How To Attract Subscribers to Your Author Blog

Wouldn’t it be great if people in your target audiences automatically received your blog posts, rather than having to rely completely on new readers to find your blog and repeat visitors to remember to visit your blog periodically?

Set up an email subscription widgetThere’s an easy answer — RSS feeds allow your author blog posts to be automatically delivered to your readers’ email or feed reader, and even to other websites. All you need to do is provide a sign up mechanism for your visitors to subscribe.

In the right column of this blog, under the heading "Get Blog Updates," is an area where readers can sign up to receive my author blog posts. I’ve reproduced it here for illustration. My blog visitors can enter their email address in the box to receive blog posts by email or click the "subscribe in a reader" link to choose their favorite feed reader or have my blog feed delivered to the "RSS Feeds" folder in Outlook.

Some blog visitors may not be familiar with RSS feeds. I created a "learn more" link that takes readers to this page for a brief explanation of how feeds work and how to sign up. I also offer a free bonus report on that page, as an added incentive.

FeedBurner is the best tool for managing your author blog subscriptions. Your blogging platform may provide an easy widget or plug-in for creating feeds, but it’s best to set up your own account at FeedBurner. You will have more flexibility in the set up and be able to track the number of subscribers to your author blog.

FeedBurner is now owned by Google, so you will use your Google user name and password to set up your account. For step-by-step instructions on setting up your RSS Feed in FeedBurner, I highly recommend Just the FAQs: Feeds by MaAnna Stephenson. This ebook walks you through the process of using FeedBurner to set up, optimize and manage feeds. You’ll learn how to best format your feeds for delivery to mobile devices, how to republish feeds on another website, how to offer updates by email, and more. The non-techie language make it a snap for anyone to master RSS feeds.

If you aren’t yet offering feeds on your blog, get started right away and watch your readership soar! And be sure to subscribe to The Savvy Book Marketer blog using the tools in the right column, so you don’t miss any posts!
 

 

This is a reprint from Dana Lynn Smith‘s The Savvy Book Marketer.

Discovering Passion and Purpose in Writing

I’ve often heard it said that everyone dreams of writing the next great novel. That may be, but few get beyond “trunk writing” and fewer still actually publish something of quality. Why is that? Perhaps it’s because, while people may dream of being a “writer,” only those with a true passion for writing can find the energy to do it.

As I continue work on Prayerfully Yours, I am amazed at how much passion it takes to keep plugging along at something I often feel unqualified to write.  I sometimes ponder what exactly is my purpose, not just in writing this book about prayer, but also about my purpose in life in general. It’s given me yet another subject for research and I would like to share what I’ve found.
 
First, there is the need for passion. If you’re like me, determining your passion can be difficult. I’ve always thought of it as something you eat-sleep-breath (much like my husband’s obsession with Star Wars action figures). That may not be the case for you, as it hasn’t been for me. A passion can be something that you naturally gravitate to, but don’t necessarily obsess over.
 
In her article Determine Your Passion, Amber Keinath poses several questions such as the obvious “What are you good at?” to the less obvious “What were you doing the last time you really had a lot of fun and found the time flying?” that can guide each of us to determining our own passion. For a writer, those questions can lead to a long list of possible books, essays, posts and even workshop notes on a particular topic.
 
After passion comes purpose. That is possibly the most difficult question to answer: What is my purpose in life? Some people, called nihilists (see #6 on Dictionary.com), believe we have no purpose. Others, like myself, want to believe we have a purpose (or more than one), but just don’t know how to discover it.
 
Many a book has been written on the subject of discovering one’s purpose in life and some have become very popular for whatever reason, like Purpose Driven Life. Unlike Rick Warren, however, I like to think that each of us has our own purpose separate from each other. As Albert from UrbanMonk.net said in a guest post to ZenHabits:
Are Your Goals Yours? This statement is everywhere, and yet it is ignored so often that it bears repeating: Your purpose is your own. No one can cramp themselves into another person’s definition of happiness and success and, well, expect to be happy and successful.
 
That was why I particularly enjoyed Steve Pavlina’s article “How to Discover Your Life Purpose in About 20 Minutes.” Steve’s solution is simple: title your blank page with “What is my true purpose in life?”, then write down any answer that pops into your head. According to Steve, the answer that makes you cry is your life’s purpose. Again, as an Independent Author, I can see where finding this purpose can lead to so many new avenues of income from book sales to speaking events.
 
It’s not always about making money. The money, in my opinion, is a byproduct of doing what we’re meant to do. For this Independent Author, discovering a passion and a life purpose is just part of the journey on The Road to Writing.

 

This is a reprint from Virginia Ripple‘s The Road to Writing blog.

Four Good Reasons You Should Plan A Book Before You Write It

Today, I just wanted to look at a few good reasons why it is better to plan your next book rather than blindly taking a plunge and plunking down text on the page. In this case, I will offer five good reasons. At this time, I’m focusing this post on their relevance to writing a non-fiction book rather than the novel. I’m sure some of them would apply in some sense, but right now I find myself writing a piece of nonfiction so it is easier to write about nonfiction.

The issue we are addressing right now is really one of good project management. For most things, it really does make more sense to start planning out what you want to say before you ever write a single word. Think about? Most of those writing resources you’ve read or that are currently taking up space on  your bookshelf will mention something about the benefits of having a plan whether it is taking notes, writing a synopsis, or outlining. These are obviously important elements. Still, you may be one of those writers that ignores this little piece of advice and you tackle that book without a clear picture. I want to give you some really good reasons not to skip the plan.

Four Reasons

1. A plan helps you find a focus for the book. If you have started writing a non-fiction book with no thought for the contents, you may end up rambling along without a clear objective for the text. While you may have had a central reason for writing in the first place, this may be obscured by side issues. You could end up writing on tangents that change the real scope of your book to something you didn’t expect. You may even repeat yourself from different perspectives. Why muddle the content? If you have a focus that is organized as part of your overall writing plan then you can avoid these difficulties.

2. Keep your options limited. What does this mean? Well, you should be aware that there are many options to choose from when writing a non-fiction book. It is your goal to find a structure that will work for you and eliminate all of those that are not appropriate for the information or subject matter you’re trying to convey. This point might also include practical issues of design, page count, and distribution choices (especially if you’re a self-publisher). If you don’t narrow these considerations, the task of writing a book can become overwhelming.

