Month: January 2014

Scribd's New Ebook Subscription Service: Partnering with Publishers, Profiting from Piracy

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This post, by Michael Capobianco, originally appeared on Writer Beware on 1/9/14.

I was contemplating what to write for my first Writer Beware blog post, when a subject popped up out of the blue, packed with all kinds of fascinating questions.

Some of you may remember when SFWA tangled with the online “digital library” Scribd back in 2007. Scribd was loaded with unauthorized uploads of copyrighted material, but SFWA screwed up big time by sending a sort-of DMCA notice (it wasn’t really) to get works by many sf writers removed from the site. It was an embarrassment for SFWA, and over time made it less and less likely that the organization would do anything directly about illegal uploads, even though a plan had been developed to do so for members who had specifically authorized SFWA to act as their agent.

Since everything to do with online piracy left a decidedly bad taste in my mouth, I decided I would not go looking for illegally uploaded copies of my or other authors’ works, and I didn’t check to see if Scribd was following through on the promises it made at the time to provide real-time checking of works uploaded to the service.

Jump forward six years to now. The subject of Scribd came up on a SFWA forum as part of a controversy that I needn’t go into here, and I decided that it was finally time to check it out.

Six years has made a big difference. Scribd has set out to become a full-fledged bookstore to compete with Amazon and Barnes and Noble, and takes it one step farther with the addition of an all-you-can-eat subscription service that allows access to an unlimited number of ebooks for $8.99 a month. They are now partnering with HarperCollins and various other publishers, such as Smashwords, E-Reads, and Rosetta Books, with the promise of more to come. They cover a lot of ground; not only do they sell ebooks and subscriptions, they offer what look like unauthorized “previews” of many other books, with links to authorized retailers.

But finally, beneath all the new things, the old Scribd–offering not-necessarily-legal user uploads of copyrighted works–is still there. Only now Scribd has monetized them, since you can only see a “preview” of the material for free, and must be a paid subscriber to access the whole unauthorized upload.

 

Click here to read the full post on Writer Beware

 

How To Sell Your Integrity, $470 At A Time

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This post, by Publetariat founder and Editor in Chief April L. Hamilton, originally appeared on her Indie Author Blog on 1/9/14.

Here are two new questions authors need to add to their vetting process when considering hiring out for author courses, services and how-to books:

Do you have an affiliate program for this product or service I’m considering, and if so, how much of the sales price will be paid to the affiliate advertiser?

Imagine that the answers to those questions are, “Yes, I do have an affiliate program, and half of the price you pay is sent back to the affiliate whose link you followed.”

So far, so bad. Now imagine the price you’re being asked to pay is $940, and $470 of that fee will be paid to the affiliate.

Pick your jaw up off the ground because I’m sorry to tell you, this is not some far-fetched scenario. Today I received this exact offer to become an affiliate advertiser for someone offering author and book marketing/publicity products and services.

I get affiliate requests pretty frequently but anyone who reads this blog or visits the Publetariat site regularly knows I don’t say “yes” to many of them. Today’s request is just about the best example I’ve seen to date for explaining why.

Here are the pertinent excerpts from the email invitation, with my comments below each. Note that any boldface emphasis in the quoted passages has been added by me.

 

Click here to read the full post on the Indie Author Blog.

 

Brave New Bullying: Goodreads Gangs, Amazon Attacks—What Are Writers to Do?

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In this post, Kristen Lamb shares her own experiences with bullies, from childhood days right up to the present, as well as her tips for dealing with online bullies who may be stressing you out, wasting your time, or even negatively impacting your sales. From the post:

Brave New Bullying
Now we live in a Digital Age and bullies abound. The Internet gives them access to torment us 24-7 no matter where we go. I was so thrilled the day I was asked to blog for Huffington, yet unlike here, I have no control over the tone of the comments. There are people who are simply made of spite and hate and they will take it out from the safety of a computer behind the anonymity afforded by monikers. Now when I post, I simply scan and, if anything is hateful in tone? I won’t even read it.

Sad to say, this is why I don’t read reviews before buying any book. There are too many sock puppets and trolls. Goodreads and Amazon are RIFE with bullying. I’ve had friends bullied on blogs and even once had someone start a hate blog directed toward me, “Kristen Lamb The Face of Misandry” which is “Man-hating”, btw. I had to look it up.

