing to actually work, you have to know your point of care, point of view characters really, really well, because otherwise you, you simply won't be able to write their personal point of view about what's going to happen. So yeah, there's a step. Autumn (24m 50s): Yeah. There is that you definitely its up and things, a notch because when you're in Deep point of view, everything comes as if it was from that character. So even your word choice, one of my examples is I had a character who hated her father. So every time I'm in her point of view, should, did she ever think of even her father, his father? No. She thought of him his first name as father. She would never say daddy or dad, because that is, you know, that's an emotional resonance. And so it is literally picking every choice your metaphors become from that character. So we should do that anyway, but you really have to do it with the point of view. Autumn (25m 30s): So you have a character that is a sailor. Is there gonna be thinking someone has a S their tents like taught the rigging? There are not going to have some things, you know, Oh, their stress, like a farmer or under the hot son. That's not what they are familiar with. You, you have to be very specific with every word choice so that you're just kind of pulling the reader in to this very narrow window of what it is like to live in. Yeah. Jesper (25m 51s): Not only that also in terms of the character's personal and motivations and the background of the character, or even, you know, like something happens and a character don't like it. Okay. So you need to know, well, the reason he doesn't like it, this because a so-and-so happened in the past and it brings back back bad memories and stuff like that sort of thing. You can not see it into the narrative unless you know it, so it puts more demand on you to have a new character creation process to really know them. Of course, a in the plotting guidebook, we wrote, we have a whole section that we'll talk you through this. We will put the link to that won in the show notes as well. Jesper (26m 32s): So, so if your interest that you can check it out at any rate, or whether you follow a guidebook all, or you do it by yourself, I think the main point is just that you really need to understand all those details about the, or otherwise it's going to be very hot. You can ride the point of view, but it's going to be very hard to do it well, unless you know those things. Autumn (26m 54s): Yes. And it does, it's going to take practice anyway. But yeah, and I think one of the other things is like you mentioned your, Your have this character reacts a certain way because of something that happened in the past, but not always jumping back into that flashback, or even explaining like acted, you know, aggressively or said, I don't want to hear about that being. And then he has, and then you'd do that character. He thinks about the time that blah, blah, blah, you don't do that. In the point of view, you don't go wander off into character thoughts either. You, you really it's picking and choosing what is going to be related to the reader slowly and over a time. And it should come out in the other dialogue or a, maybe you'll do a flashback later, or you'll have something else to explain why that reaction is. Autumn (27m 38s): You can allow that the reader to be a little bit like, Oh, well, I don't know why they did that. Exactly. But it's an obvious trait. Something triggered this emotion. And that is definitely one of the writing techniques to is that you actually get rid of things. Like he thought he wondered hee all those little verbs. It says the character is thinking that no one of these just do it. You have that thought, Oh yeah, you do this action. You don't think about doing it, right. Jesper (28m 4s): Yeah. At least some of what you said there. I think that that applies just as well to the third person limited you, you should try to not wander off into all these kinds of other explanations as well. And that's not specific to Deep point of view where so much I think it's yeah. It's, it's just good Writing. Yeah. Okay. Yeah. Autumn (28m 27s): Yeah. Geez. You both said it. Yeah. Too funny. Jesper (28m 31s): But is there, I was just wondering, because you're being the editor here. So if, for example, let's say I'm being the listener here. Now I wrote, I wrote my first draft and now I'm sitting down and I want to edit it and I want to make sure it is Deep point of view. Well, enough if I can say it like that. So is there anything you would say, like, this is a sort of the check list or these other things that you should be top five things you should be looking for? Something like that. It is. Is there any, anything you do when you edit all of them too, to make sure that, that the product is well in or written well, and the point of view? Autumn (29m 21s): Absolutely. And I mean, the first one I think is taking out those things, like he thinks like, when she feels like if you had to sentence, like he, you know, if he feels a sweat of sweat beat on his forehead, no, you just go straight to sweat. What does it feel when a sweat runs down out of that hit right on his skin. Yes, exactly, exactly what you try to really imagine what it would feel like to do that. And you cut out those words that he feels, and he thinks, because those are actually create a little barrier between the character and the reader. And the whole point of the point of view is to just remove that barrier. And another thing is you often see people say like, he thinks about this, or he thinks that she is an idiot. Autumn (30m 8s): No, it would literally be like, she's an idiot. That would be the character thought you would start doing those little introductory phases because it is literally like journaling in third-person. You want it to seem like you were just totally seated in that. Yeah. Jesper (30m 22s): Yeah. I think that is exactly the key. Right? If you imagine yourself, when you're riding, if you imagine how I am inside the character, I wouldn't say to myself, I'm thinking, I would just think it right. Autumn (30m 35s): I know exactly. If you wouldn't write it in first person, you won't write it in a Deep point of view. And so, yeah, like I think about going to the grocery store now, don't you just go to the grocery store and that is how it works. And those are the important little clues. And even like I said, the Italian is a lot of ice. Sometimes get readers who will read back when I stuff it's like, well, this is a thought it should be an Italian as well. You don't have to do that at the point of view, it should come across very naturally. If you want to see some really good Deep point of view, go read some George RR Martin. He is an expert at really anchoring into a character's head and really feeling like that world comes alive through that character. Autumn (31m 18s): And that is, you know, you really make sure you dwell on the other senses, seeing what else is going on so that you have the thinking, the feeling of the touching, the tasting, all of those things are very much alive and nuanced throughout every single chapter. Yeah. Jesper (31m 34s): Yeah, absolutely. And I think actually, I don't know if, if, if, if you agree with me here, but I'm almost thinking like isn't a lot of this really a bit of just a mindset shift on your approach to Writing rather than it is like a new technique as such. That's, that's almost how I think about it. Autumn (31m 59s): I think it is. It is just realizing that the reason for this person is so spectacular is that you are really just with one character and you feel so connected with that character. And that's what gets you turning pages is because you want to see what happens to that character. So this was being able to do that exact same thing and those exact same emotional pools, but with multiple characters. And again, though, this is where you need to be careful or is that you then don't want to have 10 character's in your story. You want to keep it as limited as possible. And when it really becomes hard is when you switch to a character you don't like, or like the villain, you want to do the best you can to be that character, his voice, and show the world through their perspective. Autumn (32m 47s): And that's why it works so fantastic. When you have those gray characters that you have a good characters that have some bad falls and bad characters that had some really good ones that you can show that they are really doing all of the wrong things, but for the right reasons. And that's where it's so impactful. It, it makes the stories. I think the ones that are really linger with you after you closed the book are the ones that are written and Deep point of view because you just really can not get these characters out of your head. And when you're writing it, you really can't get these characters. Knowing that Jesper (33m 19s): That's also a challenge in the sense that we recently completed our first a reader magnet on a short story where the character, he is one of the Ember dwarves and I was setting, which means that the end, but wolfs are not very nice, you know, setting a no. And then the third thing is that as people know, I can actually be quite a challenge to write a character like that because he can come across as not being very nice. He's not very likable necessarily because that's the way he is. That's a part of their culture. Jesper (33m 59s): So it was a bit of a challenge to write it in a way whereby the Rita actually understands where the guy's coming from, you know, the, that they understand, like he's not doing these things or he doesn't view things this way because he wants to be evil or anything like that. It is just, that's the way he grew up. That's, that's part of his culture. And of course, Deep point of view is excellent at explaining those things. But at the same time, it's also a bit of a challenge to, to nuance it a bit so that it doesn't come across as well as to blatant, because it's quite easy to sort of say, like, you're saying, well, we use grocery shopping before. Jesper (34m 42s): Right. But, but if it was, you know, if it was something set Fantasy related, like it all peoples all humans, I hate to humans or whatever. Right. And then it's very easily to just say that and move on. But then you're also leaving the reader with the feeling like this is a complete idiot, this person, right. I don't like that, that character. So I guess is what I'm trying to say and what I'm talking to, what else is probably as well that you need to be a bit mindful about how you do it as well, too. So you can just do not end up coming across as it will assholes. Basically. You don't want that either, right? Autumn (35m 22s): No, no. I think that's a really important, I mean, if for some reason maybe this is, it speaks poorly of me, but I have often been able to get into my villains easier than a few other characters. I had one that was a politician and an extrovert, and he could just whip off these speeches and to get into his mind. Cool. I mean, it felt like it was a contortionist, but that's just what you're trying to put on this other person's skin and its even more. So you have to understand how they act, why they act, how they would see things and why do they care about the things they do, even if its completely different from you and you'd have to avoid explaining it from an outside perspective, like, Oh, humans are horrible and just go all out. Autumn (36m 6s): But most humans, you know, and then going into a rant about what's going on with humans, no, you have to be like humans, there's stupid meat sacks. You know, you have to, they're always carrying about things that yeah. You know, like money and whatever, and that's not what the door is square or whatever it is. You have to stick really deeply into that mindset of that character in that race. And you really, like you said, you really have to have all of that, figure it out to start writing. And even when I used to have to get to the Deep point of view, if the character was an already alive in my head, I would have to do some journaling. I would have to do some day before story is, I'd call it like the day before they ended up in the novel and I would write those in first person and I'd be like, Oh, you know, that's why this character is acting this way. Autumn (36m 49s): And that's why we are that way. When you start on page one, when they enter the story, you are like, you already have that figured out, you know, their mindset and you can kind of push yourself into it because you really do have to almost right a little bit before you start writing to really understand the character or go back and add it in when you edit, because that's the other thing to look for is going back and, you know, checking over all your work and seeing where that mindset could be better, where you can cut out words where you can really make sure it's coming from the character as a worldview and their lens of how the world works and what they're really aiming. You know? Jesper (37m 26s): Yeah. The thing that I find quite difficult with the point of view is for example, in the novel's we are currently riding, we have a, a goddess and when you are dealing with basically a deity, you know, some, somebody who is, who is just not all of our world and probably have motivations and drives that we don't even understand. They are. I, I really feel with her when writing her and I feel is very, very difficult to, to do other than basically more standard third person limited around her because I don't know how she feels. Autumn (38m 16s): No, but I think it in its own way, I think that's kind of exciting because with their person limited versus Deep point of view, so you have a character that's kind of unknowable and you just kind of change how they're being portrayed, especially because you know, if that character is maybe not a good point of view, but you hear it, see them more and dialogue, or even if you are in their mind, but its kind of less clear and less anchored that's you can do that purposefully to make this character seem more unknowable. And it's a very slight difference, but you can use these to your advantage. And I think that's sort of, what's cool about it is that you don't have to have every single character anchored in to your point of view. Autumn (38m 60s): If you have one that is more lofty, you can keep them out of it. And one of the neat things is, is if you are a misleading character and they are firmly believed that EI is going to happen and that is what they're aiming towards and that as maybe the lie they have been told, but they believe at a a hundred percent. And so the reader will believe at a a hundred percent all the while, you know, see you is what's gonna happen and you have this huge shift, it can be so much more dramatic and maybe you shouldn't delay it in light to your reader is, but it's so much fun to lie to your readers and Deep point of view. And it's believable because there's not that omniscient pull back where you are kind of like hinting at it. Autumn (39m 41s): The character is going full tilt towards believing. This is true. And they kind of get a carpet whipped out from under there. So yeah, Jesper (39m 49s): You can have some of those a bit like what the character didn't know was blah, blah, blah, that you sometimes see that in some, I think you all can do this as well. Sometimes. Like what Frodo didn't know at this point in time was out at the door. That kind of thing is no go in and Deep point of view. Autumn (40m 8s): No. And I think a lot of writer's think that, that his building the tension, But 2 million that is completely remove the emotion of right. It's maybe you would have, yeah. You have a little bit of curiosity, four. It, but it's so much more like get you a gasp when the character is just yanked a different direction that you didn't see coming. But when you hear like this lady's little clues, but what if he didn't know it was over on the Shire? Oh, you know that's, if you're just suddenly pulled out of the story, I don't know if that character's head and its just not as much fun. You can actually put the book down at that point and a lot going on. Yeah. Jesper (40m 41s): Yeah. I would say that a guy in conclusion, I think I would pose a challenge to the listener. You know, if, if you're never written in Deep point of view before, try it out, it doesn't have to be perfect. That's fine. But just try it out. Try to imagine yourself in the skin of the character and Right. What you feel, what you hear, what you see, what you teach or taste, what you can touch and that's, that's what you are allowed to. Right? Nothing else. You are not allowed to say. He didn't know this, that he didn't know that. Or explain this in that like you would normally you have to go with what the character knows and feels and tried to write a chapter like that and compare it to your other chapters. Jesper (41m 28s): And I almost want to say with certainty that you will find that it's, Autumn (41m 37s): You'll find, you'll find that you resonate with the character more. You'll find those more action. There is a lot less. Tell me a lot more sho and it'll just be like, you'll be like, wow, this is, this is pretty good. And if you don't come back and let us know what I want to see the difference because I firmly believed the point of view. Those are the stories that I love to read. And they're the ones I loved to write. And I think you'll find other readers react differently. If you show me what you wrote to someone else. Well, no matter what you think, if you show it to someone or a reader, see what they say, which one? So I don't know. Is there any like, did we miss some important elements here when it comes to the point of view a Autumn? Autumn (42m 20s): I don't think so. The line is going to readers. I had hopping. I was just like doing that. I would love misleading my readers. I have to admit it. And just that it's an important way of showing even your evil characters. It really is a useful technique. Or even if you then switch to a third person, limited for a, some characters that are much more unknowable, it can be really okay. So next Monday we actually are gonna talk about one of my favorite topics because we are going to talk about creating a magic system. Narrator (42m 54s): And if you like what you just heard, there's a few things you can do to support The Am Writing Fantasy Podcast. Please tell a fellow author about the show and visit us at Apple podcast and leave a rating and review. You can also join Autumn and Yesper on patrion.com/ Am. Writing Fantasy for as little as a dollar a month. You'll get awesome rewards and keep The Am Writing Fantasy Podcast, going to stay safe out there and see you next Monday.

