Everything That’s Wrong With Ebooks

815KyITHLdL._SL1500_So I was brows­ing Kin­dle books on Ama­zon ear­li­er today and came upon one that thor­ough­ly pissed me off.

Tru­ly, this book rep­re­sents every­thing that’s wrong with ebooks.

In the con­tent, adver­tis­ing and book cov­er, the author details how a writer can write a book a week, and how turn­ing out such a quan­ti­ty of “writ­ing” is the key to mak­ing a lot of mon­ey on Kin­dle.

Let’s talk about this, shall we?

Yes, you can get rich writ­ing a book a week—when most of your “books” are 50 or few­er Kin­dle pages, and when you’re writ­ing books about how to make mon­ey writ­ing books for Kin­dle.

Not so easy is writ­ing a real book a week—say a nov­el. I’d like to see Fos­ter live up to his adver­tised max­im that the quan­ti­ty and the qual­i­ty have to be there, if he were try­ing to write a nov­el a week.

I’ve read a num­ber of these ebooks about “get­ting rich writ­ing books for Kin­dle,” and as a life­long writer who has earned a liv­ing as a jour­nal­ist, tech­ni­cal writer, scriptwriter and speech­writer (in addi­tion to nov­el­ist), I find their com­mon asser­tion that there’s noth­ing to this, that any­one can do it, not only insult­ing but also dis­hon­est.

Writ­ing is like any oth­er spe­cial­ized skill: It takes years and thou­sands of hours of study and prac­tice to do it well. Just as I would­n’t expect that I could go into a den­tist’s office tomor­row and begin fill­ing teeth, no one should expect that they can sit down and dash off an ebook in a week that will make them a lot of mon­ey.

The main prob­lem I have with Fos­ter’s “book,” as well as all of the oth­ers that advo­cate writ­ing a quan­ti­ty of work for Kin­dle, is that they pro­mote a writ­ing-as-lot­tery men­tal­i­ty. They pro­mote the idea that a per­son can just churn out a “book,” and that the pos­si­bil­i­ty exists that they’ll make tens of thou­sands, or mil­lions, of dol­lars from the book with lit­tle effort.

This writ­ing-as-lot­tery men­tal­i­ty is bad for Kin­dle and indie-pub­lished books in gen­er­al because it low­ers the over­all qual­i­ty of the work out there, and it rein­forces the idea among read­ers and lit­er­ary opin­ion-mak­ers that ebooks (espe­cial­ly indie titles) are junk. Well, we writ­ers who have worked long and hard at our craft, and who strive to give read­ers excel­lent qual­i­ty work for their mon­ey, resent this.

We resent ebooks like Fos­ter’s, as well as those that adver­tise that it’s easy to amp-up sales of your cur­rent books with a few sim­ple changes to your book list­ings on Ama­zon. I have read prob­a­bly a dozen of these titles, each time con­vinc­ing myself that this one is dif­fer­ent, that this one con­tains the keys to the king­dom. Guess what? NONE of them do. These authors are sim­ply get­ting rich on our desire to sell more of our work, and any of the “fix­es” that they sug­gest, if they help sales at all, are mere­ly tem­po­rary.

F. Scott Fitzger­ald said, “You don’t write because you want to say some­thing; you write because you have some­thing to say.” Don’t allow your work to become part of the glut of mediocre ebooks on Ama­zon; have some­thing to say, a sto­ry to tell, and put your absolute best work out there—every time. You might not rake in the mon­ey as Fos­ter and his ilk do, but you can take pride in the idea that you are only pub­lish­ing good work, and that if you’re sud­den­ly tak­en from this earth tomor­row, you at least will have left some­thing of sub­stance, of your­self, behind.

By Chris Orcutt

CHRIS ORCUTT is an American novelist and fiction writer with over 30 years' writing experience and more than a dozen books in his oeuvre. Since 2015, Chris been working exclusively on his magnum opus. Bodaciously True & Totally Awesome: The Legendary Adventures of Avery “Ace” Craig is a 9-episode novel about teens in the 1980s. It’s about ’80s teens, but for adults (in other words, it’s decidedly not YA literature), and he’s applied this epic storytelling approach to the least examined, most misunderstood, most marginalized narrative space in American literature: the lives and inner worlds of teenagers.

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