It’s sad to say, but when researching for this topic, it seemed most of the information was for kids, schools and teens. But bullies never go away. They often can’t be stopped, but maybe we can make it tougher for them to spread their cruelty.

 

Click here to read the full post, which includes concrete steps you can take to discourage online bullying of yourself and other authors, on Kristen Lamb’s blog.

 

7 Ways To Deal With Troublesome Facebook Fans

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This post, by Aubre Andrus, originally appeared on Mashable on 1/4/14.

Social media managers know what’s up — with thousands of fans on a Facebook Page, there’s bound to be at least one who ruins the fun for everyone. He shoots down every post, is the first to call out a typo, and loves incorporating profanities into even his most positive comments.

Add your textbook spammers, angry customers and historically unhappy people to the mix and it’s no wonder someone has to keep an eye on your company’s Facebook Page at all times. It’s easy to consider banning every user who ruffles your feathers, but you should weigh multiple options before planning your attack strategy. Here are seven ways to deal with your least favorite Facebook fans: the a-holes.

1. Hide the post or comment.

To hide a comment, hover over the top-right hand “x” and click “Hide.” Now the post can only be seen by the person who wrote the comment and his or her friends. They’ll have no idea the post is hidden, and you can always click “Unhide” later if you like.

When someone posts on your Page’s Timeline and you’d like to delete it, click “x” in the top-right corner, then “Hidden from Page” from the dropdown menu. Be warned: If you hide a photo from your Timeline, it will still appear in your Page’s photo album. So be sure to delete it from the album if you’d like it to disappear for good.

 

Click here to read the rest of the post on Mashable.

 

A Writer’s Greatest Crime

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This post, by Shannon Donnelly, originally appeared on Writers In The Storm on 1/6/14.

There are a lot of crimes a writer can commit—the torture of sentences, the mangling of meaning, the wrecking of words through using the wrong one at the wrong time. However, the greatest of these is the crime of lack—to forget to put in the emotion.

Now, emotions come in lots of ways and there are lots of opportunities to layer them in, but you have to remember you’re not just putting down words. You are constructing a believable scene with what should be memorable characters (people in other words). And people come with emotions.

Let’s look at the ways to make sure you get the emotion into your scenes.

 

1. Add emotion through actions.

This goes back to the old ‘show, don’t tell’ advice. You want to show your characters in action so the reader sees who your characters are. Does a character slam a door when he’s angry, or talk softly? Does a character laugh when nervous? Or pick her nose?

Little bits of actions can say a lot about a person. The man who stops to polish his side mirror on his corvette and wipe the speck of dust from its apple-cherry paint job reveals his love of his car. The woman who is always twirling a strand of hair is a flirt. The boy who pops his gum whenever his mother is talking is showing how little he listens to her. Those actions all say something about that character—they show emotions at work.

 

2. Let emotion color descriptions.

 

Click here to read the rest of the article on Writers In The Storm.

 

Inside The Box: People Don't Actually Like Creativity

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This article, by Jessica Olien, originally appeared on Slate on 12/6/13.

In the United States we are raised to appreciate the accomplishments of inventors and thinkers—creative people whose ideas have transformed our world. We celebrate the famously imaginative, the greatest artists and innovators from Van Gogh to Steve Jobs. Viewing the world creatively is supposed to be an asset, even a virtue. Online job boards burst with ads recruiting “idea people” and “out of the box” thinkers. We are taught that our own creativity will be celebrated as well, and that if we have good ideas, we will succeed.

It’s all a lie. This is the thing about creativity that is rarely acknowledged: Most people don’t actually like it. Studies confirm what many creative people have suspected all along: People are biased against creative thinking, despite all of their insistence otherwise.

“We think of creative people in a heroic manner, and we celebrate them, but the thing we celebrate is the after-effect,” says Barry Staw, a researcher at the University of California–Berkeley business school who specializes in creativity.

Staw says most people are risk-averse. He refers to them as satisfiers. “As much as we celebrate independence in Western cultures, there is an awful lot of pressure to conform,” he says. Satisfiers avoid stirring things up, even if it means forsaking the truth or rejecting a good idea.

