A list of successful self publishers with over 50,000 sales

This week, to my great delight, my total sales passed the 50,000 mark. Last night my ebook sales stood at 51,914, plus some paperbacks (the numbers are harder to keep track of, even though they are a lot smaller). There is a thread on Kindleboards,  Authors who have sold more than 50,000 self-published ebooks to date, and I've reproduced the list below. Many have sold a LOT more - Chris Culver, for instance, sold 550,000 copies of The Abbey on his own. An asterisk indicates an author who was formerly traditionally published.

In circles hostile to indie authors, one often reads the assertion that although self-publishing has worked for people like Amanda Hocking and John Locke, the vast majority of us are lucky to sell 100 books. This necessarily incomplete list gives them the lie. And there are many more writers who, even though they haven't made this list yet, are earning respectable money from their writing and reaching readers.

INDIE AUTHORS WHO HAVE SOLD MORE THAN 50,000 EBOOKS

Susan Alison 
Dani Amore
*Bella Andre
Melody Anne
Daniel Arenson 
Jake Barton
Robert Bidinotto
*J Carson Black
*Cheryl Bolen
Kathleen Brooks
~
Ryk Brown
Christopher Bunn
Catherine Bybee
Sarra Cannon
Karen Cantwell
Ruth Cardello
Camilla Chafer
Darcie Chan
Mel Comley
Shelly Crane 
~
*Blake Crouch
Chris Culver
David Dalglish
Emma Daniels
Dannika Dark
*Carol Davis Luce
Susan Denning
Saffina Desforges
Mainak Dhar 
Mark Edwards & Louis Voss
~
Dee Ernst
*Donna Fasano
*Ellen Fischer 
Penelope Fletcher
Tina Folsom
Marie Force
Melissa Foster
Anne Frasier
*Barbara Freethy
Jenny Gardiner
~
Tracey Garvis Graves
Debora Geary
*Lee Goldberg
Elena Greene
Denise Grover Swank
*Gemma Halliday
*Ruth Harris
Liliana Hart
Michael R. Hicks
Amanda Hocking
~
Debra Holland
Hugh Howey 
Nancy C. Johnson
Ty Johnston
Heather Killough-Walden
Selena Kitt
* J.A. Konrath
*Laura Landon 
*Eve Langlais
* Stephen Leather
~
Victorine Lieske
John Locke
Terri Giuliano Long
*CJ Lyons
H.P. Mallory
Michael G. Manning

M. R. Mathias

*KC May
*Bob Mayer
David McAfee
~
Stephanie McAfee
Karen McQuestion
Courtney Milan
Rick Murcer
*Scott Nicholson
Joe Nobody
Anne Marie Novark

Beth Orsoff
*Jessica Park

Shayne Parkinson
~
Paul Pilkington
Pandora Poikilos
Rose Pressey
*Michael Prescott
T.R. Ragan
J.R. Rain 
Terri Reid
Adam Rendon
Lexi Revellian
Shadonna Richards
~
Imogen Rose
Nick Russell
N. Gemini Sasson
*Michele Scott
Tori Scott
L.J. Sellers
Mark Sennen
Kathleen Shoop
Christopher Smith
Nick Spalding
~
Michael J Sullivan
*Laura Taylor
Vicki Tyley
Kathleen Valentine
Michael Wallace
Kerry Wilkinson
Nicole Williams
Zoe Winters

Laurin Wittig
Sarah Woodbury
~

Samantha Young
Rachel Yu

Kerning and other sources of irritation

xkcd: A webcomic of romance, sarcasm, math and language

I'm sure all my blog readers know what kerning is - okay, one of you at the back there doesn't. Sit up straight and pay attention.

 Kerning is the adjustment of space between characters in a line of text, using their shape and relationship to each other to make them more visually appealing.

I use it when doing the lettering for my book covers; Adobe Photoshop allows you to fine tune spacing to a high degree. Once you become aware of the possibility of bad kerning, you will be irritated by it whenever you come across an example.

Another thing that once noticed, bugs you forever is incorrect apostrophes - unnecessary apostrophes are even worse than missing ones, as they demonstrate an inept striving for accuracy.

