Month: January 2012

Amazon: "Primed" to Disrupt Apple's Textbook Plans?

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This article, by Jason Perlow, originally appeared on the ZDNet Tech Broiler blog on 1/21/12.

Summary: Apple may have thrown down the gauntlet for the iPad in education, but don’t count Amazon out.

So. Apple. A huge library of textbooks for $14.99 each and a free authoring program for rich textbook content.

That about sums up this last week’s events.

Oh wait. You can only sell that content produced with iBooks Author on the App Store and of course all of those texts are stuck in Apple’s “Walled Garden”.

 

Are we supposed to be surprised that this is the way Cupertino wants to do business? No, of course not.

It does bring up the issue however that if Apple becomes successful in making iBooks electronic textbooks a successful enterprise and an educational standard, a “digital underclass” might be created for those who cannot afford to purchase electronic texts if paper texts become no longer economically feasible to produce.

While I projected that this is probably more likely to happen faster to our public library system than our educational system, it does bring up the disturbing thought that iBooks textbooks might not be an affordable solution for most public school systems and only privileged, wealthy school systems will benefit from them.

 

Read the rest of the article on the ZDNet Tech Broiler blog. Also see How Apple is Sabotaging An Open Standard For Digital Books, by Ed Bott, on The Ed Bott Report on the same site.

Writing Settings

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One of the most loved and respected authors of western fiction was Louis L’amour.. His fans found his stories to be very realistic because of the accuracy of his settings. If one of his stories mentioned a specific well or spring, you could go to that location and find it. This is because L’amour had done so before he wrote about it. His research was meticulous.

Does this mean you need to become a world traveler to be able to construct realistic settings? Not necessarily. I’ve been fortunate to have lived in or traveled in a number of countries in Europe and Asia, so I could search my memory and describe a particular location I had personally experienced just like L’amour had done.

Detailed, accurate settings make for interesting reading. This is why books are often referred to as armchair adventures. But, what’s an author to do if his story takes him to a place he’s never been? All is not lost. First there are atlases for those of us who know how to read a good map. Second, there are sources of good information in Google and Wikipedia. Most importantly, there are UTube  and documentaries which can give you a look at far away places. Any author who doesn’t avail himself of these resources is just plain lazy. By studying and seeing for oneself the locations you’re writing about, you can produce much more interesting works.

OK, how about science fiction and fantasy? Did you ever notice how many fantasy novels come with an excellent map of the stories’ settings? I always find myself checking such maps as I read just so I’m clear as to where everything is. The beauty of scifi is its settings are whatever the author wants them to be; therefore, detailed descriptions become essential.

Good settings are the sign of good fiction writers. They add spice to your stories. They also add connectivity with your readership for those who have been to the places you write about. Do your due diligence to make what you write as believable as possible.

 

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

Can Your Readers Find You?

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Author websites and blogs are an essential book promotion tool. But far too many websites lack contact information for the author or make the contact information hard to find. This seems to be especially true of author websites that are on the Blogger platform.

What if someone wants to ask a question about you or your book, interview you, request a review copy, invite you to guest post on their blog, tell you how much they enjoyed reading your book, or suggest a joint venture? How will they find you?

While it’s important to make it easy for people to contact you, it’s a good idea to protect your email address from spammers who harvest email addresses online. One option is to use a contact form on your website. There are various plug-ins that work with WordPress.org sites, or you can use a service such as EmailMeForm.

Another option is to use an encrypted email link. I use the Enkoder form from Hivelogic. If you click the "email me" icon below my photo in the right column, a blank email addressed to me should automatically pop up. Encrypted email links are not entirely foolproof, but they work well.

However, I have found that there are a few email programs that are not compatible with the Enkoder, so I have also added an image just below it that contains my email address. Because this is a JPG image, rather than text, it should not be visible to bots that are harvesting email addresses.

Some people try to disguise their email address by inserting various characters such as myname*at*website.com. According to my research, many bots are sophisticated enough to see through that tactic. Probably the worst thing you can do is to place an actual link to your email address on your site. That would be highly visible to bots that are searching for email addresses to sell to spammers.

Take a look at your website now and see how easy it is for people to find you and whether your email address is secure.

Want to see more articles like this? Subscribe to The Savvy Book Marketer blog so you won’t miss any posts.

 

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

25 Things Writers Should Start Doing (ASAFP)

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This post, by Chuck Wendig, originally appeared on his terribleminds site on 1/17/12.

Consider this, if you will, a sequel to the gone-viral post, “25 Things Writers Should Stop Doing (Right F***ing Now)” — sort of a mirrored-reflection be-a-fountain-not-a-drain version.