Even people who say they are looking for creativity react negatively to creative ideas, as demonstrated in a 2011 study from the University of Pennsylvania. Uncertainty is an inherent part of new ideas, and it’s also something that most people would do almost anything to avoid. People’s partiality toward certainty biases them against creative ideas and can interfere with their ability to even recognize creative ideas.

 

Click here to read the full article on Slate.

 

For Major Publishers, Will Print No Longer Be the Norm?

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This post, by Rachel Deahl with additional reporting from Jim Milliot, originally appeared on Publishers Weekly on 10/25/13.

Format has been a long-simmering topic of debate in book publishing, and the question of when, and if, a title is published in hardcover, paperback, and/or digital has become even more pressing as bricks-and-mortar bookstores dwindle and e-book sales grow. The idea that any standard deal from a major publisher guarantees a print format release—which was previously a foregone conclusion—is something agents no longer take for granted, with some expressing concern that the big houses are starting to hedge on print editions in contracts.

While e-book-only agreements are nothing new—all large publishers have imprints that are exclusively dedicated to digital titles—a handful of agents, all of whom spoke to PW on the condition of anonymity, said they’re worried that contracts from print-first imprints will increasingly come with clauses indicating that the publisher makes no guarantee on format. The agents say this is a new twist to the standard way of doing business.

While sources acknowledged that contracts from print-first imprints (as opposed to e-only ones) featuring clauses that give the publisher the freedom to decide on format are not new, the feeling is that these clauses are the exception, not the rule. Recently, though, a handful of agents have expressed concerns about print imprints refusing to commit on this issue.

Most of the big five houses PW contacted declined to respond to inquiries on the matter, saying that they don’t comment on contract negotiations. While some agents said they fear that Random House (and, possibly, the larger merged entity of Penguin Random House) is preparing to add a clause to its boilerplate indicating that it doesn’t commit to a format, a spokesman for the publisher shot down this notion. Penguin Random House’s Stuart Applebaum told PW that no change has taken place: “The suggestion that Penguin Group (USA) LLC and Random House LLC are changing their standard boilerplate contracts so as to limit publishing formats is not correct. Each of our author contracts continue to be negotiated individually, and confidentially.”

 

Click here to read the rest of the post on Publishers Weekly.

 

The 38 Most Haunting Abandoned Places On Earth

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This largely pictorial post from Jake Heppner on Distractify can provide some instant inspiration for authors of all kinds, not just horror or thriller writers. Included among the sometimes creepy, sometimes tragic, sometimes poignant photos:

Pripyat, a city of nearly 50,000, was totally abandoned after the nearby Chernobyl nuclear disaster in 1986. Due to radiation, it has been left untouched ever since the incident and will be for many thousands of years into the future. Nature now rules the city in what resembles an apocalyptic movie.

[An] abandoned farmhouse in New York state also acts as a graveyard for many vintage cars which are now empty shells of their former selves.

The Ryugyong Hotel is a true display of North Korea’s madness. Work started on this 105 story hotel only a few years before a massive famine plagued the country. Abandoned for 16 years, work once again began in 2008, when it was coated in $150 million worth of glass. Foreign guests have reported that although the structure now looks complete on the outside, a lot of the interior is still abandoned and incomplete.

Willard Asylum for the Chronic Insane was built in 1869 and closed in 1995. Housing 4000 patients at its peak, more than half of the 50,000 patients who called Willard Asylum their home died within its walls. This makes the asylums morgue (pictured above) one of the creepiest places we can imagine. By its closure, most patients were eventually integrated back into society, but in the early days “people didn’t leave unless it was in a box.”

 

Click here to view the full post on Distractify.

 

The Getty and Google Unleash Free Art — And Your Creative Potential

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This article, by Drue Kataoka, originally appeared on Wired on 12/30/13. Those who do book cover design or who want photos or illustrations for books or marketing purposes will want to pay particular attention: you now have 5,400 more pieces of free, unrestricted artwork and photos to use.

Open sharing has been around forever, accelerating progress in diverse fields. Computing (e.g., Homebrew Computer Club), code (open source), and even academic publishing (“open access,” which goes beyond peer review) are just a few that have multiplied their social impact thanks to this openness. Art may be next, and here, too, technology will play a central role.