Do you want to sell more books, face less competition, and achieve a higher return on your publishing investments? K-lytics has the answers and this episode of the Am Writing Fantasy podcast, Jesper talk to the owner of K-lytics, Alex, to gain a better understanding of what K-lytics is and what the latest trends and niches are within the fantasy genre. Learn more about K-lytics here: https://k-lytics.com/  Tune in for new episodes EVERY single Monday.  SUPPORT THE AM WRITING FANTASY PODCAST! Please tell a fellow author about the show and visit us at Apple podcast and leave a rating and review.  Join us at www.patreon.com/AmWritingFantasy. For as little as a dollar a month, you'll get awesome rewards and keep the Am Writing Fantasy podcast going. Read the full transcript below. (Please note that it's automatically generated and while the AI is super cool, it isn't perfect. There may be misspellings or incorrect words on occasion). Narrator (2s): You're listening to The Am Writing Fantasy Podcast. In today's Publishing landscape, you can reach fans all over the world. Query letters are a thing of the past. You don't even need a literary agent. There is nothing standing in a way of making a living from writing. Join two best selling authors who have self published more than 20 books between them. Now on to the show with your hosts, Autumn Birt and Jesper Schmidt. Jesper (30s): Hello, I'm Jesper. This is episode 122 of The Am Writing Fantasy Podcast. Autumn is taking a break today and instead of have a great guest for you. So I'm gonna talk to Alex Newton from K lyrics today and welcome to The Am Writing Fantasy Podcast, Alex. Alex (48s): Hello, and thanks a lot for having me. Jesper (51s): Yeah, it's a pleasure. I think I've heard you talk on so many podcasts now that your voice is almost feels familiar to me. Alex (59s): Oh, wow. I didn't, I didn't realize it would be that many, but you know yeah. The occasional conference or a webinar that has happened, it does happen. Jesper (1m 8s): Yeah. And also the nice videos you send out with K-lytics, the summarization videos. I've listened to you there are many times as well. That's the funny part, right? It's like the listener's who listens to podcasts. They also use to my, and Autumn's voice. Alex (1m 23s): Right. Yeah. I can imagine because as you say, what I do usually comes with video and voiceover to explain the things, because the numbers can be a very dry matter. So I I'll try it to make it palatable. And the best way I found was with the video and with a voice accompanying the, the graphs and the dry stuff. Yeah. Yeah. Jesper (1m 47s): And that's works really well. And we'll get into k-lytics in is just in a minute, but maybe just before we get that far, maybe you could share a bit about yourself. I believe you are on my side of the Atlantic for change. I normally always record, but somebody in the US, but you are in Switzerland, is that right? Alex (2m 5s): I am. I'm based in Switzerland Now. I I'm a native German. You know, I grew up in Germany. I had my professional life there as a management consultant. Although there, I basically worked all over the globe and, and some 10 years ago when my little daughter was born and, you know, I had the typical corporate executive type of life, 24 hours, seven days a week Comic-Con activity and living out of the suitcase, I thought, Hey, you know, something should change. And, and that was right in that. What was it called? Like the Kindle gold rush. You can almost say, so it was almost by coincidence. I got into, Hey, what's Amazon doing? And, and yeah, six years ago, I officially launched k-lytics, which by the way is simply Kindle and analytics, but I didn't want it to get into the trademark dispute on day one. Alex (2m 56s): So I dropped the k-lytics from the Kindle and here we are with K Lytics. So right now I have a, we've moved to Switzerland system one and a half years back and never looked back. So right now I'm, I'm very much running K Lytics amongst a couple of other things and, and enjoy my time here in this very nice little country that stands as a stronghold in so many aspects hear right in the middle of Europe. Jesper (3m 25s): Yeah. That's true. Yes. So you lived in Germany before then? Alex (3m 28s): Yes. Yes. I, I grew up in the Southwest of Germany and lived in Munich for many years and then near the stood guard area. So in the Southern area of Germany, yeah. Jesper (3m 39s): Oh, okay. Yeah. I like watching the Bayern Munich games on television Alex (3m 43s): Except last night. All right. So congratulations to Paris. Jesper (3m 50s): Yeah, I guess so. But yeah, you did touch a little bit on a slightly there, but maybe you can explain that, you know, a bit more to those who have, who have no idea what K Lytics is. Maybe you can put a bit more, let's say the baseline information into what is it. Alex (4m 11s): And in very simple terms, we tried to provide market research information to authors and publishers publishers to help them make better Publishing decisions is now that sounds very abstract, but if you're in an author, if you are saying the Fantasy on a world, and you decide about your next book project, or you are Writing already a, you know, your rights in the middle of a book project. And, and if you feel a little bit, mm, there is a market out there, or perhaps, you know, readers and potential buyers. So if you are not just writing for therapeutic reasons, or you have nothing else to do, but because you also want to make a living with your writing, you we'll have to face up to the fact that you run a business, right. Alex (4m 57s): In any business that gets into a new product or service. Usually we'll do some kind of market research on it. If it's only like talking to a couple of existing customers or in your case, existing readers, Hey, what are your, like, did this resonate with you and how we do this on the ground on a scale by basically looking at a hundreds of thousands of books, and there are sales ranks on Amazon. And by aggregating the data from those books over time, or by certain genres, or by certain categories, we can basically deduct what is trending, what is going on? What is going down, what is selling, what is selling, but what is already crowded, what is selling and perhaps not overly crowded. Alex (5m 46s): So we very much come into the game when people make decisions about that Publishing project. And later on, as, you know, things become very tactical in what category is, can I apply to my, what should be the pricing? If I do Epic Fantasy, you know, what are all the other Epic fantasy books are being priced at? Am I too high? Am I too low? And it can get very nitty-gritty in tactical than on the other side. But in essence, it is looking at what's out there in terms of data, aggregating it in an intelligible way and then packaging it so that not every author is a mathematician, obviously, so that you can make a very simple inclusions with you with the writing direction you take. Jesper (6m 32s): Yeah, no. I personally really like a K lyrics and, and the reports, but I am curious, you know, why, why did you start Kelly this in the first place? Because I, I, in the Kindle gold cross back then there was nothing like this. So was it just like you thought that, well, this is missing, so I'll try to do it, or, or what, what was the driver behind you creating Catalytics in the first place? Alex (6m 57s): It was almost a like half an accident that I ended up in the publishing world. Now I did start in my career in publishing, like literally 30 years back into a London based publishing company. And so there was some affinity with the publishing world, but at the point 10 years ago, when I started the first experiments, as you said, was a Kindle gold rush. And it was at that time when I looked at something, Hey, I want to work from home. So right now I'm clicking on all of those PayPal by button's. Is there anyway that others could click on mine? That was the out the, the, the onset. Alex (7m 37s): So I was looking into various markets, you know, fitness Market, online consulting, Market information products, you name it. And I almost, by coincidence, I can came across one of those famous, or I think by now more in famous, you know, get, are rich with Kindle types of courses for the $99, you know, or these types of things in. And at first it was, you know, I was more thinking about publishing rather than writing, but having been a corporate management consultant for twenty-five years and having been in boardrooms 25 years, you vary, you become a very conservative meaning. Alex (8m 18s): You know, I don't believe that. So you, you, you really tried to look at the facts and based decisions. On fact. So I started looking at Amazon sales ranks. I started to talk to people, Hey, if this whatever poly or a recipe books that everybody says is the thing, you know, if that has, I would say is to rank off 50,000 on Amazon, does it actually selling anything? And I found, I know its not selling anything, although everybody's saying, you know, you can get rich by, by uploading your grand grandmother is not even, Palio a recipe book, Polly-O breakfast, a recipe book. And at that point in time, I actually coined term, which I call to the present day, the polio breakfast recipes syndrome, meaning, you know, people tried to convince you that you can make money with some obscure, a nonfiction book upload to Kindle, which obviously is a total lie, but to the present day, but people are being sold courses, you know, to, to get into self publishing and make a living by uploading your knitting patterns and that sort of thing, which is obviously a complete nonsense. Alex (9m 23s): And so at that point in time, I started doing some, it's almost like data experiments with Amazon and I figured out, Hey, that works. And then I was in the one where on the Facebook group and start a chair. I remember my first K Lytics report was very plainly about the top 30 main Kindle category. So essentially it was looking at is romance selling more than sci-fi and fantasy and sci-fi and fantasy selling more than engineering and transportation Book. So, you know, it like super crude level and people tore it out of my hands and then ask, Hey, can you do this? Can you do this full sub categories? And then people start diving into sub sub categories and, and the rest is history. Alex (10m 8s): I think ever since 2015, we've been tracking more than 7,000 kids and a generous month in month out looking at hundreds of thousands of books. Jesper (10m 19s): Wow. Yeah, it's impressive. I mean, you must have quite some machine power to data scrape all that information. Right. Alex (10m 26s): Well, you know, it's not like a super large scale operation because first of all, you know, you don't want to, I think there can things to be said about, you know, to what extent can, and should you do automated visits on other websites? I know, I mean, in many industries you have it, you know, take hotel, price engines and all that stuff, but you know, it's a very, very small scale. So Amazon wouldn't even notice that. So, and, and also coming more from a data science point of view, you, you know, there is no value in just collecting data. The value comes with intelligent analysis of, and also the intelligence sampling, right? We look at books like seven days a month, like not every hour because also, you know, that would take bandwidths that also Amazon wouldn't be happy with. Alex (11m 10s): So we add more like a, you know, not like the occasional visitor, you know, but it's a, it's a, it's a very fine line between what is, what is ethical and what isn't right. And so we chose to do a very hands off type off the data operation that samples book's rather than as you term it scrape, you know, the, the, the Ammons on site every hour or, you know, which is not, not, not the type of business I want to get into. Jesper (11m 41s): No, no, that's fair. That's fair enough. And its always good to be a bit ethical about what you do. Although I think with Amazon, they have a scale that they know everybody and a lot of people who are scraping that data and I don't really think that to be honest, but, but its always good to have some ethical considerations. Yeah, Alex (11m 58s): Absolutely. And, and, and, and in the end of the day, you know, we were there with that humble data collection to basically help help their clients, you know, that, that feed their whole Publishing and engine. So a and a, and so far, you know, six years they've, they've never complained. I've never complained. And, and, and the people have people that have been happy. So I hope it stays that way. Jesper (12m 22s): No, that's perfect. So when it comes to the fantasy genre and that's sort of what we are all about here is also in the name of the Podcast because it is quite obvious, but considering the fantasy genre, I was hoping maybe you could share a bit about, you know, Latest data and your latest trends or sort of what you see when it comes to the FANTASY showing or what is trending and so on. I mean, first of all, Alex (12m 49s): Well, the good news is that, you know, out of those big JARAs on Kindle, I mean, you have romance has always number one full of by Mr. Thriller suspense, then you have a bit of non-fiction, but usually it's and Fantasy. And I apologize if I, if I some make a sum with science-fiction I know of many FANTASY all for the first time, how can, how can Amazon, how does Amazon dare put those in one bucket at the very top level already, which I know is not the case, but you know, a scifi and fantasy as, as one umbrella category is, is usually the third largest. And especially during the last 12 months have this crazy pandemic time, we've seen quite some changes and changes in read the behavior. Alex (13m 35s): And the good news they are is that overall people who have been looking for more, w we see categories that have to do with humor have been trending up. And if we see a very dark reads, you know, post-apocalyptic stuff is going down, but the, but the good news is anything that provided, say a, a, a good escapism for readers during these dire times has in essence benefited. And therefore, for example, in Fantasy overall, we saw a bit of a dip obviously about a year ago during the