Now, a warning, just in the rare instance you don’t come to this site all that often:

Here There Be Bad Words. Naughty profanity. The sinner’s tongue. Lots of “eff-this” and “ess-that.”

If you’re not a fan of profanity, no harm, no foul. But you might want to turn your tender gaze away before your eyeballs foam up and ooze out of your poor innocent head.

Please to enjoy.

 

1. Start Taking Yourself Seriously

This is a real thing, this writing thing, if you let it be. It’s not just about money or publication — it’s about telling the kind of stories only you can tell. Few others are going to take you seriously, so give them a 21-middle-finger-salute and do for yourself what they won’t: demonstrate some self-respect.

2. Start Taking The Time

Said it before, will say it again: we all get 24 hours in our day. Nobody has extra time. You must claim time for yourself and your writing. Time is a beast stampeding ever forward and we’re all on its back. Don’t get taken for a ride. Grab the reins. Whip that nag to go where you want her to go. Take control. Hell, pull out a big ol’ electric knife and carve off a quivering lardon of fatty Time Bacon all for yourself. (As a sidenote, the Germans had a name for that phenomenon: Zeitspeck. True story I just made up!)

3. Start Trying New Stuff

Branch out. Get brave. Look at all the ways you write now — “I write in the morning, sipping from my 64-ounce 7-11 Thirst Aborter of Mountain Dew, and I pen my second-person POV erotic spy novels and it earns me a comfortable living.” Good for you. Now punch that shit right in the ear. Okay, I’m not saying you need to change directions entirely — what kind of advice is that? “Hey, that thing that works for you? Quit doing it.” I’m just saying, mix it up. Make some occasional adjustments. Just as I exhort people to try new foods or travel destinations or ancient Sumerian sexual positions, I suggest writers try new things to see if they can add them to their repertoire. Write 1000 words a day? Try to double that. Don’t use an outline? Write with one, just once. Single POV character? Play with an ensemble. Mix it the fuck up. Don’t have just One True Way of doing things. Get crazy. Don’t merely think outside of the box. Set the box adrift on a river and shoot it with fire arrows. Give the box a motherfucking Viking funeral.

4. Start Telling Stories In New Ways

Another entry from the “Set The Box On Fire” Department — with the almost obscene advances in personal technology (the smartphone alone has become more versatile than most home computers), it’s time to start thinking about how we can tell stories in new ways. A story needn’t be contained to a book or a screen. A story can be broken apart. A story can travel. Your tale can live across Twitter and Foursquare and Tumblr and an Android app and Flickr and HTML5 and then it can take the leap away from technology and move to handwritten journals and art installations and bathroom walls and — well, you get the idea. Let this be the year that the individual author need no longer be constrained by a single medium. Transmedia is now in the hands of individuals. So give it a little squeeze, and find new ways to tell old stories.

5. Start Reading Poetry

Poetry? Yes, poetry. I know. I see that look you’re giving me. “What’s next, Wendig?” you ask. “We all hold hands and dance around the maypole in our frilly blouses and Wonder Woman underoos?” YES EXACTLY. I mean — uhh, what? No. Ahem. All I’m saying is, all writing deserves a touch — just a tickle — of poetry. And do not conflate “poetry” with “purple prose” — such bloated artifice has no room in your work.

6. Start Saying Something

You are your writing and your writing is you, and if you’re not using your writing to say something — to speak your mind, to fertilize the fictional ground with your idea-seed in an act of literary Onanism — then what’s the damn point? You have a perspective. Use it.

7. Start Discovering What You Know

Ah, that old chestnut. “Write what you know.” Note the lack of the word only in there. We don’t write only what we know because if we did that we’d all be writing about writers, like Stephen King does. (Or, we’d be writing about sitting at our computers, checking Twitter in our underwear and smelling of cheap gin and despair.) The point is that we have experience. We’ve seen things, done things, learned things. Extract those from your life. Bleed them into your work. Don’t run from who you are. Bolt madly toward yourself. Then grab all that comprises who you are and body-slam it down on the page.

8. Start Writing From A Place of Pain

You also know pain. So, get it out there. Don’t build a wall and hide from it. Scrape away the enamel of that tooth and expose the raw nerve — meaning, it goes into what you’re writing. Our pain is part of what makes us, and if we speak to that honestly in our writing, the reader will get that. Audiences can smell your inauthentic contrivances like a dead hamster in the heating duct. A reader wants to see their story in your story. They want to relate their pain to the pain on the page, and if that pain isn’t honest — meaning, it isn’t born out of experience or empathy — then your work will come across as hollow as a gutted pumpkin.
 