3. Make sure you have a market. If you stop to take in all of the considerations about potential markets before you’ve starting writing, you can save yourself from producing a book that no one wants to read. This is particularly true in the realm of non-fiction where some topics have been so thoroughly covered that the market is saturated. Additionally, if you know you have a market before you write, then you will be able to produce a book that best fits the current needs of that market.

4. Consider the alternatives to your book. What do I mean by alternatives? When it comes to non-fiction there is room to think about peripheral benefits. If you do research and take the time, effort, even money to making this book happen, then you should consider how you can get the most out of this expense as you can. Simply put, planning up front allows you to identify markets for future books so you can start planning for the next project. You may be able to write on the subject in magazines or create a course which can help promote your expertise in your topic of choice. Think about how you can use the information and planning you’ve done to your advantage.


In Closing…

I’ll admit that these are just a few reasons. If you commit to planning before you write, you should be able find other reasons based on your own experiences or choices of topic. I wish you luck on your writing endeavors. If you have any other reasons, please leave a comment. I’d love to hear from you. Keep writing!

 

This is a cross-posting from Shaun C. Kilgore‘s site.

Barnes & Noble PubIt™ To Provide Digital Self-Publishing Program

US bookseller Barnes & Noble has announced it is to launch a digital publishing program for independent publishers and self-published authors. PubIt! will allow users to load up completed book files online where they will be converted to the ePub format and made available for sale through Barnes & Noble.com and the Barnes & Noble eBookstore.

PubIt! will be easy-to-use and provide independent publishers and authors with a digital platform to distribute their ebooks. The service will launch this summer, but no specific details have been made available about royalties, other than the model offered would be a ‘competitive royalty model and compensation process’.
"As a company that has achieved much of its success by building mutually beneficial relationships with publishers and authors. Barnes & Noble’s new PubIt! service represents an exciting evolution and significant opportunity in the digital content arena. Barnes & Noble is uniquely positioned to support writers and publishers and bring their exciting digital works to the broadest audience of readers anywhere."

– Theresa Horner, Director, Digital Products, Barnes & Noble.

 

This is a cross-posting from Mick Rooney’s POD, Self-Publishing and Independent Publishing.

Writing and Reading Books Are Stress Relievers

Authors have always been lucky enough to have a built in stress reliever whether they know it or not. It’s called writing a book. Once I’m working on my characters and their lives for a new book I’m so absorbed that nothing or no one in today’s stress filled world bothers me.

I like getting lost in a developing story and putting the main idea whirling around in my head down. It’s a challenge adding to the skeleton story I’ve created to fill in and build a book. That takes all my concentration. I get excited every time I’m working on a scene, and when something new pops into my head for the character to say or do that fits into the story. Humor is important to me. It should be to everyone. The more we laugh the better we feel. Humor is a stress reliever. Being able to laugh can make you feel more relaxed. You smile at someone, and they’ll smile at you. You laugh and someone laughs with you. The scenes in my book I’m working on that make me giggle while I’m writing them are the moments I’m told by readers that make them laugh out loud when they read my books. What a delightful feel good moment for me to hear this from readers.

Sometimes, the comments are that my characters draw the readers into the story. In my mystery series of five books, the characters are so colorful that once the readers have finished the first book, they have to read the other four to see what happens next to everyone in the book. The same is happening now that I’ve written two books in my Amish series. Readers like the characters Nurse Hal and her Amish family. They want to know what will happen to all of them next. The readers are so deeply absorbed in the characters lives to the point that they try to read my books in just one sitting. While reading my books doesn’t leave any room for thinking about something stressful. It’s simply a time to relax. I know all this because I hear it from my book readers.

Not everyone has the inclination to write a book just to find a stress free time but if writing interests a person keeping a journal might be helpful. I’ve written daily journal logs over the years. Now it’s fun to look back and read about something that I had long ago forgotten. One journal was about the ten years I helped care for my father while he was battling Alzheimer’s disease. Talk about feeling stressed. In those days, I’d come home from my parents home and plop down exhausted emotionally and physically. I’d pick up my journal and write about that day with my father, entering my thoughts, emotions, fears and dreads. Though I hadn’t thought about writing a book at the time, that journal later became my book Hello Alzheimer’s Good Bye Dad. I’ve hoped that the story might be of some help to others. There are many similar books on the market about a family coping with Alzheimer’s. To make my book an educational tool rather than just a story, I added helpful tips throughout the book and in the story. Perhaps, reading that book would be a stress reliever for caregivers. They learn ways to help their family member while they become educated about what the disease will do to their loved one next.

I know for a fact that books help readers relieve stress. When I don’t like the programs on television in the evening, I tune out by reading a book while my husband watches a program. Then there is maybe the extreme when one buyer wrote me that she read one of my books (A Promise Is A Promise) six times while she’s been going through a tough spot in her life. Wow! I as an author am helping myself and helping others at the same time just by being creative. So if you’re a writer, relax and work on that story. If you’re a reader get you a good book (of course I’d like it if you bought one of mine at ebay, amazon or www.booksbyfaybookstore.weebly.com), set down in a quiet place with a cup of coffee or a glass of wine and go with the flow.

 

Behind the Headlines: Amazon Announces Kindle for Android App for Release Summer 2010

Amazon announced overnight that it will release a Kindle for Android App this summer to allow Kindle content to be purchased, read, and synched on the Droid Incredible, Google Nexus One, HTC MyTouch, Motorola CLIQ, Motorola Droid, and other devices that have an SD card and run Android OS 1.6 or greater. Importantly, Amazon appears to be readying the Kindle for Android App for international roll-out.

No Kindle Required, and no surprise here, but kudos to Amazon for continuing its relentless march to make the Kindle platform available for free download on the widest possible array of popular mobile devices. The relatively new Android platform is capturing impressive early market share, despite the notion that one might get from the gadget and mainstream media that every family in the world will own 5 iPhones, 3 iPads, and an iPod Touch by Labor Day.

Amazon’s release and placeholder page don’t give away much information about the finer points of the Kindle for Android App feature set, but include a line that promises users will be able to "[a]djust the text size, add bookmarks, and view the annotations you created on your Kindle, computer, or other Kindle-compatible device."