first log down periods. Like, because there are people who have been buying non-fiction books about how to bake bread, and it took a market share from some fiction, but, you know, very, very briefly after a brief period, we saw the, the overall Book market, obviously benefiting greatly from these dire times with a print book sales in the us, having grown, showing the highest growth rates in a decade with 8% growth. Alex (14m 37s): Amazon grew 25% in the Kindle select global fund. So the royalties paid two author. So I mean, 25%, that's huge. And one of the beneficiary JARAs was Fantasy. Overall, as one example, if you take Epic FANTASY as an example at which is probably like the general, epitomizing a bit of Fantasy as a, I wouldn't say cliche, but as an overarching theme, you know, why, what makes Fantasy the Epic side of the thing is obviously clearly position to provide an escapism. And that category on Amazon had been like, it, it sort of had a peak before, back in 2017 or 18 around that time and with all its fluctuations, you know, and it has then had a bit of a downward trend all the way into the start of 2020. Alex (15m 33s): And then after that brief dip, during the first blog down in it, it really shot up back again. And you see that these types of Fantasy markets are clearly benefited and we can, we can go and in, in Canmore, if you want, but on a, on a high level, you see that Fantasy Epic FANTASY, a very big Market, but also very high ceiling. So there, you can say it's a, it's a very grown up, very established mainstream Market on in the Kindle world. And then obviously you have these hundreds of when not hundreds, but, you know, a 10, 20 like big sub genres, you know, from Seoul to source a reaction and adventure game adaptations. Alex (16m 14s): And they tend to do pretty well on the Kindle platform. So especially over the last year, all the teen young adult driven type of Fantasy, we saw a lot of trends happening there. And if you want, we can, you know, I can take into the data here as we speak and, and looking into some of those. Jesper (16m 36s): Yeah, for sure. I, I think that would be very interesting because a part of it is, and that's what I liked with the K leader reports is also to do, to try to see, because at least for myself and, and Autumn, the stuff that we write, we, we are sort of settled in, in the Epic fantasy world. So, eh, I think the competition is probably pretty fierce there to be honest, but maybe you can contradict me, but, But I, I'm more thinking for, especially if you're sort of starting out and, and, you know, let's say you had decided that I liked to right Fantasy, but I actually like very many different types of Fantasy, then it could definitely also make sense to look into the catalytic reports and, and try to see, okay, is there some of these SOPs showed us where there was just less competition and it makes it a bit easier to get more sales, write it that way. Jesper (17m 29s): I think K-lytics, this is very useful apart from what you mentioned earlier as well, that even if you are established in something, you can use it to figure out what is the good price range for books, what is the average pricing and, and so on. So your position, your product's so to speak or your books correctly, but, ah, but yeah, please share more details, right. I mean, Alex (17m 51s): As you mentioned, it, a Epic, Epic fantasy, I think is a good example of, as you say, that there are established mainstream markets and just entering in there, you know, as a new comer could be a bit of an uphill battle. I mean, if you, if you look at the Epic Fantasy data, we did a study start of this year. That is one of the examples of a well, in my corporate world, we would say a very concentrated market, right? Where a few to determine, determine the bulk of the sales, you know, with obviously at the very top of the, the Brandon Sanderson, you know, crushing it with, with all his, his books and obviously the classics, the talkings and the Robert Georgians, the obviously George R. Alex (18m 39s): Martin and all the F the fan fiction, the, the, the spin offs, the jaw, the Abercrombie side of the world. And, and then already, even with some of the, you know, a big, big names or whatever, what was it like rubbing havin, you know, that there is a whole number of names were immediately, you see the books of their sales rank, you know? Yeah. You know, it, it's a tough market. Now, the good news for Epic Fenton, what good or bad news depends on the eye of the beholder is there while you have like Publishing companies that really dominate like Tor books, right. That, that sine on like everybody or a bid or the DAW, there, there is a couple of big outfits out there, but then you do have an increasing chair in the publishers, the, the typical, you know, author that wants to make use of the self publishing self publishing world and all the opportunities that come with it. Alex (19m 39s): And there, we do see a bit of like a balance between a traditionally published or with the specialized Epic FANTASY publishing houses and a couple of, you know, really good self-publishers that found that out a way into the game Now. But if you don't want to get head on with the brand and send the suns and of the world around, you will pose exactly the question you will pose exactly the question you posed, you know, are there opportunities out there in the overall fantasy world where it's perhaps a bit less competitive, less crowded, less established also. Alex (20m 21s): And, and I would clearly say yes, you know, I mean, especially if you, if you'd be able to also address some of the teen young adult readership, which is not necessarily teen young adult people, because obviously there's research that suggests that the bulk of the teen young adult fantasy books are actually not read necessarily by, by teens or young adults, but also adults. So they really have opportunities, you know, I mean, take the huge Market, take the huge Market of urban FANTASY is by now, it's also no longer a niche market, but that created a whole, a publishing self publishing sub empire, where it's really been about, well, what types of urban Fantasy do I do? Alex (21m 9s): Is it, you know, the, the, the leather clad chick that's running around with swords slang vampires at night and working at Starbucks by day, or am I going more into the Jim butcher type of world? And there, the data can, can give you hints. So for example, we saw a, what was it like a, almost like a five-year decline after the big hunger games hype was over, right. And with a pandemic we saw with many of the teens being sitting there at home, and after the homeschooling having to do something, there is perhaps the only so much Netflix who can watch you are only so many mobile devices available that they had to read books again, I don't know, but we saw a huge increase again in, in 17 young out adult FANTASY. Alex (21m 58s): Segment's for example, these I'm a bit dystopian type of a royalty novels. Kira cos I think it was primarily a driver, obviously there was also the hunger games sequel, but those were pride to a predominantly self-published authors who really took the whole segment segment up again. And if I just look at the, the, the data of, of over a year or, you know, paranormal Fantasy has, has, has found a bit of a, a return if you also off two years off having done well, but paranormal, for example, the hole paranormal romance, paranormal Fantasy, I, that has peaked, I would say 2013, 14 ever since then, these waves are by the way, very long-term. Alex (22m 47s): When I talk about writing to market or looking at these, this data, there is not about a monthly fluctuations. That's about catching the wave that carries you. And your project is over obviously a period of years rather than, rather than months. So by and large, you know, a teen young adult, whether its Fantasy fairy tales, especially in the teen young adult world, if you are a bit flexible to also put a touch on romance, into It, selling extremely well, you know, failed romance, paranormal, Romans vampire romance. Now for many Fantasy rights, they will go like, Oh yeah, no, that's like, I have to like Roman. Alex (23m 27s): So it was like, okay, okay. Yes, I read you You. But for that reader who is looking for an escape, those vampires and that stuff, you know, or the whole thing happening in a complete fantasy world. And there, there is a world building going into it, perhaps not elaborate with maps and stuff. As you have in a tall Keaton type of a trilogy seven, 150 pages, I will tell you, God knows what, but to those who are in those jars, they make a good living with it. Partly, And, and there they are not obsessed with academic definition of what constitutes Fantasy and what doesn't, but basically looking at what do readers want and then almost from a menu. Alex (24m 13s): Okay. Best example I'd say currently is, I mean, we are about, I don't know what your age yeah. They asked by the way, we're sort of the same generation. So we know movies like the, the witches of Eastwick right. Which is a vast awake. Or then later in the, in the late nineties, there was that other one with, with, I think they call Kitman right? So you have, which is, you have Housewives who are in their spare time, which is now right now we have a book Market getting going where some authors who've been big name authors in general, such as women's fiction, paranormal romance, urban fantasy, all of these jars are getting very crowded and cozy mystery. Alex (25m 0s): Now they came together, they bended together and created something which is called paranormal women's fiction. They even gave it its own hashtag PWF. And if you look at it, it is Fantasy, you know, is a about, which is about w you know, that shadow whirled it's, it's bringing a cozy mystery. And so, especially what has been doing well in cozy mystery was paranormal cozy mystery, which is where they bring women's fiction into it because they target very specific. The authors themselves are usually like 45 and older. So they credibly you are right about all of these mid life problems. Alex (25m 40s): You know, kids go on to college or midlife depression, and, and why they have women cast that in a FANTASY, in an urban fantasy world. You no overcome their mid-life problems so that that's not a long monologue that I give here, but it it's just to put some flesh to the bone when it comes to reading the Market, looking at trends and Writing to Trends, but without bending yourself, that's the important thing, you know, with what are you good at? And you're Fantasy writing and how can you take it and twisted in a way that you can combine your love, passion and craft with some Market aspects of a trend, more than others. Alex (26m 23s): There is no guarantee for a success obviously, but I think the whole publishing business has where people do it in a professional way. It's very much become around the credo, this mantra of, of how do we increase the odds of success at at least if you can not guarantee success. Jesper (26m 43s): Yeah. And it's so true. If, one look at it, especially with Amazon, I mean, Amazon is probably, well, it's, it's a good and bad in the sense that for most authors is, at least at Amazon is like 90% of the income. And that is good in the sense that if you can make it work on Amazon, there was a good likelihood that you will also have some money from it, but on the, the bad side then yeah, you're completely reliant on, on Amazon, which is, that's a whole different conversation. And I don't like that too much, but let's leave that alone for now. But I think what this is really about to me is trying to find, not compromising with what you want to write. Jesper (27m 26s): I mean, because I don't think it works. If you start looking at a K latex report and say, Oh, I can see that this a is working really well and is trending. So I'm gonna write some books, that's your option. Right. And, but I don't like those kind of books. I don't read those kinds of books. A and I didn't really care about it, but I'm just going to write it because apparently that's sort of readers want, I don't think that works 'cause it will also come across in the story that you don't really like it. And if you don't read it to yourself as well, you probably don't even understand the tropes of it. So, so leave that alone. But I think what, I'm trying more to say it, and that's why I find that K Lytics is very useful. For example, when Autumn I, and I write out the books, I know that what you also said, ah, as well, that, you know, some sort of romance in the books, usually it works well and probably half, or if not more than half, I think of the readers of Fantasy in general, a woman. Jesper (28m 20s): So if you don't put any WOTSO, if everything is just a sword fighting and dragons and, and what not, well, that can still be a great story. But if you don't put any romance in there, which is the data in Caledon, it also tells you is something that people like to read. You are missing out some stuff that you were, you could gain, maybe a lot more readers because you have some hope. And so all of them, and I always put some romance sub-plots into our Epic Fantasy stories. There is always some romance going on in those stories. And its more like for me, it's one of those things where I'm okay with it. I, I, you know, I don't love the romance of plots as such. Jesper (29m 2s): It's not my thing, so to speak, but I don't mind either. So, so the question is more like, why wouldn't we put it in? I mean our Autumn likes it. So she is naturally bent to what is that? And she does those things really well. And that's of course the benefit I can enjoy that, the fact that I write books together with her so she can put her touch on those things. So that's great for me. But my point is just to say that you can look at something like K lyrics reports and you can pick out some pieces where you feel like these are Okay for me. You know, I, I don't mind them. I understand them enough that I feel like I can write at least a subplot concerning it and then put that into the books. And hopefully you will see somewhat more success rather than going down your tunnel vision way of, I only write this because this is the only thing that I like