A couple of years ago, in the earliest nanoseconds of the big
Kindle bang as Brian Cox might say, you could barely come across a post about
self-publishing that didn’t refer to Kevin Kelly’s seminal article “1000 truefans.” These days, mentions are as scarce as a self-published book in
Waterstones.
The idea behind 1000 true fans, and earlier versions of the
theory (which Kelly outlines at http://www.kk.org/thetechnium/archives/2008/04/the_case_agains.php),
is that it is possible for an artist to make a living wage by building and then
looking after a small, dedicated following (in this case 1000, but he is not
dogmatic) of people all of whom are willing to pay a relatively small amount
for your work on a regular basis.
It’s easy to understand why so little is said about 1000
true fans (as well, I’ll admit, as a lack of case studies of those using the
model to earn a living). Post-Kindle (I wonder when we will start saying BK and
PK, for all it makes me want to sit down with a whopper and do some freerunning
to burn it off), advice to self-publishing writers focuses fairly exclusively
on maximising revenue from ebooks (in practice, this usually means talking
about Kindle).
In this piece, I want to suggest three key points that most advice in the PK era focuses on, all of which is antithetical to the 1000 true fans model, and then next time I want to reclaim the model, looking at what working by it might look like for writers, and arguing that not only might there be some mileage in the economic aspect of the theory, but that this is a very good way for us as artists to do our art.
- How-to advice focuses on volume – on how to sell more books. Where this is moderated in some way it is in terms of the relationship between volume and price and how that feds into maximised royalties. There is little place for discussion of how to achieve a fixed or maximum number of sales
- Advice focuses on how to use charts and algorithms to create exposure for books, effectively looking to hit a sweet spot where sales become self-generating, whereas the 1000 true fans model looks at selling only at a very specific, and fully defined, customer base
- When how-to advice looks at craft, at standards and doing things better, the focus is on objective criteria – professional editing, formatting, proofreading and cover design, for example – all of which are aimed to please a notional idea of a customer. With 1000 true fans, on the other hand, the artist aims to meet subjective criteria or, rather, a single subjective criterion – pleasing their fans. And not some abstract concept of a fan, but their actual fans.
- Surely we all want to maximise sales, after all we want to make a living (how many times did you read that before you saw it was a glaring non sequitur?)
- Surely the point of marketing is to maximise the return on your effort, and this means learning to use the most efficient sales generators (well this may be a non sequitur also, and it may be wrong about the purpose of marketing, but what it most definitely is, is mistaken about the most efficient sales generators because its still hung up on measuring volume and not percentage of target audience reached
- But this is incontrovertible, surely? To rise above the slush we have to present our work professionally. Readers notice. Readers matter. Yes they do matter – your actual readers, the ones who will love your work so much they will buy anything else you write. So give them what they love – maybe that *is* well-punctuated and neatly justified text with no typos. I’d wager it’s not though – stop forming some imaginary ideal of a reader (didn’t that go out when Aristotle slam-dunked Plato?) and look at what your readers want (and also not someone else’s readers, people who would think the only great thing about your book was the punctuation).