But I find it mildly intriguing that another line notes that "Kindle newspapers, magazines and blogs are currently not available on Kindle for Android." Call me greedy, but when I see the juxtaposition of the words "currently" and "not available" in Amazon metadata or news releases, I take it to mean "We’re working on that and we will let you know when it is ready."

Speaking of what the Kindle team may be working on, will a Kindle for Palm app be next up, or is it way too 2001 of me to suggest such a thing? A decade ago when I was at Inc. Magazine one of my responsibilities was to provide our magazine and book content digitally to Palm and Pocket PC owners through Peanut Press and netLibrary, and there were plenty of orders for those early days. Getting Kindle on those devices would, in my perhaps nostalgic view, kind of complete the circle so that some of Kindle’s device-apps team could spring to the next level and begin investing serious energy in important projects such as:
 

  • bringing all of the world’s languages and alphabets, if not to the Kindle device itself, at least to the Kindle for iPad and other devices;
     
  • making "plays-well-with-others" deals with some competitors’ dedicated ereaders; and
     
  • renewing its subsidiary Stanza platform as the app of choice to read free content from sites like the Internet Archive on the iPad, iPhone, and other devices.

The availability of the Kindle for Android, which is a Google-developed platform for mobile devices, could be one more ingredient to make things interesting as Google, fresh off recent failures as a mobile phone retailer with the Nexus One and a social network developer with Buzz, moves to try to find work as an online book retailer.

Here’s the guts of Amazon’s news release this morning:

 

Introducing Kindle for Android

Free Android app for reading allows customers to enjoy over 540,000 Kindle books on Android phones; Amazon offers Kindle apps for the iPhone, iPod touch, iPad, Mac, PC, BlackBerry and, soon, Android


SEATTLE, May 18, 2010 (BUSINESS WIRE) –Amazon.com, Inc. (NASDAQ: AMZN) today announced that Kindle for Android, the free application that lets readers around the world enjoy Kindle books on their Android phones, is coming this summer. Kindle for Android enables customers to discover and read from over 540,000 books in the Kindle Store — the largest selection of the most popular books that people want to read — including New York Times Bestsellers and New Releases from $9.99. Like all Kindle apps, Kindle for Android will include Amazon’s Whispersync technology, which saves and synchronizes a customer’s bookmarks across their Kindle, Kindle DX, iPhone, iPod touch, iPad, PC, Mac, BlackBerry and, soon, Android, so customers always have their reading material with them and never lose their place. Kindle is the most wished for, most gifted and #1 bestselling product on Amazon.com.

"Kindle for Android is the perfect companion application for Kindle and Kindle DX owners, and is also a great way for customers to enjoy over 540,000 books in the Kindle Store even if they don’t yet have a Kindle," said Jay Marine, director, Amazon Kindle. "We think customers are going to love the convenience and simplicity of having instant access to a massive selection of books from Amazon on their Droid, Nexus, Incredible and many more Android devices."
 

Android owners can take advantage of the features that customers love about Kindle and Kindle app experience, including:

  • Search more than 540,000 books, including 96 of 110 New York Times Bestsellers, plus tens of thousands of the most popular classics for free directly from their Android device. Bestsellers such as "Backlash" by Aaron Allston, "Big Girl" by Danielle Steel, "The Immortal Life of Henrietta Lacks" by Rebecca Skloot, and "The Lost Symbol" by Dan Brown, and hundreds of thousands of other popular books are $9.99 or less in the Kindle Store
     
  • Browse by genre or author, and take advantage of all the features that customers enjoy in the Kindle Store, including Amazon.com customer reviews, personalized recommendations and editorial reviews
     
  • Access their library of previously purchased Kindle books storedon Amazon’s servers for free
     
  • Synchronize last page read between their Kindle, Kindle DX, iPhone, iPod touch, iPad, PC, Mac, BlackBerry and, soon, Android
     
  • Choose from five different font sizes
     
  • Read the beginning of books for free before they decide to buy
     
  • Read in portrait or landscape mode, tap on either side of the screen or flick to turn pages

Customers can see a sneak peak and sign up to receive an e-mail when Kindle for Android is available at http://www.amazon.com/kindleforandroid.

 

This is a reprint from Stephen Windwalker’s Kindle Nation Daily.

What Does Self-Publishing Cost: Competitive Self-Publisher

This is the last in the series of What Does Self-Publishing Cost posts. After a preview, we looked at two other models of self-publishing, each representing a range of choices that self-publishers can make when they start planning their publication. Here are the links to the rest of the series:

 
Today we’ll look at the most ambitious self-publishers, the authors who set out to compete head to head with books from major publishers, to get reviews in the most prestigious newspapers and journals, and to eventually compete nationally in the marketplace. I’m calling these publishers Competitive Self-Publishers.

 
9 Cost Categories for Competitive Self-Publishing
  1. Company setup—Competitive self-publishers have a fully-formed business structure. It may be a sole proprietorship, a partnership or a corporation. Many already have businesses when they enter publishing, and use that company to launch their new endeavor. Our publisher will have proper accounting and understands the tax implications of business decisions. Since the Competitive Self-Publisher intends to sell across the distribution spectrum, this publisher will have to handle record keeping, invoicing, banking and collections. It’s also more likely he will fully outfit his publishing company with branding and peripherals like a logo design, stationary and other accouterments of a small business.

    Total: $500 – 1,500

  2. ISBNs—Costs here are pretty much the same as for the Online Self-Publisher. You still need ISBNs for all your editions, and the question remains of how many to buy, but the single ISBN is no longer an option.

    Considering the different formats this publisher will use, and the possibility of additional products, figure on at least ten ISBNs at a cost of $250 at myidentifiers.com. But in many cases, publishers will opt for the 100 ISBN plan, to fully prepare for a successful publishing future.

    Total: $250 – 575
     

  3. Manuscript preparation—The Competitive Self-Publisher may use office staff available to her in her business, or outsource the details of manuscript preparation, although many will do all manuscript preparation themselves.

    Total: $0 – 150
     

  4. Editing—The Competitive Self-Publisher approaches editing as a critical and necessary part of the publishing process. They find editors through other industry professionals, and may survey a variety of editors for prices and sample edits. Competitive Self-Publishers often get editors involved early in the process to help shape the manuscript as it develops. They will use most if not all of the editorial services that are so important to creating a really high quality book: developmental editing, copyediting and proofreading. For scientific, technical, historical or similar books, they will use editorial help for fact checking, bibliographic help, and other tasks in book creation.