and every party that doesn't like that well, bad luck for them and Okay, fair enough for it. Jesper (29m 54s): That's what you want to do, but if you wanna get some money for it as well, maybe you need to think of a bit about what readers actually or looking for. Alex (30m 3s): Right. And, and I think you couldn't have put it in into a better way. And you, you mentioned a couple of elements there that that may be worth reiterating on the one is the love and passion for what you do. Like you say, if you don't love it to yourself, if you don't love Amish romance and you know, could imagine writing it for the next five years, then don't no matter how high it's trending. Right. And the, the other elements that you mentioned would be for me also Kraft Skil, I think there are a certain genres, a, you know, to write good sex scenes that are a steamy, but not pornographic. That that is a craft skill, you know, not every writer is able to do so and to do so. Alex (30m 47s): I wouldn't know where to begin. Well, you tell me, and, and then there is also the thing about knowledge, right? I mean, a even if you, you know, during the hype times off of a literature role-playing game, the lid RPG in game lit when a Spielberg took the whole thing into the mainstream movie theater, well, you had people, you know, quarrying quarrelling about Well is the, is, is in that lid, RPG novel is the scoring and the gaming element, like really genuine. And I'm, I mean, if, if you are not a gamer yourself, you know, the readership, the nerds, the geeks, you know, they, they can smell this from like 50 miles. Alex (31m 32s): So don't, don't get into it. So there is this, I always say, there's this passion factor and the knowledge that the craft skill factor and the, the knowledge factor, but we are all of these things coming into play. So, I mean, even Mozart, although he, I think at the end of the career that he was not so shining anymore, but you know, even the great artists and composers, a lot of them, they, they worked for money and they composed what was the royalty. I wanted to hear it, not just what they had in, in their inspiration and their inspiration. So it, it was pop music and at, at the point in time, so if you're in, in, in Epic Fantasy and let's, I don't know whether it were, it exists, but if you're a hardcore Epic FANTASY writers and, you know, its source and darkness and shadows, Well, it, it will be good to know that themes, like if you have in your title end book description, something around darkness, around shadows, about war battles or something around age ages, centuries, power, and magic, you know, these five strong words, you know, constitute like whatever 60, 70% of the royalties and, and books contain them. Alex (32m 43s): But if you say, no, I'm going to write about whatever the, the, the golden And dungeon and the stone, the chaos and cry. And, you know, these are all also, you think very strong, compelling words, but the royalties are a much lower. You get the idea so that there is certain things that at certain points in time seem to resonate with certain reader groups. And it's just by bringing the arts and sciences a bit together and say, Mmm, no problem. I, I have it a lot more amongst my romance writers because they can almost like on the fly as they write the story, they can say, well, my God, it, if everybody currently likes mountain man, you know, living in, in, in a cabin, in as opposed to the billionaire or a vice versa, they can very quickly change characters and, and move the book more into a direction that may not resonate well even too, or are they rewrite the whole book and the like, remarketed were you, you had whatever, five years of age, I always say, you know, when we were, we were young and watching black and white movies, you had, you had women wanting to be kissed by a millionaire's or, you know, in Marilyn Monroe and the time's today, they don't want to be kissed by millionaires. Alex (34m 4s): They want to be whipped by a billionaire. So you had this whole 50 shades of gray, pretty, pretty extreme staff. And, and that was like a never-ending story, but the market, it was getting very crowded in all of a sudden you had on Amazon, especially with the advertising restrictions on Amazon, on a very steamy content. You had a big surge also with the age group, probably have the typical Kindle device oner in any case clean and wholesome Romans was doing extremely well and was still more of a niche type of market. And all of a sudden, you know, we, we reported on over five years of the trend of clean and wholesome romance. Alex (34m 46s): And over time you found even some steamy authors rewrite there, a billionaire romance novels, there are 50 shades of gray it into more like, yeah, clean and wholesome, clean read Swede, Romans billionaire romance, 'cause it was simply less crowded and in high demand. And, and that is what I mean with like reading the market in a way where you don't bend yourself, but you just tried to increase the, as you put it also in the, the odds of success. Jesper (35m 18s): Yeah, exactly. And, and I think, and that's, that's basically where you can see you can, because it's let me rephrase that because it's really, really difficult to do that on your own. I mean, she just tried to go to Amazon and look through the, the different categories and tried to look at the top seller list and the different categories, but it's really, really difficult for you to ma to spot trends on your own because it's, it is so much data and it is so complicated that that's where I really see that Kayla Alex can help. Just a, I mean, I am You mostly of you and Kayla, it is like, it's an input. And then you, you need to unpack it yourself and say, okay, what of this can I use? Jesper (35m 59s): And is this something where I have some sort of Venn diagram overlap between what I like to write and what the market likes to read, and then I'll try to merge those two together and make it fit there. And then I think for me that that's the point of it. But before we get into the end of the conversation that I wanted to also give you a chance to explain a bit, what if one buys K Lytics or goes into clearly, what, what is it that you're getting in there? And what are the reports that you were sending out and so on? And, and maybe also a bit about what are the, I think you have some tears as well. If I remember correctly has been a while since I was in their, but maybe just a bit of the pricing tiers and so on, if you don't mind. Alex (36m 39s): No, no, no. Of course not. I mean, for those who are interested, basically, you know, we, we serve authors from the fledgling interested authors to, to publishing houses. So we have to provide, you know, different entry points into, into the products. So you can, we provide memberships and we provide single reports. Now within the, within Bose, the, the baseline for everything is the data that we collect and that we publish every month and an updated database. And what you basically can have is, is there are basically two big pillow's to the product. The one is a ready-made PDF report. Say there, there is a 70 page Epic Fantasy reports, 17 pages that comes with a video that completely dissects the Amazon available data on Epic Fantasy. Alex (37m 29s): So if you're only interested in like that one Jara, you can simply go to the KLA, the sharp at K high for analytics.com/shop purchase the Epic Fantasy report. And we'll keep you busy for a good week. I'd say, if you really want to absorb the data, look at the video and especially makes sense of it, of how does that fit with your writing. So that is one entry points. So you can choose what we call genre reports on the card. There's two types of them. Ones are like really going in depth on certain sub jars, such as Epic FANTASY. There are others. We have a more general scifi and fantasy report that are not as deep in the analysis, but they are much broader because they would comparatively look well, there is more than a, a a hundred PSI Phi and Fantasy categories, and they would do exactly like we discuss before, well, what his, what is trending hire? Alex (38m 19s): Is it urban FANTASY or is it a paranormal row? You know, is it is. So it looks at the category of data in a competitive way. So these are the types of John reports and you can buy them out a card, or if you are interested in more than one Jara, then we, the memberships, because the memberships give you access to basically a multiple reports at a time. And these, our monthly memberships, they come into tiers. One is premium. One has elite that lead to us to the highest tiers. And the difference between the two tiers has also actually a very simple, the highest tier a Gibbs gives you unrestricted access to everything. And one thing is all the reports. The other thing is though that database now also premium gives you the database, but the depth of the data you see premium basically would give you the data every month for about 420 down two sub category level. Alex (39m 13s): But if you want to get into also this really granular and detailed, you know, in which 10 categories shall I put my book's sort of thing, then the elite level comes handy because there are, we track 7,000 categories, you know, from the gardening and horticulture to the lowest level Fantasy category of that, that exists. So, so especially if you want to also look a bit what's happening across job has gotten because some authors are very open-minded, you know, they write, say a urban Fantasy, but they really, because they know the JARAs are more and more blended and they want to know what is going on in romance, what is going on in mystery so that they keep a bit of head off, you know, ah, you know, there is a certain thing emerging could that's come over into like the paranormal women's fiction example I gave earlier that is sort of the > of like four genre trends meeting in a certain suite spot and meaning at a certain target rate, a group. Alex (40m 13s): And that has what we do. So there is entry points from ala carte to membership's obviously we promote the membership's also price-wise 'cause, that is what keeps us afloat. And it gives us the continuity to provide this research, which we've now been doing for six years and hope, hopefully not too many more years to come. Jesper (40m 35s): Oh yeah, for sure. And I definitely like to support what you are doing because I, I do think it's a very, very helpful, and that is stuff that authors can not do on their own. Umm, and I definitely also SUPPORT the, the, the fact that membership levels who is wanting to keep the business going. So we know this ourselves with, with Patrion, for example, is also sort of a membership ship site for this podcast. So it's, it's the same thing, but at least I will say to the listeners here as well, that if, if you don't know, if, you know, with this data things sort of me, I would definitely recommend just start out, maybe buying one of the younger reports for, for Fantasy. Jesper (41m 16s): I did that as well, several years ago now, but, but I did this as well and it's not expensive at all. I can't remember now, Alex, I, but I, I think it was like 25, maybe Alex (41m 26s): It's $37 that are a report on them. And you get probably, you know, more than 70 pages of, of, of analysis all aggregated in a understandable way. So it it's, as you say it as a writer that you should, of course we know, especially as an indie writer, you have so many other business aspects to run as, you know, the marketing, the ad's, the newsletters, you know, there is already enough business stuff going on to then say on top of it, do you'd want to become a market research experts may not be your core competency. So we, we crunch the data on hundreds of thousands of books so that you don't have to, that is the very simple essence of it Jesper (42m 8s): Indeed, yes. So I will put a link to K Lytics in the show notes so any of your listeners who are interested to check it out a bit more than a follow that link and on the k-lytics website does a lot more information as well. Hopefully we touch the ball upon most of it, but there is explanations about what it is and what your getting inside of the report and, and all that stuff. So I want you to, to at least go check that one out. Thank you. And thank you so much for coming Alex, and speak to us out here and share a bit about all of this data crunching stuff. Alex (42m 44s): Was a pleasure and a, hey, also all the best with your, with your own podcast. You know, I think its great that we see also so many people in the, in the publishing world and in the self publishing world for that matter to collaborate, you know, and, and have these forums for our people can exchange. I thought, and it was the last, at least I'd say, you know, of course there is traditionally published WORST. There is a hybrid publishes, you know, who have in some areas they have their rights back. They want you to go go half and they are half traditional And they have the, you know, like hardcore self published is. And from what I've seen is, especially in that hyper, then self publishing part of the journey, I've seen people be so fast and picking up Trends in, in, in collaborating together that they are in some areas of the rebar pull parts of the market. Alex (43m 39s): But before the traditional publishers even know it exists as a market. So Andy, I think it's also things to these podcasts and forums like yours, where these thoughts are exchanged and transported to the community that, that make that happen. Jesper (43m 58s): Oh yeah. Yeah. I agree. But okay. Thank you so much for, for coming here, Alex. And next Monday I we'll have a Autumn back here and that we are going to do one of our monthly fun episodes where we are going to discuss the top 10 worst and scariest FANTASY world. Narrator (44m 16s): If you like, what you just heard, there's a few things you can do to support The Am Writing Fantasy Podcast. Please tell a fellow author about the show and visit us at Apple podcast and leave a rating and review. You can also join Autumn and Jesper on patrieon.com/AmWritingFantasy for as little as a dollar a month, you'll get awesome rewards and keep The Am Writing Fantasy Podcast going. Stay safe out there and see you next Monday.