Read the rest of the post on terribleminds.

KDP Select Free Promotion: Discoverability Experiment, Part Two

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As stated in Part One, my goal in joining the KDP Select program had been simple, to get my two Victorian San Francisco historical mysteries, Maids of Misfortune and Uneasy Spirits, back up to the top 5 rank in the Kindle historical mystery bestseller category. Their ranks had dropped to between 18 and 24 after Amazon added hundreds of titles to that category just before Christmas. The experiment in light of this goal was an unqualified success.

I used KDP Select to offer the Kindle edition of Maids for free for two days, December 30th and 31st. When the free promotion ended, Maids of Misfortune was at #1 in the historical mystery bestseller category, and it has stayed there. In addition, Uneasy Spirits, a sequel to Maids, rose to #8 during the promotion of Maids, and by the end of the first week after the promotion, it had risen to #3 in the historical mystery bestseller category.

What I had not expected when I embarked on the experiment was that Maids of Misfortune would also rise to the top ranks in so many other categories. But it did! When Amazon calculates its rankings, it includes the free downloads. So, when the promotion ended, those 14,500 free downloads moved Maids of Misfortune up to the 400s in the overall Paid Kindle store ranking and to the top 5 in popularity in the categories of mystery, and mystery — women sleuth, and historical romance. This made the book very easy to discover by a much wider potential market than ever before. (I published Maids of Misfortune at a time when Amazon let authors choose more than two categories; for sales purposes, this gives it an edge over other books, like Uneasy Spirits, that are in only two categories.)

This greater discoverability immediately translated into increased sales that have kept Maids of Misfortune up in the overall rankings during the week after the promotion ended. Last night, at the end of the first post-promotion week, Maids of Misfortune was #164 in the Paid Kindle Store and, while it has slipped a bit in the other categories, it was still #1 in popularity in historical mysteries, #7 in mystery-women sleuths, and #7 in historical romance. These rankings are high enough to make the book very discoverable — which leads to more sales — which leads to maintaining a high ranking — which leads to more sales.

The sales of Maids of Misfortune since the promotion ended have been fantastic. In November 2011, before the promotion, I sold 376 copies of Maids of Misfortune in all venues combined (Kindle US, other Kindle European stores, CreateSpace, Barnes and Noble, and Smashwords.) This was an average of 12.5 books a day. In December 2011, before the 2 day free promotion, I sold 433 books, with an average just under 15 books a day. In the week after the promotion ended, Maids of Misfortune sold 3183 books in total at an average of just under 455 books a day. Since I was no longer selling it in Smashwords and Barnes and Noble, these sales were almost entirely in the Kindle Stores.

Another unexpected consequence was the number of books I was now selling in the European Kindle Stores. In the 5 months before the promotion I was averaging 16 copies of Maids of Misfortune a month in these stores (primarily UK and Germany), but in the first week after the promotion I have sold 148 copies—an average of 21 books a day, pushing Maids of Misfortune up to #2 in the historical mystery category in the UK store.

I had hoped that the massive download of Maids of Misfortune during the promotion would eventually translate into a spill-over to Uneasy Spirits. I reasoned that, as people finished the first book, they might decide to buy the sequel. This in turn would lead to a higher ranking that would make it more visible. This has already happened. Before the promotion, in November 2011, Uneasy Spirits (which I published in mid October) sold 341 copies—an average of 11 a day. In December 2011, before the promotion, it sold 531 copies—an average of 18 a day. During the promotion and the week after, Uneasy Spirits sold 414 copies—an average of 46 a day (well over twice the rate of sales.) One result of this is that Uneasy Spirits is now showing up in the top 100 bestselling romantic suspense books, again making it more discoverable.

A final unexpected consequence has been the number of copies of Maids of Misfortune that have been borrowed by Amazon Prime members. When you “enroll” a book in the KDP Select Program, readers who belong to Amazon Prime can “borrow” the book for free for one month. I assumed, because I was a relatively unknown author and because Maids was priced at only $2.99, that few people would borrow it.  Why would they when there are other much better known authors whose books cost more to buy? Yet, in the first week since the free promotion, 766 people have borrowed Maids of Misfortune. That means I will get some, I don’t know how much, of the $500,000 Amazon has reserved to compensate KDP authors whose books were borrowed during January. These borrowed books also are included in the calculations that Amazon uses to determine the book’s rank, so they also help maintain its visibility.