    Repeating from the last post:

    Nothing is more difficult to estimate in the book process than editing. Recent books I’ve worked on have ranged from 45,000 to 227,000 words. Some are challenging in their language and aspirations, others are intended to be casual and conversational. Each author brings different communications skills to their books. Some books need a lot of fact checking, or have copious notes sections that have to be painstakingly formatted. Each of these factors influences the time it takes to edit the book, and therefore the expense.
    Here we’ll assume our self-publisher understands that a well-edited book is essential to reaching the wide audience she desires. She engages the services of an experienced book editor for her 65,000 word, 200 page 5.5″ x 8.5″ trade paperback, and brings in other editorial professionals as the book develops.

    Developmental editing: $1,500 – 6,000
    Copyediting: $2,500 – 5,000
    Proofreading: $750 – 1,500
    Indexing: $500 – 1,000

    Total: $5,250 – 13,500

     

  5. Design—Competitive Self-Publishers make a big leap in this category. They realize that competing toe-to-toe with books from major publishers requires them to turn the design of their book over to professionals. Both the product—the book’s interior—and it’s packaging—the cover—will receive the attention they deserve to fulfill the Competitive Self-Publisher’s aspirations for their book. He will rely on these professionals to take care of the myriad tasks in book production such as dealing with printers and preparing files for reproduction.

    Total: $1,500 – 5,000
     

  6. Review program—Make no mistake, Competitive Self-publishers will mount a vigorous review campaign for a book with potential review sources. From Prepublication reviewers, to national and local newspapers, magazines, specialty media, and trade associations are likely candidates for review copies. A media kit created with help from professionals will accompany the review books. It’s not unusual to see review mailings of 200-300 copies in an attempt to drive traffic and sales for a self-publisher who has their book in national distribution. Add to this an Advance Reader program for peer review or “blurb fishing” and you can see that the costs here add up quickly. Let’s plan on digital review or reader copies, too.

    Books: $700 – 1,000
    Packaging and shipping: $800 – 1,200
    Media kit: $250 – 1,500

    Total: $1,750 – 3,700
     

  7. Platform building—Our Competitive Self-Publisher will use as many methods of promotion and marketing as feasible for their budget, and platform-building will receive a lot of attention. An e-commerce enabled website, a blog around the topics of the book, as well as offline efforts like organizing seminars and workshops come into play. Using internet book marketing is a given, and web professionals will design the online properties needed by the self-publisher.
    Running autoresponders, opt-in programs, newsletters, seminars, workshops and speaking engagements are activities that can make a powerful difference to the success of a book. Here’s where the author’s reputation and authority in their niche contribute to spreading the word. Since this is such a big cateogry, let’s make it an estimate.

    Total: $1,500 – 7,500

     

  8. Proofing and Reproduction—Competitive Self-Publishers make another move away from the pack by much more frequently relying on offset book printing instead of digital. To fill the distribution chain and have books available in just the major metropolitan areas of the U.S. our publisher is going to print 2,000 books minimum. This will allow her to get a better-looking book, to use special finishes or unique trim sizes, to have a wider choice of materials, and to get a much lower production cost.
    Suppose we find a good deal among the abundance of high-quality short-run book printers, and we can get the unit cost down to $2.25, about 40% less than what the same book would cost in digital print-on-demand production. However, these cost savings come at the price of a steep upfront investment.

    Total: $5,000 – 7,500

     

  9. Fulfillment—The Competitive Self-Publisher may concentrate on digital sales, or driving buyers to online retailers like Amazon.com, but to truly compete, she knows she needs distribution. Since it’s virtually impossible at the moment for single-book self-publishers to get distribution, she will have to settle for setting up accounts with whatever wholesalers might take her book, and either do her own fulfillment, packing, shipping and invoicing bookstores, libraries and institutional buyers herself. It’s no longer enough to just buy the big box of Jiffy bags. The costs here are for storage and insurance on her inventory. Even if she puts the books with a fulfillment company, the costs are transactional, and don’t come into play in our financial planning.

    Total: $500 – 1,000
     

Let’s Add It All Up
 
The Competitive Self-Publisher is establishing a business. More than the others we’ve looked at in this series, this is a business proposition, and the expectation is to make a profit. Our publisher will make her decisions in consultation with editorial, design and marketing professionals, and the resulting book is intended more as a product or professional lever than as an act of creative self-expression.
 
Adding our nine categories, we have a total of $16,000 – 40,425. At this point it’s easy to see why you need to make a profit. Self-publishing at this level isn’t a hobby, it’s a business enterprise. Our Competitive Self-Publisher may be looking to establish her book as an authority with a long shelf life. This will help amortize the investment by returning profits for years to come. Or she might be rolling the dice, convinced she can attract enough media attention to make it into the spotlight for a rush of sales.
 
The commitment by any self-publisher is immense, but for the Competitive Self-Publisher it’s combined with a serious business investment.
 
Variations and a Final Thought
 
My range of figures is only meant to be representative. I think it’s entirely possible to produce a competitive book and get it into print closer to $10,000. On the other hand, I know that some people spend in excess of $50,000 to launch a book. When dealing with investments like this that are tied to the success or failure of a single product, it just seems prudent to get the best help you can afford.
 
Beyond the costs involved and the risks and rewards of playing in a big marketplace, this is also how the best books come into being. Book publishing, in its most developed form, seems to me to be a collaborative effort. Many talented and experienced people bringing their knowledge and creativity into play to produce something that no one person could achieve by themselves. When an author makes the decision to publish their own book they are—wittingly or not—jumping into just such a collaboration.
 
When it works, it can produce really outstanding contributions to our cultural life. There’s just nothing else quite like it.
 
Total Competitive Self-Publishing cost: $16,000 – 40,425
 
Takeaway: Competitive Self-Publishers invest in professionally-produced books and spend the money to compete on a national scale. They often produce superior books, making a lasting impact on society.

This is a reprint from Joel Friedlander‘s The Book Designer.

Here's a twist…

Want to get your book out there into the hands of readers?  Here’s an idea: give it away.

After seeing how a few indie authors have used the time-tested concept of "something for nothing" as a hook, I’ve allowed the eBook site Kobo to offer my first novel, The Red Gate, in several, currently supported formats, FREE for the download. 