Let's talk about other elements you should consider with your book description.  Check out K-Lytics: http://www.authorlevelup.com/klytics  Get the “Writing Tip of the Day” Book series! http://www.authorlevelup.com/tips1 Write like the top 1% of authors with my FREE Writing Craft Playbook: http://www.authorlevelup.com/fanclub Listen to past episodes: http://www.authorlevelup.com/flash  Watch my YouTube channel for writers: http://www.youtube.com/authorlevelup  Read my books for writers: http://www.authorlevelup.com/books  Check out my fiction: http://www.michaellaronn.com and http://www.mlmcknight.com

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1) Wide for the Win Facebook group: https://www.facebook.com/groups/wideforthewin 2) BKLNK.com at https://www.bklnk.com/ 3) K-Lytics at https://k-lytics.com/ 4) Draft2Digital promos: https://draft2digital.wufoo.com/forms/draft2digital-request-for-promotion-consideration/ 5) Vellum blog post about Kindle file change at https://blog.vellum.pub/2021/03/changes-at-kdp-vellum-has-you-covered/ 6) My Vellum affiliate link: https://paulteague.net/vellum 7) My NFTs at AtomicHub: https://wax.atomichub.io/market?collection_name=benidormpics 8) April running challenge: https://www.greatrun.org/virtual-running/april-accumulator-challenge/ 9) My BookChain book listings: https://catalogue.bookchain.ca/book/0x813f9470266df7bffe25bbe23d422063c744c184 https://catalogue.bookchain.ca/book/0x0e78604d1577941300d25f9a07a10e3753ab283a https://catalogue.bookchain.ca/book/0xe7fdbf0f0e60bb1e69aaef17d0d12520abd01fea 10) Bookchain at https://portal.bookchain.ca