Getting more esoteric, indents should not be used at the start of chapters and after scene breaks. A traditional refinement subliminally indicating a break to the reader, this is the convention in printed books but many formatters of ebooks don't seem to know about it. I can't help noticing it as I read. I wish I didn't.

(What was that you just said? Pedantic, moi? Plih.)

Song lyrics in novels - just don't go there

John Lennon's IN MY LIFE lyrics, redacted

I can't remember where I first picked up the idea that it was very, very expensive to use snippets of song lyrics in the novel you are writing.

I'd heard The Beatles never get quoted at all as the charges for so doing are astronomical.

So when I came to the scene in Remix where Caz is in her best friend James's car and she uneasily suspects he is romantically interested in her, then Some Enchanted Evening plays on the radio, I knew not to quote a few lines from the song though I would have liked to.

Not everyone does, though. This is Blake Morrison talking about his eleventh novel South of the River in the Guardian:

'I'd restricted myself to just a line or two from a handful of songs and vaguely hoped that was OK or that no one would notice. My editor, reasonably enough, was more cautious, and at the last minute someone from the publishing house helpfully secured the permissions on my behalf.

'I still have the invoices. For one line of "Jumpin' Jack Flash": £500. For one line of Oasis's "Wonderwall": £535. For one line of "When I'm Sixty-four": £735. For two lines of "I Shot the Sheriff" (words and music by Bob Marley, though in my head it was the Eric Clapton version): £1,000. Plus several more, of which only George Michael's "Fastlove" came in under £200. Plus VAT. Total cost: £4,401.75. A typical advance for a literary novel by a first-time author would barely meet the cost.'

Strewth. For those of you who didn't know this, now you do.

Making indies less indie...

Yesterday I read a curious piece in The Bookseller online about author and former literary agent Orna Ross's plans to set up a 'non-profit body representing the interests of self-published authors' called The Alliance of Independent Authors. Members will pay a fee to join.

And how will writers benefit from tAoIA?

Orna Ross says: "We will be speaking up on behalf of independent authors, and making links with booksellers, wholesalers, agents and legacy publishers, so people have an idea of what our creative needs are. It requires a change of attitude both in writers and in other players. In the past, the author was a resource to be mined, but indie authorship is about meeting the publisher as a partner."

Right. I've always yearned for booksellers, wholesalers, agents and legacy publishers to be aware of my creative needs. Whatever they are. I wonder what they'll do once they've worked them out?

And "indie authorship is about meeting the publisher as a partner" - well, stone me, I'd always thought indie authorship was all about going it alone without a publisher. Shows how little I know.

At the moment, it's Them and Us. The publishing industry is unhappy about the hordes of self-publishers cluttering up territory that hitherto they have managed to keep fenced and gated. They are cross with Amazon for letting it happen. They look back nostalgically to the time when they had a monopoly of distribution and bricks and mortar bookshops were the only outlets; when self-publishing meant a garage full of books and nowhere to sell them; when an author they rejected stayed rejected. And we don't like them much either - why would we? Most of us have had experience of being ignored or treated with contempt by agents and publishers.

If Orna does somehow organize that meeting between unlikely partners, I'd love to be there and take notes. 

Amazon KDP angst

At the end of January, Kindle Direct Publishing sales reports broke. I'd sold 201 copies of Replica on the 31st January after my promotion; when I woke on the 1st I'd sold another 20. For the rest of the day, nothing. For the next day or two, sales limped in intermittently, like survivors of a lost battle.

Nobody who hasn't self-published via KDP on Amazon will appreciate the disruptive effects of any glitch in Amazon sales reporting. We all look at our stats far too often, hoping for that small jolt of pleasure we get when another sale ticks up. When things go wrong, the herd gets restive - see this mammoth thread on Kindleboards. Traditionally published authors know nothing of this; their frustrations come from being completely in the dark as to what their book's rank means in terms of numbers sold. They are reduced to asking indies about it, who are generally much more helpful than their publishers.