Trying to explain the phenomena, I looked more closely at the list of books in the historical mystery category, and I realized that those higher priced books ($8 and above) by better known authors (like the Maisie Dobbes series by Winspear, Gabaldon’s Lord John books, or King’s Russell-Holmes series) are not in the Amazon Prime lending program. Most of the books that are available for borrowing are by indie authors like myself, who can recognize a good promotional tool when we see one and who have control over the decisions we make about our own books. One apparent result of this is that Maids of Misfortune and other indie-authored books are ranked higher than those higher-priced and better-known books in the historical mystery category.

In summary, enrolling Maids of Misfortune in the KDP Select Program turned out to be much more successful experiment than I ever imagined it would be. Not only has it made this book and the sequel, Uneasy Spirits, more visible in the Kindle Store through high rankings in a number of categories, but the rankings have produced a large number of sales.

I don’t know how long this pattern will last, and I can already see a slight slippage in total books sold per day. KDP Select gives authors the opportunity to do promotions like this for a total of five days in a three month period, so I still have three more promotional days that I can use, if necessary. But there is no getting around the fact that in the first week of January 2012, I sold 3,515 books. And that — by any measure — is wonderful news for this indie author.

At the end of January I will post Part III, an analysis of the success of the experiment at the end of a month, but, in the meantime I would like to hear from those of you who have also experimented with the KDP Select program to learn what your experiences have been.

 

 

This is a reprint from M. Louisa Locke‘s blog.

ThrillerCast is back for 2012

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ThrillerCast – the podcast I co-host with thriller/action adventure author, David Wood, is back for another year. We chat about anything to do with thriller and genre fiction, and regularly have cool guests on the show.

The first ep of 2012 has just gone live and it’s a corker. We talk about our plans for the year, discuss KDP Select, have some free books to give away AND have a chat with Myke Cole, author of the Shadow Ops books – the first one, Control Point, is out next week from Ace.

 

ThrillerCast ThrillerCast is back for 2012

The books sound great:

Cross The For­ever War with Witch­world, add in the real world mod­ern mil­i­tary of Black Hawk Down, and you get Control Point, the mile-a-minute story of some­one try­ing to find pur­pose in a war he never asked for. – Jack Camp­bell, New York Times Bestselling author of The Lost Fleet series

I’m definitely looking forward to reading that. Myke is a great guy too, and a total nerd for roleplaying games. It’s a fun chat.

Check out the new episode here.

And check out Myke’s site here. You can pre-order Control Point now.

 

This is a reprint from Alan Baxter‘s The Word.

Is Penguin Using Stock Photography For Cover Designs?

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This post, by Derek Murphy, originally appeared on his Creativindie Covers site on 1/14/12 and is reprinted here in its entirety with his permission.

I was a little surprised today to see the cover of Ruth Long’s book “The Treachery of Beautiful Things”. After being warned by a designer friend about using stock images (because the same image might end up on multiple book covers) “Treachery” jumped out at me because I’ve been working with the same stock photo for another cover design.

Of course I assumed it was an indie published book; even so I will have to ditch the photo as I don’t want to design a cover so similar to something already out there. Turns out this book is actually being published by Penguin! Why oh why is Penguin using stock images for book covers? Isn’t that a little unfair against the little guys who have no choice but to use them? Or has independent publishing so threatened traditional publishing that they can’t hire their own photographers anymore and search for royalty free images like the rest of us?

Anyway it’s a beautiful cover, the book is probably good as well.

http://www.barnesandnoble.com/w/the-treachery-of-beautiful-things-ruth-long/1103630518

My cover was still in a very early (rough) phase, but would have been just as good as the one above eventually.

 

Derek Murphy is a fine artist, freelance graphic designer and indie author. He started making book covers for his own books, but now now offers them to other authors as well. Click here to view his portfolio.

Self-Pubbed Author Beware

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This post, by J.A. Konrath, originally appeared on his A Newbie’s Guide to Publishing blog on 1/17/12.

Right now I’m looking at the Top 10 Kindle bestsellers in occult fiction.

Every one of them is self-pubbed. In fact, there are only three legacy authors in the Top 30. I count only ten legacy pubbed in the Top 100, and most are brand names.

That’s… staggering.

It also doesn’t bode well for legacy publishers.

Long ago, I said ebooks aren’t a competition. But that only applies when they are affordable. Once an ebook costs over five bucks, readers become choosy. The above list is proof. There are ten ebooks on that list priced more than $4.99.

Bet you can guess which ones. Hint: none of the self-pubbed.