1) ScribeCount: https://www.scribecount.com/ 1) Intro PR: https://www.weareintro.co.uk/ 3) K-Lytics: : https://k-lytics.com/ 4) Press coverage as a result of PR package: https://www.lancasterguardian.co.uk/arts-and-culture/books/author-launches-new-thrillers-set-morecambe-and-inspired-itv-hit-bay-3138884 https://www.thevisitor.co.uk/arts-and-culture/books/author-launches-new-thrillers-set-morecambe-and-inspired-itv-hit-bay-3138884 https://www.newsandstar.co.uk/news/19097793.hit-itv-drama-bay-inspires-carlisle-author-paul-teague/ https://www.timesandstar.co.uk/news/19098189.hit-itv-drama-bay-inspires-carlisle-author-paul-teague/ https://cumbriacrack.com/2021/02/23/cumbrian-author-paul-teague-to-release-series-of-thrillers/ --- Send in a voice message: https://anchor.fm/paul-teague/message

1) ScribeCount: https://www.scribecount.com/ 1) Intro PR: https://www.weareintro.co.uk/ 3) K-Lytics: : https://k-lytics.com/ 4) Press coverage as a result of PR package: https://www.lancasterguardian.co.uk/arts-and-culture/books/author-launches-new-thrillers-set-morecambe-and-inspired-itv-hit-bay-3138884 https://www.thevisitor.co.uk/arts-and-culture/books/author-launches-new-thrillers-set-morecambe-and-inspired-itv-hit-bay-3138884 https://www.newsandstar.co.uk/news/19097793.hit-itv-drama-bay-inspires-carlisle-author-paul-teague/ https://www.timesandstar.co.uk/news/19098189.hit-itv-drama-bay-inspires-carlisle-author-paul-teague/ https://cumbriacrack.com/2021/02/23/cumbrian-author-paul-teague-to-release-series-of-thrillers/

1) Bible Pathway Adventures product catalogue: https://drive.google.com/file/d/1W8-tlKcKdLLcFpxLlwNCH_zZvjI8O4so/view?usp=sharing 2) Ron Vitale's Estonia e-residency article: https://greatcareersphl.org/2020/09/06/embracing-the-digital-world-with-e-residency/ 3) Avoid losing book reviews - Alex Newton of K-Lytics: https://k-lytics.com/video-vault/amazon-link-anatomy-for-books/ --- Send in a voice message: https://anchor.fm/paul-teague/message

1) Bible Pathway Adventures product catalogue: https://drive.google.com/file/d/1W8-tlKcKdLLcFpxLlwNCH_zZvjI8O4so/view?usp=sharing 2) Ron Vitale's Estonia e-residency article: https://greatcareersphl.org/2020/09/06/embracing-the-digital-world-with-e-residency/ 3) Avoid losing book reviews - Alex Newton of K-Lytics: https://k-lytics.com/video-vault/amazon-link-anatomy-for-books/

As powerful people are so fond of saying, “Knowledge is Power” and in the world of ebook publishing, Alex Newton’s K-Lytics is a powerful thing. Knowing the real numbers about […]