Should we worry that, if sales are not reported to us, they are lost in the system and will not be paid for? Almost certainly not. Terence O'Brien wrote this about Amazon's two independent systems, sales and reports:

We can look at the characteristics of the two systems. One is the ordering/billing/delivery (OBD) system. The other is the KDP reporting.

The OBD is vital to the life of the company. The time and effort devoted to that kind of system, the backups and redundancies included, and the attention from management reflect that importance.

KDP reporting isn't necessary for anything. Nothing depends on it. It's just a nice gesture from Amazon to some of its suppliers.

So the OBD system is far more robust and flexible. It can, and probably does, recognize impending problems every day, and route around them. There is no reason to devote the same level of resources to KDP reporting, not in building it or fixing it.

There's a similar difference between Amazon Customer Support, which is legendary and excellent, and KDP Support...which is not. Responses are slow, and staff often misunderstand your point, deny there is a problem, or repeatedly fail to fix an acknowledged problem. It's really quite bad.

Kilts, naked chests and swords

TIME CHILD and other stories features in the Amazon genre chart, Romance Time Travel, so I went to have a look.

Browsing, I was struck by the prevalence of covers with hunky men wearing the kilt. Fourteen of them in the top 100. None of these guys have a shirt to their name, let alone the woollier clothing necessary for the chilly weather you get in the Highlands most of the year. A bit of jewellery, a Celtic tattoo and a draped female will be of little assistance when gales are roaring down the glen. (Bit like those sci fi women who select a skimpy bikini as suitable battle wear.) Maybe that's why the ones with heads are all glaring morosely out of the covers - they are wishing they'd thought to put on a jumper and padded jacket before leaving the house.

My father was half Scottish, clan McGregor, and wore the kilt now and then. I still have it in my wardrobe. On the beach, he even wore it without a top. In August, on the south coast of England, on hot days.

Clearly there is something compelling to writers and readers here that I don't get.  How odd fiction is.

TIME CHILD and other short stories

I don't write a lot of short stories, largely because I haven't sussed out the market for them (though some writers, like Cally Taylor, have found publication by that route) and I've concentrated on novels. But every now and then I get an idea, or am asked to write a story or go in for a contest, and I write one. I've now gathered seven into a collection.

The title story is the longest - I thought for a while it was going to turn into a full-length novel. It's about a young woman who is visited by herself as a child, and recklessly gives her younger self good advice. I bet most of us would do the same - I don't see how one could resist. We all know exactly what mistakes we made and what we should have done differently...

I noticed recurring themes in the stories; angels, death, heaven and hell, plus a bit of time travel and even the odd vampire (so not me). But all of them are pretty upbeat.

You can buy TIME CHILD and other stories on Amazon UK for 77p, or Amazon US for $0.99.

From a Top Writing Blogs Award Nominee

I was pleased to get an email last week from eCollegeFinder informing me my blog is in the running for the Top Writing Blogs Award. They look for "nominees that will inspire and teach our student readers to find their writing style and improve their skills, whether the students are writing an essay or starting their first novel". They suggested I might like to do a post answering the question, What advice can you offer students aiming to improve their writing acumen? 

So here goes (geared to novel writing as this is what I do):

• Read a great deal, but only for pleasure. Reading books you don't like will only make you grumpy.
• Get it right: correct spelling, grammar and punctuation matter. Its and it's, your and you're used interchangeably are unforgivable. If uncertain, Google the rules and learn them.
• Cut into the scene when it becomes interesting, cut out when you have achieved what you set out to. 
• If you get bored when reading your own writing, this is a Bad Sign. And you will need to read it a lot as you tweak, polish and hone.
• Brood about your characters - I do this in the bath, driving or walking. Even minor characters like the hero's mother or the dog have their own agenda.
• Remember the villain thinks he's the hero.
• Readers are smart - trust the reader. Never repeat yourself, and let readers do some of the work. They like that.
• Pay attention to criticism in case you can learn from it, but don't feel obliged to take advice. It's your novel.
• And most importantly: Never, ever bore the reader.