At the moment, legacy publishers seem to be content with their ebook sales. They boast how ebooks are exploding, while print sales slip more and more.

And yet, they obviously aren’t pricing ebooks competitively. I’m outselling King, Harris, and Preston & Child. That’s odd, since they kill me in paper sales. But it doesn’t matter, because bestselling authors sell at any price, which publishers are aware of.

Midlist authors do not. Midlist authors right now are getting screwed by their publishers, earning far less than they could. It’s bad enough they’re only getting 17.5% of the list price; when the list price is ten bucks it is leaving a lot of money on the table.

So why aren’t legacy pubs pricing their midlists and backlists competitively? Are they still trying to preserve paper sales? Or have they crunched the numbers and figured out $7.99 to $14.99 is the sweet spot for profits?

Whatever the reason, it is misguided. Here’s a look into the future:

 

Read the rest of the post on A Newbie’s Guide to Publishing.

The Challenges of New, Digital Lit

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Note: I’ve made my latest book, Overshare, available for free download through this Friday, 1/20/12 – it may be informative to download a copy and look at it in the (free) Kindle Reader app or on a Kindle Fire (it’s presented in full color, so viewing it on a monochrome Kindle won’t give you the full experience) before reading this post.

These days, authors and publishers are beset on all sides by pundits and industry watchers telling them they must innovate, they must redefine the meaning of the word "book", they must experiment with new forms, make use of multimedia and transmedia if they hope to stay relevant in the new, digital frontier of literature and publishing. All of which is well and good, until you take their advice.

 

The relatively minor transition from hard copy to ebooks has been difficult enough, and there are still plenty of readers who prefer the feel (and even smell!) of "real" books so much that they’ve sworn they will never switch to using an ereader. There goes a chunk of prospective readers, if you’re intending to release something in a digital format.

Next comes the form the experimental content takes. We’ve all heard of Vooks, "enhanced" ebooks and ebook apps. But how many of us have actually bought, or even seen one for ourselves? Think about it: if those of us who are in the publishing and literature business aren’t invested (or in many cases, even interested) in these new forms, why on Earth should we imagine casual readers would be? So now your prospective audience has been whittled down further, to include only those ebook fans who are also interested in experimental, new forms of digital lit.

Finally comes the quality of the content. Once you’ve brought the experimental digital lit fan to the table, it’s much the same as winning over any reader. If your content appeals to the specific tastes and preferences of a given reader, he’ll like it and maybe even be so kind as to leave you a nice review on Amazon or Goodreads. If not, he will deem the book a failure. And unless he leaves a negative review somewhere, detailing the reasons for his dislike of the work, you’ll never know if it was a failure of form or of content.

Overshare is an exclusively digital release, and it’s presented in an unusual form. When the reader "turns" to the first page, she doesn’t find the typical chapter heading followed by paragraphs of text. She finds what looks like a Facebook page. After a few such pages, she finds what looks like a Twitter stream. Then a post on the protagonist’s blog. And so it continues: social media pages and blog posts, lots of pictures, but nothing else. No narrative is provided, the reader must construct her own.

I’ve sent out MANY advance review copies of Overshare. The responses seem to fall very clearly into two camps. On the one side, there are the people who rave about it and respond with genuine excitement to its non-narrative, heavily graphic presentation. On the other, there are the people who initially say they’ve begun to look at it and find it "fascinating", "intriguing", etc., but then never respond in full. Obviously, these readers ultimately did not find the book to their liking, but I’ll never know if it was a failure of form or content from their perspective.

This is frustrating, since it’s impossible to refine or improve either the form or content of other works going forward if I don’t know what needs to be improved. It’s also possible that any kind of experimental thing, simply due to its experimental nature, will always create a sharp divide of opinion.

Experimental digital lit is a tough sell. The non-narrative form of Overshare makes it very difficult to promote. While regular users of social media—my target audience—know how to interpret this material right away, others don’t know what to make of it. When my own father, who does not use social media, was out for a visit recently, he asked me, "How do I read this book?" One hates to discourage ANY sale, but I have to accept that people outside my target audience aren’t likely to "get" Overshare to any extent, and their negative reviews can be a liability.