This is part one (Browser limits) I want to welcome our writers and listeners from Ireland, Canada, Germany Netherlands and Brazil. Thanks for being with us and listening. Today we talk about our newest studio and getting ready for the Holiday Market. --- Send in a voice message: https://anchor.fm/sharon-d-anderson/message Support this podcast: https://anchor.fm/sharon-d-anderson/support

This week's questions is: How do you use data in your writing business? Find out more about K-Lytics here:https://k-lytics.com Book recommendation of the week is: Intuitive Editing by Tiffany Yates Martin Kobo Amazon UK  Amazon USA Sign up for the The Anatomy of Prose: How to Breathe Life into Your Story, Characters and Sentences Webinar Listener Rebel of the Week is Jay Renee Lawrence If you'd like to be a Rebel of the week please do send in your story, it can be any kind of rebellion. You can email your rebel story to rebelauthorpodcast@gmail.com or tweet me @rebelauthorpod *** No new patrons this week, a huge thank you to all my current patrons, you help not only to keep the podcast running, you make me feel like what I do is worthwhile. If you'd like to support the show, and get early access to all the episodes as well as bonus content you can from as little as $2 a month by visiting: www.patreon.com/sachablack

Question submitted by Lee Wood: https://www.amazon.co.uk/Lee-Wood/e/B001KMN3VU

> https://www.bklnk.com/ ... you can get the full paths to categories in the US, UK & Canada and find the categories any book is listed in - great for stealth research! > LinkTree [heard about it on ALLi FB Live] https://linktr.ee/paulteague > Trying to increase mail sign-ups with scrapbook of location images: https://www.subscribepage.com/scrapbook001 Here is a direct link to the scrapbook to save you registering: https://paulteague.net/MB1Scrapbook > If you've heard something that's helpful to you in your author business and you'd like to support the show, you can Buy Me A Coffee at BuyMeACoffee.com/paulteague > K-Lytics purchase options: https://k-lytics.com/pricing To purchase the individual $37 reports that I mentioned, see here: https://k-lytics.com/shop/ > I Wish I Knew Then podcast: https://wishidknownforwriters.com/

Question submitted by Lee Wood: https://www.amazon.co.uk/Lee-Wood/e/B001KMN3VU

> https://www.bklnk.com/ ... you can get the full paths to categories in the US, UK & Canada and find the categories any book is listed in - great for stealth research! > LinkTree [heard about it on ALLi FB Live] https://linktr.ee/paulteague > Trying to increase mail sign-ups with scrapbook of location images: https://www.subscribepage.com/scrapbook001 Here is a direct link to the scrapbook to save you registering: https://paulteague.net/MB1Scrapbook > If you’ve heard something that’s helpful to you in your author business and you’d like to support the show, you can Buy Me A Coffee at BuyMeACoffee.com/paulteague > K-Lytics purchase options: https://k-lytics.com/pricing  To purchase the individual $37 reports that I mentioned, see here: https://k-lytics.com/shop/ > I Wish I Knew Then podcast: https://wishidknownforwriters.com/

Knowing as much as you can about your category, genre or sub-genre is vitally important if you're going to succeed as a self publisher, and Alex Newton is keen to help you with that. He's the creator of K-lytics (www.k-lytics.com) a website where you can get in-depth reports on various genres and sub-genres on Amazon that will help you find your niche, boost sales in your chosen genre, and basically give you the information you need to stand out in this crowded publishing space. In this episode Alex explains the reports and how to use them, talks about the Amazon environment and how it works, and also dishes the dirt on the romance genre, giving us some helpful tips along the way! This is a must listen episode!

Our guest this week is Alex Newton, the mastermind behind K-Lytics, a market intelligence service that monitors close to 100,000 Amazon titles each month to help publishers of fiction and non-fiction spot trends, identify opportunities,…Continue ReadingSFA 039 – Trends on Amazon, New Opportunities, and How CoVid-19 Is Affecting Ebook Sales with Alex Newton

On this week’s New Author Podcast, number 67, we have finally switched from the terrible zencastr to Zoom and everything went smooth. The kids had a total of -28 words in their word count update yet lots of things got done. Hear how along with these other amazing topics: The Hero’s Journey Jerry’s Hand problems What Lindsay has named her new chair Lots of promos Facebook Author pages Also, find out what Jerry was right about! Here are some links: Alek Newton’s K-Lytics site All About Kat Bammer All About my “big brother” Paul Teague Check out this little known Author Esther Trosclair did our logo Caro Begin at gocreate.me did our websites Our podcast music was done at https://musicradiocreative.com/ Contact Us Jerry Evanoff Website: https://jerryevanoff.com/ Email: jerry@jerryevanoff.com Facebook: https://www.facebook.com/jerryevanoffauthor Twitter: @jerrye25 Instagram: @jerrye25 Snapchat: @jugdish1925 Lindsay Evanoff Website: https://lindsayevanoff.com/ Email: Read more...

Video or audio, do you have a preferred way of getting content? Episode 300 is so close! Were going to start releases on video now as well! Jim will be hosting a webinar on becoming a public speaker, Bryan is excited about 20BooksVegas and he will do a Meetup Pizza Party by the pool. This week’s Happy Books Review Winner is Roland Denzel. Thank you to our featured Patrons: Kiss Kill, A Dragon among the Eagles, and Stone Cold. The Top Tips of the week include how Sandra Beckwith helps authors turn reviews into more sales, why Facebook may be a way to reach more readers, and why your seven keywords may need to be upgraded. The 5 News stories that matter most to indies this week include how publishers create a gray area for plagiarism, why Audiobook is changing how you market, how K-Lytics will help you decide if you need to write a Christmas novel, why author Nick Thacker was finally able to quit his day job, and which sites vaporized due to Facebook's false information and how they tried to make up for it. Question of the Week: Now that the show will be available in video, do you think you'll keep listening in audio or consume the podcast in its video format? Also, what is the giant trophy for on Bryan's bookshelf?