2011 - the year publishing changed

What a year 2011 has been for publishing. A time of accelerating change and radically differing opinions, it started well for me with Remix mentioned on 1st January 2011 in an article in The Times. Things I blogged about over the past year:

• Some indie writers, like Amanda Hocking, making it mega big with millions of fans and sales and offers from traditional publishers
• Realization dawning (a bit late in some quarters) that ebooks, not paperbacks, are going to be the most popular form of book very, very, soon.
• The mysterious non-launch of Pottermore
• Publishers like Penguin and Harper Collins trying to monetize the slush pile - all those keen and naive authors, surely some profit there somewhere...
• Prognostications of doom about the future of publishing
• The totally unsurprising  rise of ebook piracy, encouraged by the determination of publishers to keep ebook prices as high as possible
• Spats between unpublished writers and self-published writers, fuelled by the near-impossibility of getting a contract, and the irritating success of some indies
• Some agents attempting to become publishers, with mixed results

So what does 2012 hold? Amazon recently launched the Kindle Touch, the Kindle Fire and the affordable Kindle 4, and reported selling over a million a week in December. Post-Christmas, their charts exploded as all those new owners stocked up their Kindles. So that's a tricky question which I may save for a later post. Meanwhile,

HAPPY NEW YEAR!

CHRISTMAS BOOK QUIZ

Today, as part of the Goodreads Christmas Bloghop, I've made a seasonal quiz. There are only five questions of varying trickiness. No cheating and looking the answers up!

In Little Women, Jo said, "Christmas won't be Christmas without any..." Without any what?

parties
presents
alcoholic beverages

What does Mr Elton do when alone in the carriage with Emma on Christmas Eve?

Turn into a vampire
Confess his love for Harriet
Propose

Which was the last of the spirits who appeared to Scrooge?

The Ghost of Christmas Past
The Ghost of Christmas Yet To Come
The Ghost of Christmas Present

In The Prisoner of Azkaban, who wears a string of tinsel round his neck on Christmas day?

Dobby
Scabbers
Crookshanks

In Wind in the Willows, who calls when Mole has taken Rattie to his old home?

Carol singing field mice
Badger, first-footing
Stoats and weasels on the rampage





Why not visit the other blogs doing the Christmas Bloghop, and find out what they are up to, with prizes and links to more:

www.karenlowe.co.uk 
 http://graceelliot-author.blogspot.com 
 http://roseshadows.wordpress.com 
www.hamgee.co.uk/blog 
http://rubybarnes.blogspot.com    

JKR's Pottermore & Sony Reader - what is going on?

JK Rowling's Pottermore was scheduled for launch last October, with the long awaited ebooks available to meet the Christmas market. Hundreds of thousands of children would find a Sony Reader pre-loaded with Harry Potter plus extra bits in their Christmas stockings. The launch was postponed. Since then, a strange silence has settled over the whole topic. Google Pottermore, and all the entries date from June 2011. Has someone cast a Disillusionment charm, an Impediment Jinx or pronounced Colloportus?

On behalf of my blog readers, I decided to investigate. First stop was the Pottermore website, still in beta. Not much to see for non-members, but if you go here it's clear just how many people are involved in the enterprise. Next stop Pottermore Insider, the site blog. Oddly, none of the posts have dates, only times, though you can tell from the sidebar the last four posts are December's. I liked the posts about designing the House Crests. No information about when the site will exit beta and the ebooks become available. No updates or press releases.

What has this hiatus meant? First, it's enabled Amazon to consolidate Kindle's lead position among ereaders; they've brought out the affordable Kindle 4, the Kindle Touch and the Kindle Fire, and have been selling a million a week this month. Amazon's clever online store and wireless delivery are a hard act to beat. Sony's Reader (which must have been counting on the USP of offering access to the world's best-selling series of books) has lost ground it will never recover.

Second, a canny operator like JKR has made the classic mistake of creating a demand and failing to meet it. The black market has stepped in. For those who don't care about copyright, the ebooks of Harry Potter are out there, readily available and free, in the format of your choice.

HAPPY CHRISTMAS! 

and thanks to all my readers

Publishing pantomime - it's BEHIND you!

I've written a guest blog post for fellow indie JA Clement which you can read on her atmospheric blog with just one click of the mouse here. Do pop over and prove to her I am not a sad loser without any friends...