I thought I could build buzz initially within publishing and author circles, which are presumably more fertile ground for digital lit and experimental lit, and branch out from there to the general, reading public. Dan Holloway ran an interview with me on his eight cuts site, focusing primarily on the non-narrative aspect of the book (e.g., the book demands, or allows, depending on how you look at it, the reader construct his own narrative) and the Creative Commons licensing issues it raises. Joanna Penn ran a guest blog from me on the technical aspects of creating this heavily-formatted, graphics-intensive book. Both pieces generated a lot of reads and some comments, but scarcely bumped the sales needle for the book. I got a bit of discussion going on Facebook, where one commenter noted that by turning on the Commenting function of the Kindle, readers can insert themselves as characters in the book by adding their own "Likes" and "posting" comments to the protagonist’s blog. A very promising idea, I thought; but it still didn’t generate sales.

So now, I’m trying a giveaway. While it’s always been possible for prospective buyers to view a free excerpt, an excerpt doesn’t adequately convey what the book is all about, or how it’s supposed to be "read". People viewing the excerpt are just as likely to be confused as prompted to buy the book. When what you’ve got to offer isn’t instantly accessible and doesn’t immediately touch on familiar reference points for your target audience, sometimes the only way to get people to take a risk on it is to give it away at first. Even then, some people will decide it’s not worth the investment of their time to try the new thing.

But hopefully, many others will try it. And whether they like it or not, some of them will talk about it. Some will blog about it. Some will post reviews. And with any luck, after you’ve stopped giving it away, the book will have made enough of an impact that it can stand on its own two feet. Time will tell. If you’ve decided to download Overshare, and I really hope you will, I would very much appreciate your feedback: in the comments section here, in the form of a review on Amazon or Goodreads, or even sent directly to me via email (my address is readily available on my website, Facebook profile, Twitter profile and Blogger profile).

Circling back around to the whole question of whether or not dabbling in experimental digital lit is worthwhile…well, I’d say it depends. If your goal is to maximize the commercial potential of your work (e.g., to make money—and there’s nothing wrong with that) as efficiently as possible, then experimentation is not for you. On the other hand, if your financial needs are pretty well covered and more or less every manuscript you write is an experiment of a sort, you may want to give it a try. Those with some tech savvy will have an easier go of the writing, formatting and publishing steps, but once the book goes on sale, we’re all in the same, leaky boat.

 

April L. Hamilton is the founder and Editor in Chief of Publetariat. This is a cross-posting from her Indie Author Blog.

Top Self-published Kindle Ebooks of 2011 [Report]

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This report, by Piotr Kowalczyk, originally appeared on Ebook Friendly on 1/14/12.

Will self-published books continue to expand? Is $0.99 price tag wearing out? Can we expect new success stories from independent authors?

2011 was an exciting year for publishing, full of events changing the landscape of the industry. Self-publishing exploded and became one of the most important factors to shape digital publishing in the near future.

I’m excited to share the report with as much facts and figures as possible to help forecast how the self-publishing phenomenon would evolve in the years to come. To get the bigger picture, read also 2011 self-publishing timeline.

 

The report is based on figures from Kindle Store bestsellers archive and consists of five parts. You can jump directly to each one of them from the links below:

1. Highlights – most important facts & figures
2. Tables & charts – based on yearly and monthly lists
3. Description – how the data was collected
4. Overview – analysis of important events and trends
5. Conclusions – predictions for the future

1. Highlights

Average price of a self-published book in 2011 was $1.40, vs. $8.26 for all books in Top 100
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There is a downward trend in both the number of books and the average price
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John Locke is the author with the highest number of books in a single monthly list – 8 titles
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Five authors stayed in Top 100 for at least 6 months – Barbara Freethy, Darcie Chan, John Locke, J.R. Rain and Michael Prescott
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There are 18 self-published titles in a yearly Top 100 for 2011 (not a single self-published book in Top 100 for 2010)

 

2. Tables & charts

Table 1: Self-published books in Top 100: Summary Jan-Dec 2011

Data collected from Kindle Store Bestsellers Archive monthly lists. Click on months for detailed tables.
  Jan Feb Mar Apr May Jun Jul Aug Sep Oct Nov Dec
No. of self-pub books in Top 100: 13 26 27 26 22 13 17 26 20 20 18 13
No. of self-pub books in Top 50: 8 17 17 16 5 7 9 13  10 12 11 4
No. of self-pub books in Top 10: 2 3 4 1 0 1 1 4 4 3 0 1
Best self-pub book ranked at: 6 4 1 6 19 6 9 2 2 2  12 6
No. of $0.99 self-pub books: 7 17 16 16 18 10 11 19 12 11 14 11
Share of $0.99 self-pub books: 54% 65% 59% 62% 82% 77% 65% 73% 60% 55%  78% 85%
Average price of
a self-pub book:		 $1.99 $1.72 $1.62 $1.62 $1.58 $1.61  $1.71 $1.68 $1.53 $1.70 $1.38 $1.34
Most expensive self-pub book: $3.99 $3.99 $3.99 $3.99 $4.99 $4.99 $3.99 $3.99 $2.99 $4.61 $2.99 $3.49

Chart 1: Number of self-published books in Top 100: Jan-Dec 2011

Based on data from Table 1.