In two weeks I’ve had quitre a few takers, and have received review comments of four stars out of five. 

Now, I am only doing this for a month, ending the First of June.  Reg. price is US$4.95 — pretty inexpensive anyway., but the point is, with all the books now being released in print as well as electronic versions, the INdie author is up against it when it comes to getting some exposure for your work.  I’ve just resigned myself to thinking of The Red Gate as the pre-release marketing for The Gatekeepers (industry specific pun intended).  It seems to be working, as I’ve got readers now interested in reading the sequel, which is in it’s final re-writes. 

It’s not a path I’d suggest for every indie author out there, but for me, the entire cost has been less expensive than bearing a full-blown distribution marketing campaign on my own shoulders.  This is something I can afford to do.  I’d be grateful to any others out there who’ve used this technique with good resultys, to let me know what they suggest from this point!

 

 

Copyediting Services

Here at inWrite, we provide copyediting and proofreading services for authors and publishers. We provide services to some of the top self-publishing companies in the US.
Our structured workflow and quality assurance processes ensure on-time, quality copyediting and proofreading at the right price. We’ll be happy to make your manuscript ready for publishing.
 
Contact me for more info.

What's That?

Anyone who follows this blog knows I’m not big on rules of writing. But in my experience as an author, a reader, and an editor, I’ve found the word "that" is one of the least needed, most overused, and most frequently misused, in all of modern literature.

To better understand what I’m driving at here, allow me to rewrite those first two lines with the "thats" left in:

Anyone who follows this blog knows that I’m not big on rules of writing. But in my experience as an author, a reader, and an editor, I’ve found that the word "that" is one of the least-needed, that it is among the most overused and misused words, in all of modern literature.

Notice how the "thats" add nothing to the passage. They don’t clarify, they don’t improve flow, and they don’t reflect any sort of stylistic choice, either. They’re just taking up space and bloating word count. The word "that" is only rarely actually needed in a sentence, but for some reason, an awful lot of writers are in the (bad) habit of peppering their prose with this largely superfluous word. Consider the following, typical constructions:

He knew that I wasn’t going away.
vs.
He knew I wasn’t going away.

She was sure that everything would be fine.
vs.
She was sure everything would be fine.

You get the idea. When you find yourself tempted to include a "that" in a sentence immediately following a verb or adjective, try the sentence without the "that" first. In the vast majority of cases, you’ll find your meaning is perfectly clear, and your prose much tighter, without it. Now look at these constructions:

None of the cars that we saw were suitable.
vs.
None of the cars we saw were suitable.

The books that I needed weren’t in stock.
vs.
The books I needed weren’t in stock.

Again, the "that" adds nothing but characters on the page. As with "thats" following a verb or adjective, try any sentence where a "that" follows a noun without the "that", and see if it doesn’t read tighter.

So when is it appropriate to use "that"? When it’s needed to clarify your meaning:

As a pronoun – That is the hotel where we stayed last time we were here.
As an adjective – I’m pretty sure that book belongs to Jimmy.

Or to improve the flow of your prose, as a stylistic choice:

As an adverb – It didn’t matter all that much.
(compare this to)
It didn’t matter much.

Moving on, what about "that" versus "who"?

The judge that heard the case was biased.
vs.
The judge who heard the case was biased.


All the kids that came to the party had a good time.
vs.
All the kids who came to the party had a good time.

Presumably, the judge is a person, not a thing. Kids are people, too. People are "whos", not "thats". However, both of these examples illustrate the case where a relative clause requires an object to restrict an antecedent, which is just a fancy-pants grammarian way of saying a "that" or "who" really is needed to clarify the meaning of the sentence and make it grammatically correct. Just be sure to use "who" in reference to people, and "that" in reference to things.
 

One more thing: are you mixing up your "whiches" with your "thats"? Consider:

The dog that was found in her yard was a stray.
vs.
The dog, which was found in her yard, was a stray.

Note the difference in meaning. In the first sentence, the fact that (<– see, even I think they’re necessary sometimes!) the dog was found in her yard is an important detail. The use of "that" makes the subject, "dog", more specific. We’re not talking about the dog she saw in the park, or the dog on the corner. In this type of usage, the phrase, "that was found in her yard" is called a "restrictive phrase".
 
In the second sentence, the fact that the dog was found in her yard is incidental. The sentence could be shortened to, "The dog was a stray," with no loss of meaning or clarity. In this type of usage, the phrase, "which was in her yard," is called a "nonrestrictive phrase". The phrase does not exist to better specify a particular dog, it’s there to provide additional information about the dog.
 
It can be a tricky distinction. Let the comma be your guide when choosing between the two words. In general, if the desired meaning or emphasis of a given sentence is best conveyed when a descriptive phrase within it is offset by commas, you’re looking at a nonrestrictive phrase and "which" is the right way to go. Conversely, if such a phrase is not surrounded by commas, you’re looking at a restrictive use and can safely go with "that".
 
Also note, what’s grammatically correct isn’t always a match with the most commonly-accepted usage:
 
The puzzle pieces which we couldn’t find this morning turned up under the cushions.
 
Gah! This sentence is like fingernails on a chalkboard to a grammarian’s ears because it uses "which" as part of a restrictive phrase. Yet the sentence will seem correct to most readers because most of them think the rule used to divide the "thats" from the "whiches" is based on whether or not the noun in the sentence is plural. Look at the grammatically correct version of the same sentence:
 
The puzzle pieces that we couldn’t find this morning turned up under the cushions.
 
It sorta kinda doesn’t "sound" right, does it? It’s because the incorrect usage has become more ubiquitous than the correct one. You can moan and complain, stamp your little grammarian feet, and even threaten to pull out your Chicago Manual of Style, but about 99 times out of a hundred you will lose a bar bet on this. It’s usually fine to go with the more common, incorrect usage in such a case, but better still to avoid the whole kerfuffle and dispense with both words whenever possible. Remember, most often, you’ll find a given sentence is just fine without either one:
 
The puzzle pieces we couldn’t find this morning turned up under the cushions.
 
But if you should find yourself in a bar with nothing better than grammar to bet on, whip out your web-enabled phone and bask in the victory round – Grammar Girl‘s got your back.