Mark Coker, Amazon and the value of indie authors

KDP Select, which I wrote about here, will cause most initial collateral damage to Smashwords, a site that allows self-publishers to access Sony, Kobo, Barnes and Noble and Apple. Tens of thousands of indie writers withdrew some or all of their books from the site yesterday, in order to comply with Amazon's exclusivity clause. I did myself.

Mark Coker, founder of Smashwords, has written critical pieces on his blog and in the Huffington Post. You can sympathize with his point of view - his site is a resource for indies, and now a massively richer business is poaching them. Although the writers leaving are those who, like me, sell insignificant numbers on Smashwords, if 20,000 books that sold one copy a month are removed, that's a lost income of around $4,000 a month.

What would I do if I was Mark Coker facing this threat to his business? I'd ask myself what Amazon was doing that I wasn't - I'd stop fighting the alligators for a moment and do a bit of swamp draining. The key problem with Smashwords is you can load an excellent book, but no one who isn't looking for it will find it, as I know from personal experience. So, if I was him, I'd recruit my daughter and six voracious readers like her, young and willing to work for a modest fee. I'd tell them to find the best books on the site and write a review. I'd showcase one of these books a day, then put them in a Best Books on Smashwords chart. I'd think up other cheap promotional ideas, like Reduced for a Day, or Month's Best Cover.

What chiefly interests me about this whole situation is that suddenly indie books are being viewed as a valuable resource, instead of a 'tsunami of crap'. Amazon has always known it was worthwhile giving nearly equal opportunities to self-published books - other outlets are only just beginning to catch up. How long before these outlets start actively competing for our custom, instead of tolerating and side-lining us?

KDP Select - Amazon's offer to indies

Amazon has just launched KDP Select; any books you sign up to the scheme can be borrowed by US Amazon Prime members through the Kindle Owners' Lending Library. Main features of KDP Select are:

• Your books must not be digitally available anywhere but Amazon
• You sign up for three months at a time, after which you can opt out
• You are entitled to make your book free for 5 days out of each 90 day period
• There is a fixed amount of money which will be split between books which have been lent out each month; you will receive this amount divided by number of loans x loans of your book. Amazon will provide $6 million for 2012.

I've signed up for this, taking my books down from Smashwords, where I sell few copies. I like to be in at the start with new ventures, though I suspect the writers who do best will be US indie bestsellers with multiple books.

The encouraging thing  is that it shows Amazon appreciates its self-publishers, who these days are a big slice of the publishing industry. Some best-selling US indies were consulted by them about the scheme before it was finalized. This is more proof that we are a force to be reckoned with in publishing, and a great deal more welcome - however it works out in practice - than Penguin's recent attempt to profit from would-be self-publishers. 

I also can't help wondering, if Amazon is doing this for us, what else might it have up its sleeve for the future?

Unique difficulties of writing a novel

Coat of arms modelled in wax

Comments on last week's post got me thinking about what writing a novel is like. I said it was similar to my own area of expertise, wax modelling, where I rough out the shape by joining strips of wax, add and subtract until it looks right, then texture.

But on reflection writing is more difficult than that. If you are modelling a coat of arms, like the one on the left, you can tell at a glance when you have got there, because it looks as it is supposed to, and anyone can see that. You know when you are on track, as the piece begins to resemble the working drawing. 

With a book, when you are finished all you have is a lot of words. You've been toiling on it sentence by sentence, chapter by chapter, while the first reader experiences it whole. Send it out on submission to agents, and the odds are none of them will think you've got it right. To be an author, not only do you need superb judgment of what to put in and what to leave out, but at some level you have to have a crazy amount of faith in yourself.

Ups and downs of an indie writer

On Kindleboards I came across this post by V.J. Chambers which struck an instant chord with me. I'm sure most self-published authors will agree it's spot on about the ups and downs of an indie writer. 

The good news is, that most traditionally published authors experience similar ups and downs, but the whole process is much slower, you have less control, less direct information to obsess over, and it's possible to be dumped by your publisher.