Just a couple months ago, The Getty quietly released 5,400 new, high-resolution (800dpi) images from its Getty Research Institute for public use. But here’s the revolutionary part: They did it without fees or restriction. To put this in perspective: Not one of New York’s largest museums — the MoMA, the Whitney, the Guggenheim, the Metropolitan, or the Frick have done that yet.

The big deal here isn’t just that a premiere cultural institution is making so many images available to all, but that it signals a broader, emerging “open content” art movement.

Besides the Getty, the other art institutions leading this open content movement include Los Angeles’ LACMA (which made 20,000 images available for free, albeit in a smaller file size than Getty did), as well as D.C.’s National Gallery of Art, the Dallas Museum of Art, Baltimore’s Walters Art Museum, and the Yale University Art Gallery. And Google. Yes, Google: its Google Art Project (now called the Google Cultural Institute) has been working since 2010 on changing attitudes towards digitization among cultural institutions. The resulting meta-museum now includes high-resolution images of artworks from over 300 institutions available online. Google’s collection is the largest and, not surprisingly, has the most sophisticated and user-friendly UI. However, unlike the Getty, LACMA, or the National Gallery, Google restricts image downloading and sharing.

Open content in art is a huge shift in attitude compared to fairly recently, when art museums viewed the web cautiously, at best.

 

Read the rest of the article on Wired.

 

Perfectly Flawed

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This article, by Lionel Shriver, originally appeared on Financial Times on 10/21/11.

Complex but compelling, maddening but memorable, many great literary characters are unattractive. As the film of Lionel Shriver’s ‘We Need to Talk About Kevin’ is released, the author explores the appeal of the unappealing

Like most writers, I’ve received my share of rejection letters. The most common criticism lobbed at my earlier manuscripts was that my main characters were “unattractive”. Ironically, though the accusation was meant to consign my novels to the bin, in latter career I am now perhaps most celebrated for crafting characters who are, to a degree, unattractive. But what does this mean?

Let’s start with what it doesn’t mean. We’re not talking about villains, whom readers are invited to revile with relish – who are deliciously unattractive on purpose. Neither are we talking about the anti-hero: a protagonist the author has clearly portrayed as malign but for whom, curiously, we root anyway. An endearing mobster, Tony Soprano is an archetypal anti-hero. Ditto Calvin Piper in my fourth novel Game Control – a renegade demographer whose modest proposal to solve human overpopulation by killing two billion people overnight makes the man and his festive misanthropy no less beguiling. Anti-heroes aren’t actually unattractive – literarily, they function exactly like heroes – but morally they shouldn’t be attractive. We feel a little guilty about cheering them on, which is part of the pleasure, that daring little dance on the dark side.

Thirdly, we’re also not talking about characters who are unattractive by accident – whom the author intends to be loveable but who drive you insane. For example, Ignatius Jacques Reilly, the buffoon in John Kennedy Toole’s A Confederacy of Dunces, got powerfully on my nerves. Sometimes you simply cannot bear the company of an author’s characters, who inspire the same claustrophobic desperation to flee as overbearing dinner guests, and in that case you should read a different book.

 

Click here to read the rest of the article on Financial Times.

 

Author's Year-End Marketing Checklist

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This post, by Stephanie Barko, originally appeared on San Francisco Book Review on 11/14/13.

Do you think of your writing as a hobby or a business? If your books mean business to you, this is a great time of year to evaluate how your 2013 marketing fared. Beginning now, there’s just enough time before the end of the year to assess performance-to-goals and plan for taxes.

Here is a list of questions designed to either save you money [this year] or expose some issues to correct before [next year].

SALES

How many books did I sell this year?

Which formats sold best?

Do I want to put my 2013 title out in another format or publish my next book or both?

Did I sell branded merchandise this year? Do sales indicate that it was priced right?

Do I want to merchandise my brand next year?

 

EXPENSES

Do I have the right amount of expenses to offset sales?

 

Click here to read the rest of the post on San Francisco Book Review.

 

62 of the Top Writing Articles from 2013 (That Can Help You in 2014)

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This post, by Brian Klems, originally appeared on Writer’s Digest on 1/2/14.