 

This is a cross-posting from April L. Hamilton‘s Indie Author blog.

What Does Self-Publishing Cost: Online Self-Publisher

This is a continuation of the What Does Self-Publishing Cost series:

 
Today let’s look at the next level of ambition, the author who decides to publish and seriously attempt to sell books in an economical way. Let’s call this publisher the Online Self-Publisher.

 
9 Cost Categories for Online Self-Publishing
  1. Company setup—It’s more likely this self-publisher will formally organize her company, probably as a sole proprietorship. She’ll pay attention to costs and have some way of accounting for sales and expenses, doing it herself. Taxes are getting complicated so it’s probable our publisher will need tax help at the end of the year too. All these costs are due to the added complexity of selling book wholesale and retail and the effect on your personal income and tax liabilities. At the beginning you may have an offsetting loss on your taxes since your business will likely spend more than it takes in just to get your book ready for publication.

    Total: $100 – 300
     

  2. ISBNs—You’ll definitely need ISBNs since you can’t sell through online merchants like Amazon.com or BN.com without one. The question now becomes: how many ISBNs to buy?

    One ISBN will cost you $125 at the myidentifiers website run by Bowker to sell these oh-so-precious numbers. But if you plan on ebook editions and, in the back of your mind you’re thinking that if this book sells, you’ve got another one you could follow up with, you need more. Ten ISBNs will cost you $250, but you’ll be prepared for a couple of years of publishing to get you going.

    Total: $250
     

  3. Manuscript preparation—The Online Self-Publisher will likely do as the DIY self publisher did, and do all manuscript preparation themselves.

    Total: $0
     

  4. Editing—The Online Self-Publisher knows that editing is important, and will try to find an editor to help organize, or to “polish up” their manuscript. Although some authors will use a fuller range of editorial talent, starting with developmental editing, typically the limited budget of the Online Self-Publisher will dictate a light but thorough review of the manuscript by someone who has at least has professional editing experience

    Nothing is more difficult to estimate in the book process than editing. Recent books I’ve worked on have ranged from 45,000 to 227,000 words. Some are challenging in their language and aspirations, others are intended to be casual and conversational. Each author brings different communications skills to their books. Some books need a lot of fact checking, or have copious notes sections that have to be painstakingly formatted. Each of these factors influences the time it takes to edit the book, and therefore the expense.

    Let’s say our self-publisher finds an editor on a writing forum, or through a writer’s group, or through a service like elance.com. And let’s also stay with my model book, a 65,000 word, 200 page 5.5″ x 8.5″ trade paperback. This will give us at least a framework for what the editorial cost might be, $700-1,500.

    We can add to this the cost of a basic proofreading. In many cases the Online Self-Publisher herself, or a friend, will proofread the book. In my experience it’s unwise to skip this step. $0 – $500

    Total: $700-2,000
     

  5. Design—Online Self-Publishers know that a book that looks decent will be more appealing than one that looks like your nephew did it in Apple Works. She will budget for a cover designer but will probably skip an interior design, preferring to stay with the DIY model in the interest of saving money. At a minimum, the publisher will have to learn to submit files to the Print on Demand provider, or pay someone to do it for her.

    Total: $200 – 500
     

  6. Review program—Reviews for the Online self-publisher will typically be limited to online reviewers, where a PDF of the book can be submitted at no cost. But it’s also likely that he will run a small review campaign offline as well. Prepublication reviewers, specialty media, local newspapers and any trade associations are likely candidates for review copies and a DIY media kit. Due to the expense of packing, mailing and digitally-printed books, this can add up pretty quickly. Lets assume 24 books split between reviewers and authorities or other authors who might supply blurbs to help in promotion. 
    Cost of one book: $3.50. Add a Jiffy bag: $1.79. Add media mail postage: $2.38. Oh, and something for the rest of the paperwork that gets sent with review copies: $1.00. That’s a total of $8.67, or $208 for 24 copies.

    Total: $200 – 300

     

  7. Platform building—In addition to the free resources for building her author platform, our new internet marketer may also consult with a search-engine optimization expert to help with online visibility, or opt for custom work to be done on her website or blog. Remember, this will be the main hub of her business, and she may even install some ecommerce capabilities to be able to take orders directly on her website. Making excerpts available, capturing names and email addresses for mailing lists and other tasks are commonly outsourced to freelance technicians. Our budget should account for some mix of these tasks. Let’s make it an estimate, since the options are extremely broad.

    Total: $200 – 500
     

  8. Proofing and Reproduction—Like our DIY self-publishers, Online self-publishers will use digital printing through print on demand suppliers to manufacture their book. However, some of these publishers will have moved from author services companies like Createspace to a more manufacturing-oriented and economical supplier like Lightning Source. There are setup costs associated with this move, and some fees you would not have to pay the author service companies. However, if you expect to sell any quantity of books you will quickly make up this expense in the savings on per-book prices. We’ll also include an initial order of 50 books to the publisher for direct sales and other promotional uses.

    Total: $300 – 400
     

  9. Fulfillment—Book sales through online retailers require no fulfillment expense on the part of the Online self-publisher. Using a fulfillment service to pack and ship orders is far too expensive for the quantity of books sold, so the Online self-publisher will likely do her own fulfillment. Hey, she bought that big box of Jiffy bags for the review campaign, remember? Here’s where we use the rest of the box.

    Total: $0
     

Let’s Add It All Up
 
The Online self-publisher is serious about putting out decent books and trying to sell them using lots of tools at her disposal. Adding our nine categories, we have a total of $1,950 – 4,250. This is a significant business expense but, considering that you are starting a new business and simultaneously developing a new product and the means to market it, I would come to a different conclusion.
 
By far the largest investment of the Online self-publisher—or any of the other self-publishers, for that matter—is the time and effort it takes to put this whole project together. The time to understand enough about the parts to have some idea of how they fit together. The time to research, meet and talk to people, to work on all the incidental projects that come up in the course of the publishing journey.
 
This is truly what will make or break the publication of your book. The commitment you make and the actions that come from it are far more important than the money you will invest, and will go farther to determining the success of your book.
 
Total Online self-publishing cost: $1,950 – 4,250
 
Takeaway: Online self-publishers can produce quite acceptable books at a reasonable cost. While there may be inconsistencies and a lack of finesse in the book interior, a diligent self-publisher should be able to turn out a book of decent quality to sell online.