My emotional writing journey by V.J. Chambers

1. I loooove writing. I'm going to get published and make millions of dollars!
2. (100 no-responses from agents later and two manuscripts later) This is really hard and demoralizing. Why do I freaking bother?
3. Discover self-publishing is not as bad as eating babies.
4. I loooove self-publishing. I'm going to market my butt off and play with my price and make millions of dollars!
5. So, um, I'm not actually making any money. This is really hard and demoralizing. Why do I freaking bother?
6. OMG! I'm selling more!
7. OMG! I'm still selling more. If this keeps up, I could quit my day job!
8. Oh. So, I'm, um, not really selling that many books any more. This is really hard and demoralizing. But I bother because I know that it's possible to be successful.
9. Huh. My sales are picking up again.
10. Huh. My sales are plummeting.
11. So, um, apparently this writing thing is going to be emotionally draining. 

You can sample V.J.'s first novel in her Toil and Trouble trilogy on Amazon in the UK and US.

Penguin and publishing options today

I haven't blogged about Penguin's move into vanity publishing as it's been covered elsewhere - if you've somehow missed reading about it, I'd recommend David Gaughran's post. It's really annoying to see yet another attempt to make money out of naive wannabe writers.

Writers, without whom there would be no books, bookshops or publishing industry (and no films for that matter) are generally treated surprisingly badly. The Big Six offer ever smaller advances and more comprehensive contracts; writers are the only people involved in publishing who mostly don't make a living wage. Anyone submitting work to agents is resigned to slow responses, form rejections or being ignored. We keep quiet about the worst horror stories (though they'd make riveting blog posts) because we want to be seen as professional.

And everyone, it seems, sees opportunities for making money out of writers thwarted by the near-impossibility of getting a legacy contract. I believe there are three sensible ways of reaching your readers today:

• A traditional publishing deal. Though this is probably still most writers' dream, it's less advantageous than it was even ten years ago. Increasingly, publishing is more about marketing than the product and new or mid-list authors can feel neglected.
• Small press publishing deal. There are some small presses, such as Ridan, that do very well for their authors. Others, such as Night Publishing, are more like co-operatives. You need to look carefully at each one to see exactly what they offer and what their terms are, but if you are not happy going it alone this might suit you.
• Self-publishing. You control everything, but will need to learn how to do or commission covers, formatting, editing, proofreading and uploading to Amazon's KDP.

I can see the temptation of Penguin's offer for newbie writers. After all, Penguin is one of the most famous names in the business - and for a fee they will take some of the jobs you have no idea how to do off your hands. But then they will take 30% of every sale you make. Honestly, you can do better on your own. Trust me on this.

My interview on BBC's You and Yours

Last Friday You and Yours broadcast an item about Amazon and publishing, including a brief interview with a self-published author - me.

A month ago, the Daily Mail Online had an article about Hive, a website set up by Gardners to 'try and stop even more independent bookshops from having to close by allowing people to buy books, e-books and DVDs online put money towards a local bookshop at the same time.' Amazon is depicted as the baddie, responsible for closing bookshops; famously nice Michael Palin supports Hive. (Not a good name, Hive - try looking it up on Google.)

I commented on the article: Like every reader, I want bookshops to flourish. But I'm also a writer, and when I looked up my novels on Hive, they are there but 'not available'. Why? Because I'm a self-published author. My books are available on Amazon. Amazon has enabled me to sell 45,000 books, mostly ebooks, over the past year. But it's virtually impossible to persuade bookshops to stock indie books, even with the full trade discount. So my loyalty remains with Amazon, and that's where I'll continue to buy books.

I was somewhat staggered to see my comment voted the least popular. But then I got a phone call from a You and Yours researcher; they were going to do a piece on Amazon, had seen my comment and wanted me to record an interview.