I hear a lot of confusion about writing to market and writing to trend. In this post, I'm going to explain MY personal view and my experience with both writing to market and writing to trend: how they're different, how they're related, and help you figure out what's right for YOU.   WHAT WRITING TO MARKET IS Chris Fox coined the term "write to market" and talks about it in his book called ... (wait for it) ... Write to Market. In the Introduction, Fox states that the book will teach you "how to analyze the market, and to use that information to write a book that readers want." (Check out the book HERE.)  Often, writers start out by writing that story that's in their head. They have that one idea that they just can't shake, or the story they HAVE to tell. That's writing for love and it's author-centric. Writing to market shifts the focus from the author to the reader. What does the READER want? I mean, we all WANT them to want that story that's been on our heart to write, but that isn't always the case. (There are, of course, happy accidents where this happens, sometimes in a big way.) We learn what the readers want when we study the trends of what's selling on Amazon. Indie authors can do this better, because we don't need two years to publish a book once it's done. I've decided to write a book to market and had it published in six weeks. It's a little harder if you're hoping to secure an agent, because if you study what's hot NOW, realize that in a few years when your book has been through the whole process, it won't be hot anymore. So, we clear on the idea of writing to market? Study what readers are buying. Find a space that's selling and that you also love. Write that. More resources: Niche It Down a Notch How I Wrote and Launched a Book in a Month   WHAT WRITING TO MARKET ISN'T I want to be CLEAR about this before we continue. Writing to market is not selling out. Most people who write to market find a market selling well that they LIKE. But even if not, even if you're an author who needs to write in a market they don't LOVE because you have a mortgage to pay, THAT'S OKAY. Some people write for the love. Some for money. And some for both. I'm okay with all three of those choices. As long as you're okay with YOUR choices, then go on with your bad self.  But I want to be VERY clear that if you think "writing to market" is a dirty term, this probably isn't the space for you. Or, maybe you should reframe the conversation. Remember that writers are writing for themselves, but also for readers. Writing to market is serving readers what they want to read. If that's wrong, maybe I don't want to be right. WHAT WRITING TO TREND IS Writing to trend is something that I hear people talking around a lot, but it's not always called the same thing by different people. To me, writing to trend is taking the principles of writing to market, but applying them to a particular niche, genre, or trend that is HOT now ... and may or may not stay hot for long periods of time. As I'm writing this, there is a hot trend for bully romance. Essentially, that's just what it sounds like. A guy (or group of guys) bullies a girl and she falls in love with him/them anyway. Not my fave trend (kind of an extreme example of the enemies to lovers trope) but one that went WILD this year and has made some authors serious bank. Will this be around next year? Gosh, I hope not. But who knows. Another trend in romance (reverse harem-- one main girl with a bunch of male lovers) was thought to be a hot trend and is still going strong years later. There is a big tie between reverse harem and bully romance. You don't always know how long a trend will last or when it will fizzle out. But trends tend to show up more suddenly, become THE thing, and might gain ground or lose steam. For a little while, at least, their star burns brighter and hotter than the others. And they can make a LOT of money if you can hop on while they're hot. Other resources: Writing Gals Video on Finding Hot Markets AN EXAMPLE OF WRITING TO MARKET vs WRITING TO TREND When I launched my Emma St. Clair pen name, my goal was to write to market. I made some mistakes (notably in covers and some tropes early on) but quickly figured out that romance needs a happy ending (ha!) and that adult clean romance readers like faces on covers, while photos without faces tend to be either more women's fiction or YA fiction. My first few books eventually had the right covers, the right tropes, and met expectations in a market that was selling well. They did fine. I went from making $30 a month to $300 a month to over $1000 a month. While marketing and doing all this research, I kept seeing billionaire books. They were everywhere. I tend to NOT be a trendy person, so it made me eye-roll-y. I'm also not super swayed by dudes with lots of money. Despite my annoyance, one day I had an idea for a billionaire book. I wrote it fast. And when I launched it (COMPLETELY to market and according to the billionaire trend), in under a month, it outsold what my first two books made COMBINED over the previous three months total.   THAT is the power of writing to trend vs writing to market. Writing to market may have hungry readers, but writing to trend is hitting on a hot button trope, idea, theme, niche, or genre that has VERY voracious readers gobbling up that particular kind of book on a likely more limited time frame. Like Veruca Salt, they want it and they want it NOW. If you can serve up that golden goose, you've written to trend and may find some solid success. HOW YOU FIND HOT TRENDS Finding hot trends is not hard, but can be time consuming. It means spending a lot of time on Amazon, looking at categories you like (again, the goal is writing something you like that also sells) to see what readers are buying.  Narrow it down to a few categories you're interested in writing in, then spend some time watching what's selling in the top 20 of those categories.  You'll want to look at: covers titles publishers (it matters whether it's traditional or indie!) themes tropes niches settings conventions keywords pricing descriptions And that's just a start. What are the top twenty books in a category doing? What is the rank of the first book in the top twenty? What's the rank of the LAST book in the top twenty? I already linked to it above, but you can check out my post Niche It Down a Notch to see my slideshow presentation I did on studying categories. You can also check out K-Lytics (affiliate link!), which has paid and free resources based on Amazon data, broken down by specific niches and categories. I first started writing clean romance after studying keywords in a program called Publisher Rocket (affiliate link!), which showed me how many people were searching for Christmas Romances. You're trying to find a sweet spot: a market or trend that sells well, but not so well you can't break in. Any category where the top twenty is all traditionally published books (or super well-established indies) or all in the top 5000 will be a challenge. Any category where the number one book is 5000 or above is not going to make you a lot of money. If you're hanging out in other author groups by genre, you'll also see what kinds of books authors are talking about and promoting. Sometimes I'll spot the trends there first. More resources:  How to Find a Hungry Market (Chris Fox) Hot Markets and Trends in 2019   TIPS FOR WRITING TO MARKET AND WRITING TO TREND The thing about writing to market is that the demand for bigger niches is more long-lasting. I believe that clean romance overall will be around for a while. Billionaire books? They're still selling, but my sales have started to flag. Sometimes they get too crowded and readers get tired. Sometimes new trends come along and get so hot they push the others out. I'm currently writing paranormal academy books right now under the pen name Sullivan Gray. (Think boarding schools for magical creatures.) This is a hot trend right now. But are people ever really tired of vampire books? No. They trend hot, then die down, but they never really go away. (JUST LIKE ACTUAL VAMPIRES.) Indie author Bella Forrest may have started near the Twilight hot trend, but she's still making a killing with a 70-book vampire series. And the next time vampires trend HOT, those books can burn bright again too. All this to say: if you're chasing a hot trend, the books will have more longevity if they fit a broader market as well and can still SERVE those readers when the trend isn't hot. If there is ever a backlash against billionaire (in small groups, there totally is), I could rebrand and retitle my books and they would STILL fit well in the broader clean romance market with other tropes and conventions. There are more CLASSIC elements to the trendy books. If you want to write to market or go further and write to a hot trend, hang out on Amazon. Talk to other authors. Study. Be a little nerdy. READ books. Then see if you can find a sweet spot for books you love to write and books readers love to read. Make sure the elements of your books match the ones in the market AS MUCH AS POSSIBLE. Cover especially. Readers should glance at your book and KNOW where it fits or if they want to read it.

K-Lytics' Alex Newton explains how purposefully crunching numbers and analysing data can help indie authors find the most profitable reader niche for their books.

Alexander Niehues (aka Alex Newton) worked as a senior management consultant in the corporate world for 20 years before quitting his career to work at home in Stuttgart and founding K-lytics.In this podcast episode, Newton explains: How to use analytics to sell more books Why he relies on outsourcing and contractors What non-fiction authors can do to earn more money The types of books that sell a lot on Amazon todayAnd lots more.--- Send in a voice message: https://anchor.fm/becomeawritertoday/messageSupport the show (https://becomeawritertoday.com/join)

Today we are going to talk about one of my favorite topics, data! Alex Newton, the CEO and Founder of K-Lytics.com a leading market research resource for authors and publishers or put in terms we care about his company and expertise helps authors sell more books, face less competition, and get a bigger return on the […] The post 007 – The State of The Christian Fiction Kindle Market with Alex Newton appeared first on Christian Publishing Show.

Today we are going to talk about one of my favorite topics, data! Alex Newton, the CEO and Founder of K-Lytics.com a leading market research resource for authors and publishers or put in terms we care about his company and expertise helps authors sell more books, face less competition, and get a bigger return on the […] The post 007 – The State of The Christian Fiction Kindle Market with Alex Newton appeared first on Christian Publishing Show.

This week, we were joined by data cruncher Alex Newton who runs the K-Lytics (i.e. Kindle Analytics) service for authors and publishers. He’s been taking a look at trends in Science Fiction and Fantasy this summer, so we invited him on to talk about the findings of his latest report. He also gave us some great information on the Amazon

In this episode Chris explains the process of simple audience research--what types you want to gather, where to gather the data, and how it will inform your book marketing. Links & Show Notes: -Why you don't need to cast a wide net, just the right net. -Who is your proprietary audience and how to find them. -Why you don't have to be a research scientist to gather effective audience research. -3 kinds of data you should be collecting. -Why you might want to invest in high quality research. -Simple ways to survey your readers. - Four types of research you need to gather with reader surveys. -Why you should consider spying on your fellow authors. -Caution: don't get carried away--gather only what you need and no more. Explanation of how to find your Facebook Insights on your business page: You need a Facebook business page to see Insights, it is not a service Facebook offers for personal profiles. Go to your business page and click on Insights at the top of your page. Go to the People tab on the left side of the page. There are three tabs on this page and each tab has some different data. You can also look at content data on your Posts tab.  Links: They're live, just click 'em -Pew Internet social media data page link. -Links to HubSpot data, Buffer data, and eMarketer data -Check out info on K-Lytics data genre reports -SurveyMonkey link -Chris' updated free class, Quick Tips to Sell More Books on Facebook

The more you understand how readers find,  and how and why they buy books on Amazon, the more books you’re going to sell. And to help us dive deep into the subject is today’s guest, Alex Newton, the CEO and Founder of K-Lytics.com The post 136 – How to Use K-lytics To Sell More Kindle eBooks appeared first on Author Media.

In this episode I talk again to Alex Newton of K-Lytics about what is happening in the Amazon Kindle Store in terms of what categories are doing well and badly. You can find full show notes at http://beginselfpublishing.com/latest-kindle-store

In this episode K-Lytics founder Alex Newton shows authors how to make sure your book will succeed before it's published. Show Notes and Links:  -How is K-Lytics different from other keyword-type tools out there? -How you can know if your book has the potential to sell before you publish it. -How to pick the right genre and sub-genre for your book's success? -What kinds of meta data will help you sell more books? -Why your marketing budget can dictate what genre your book belongs in. -If you're considering writing in a new genre, what should you do to insure that your books will reach those readers? Click here to see how K-Lytics works for authors. Watch the video.  Check out the genre market research reports that K-Lytics offers to authors. There are two pages so make sure you click "Older posts" to see all the reports. The preorder for Chris' new book, The Newbie's Guide To Sell More Books With Less Marketing will be available this week. Make sure you get an email notification so you don't miss the 99-cent preorder. Sign up for a notification here. If you have a question or comment about this episode be sure and post it on the podcast page of our website at https://cksyme.com/episode47. Let's get the conversation started!

In this episode I talk again to Alex Newton from the firm K-Lytics about the trends he has recently seen in the Amazon eBook market. His company K-Lytics scans the Amazon charts and looks for the number of books, their prices and how they rank relatively. In this way he can work out what areas are the easiest to chart in and which are the areas with the most potential sales and least competition. The post What’s New on Amazon with Alex Newton appeared first on Begin Self-Publishing.