 

This is a reprint from Joel Friedlander‘s The Book Designer.

What Does Self-Publishing Cost: DIY

In my earlier article I looked at a framework to determine what it costs to self-publish. I described 9 cost categories and three paths to publication as a way to organize the costs for different kinds of self-publishers.

After all, not everyone wants the same kind of book, nor do people publish for all the same reasons. It seems practical to help people decide which category they’re in and look at the costs for each approach.
Today I’m going to collect the kinds of costs a self-publisher might encounter if they want to keep their cash outlay to the absolute minimum, doing much if not all of the work themselves. These are the DIY self-publishers.
 
 
9 Cost Categories for DIY Self-Publishing
  1. Company setup—The choice here is to establish a sole proprietorship or to simply publish your book under your own name, without any company structure. The cost of establishing a company vary, but the minimum cost would be whatever you are required to pay to register a business name.

    Here it costs $42 plus about another $40 for the classified ads you need to run as a public notice. These costs aren’t strictly necessary, but if the self-publisher is treating her publication like a business at all, she will take this step.

    Total: $0 – 84 
     

  2. ISBNs—Another way to control costs is to print with one of the services that will supply you with an ISBN. For someone with a book project but a small budget, this can be a considerable expense at a minimum of $125.

    You only need an ISBN if you intend to sell your book through a book trade channel, such as Amazon.com. If you don’t plan to make your book available through those channels, or if the book is strictly for private or personal use—for instance a fundraiser—you can skip the ISBN completely.

    On the other hand, if you’re concerned about the future publishing possibilities for your book, and that you might someday want to take the book to another printer or service provider, you should think about buying the ISBN up front.

    Total: $0 – 125
     

  3. Manuscript preparation—At the DIY end of self-publishing, the author will do all manuscript preparation, usually using their favorite word processor.

    Total: $0
     

  4. Editing—If our DIY self-publisher can find someone to look over the manuscript for errors, it will likely be on a free or barter basis. There probably won’t be any editing except self-editing, so expenses here are pretty much eliminated.

    Total: $0
     

  5. Design—The DIY self-publisher is the designer of the book as well. Some publisher services companies provide templates that authors can download and use with programs like Microsoft Word. And some have cover generators to help create a decent-looking cover. But the principle here is that the author completes all these tasks on his own, with or without the help of customer service staffers.

    Total: $0
     

  6. Review program—Reviews for the DIY self-publisher will probably be limited to online reviewers, where a PDF of the book can be submitted at no fee. In my experience, most of these books are not submitted to reviewers with any regularity, saving more money.

    Total: $0
     

  7. Platform building—The DIY self-publisher who wants to spread her work, find new readers and sell some books will look to online resources to do her author platform building. Typically this will involve a blog at one of the free blog hosting sites, and a lot of time spent online.

    Total: $0
     

  8. Proofing and Reproduction—Virtually all DIY self-publishers will use digital printing through print on demand suppliers to manufacture their book. A copy of the book essentially acts as the proof if one is considered necessary. Since these services—like Lulu—only charge for the books you actually buy, you could say that there is no cost here. But let’s assume our self-publisher orders 5 copies of her 200-page book, and that we consider this part of the expense of getting into print.

    Total: $27.50
     

  9. Fulfillment—Books sold will be by hand, through the self-publisher’s website, or on retailer websites. The first two options could encounter costs for packing and shipping, but they are transaction costs, not included in getting into print.

    Total: $0
     

Let’s Add It All Up
 
Each publisher has different goals for their book, but for many getting into print at the lowest possible cost is a major consideration.
 
Adding our nine categories, we have a range of $27.50 (plus shipping, of course) to $236.50 if you go for the ISBN and company set up. This plan is completely reasonable, and shows just how far we’ve gone to eliminate the obstacles to publishing your book.
 
Keep in mind that a book coming out of this process will be an amateur production. It wasn’t editing, designed or produced by publishing professionals, and it’s very likely to show it. But you will be in print, the proud owner of 5 copies of your book, with the possibility that many more people will discover you.
 
Total DIY Self-Publishing Cost: $27.50 – 236.50
 
Takeaway: It’s entirely possible to get a book into print for almost nothing. The effort, ingenuity, and talent of the author-publisher are what will determine the final quality of the book.

 

This is a reprint from Joel Friedlander‘s The Book Designer.

Review of the Public Domain Publishing Bible

Some of you may be aware that I run http://www.heartlandreviews.com. A couple of years ago I went to a fee-paid format to cut way down on the submissions. The following review, however, was not paid for. I found the book that helpful and wanted to get the word out. Here is my review as posted in both my nonfiction and writers books pages of Heartland Reviews:

Title: The Public Domain Publishing Bible
Author: Andras M. Nagy
Illustrator:
Publisher and/or Distributor: Murine Communications
Publisher Website: www.thePublicDomainBible.com
Pages: 164
ISBN: 9780982499412
Price: $13.45
Publishing Date: 2010
Reader: Bob Spear
Rating: 5 hearts

This extraordinarily helpful how-to is a must-have for publishers and self-publishers. The author, who has published over 60 books, teaches how to find and use content in the public domain to increase your streams of income and to bring to light timeless information. He provides both instruction and valuable resources and links to enable you to find and publish books no longer protected by copyright.
 
His chapters include: Public Domain in the USA; How to Select a Genre; The Print on Demand Advantage; How to Construct Your Book; A Guide to Book Scanning; How to Build a CIP Data Block; How to Work with Lightning Source; How to Market Your Business; Search Engine Optimization; How to Work with Amazon; How to Work with Createspace.com; How to Get Publicity; New Technologies; My Ten Commandments; Public Domain Resources; Publishing Resources; Copyright Search Firms; International Copyright Treaties; and a Bibliography.

His information prompted me to download a public domain book about the 1850s we sell steadily in our bookstore from Project Gutenberg, re-typeset it, redesign a cover, put our ISBN on it, and print it for sale in our store. All except for the printing of course and the ISBN was absolutely free. I now plan to publish a series of books from the 1800s frontier days to create a special section in our store, as well as wholesaling them to local museums and such. This book made all that possible. We rated it our max five hearts.


This is a
cross-posting from Bob Spear‘s Book Trends blog.