The BBC is only a thirty minute bike ride from Hoxton. I was taken up in a lift to the fifth floor and a small, sound-proof studio with a window into the room next door where two women controlled the sound. They asked me to keep my hands off the table so the microphone didn't pick up stray noise. Peter White came in. It's strange meeting someone you've often heard on the radio - you feel you know him, but he doesn't know you. His pleasant, relaxed demeanour made me less nervous. He asked me questions, and I remembered to keep my hands in my lap while answering. Then I biked back, thinking of all the things I might have said and didn't.
I missed the programme, as my sister was in London that Friday and I met her for lunch, so I didn't hear it until it was available on BBC iPlayer. I got several emails from friends who'd heard it by chance, and a couple from writers asking my advice. I also sold half a dozen paperbacks of Remix and Replica on Amazon.

It was an interesting experience, and I now feel more confident about doing something similar another time.

Are your villains too sympathetic?

I find unremittingly evil villains boring. Take Voldemort, for instance - what does he get out of life, what motivates him? What does he do in the long winter evenings? He must, surely, get fed up with thinking up ways of being nasty to people and gaining world domination 24/7. Doesn't he ever fancy going out for a pizza and a film?

I tend to err on the other side. In my first novel, Torbrek...and the Dragon Variation,  the baddie Skardroft became so sympathetic I had to introduce a further baddie, Corfe, who as a torturer was hard to like. But I have to say, in the sequel, I feel sorry for Corfe as he attempts to continue his evil ways after suffering well-deserved head injuries...

There is an interesting discussion on this topic on Kindleboards. The suggestions of how to make your baddie sympathetic, but still evil, are so insightful I'm going to quote them here:

• My current WIP is a fantasy, and my villain became so cool, charismatic, and *sympathetic* that he was dominating the whole story! The problem was - I think - that we had too much of his POV.  We saw too much of his thoughts and related to him too strongly.  I went back and either cut his POV scenes, or rewrote them from another POV. And suddenly - voilà - he became scary again.  He's still a very charismatic villain, but he's clearly a villain. Sandra Miller
  
• I always get into the heads of my villains and yes, their self-justification can be surprisingly effective. I wouldn't consider this a drawback, however. A richly drawn, slightly sympathetic villain is a wonderful detail to include in your novel. Michael Wallace
  
• Sympathetic is fine; what is important is fear. The reader might understand and even sympathize with a villain but when that villain is in the same room as the protagonist there needs to be fear, uncertainty about what that villain might do. It's that fear and uncertainty in the heart of the reader that makes a villain effective and if the villain is also sympathetic that's even better. KM Johnson-Weider
  
• To create a good villain, you have to be willing to completely, utterly, irrevocably damage the lives of characters you love. Otherwise, you're just having guys wave around guns with blanks instead of bullets. David Dalglish
  
• The uncertainty has to be there.  I think what I need to do now is make something happen to throw the readers the other way again.  So you thought you understand this person? Think again! Several people have commented that it's best to keep the villain off-stage as well, at least initially.   The monster in the shadows is scarier than the one you can see, as long as you also see the bodies strewn around. Masha DuToit

I think I'm getting better at writing convincing but dislikeable villains. One reviewer commented about Sir Peter Ellis in Replica: ' the oily and cold-blooded boss is totally believable'. That'll do me.

Screenplays and novel writing

I'm currently turning my novel Replica into a screenplay. Why, I hear you cry - after all, if it's difficult to sell a novel which will cost a publisher £10,000 to produce (Snowbooks' figures), how much harder is it to sell a screenplay which will cost up to £500 an hour to make? (That's BBC tarifs - I couldn't find the total cost of a made-for-TV 90 minute film.)

Partly it's because I think Replica would transfer well to the small screen, and partly because it's an interesting challenge. Screenplay writing is very different from novel writing; since there will be input from the director, actors, set and costume designers, on the page it's the dialogue that does all the work. You don't say what the characters are feeling; you don't write backstory; you don't tell the actors how to deliver the lines. So the dialogue has to be very good indeed.

You lay the screenplay out to an accepted format, in Courier 12, as in the picture. This enables the length of a script to be assessed quickly. A film should come to no more than 120 pages. I'm a concise writer, so it's a new sensation for me to have to cut scenes and dialogue. I now realize why adaptations often have whole subplots missing, and why films can be so different from the original novel.

I've a nasty feeling it probably takes as long to become proficient at writing screenplays as it does to write readable novels.