Number of self-published books in Kindle Store Top 100: Jan-Dec 2011

 

Read the rest of the report, which includes many more tables and charts as well as detailed analysis, on Ebook Friendly.

The End of Bookmarks?

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I was packaging a book for my editor and realized I only had one [promotional] bookmark left. I wrote on my to-do list: Order more bookmarks? The fact that I put a question mark after the notation indicates just how much this industry has changed. Even a year ago, having bookmarks on hand seemed essential. I would have never let myself even run low, let alone run out completely. Yet now, I’m not sure I should spend money to buy more.

In the past, many of my bookmarks went out with books I mailed—review copies, contest winners, gifts—or with books I sold at events such as the Holiday Market and at book signings. I’ve also given away hundreds at conferences like Bouchercon and Left Coast Crime and at literary events in Portland, like the Library Association’s annual meeting.

But I send out fewer print books with every new release. I recently published Liars, Cheaters & Thieves and only sent out seven review copies in print. Two years ago, I would have sent thirty. But I no longer waste money mailing books to organizations that have never reviewed my work. I used to think it was worth the $8 each ($5 for the book, $3 for mailing), in the off chance that I might get a national print review. Now I don’t bother. And most of my regular reviewers want digital copies instead.

I also used to drop off bookmarks at our Borders store every two weeks, but we all know what happened to that.

In addition, I’m attending fewer conferences and events. For example, I no longer drive to Portland (five hours on the road) to sit at a table in the Willamette Writers booth for two hours passing out bookmarks. It’s simply not worth it. (Driving and sitting in bad chairs are very hard on my knee.) And I did my last bookstore event in late 2009 (seven hours on the road!). Last year, the only conference I attended was Left Coast Crime, and that will likely be true again this year.

Don’t get me wrong. I love conferences! I love meeting people and hanging out with my writer/reader friends. But conferences are expensive, and travel out of Eugene is a royal pain. To get to Bouchercon, I have to take three flights, and each descent makes me physically ill. I can’t justify the financial or physical costs anymore. And people at conferences are not picking up bookmarks like they used to.

If I buy bookmarks, what am I going to do with them? Most of my readers purchase ebooks and have no use for bookmarks any more. Yet I can’t stand the idea of not having any, because I also pass them out to people I meet instead of handing them a business card.

So I’ve decided to buy a few. But this time, I’ll order 200 instead of 2,000. And it will likely be the last time I purchase bookmarks—another staple of the industry disappearing.

It makes me a little sad. What about you? Do you still use bookmarks?

 

 

This is a reprint of a post that originally appeared on the Crime Fiction Collective blog, and it is provided here in its entirety with the site’s permission.

Lazy Book Designing

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My eyes are stinging and my brain is dizzier than usual. I just finished reading for my bookstore’s review two excellent young adult books for consideration of including them on our shelves and hand-selling them once we do. OK, so why the physical impacts?

Both books were interior designed using serif-less fonts. They’re OK for ads or internet usage, but they are horrendous for reading on paper. Why? and Why were they used? Ah, here is my best guess. It may all be about laziness on the part of the interior designer/typesetter. Follow along as I explain more:

Text fonts that use serifs are easier to read. The serifs, those little tittles that come to points on each letter’s lines, bring closure to the letters. They let the eye know what the each letter is (try to figure out if a letter is a capital I or a small L in a sanserif font). Reading the text in a book without that help is daunting at best.

The two books I read were The Eleventh Plague and Cinder, and both were excellent, except for the typesetting. I know whereof I speak. I am an interior designer for books and a design judge for the Ben Franklin Awards. Neither books would have made it to the Ben Franklin finals but would have been rejected out of hand immediately.

So, why would a designer use sanserif fonts for his text paragraphs? I don’t know for sure, but I’d guess it was done out of sheer laziness or for a publisher’s cost cutting guidance. Many people prefer using sanserif text fonts for computer screens, where serifs can become too complex for screen resolutions. For this reason, many ebooks are set with sanserif text fonts. OK, so the designer makes the ebook version first thing since they are cheaper, easier, and quicker to publish. Why go back through and change all the text paragraphs to serifed fonts. After all, they are wider (which may add to the page count) and may create some widows and orphans that weren’t there before (again screwing up the layout throughout the book).