New Trends for Books

Sunday, May 2, 2010

New trends for books

Hello,

Copies of my latest novel, A Type of Beauty, the story of Kathleen Newton (1854-1882) have arrived from printers  and are waiting to be launched first at Listowel Writers Week (www.writersweek.ie) on 4 June and secondly at the National Yacht Club, Dunlaoghaire (www.nyc.ie) on 18 June. The books look terrific – you don’t realise how wonderful a product a book is until you hold it.

Currently, I am particulalry interested in where the book publishing and book selling business is heading. The scenario has changed radically over the past very few years. And not only in Ireland – it’s a worldwide phenomenon.

Bryan Appleyard’s rivetting piece in The Sunday Times Culture section dated 25/4/2010 is about the advent of the iPad which has him wondering is the book made of paper and board dead? I hope not. I love the physicality of picking up a book, browsing its pages, running the tips of my fingers over its surface, smelling the gorgeousness of fresh paper and print – and all that before reading!

Obviously, enthusiasm for the iPad depends on who you ask. Apple who make iPad and the various digital officers attached to the larger publishing houses are ecstatic. So what precisely is this iPad? Basically it offers a way of reading books. You download them and they appear on virtual wooden shelves on your screen. You turn the pages by flicking the screen.

It looks as though the iPad is here to stay. After three weeks, sales in the States are approaching 1m, whereas the estimate for sales of Kindle over 30 months is 3m. The ‘agent model’ adopted Apple looks as though it could be good news for writers. Apple takes 30% of the sale of their books; the author 25% and the remainder goes to the publisher, making the retailer the publisher and Apple acting as agent.

Keep reading and keep writing, and do make contact.
Patricia
www.patriciaoreilly.net

The Legacy of Publishing’s Ownership of Work

There are a couple of things here that you may think are unrelated but I’ll try to bridge the gap and make a coherent argument in support of my thesis. I contend that the history and very institution of publishing has lent itself to a culture of a lack of ownership by authors and artists, resulting in today’s hysterical clamoring on privacy issues.

[Editor’s note: strong language after the jump]

You all have a better sense of the publishing industry since Gutenberg than I do, so there’s no need to retread. So just think about how difficult it is to turn that Titanic of a beast around in just a few short years. I’m no industry apologist–I think that’s been made clear–and I’m not saying that we should give it some time. I’m asking that we reconsider how we are framing the debate around the breakdown of the traditional publishing industry; the rise of the independent author; the risks and opportunities of technology to serve readers, established authors, and independent writers; and the implications of copyright, privacy, and ownership on all of the above. Here are some of the areas through which we have to change our perspective in order to offer thriving solutions:
 
Agents. While agents have no doubt played a pivotal role in mediating the publishing industry’s desire for total control of a text and an author’s rightful assertion of ownership, they have also perpetuated that very dispute. How? They haven’t fought on behalf of writers for their fundamental rights, because that is not their role, traditionally. Sure, a good agent has fought for more money, bigger marketing budget, a favorable contract that matches the author’s strengths. However, agents have supported the passive-aggressive nature of the publishing industry in recent decades by fighting within the publishing companies’ own rules.
 
See, what I mean by that is this issue of framing our own perception of things. We have to work outside what we know as the traditional boundaries. Isn’t that what successful technology innovators do? Next:
 
Ownership, Privacy and Copyright. I never thought I would get hung upon this, but every day we are seeing some outrageous assertions of ownership, and not by the authors. Where the hell are our writer-brethren taking to the proverbial streets and proclaiming their ownership of their works? Because we are seeing press releases and contract clauses and Terms of Services stating proudly that the content deliverer retains at least some aspect of the rights to the work in perpetuity, or some godforsaken thing. Come on, y’all, that’s just ridiculous.
 
What I’m trying to get at here is that writers have been utterly de-fanged over the years of publishing industry beatdowns, reinforced by agents. We need more Stephen King and less, well, of everybody else. (Which is to say, we need more writers who tell the industry paper-pushers to fuck off. See Hunter S. Thompson’s comment to this effect.)
 
It’s not rocket science. It just means operating outside the “Terms of Service” and when enough of us do so, and if we create a strong enough demand in the marketplace for our work, miraculously those terms of service will derive from our side of the dispute, not the publishers’.
 
Now I’m not talking about bunnies and unicorns: this is going require a tremendous amount of discipline. Which brings me to my next point:
 
Desperation. This is the reason why the industry as we know it has perpetuated. Writers in general are desperate for exposure and that potential big gain from a publishing contract. So what do they do? Give it all up. That’s right, they give up their e-book rights and derivative marketing rights to a marketing department full of 22 year old interns with no budget who foil that author’s attempt at success because they don’t know what the fuck they’re doing. But the writer is ok with this, because they know that the risk they’ve put on the table is worth the possible reward. Wait, not it’s not. The rewards of signing with a major publishing company suck, and the chances of a $1 million book contract are nil, so why not publish yourself and instead play the lottery each week for a better chance to win?
 
BECAUSE WRITERS ARE SO FUCKING DESPERATE THEY ARE BLIND.
 
I guess we could consider what it is that has made writers so desperate. Maybe it is in our personalities: we create something and put it out there and hope for accolades, because that piece of writing is an extension of ourselves. Maybe writers are just talented people who didn’t get enough love and so this is what they do. Except I’m not a shrink and couldn’t possibly assert any truth there. All I know is that when there is a mass population (there are a shitload of writers) who require such enormous public accolades, with a finite number of readers (and by extension a finite amount of money you can earn from selling your work which is in effect a measure of that public love), there are bound to be disappointments. Lots of disappointment.
 
Is it social Darwinism of writing? I don’t accept that because it assumes a framework from which to judge good or bad writing and assigning it a successful or unsuccessful stamp. But clearly our expectations must change or else we are all headed for continued disappointment.
 
Democratizing the world of reading and writing will help everyone, I’m sure of it. No more hardcover books, sold at ridiculous prices–there’s just no need. No bottlenecks and gatekeepers needed any longer, you are relieved of duty. The internetz can enable this democratization of the book and content marketplace, but let’s just keep aware of the vultures who prey on writers’ naiveté  or their unwillingness to blaze their own trail, instead of following the trail of peanuts right back to the monsters that ripped out their teeth.

 

This is a cross-posting from Lenox Parker’s Eat My Book.