It’s my guess that is what happened with these two books I just struggled through to read with my aging eyesight. I think that many self-publishers may fall into this trap as well (both these books were from major publishers). Give your readers a break and design your books correctly. There is a reason for every designing tradition and standard practices.

 

This is a reprint from Bob Spear‘s Book Trends blog.

Mcdonald’s UK To Put Books Into The Hands Of Families

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This news release, from The National Literacy Trust in the UK, originally appeared on that site on 1/11/12.

"…almost four million children in Britain – one in three – do not own a book."

McDonald’s UK is to hand out around nine million popular children’s books with its Happy Meals, as part of a new partnership with publishing house HarperCollins. The promotion aims to get books into the hands of families and support mums and dads in reading with their children.

From Wednesday 11 January to Tuesday 7 February 2012, McDonald’s will offer its Happy Meals customers copies of the much-loved Mudpuddle Farm series of books by Michael Morpurgo, former children’s laureate and War Horse author.

The announcement follows research released by the National Literacy Trust in December which revealed that almost four million children in Britain – one in three – do not own a book.

Jonathan Douglas, Director of The National Literacy Trust, commented: “Our recent research showed that one in three children in this country don’t own a book, which is extremely concerning as there is a clear link between book ownership and children’s future success in life.  We are very supportive of McDonald’s decision to give families access to popular books, as its size and scale will be a huge leap towards encouraging more families to read together.”

Families will be able to take home copies of favourite titles including ‘Mossop’s Last Chance’ and ‘Martians at Mudpuddle Farm’.  Each book comes with a finger puppet to help parents bring the stories to life for their children, and to encourage children of all reading abilities to use their imagination and create their own tales.

 

 

The Death of Canadian Book Publishing

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This post, by Thad McIlroy, originally appeared on The Future of Publishing on 1/10/12.

Cultures die symbolically.

Canadian culture took a major hit on Monday with the sale of Canada’s most important book publisher, McClelland & Stewart. Canada’s largest university, the University of Toronto, took a gift horse and sold it to the Bertelsmann AG, the fifth-largest book publisher in the world, via its proxy, Random House of Canada. Random House of Canada is owned by Random House in the United States which felt that news sufficiently important to fail to issue a press release today. Likewise the University of Toronto.

 

Why do I feel that I’ve seen this film before? But that last time it had a happy ending.

As reported in The Canadian Encyclopedia, “Widespread publicity and concern was aroused by the announcement in 1971 that M&S was for sale. The Ontario government decided to provide a $1-million loan to prevent its sale to American interests. In 1984 the government again stepped in, freeing M&S from its debt obligation (some $4 million). This action depended on McClelland being able to raise over $1 million from the private sector; his success at this endeavour was an acknowledgement of M&S’s contribution to Canadian culture.”

As reported in The Globe & Mail today: “Before announcing the transaction, Random Canada quietly approached the office of Minister of Canadian Heritage and Official Languages James Moore to seek an exemption from long-established provisions of the Investment Canada Act, which specifically outlaw such takeovers. The company reported that Mr. Moore granted the approval ‘on the basis of the commitments we made that demonstrated that this investment is likely to be of net benefit to Canada.’”

What a difference 40 years makes.

For more information, see Roy MacSkimming’s The Perilous Trade: Book Publishing in Canada, 1946-2006.

Perilous indeed.

By coincidence the ebook will be published tomorrow by McClelland & Stewart (div. Random House of Canada). It’s available tonight for pre-order on Amazon.com, but sadly not on Amazon.ca, nor on Chapter/Indigo, “Canada’s online bookstore,” Canada’s remaining national book chain (the one that’s getting out of books).

But, you say, how can that be? Even before today the very capable Random House was in charge of sales and marketing for McClelland and Stewart. Yes, I know. And they spell Macskimming with a lower-case “s”.


Read the rest of the post on The Future of Publishing.

What has Hitchcock got to do with good writing?

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Why was Alfred Hitchcock a great director? Consider his film, PSYCHO. Robert Bloch’s PSYCHO is an inspiration to all writers who aspire to create a lasting thriller. Why? Because he ushers the reader into the story by showing, not telling. Hitchcock does likewise by allowing the viewer to build a much more terrifying vision in their mind than he could put on the screen. The shower scene is a Hitchcock classic. Sure, a movie is mostly showing – after all it is a movie. However, there is a point where one can "show" too much which becomes like "telling" too much. I think the comparison is a good lesson for a writer.