Over the past year I posted articles on this blog that covered everything—from grammar to writing better characters to getting published and more. Here’s a cheat sheet linking to what I consider the 62 best articles that can help you reach your writing goals. I broke it down into categories, as you’ll see below. These articles can help you no matter what phase of the writing process you are in. My goal is to help you move your writing career forward, and, by making this easy-to-reference guide, you’ll have a chance to bookmark it and have a one-stop place to help you have a successful year of writing.

Here’s to your best year of writing yet! ~Brian

 

Click here to read the rest of the post on Writer’s Digest. It includes links to 62 WD articles on everything from craft to marketing.

 

6 Ways Micro-Publishing Strengthens Your Author Career

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This post, by Christina Katz, originally appeared on Jane Friedman’s site on 12/27/13.

For writers—especially nonfiction writers—a well-lit publishing-path through the murky wood of pundits, doomsdayers, and bestseller advice is micro-publishing.

Micro-publishing is not new, but when I use the term, I am referring to both the size of my publishing “house” and the length of my publications. In other words, micro-published books are short, tight, and swift. Experienced authors can deliver them in a steady flow, which can be less demanding and taxing than what it takes to create full-length books.

Micro-pubs vary widely in genre, format, and price point. (And fiction writers might consider serialization to be a better description of their micro-publishing landscape.) Micro-pubs with enough demand can become physical books eventually, usually when there is existing readership or demand for physical copies.

A meaningful discussion of micro-publishing has been pushed aside during the ongoing tug-of-war between traditional publishing and independent publishing (self-publishing). But we are well beyond “everyone is a writer” at this point. We have progressed into “everyone is a publisher,” if they wish to be—and we have been living in this realm for some time already.

Fortunately, micro-publishing benefits the industry as a whole by bringing some much-needed simplicity and directness into a publishing equation that is often weighted down by its own complexity and contracts. And it also benefits you, the writer. Here’s how.

 

Click here to read the rest of the post on Jane Friedman’s site.

 

Not Every Sentence Can Be Great But Every Sentence Must Be Good

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This post, by Cynthia Newberry Martin, originally appeared on Brevity on 1/8/13.

In “Letter from the Pulitzer Fiction Jury: What Really Happened This Year” (The New Yorker online, July 9, 2012), Michael Cunningham, one of the three Pulitzer fiction jurors for 2012, wrote the following about sentences:

– I was the language crank, the one who swooned over sentences. I could forgive much in a book if it was written with force and beauty, if its story was told in a voice unlike anything I’d heard before, if the writer was finding new and mesmerizing ways to employ the same words that have been available to all American writers for hundreds of years. I tended to balk if a book contained some good lines but also some indifferent ones. I insisted that every line should be a good one. I was—and am—a bit fanatical on the subject.

True to his word, during the jury process, Cunningham argued successfully to eliminate a contender because, “although there were plenty of good lines, there were simply too many slack, utilitarian ones.”

Since July I’ve been thinking about Cunningham’s insistence that every sentence should be a good one. I would periodically look for his letter online, and, having forgotten I’d already printed it, print it again. When I was going through a pile of articles in my office recently, I found I had three copies. Then, Pam Houston, when reading my novel-in-progress, marked a sentence with this word: boring. When I took a closer look, she was right. The sentence was boring. And utilitarian. Only there to move the reader from point A to point B.

I don’t read looking for bad sentences, and now I wonder if I read right over them. Or do the best books not contain bad sentences?

Is it possible to write a whole book of sentences that are at least good?

I pulled books from my shelves and searched through them. I ignored sentences I had underlined, and I ignored first sentences—both of books and of chapters. Where would a bad sentence hide? Page one hundred forty-three, I thought. That’s where a bad sentence would hide. So in each of the books, I turned to the first complete sentence (that was not dialogue) on page one hundred forty-three. Here’s what I found, starting with the language crank’s own sentences:

–The Hours: This cake says “Happy Birthday Dan” in elegant white script, uncrowded by the clusters of yellow roses.

–By Nightfall: Rebecca sips contemplatively at her coffee.

–Mourning Diary, by Roland Barthes: M’s fit of anger yesterday evening.

–The Two Kinds of Decay, by Sarah Manguso: This adrenal suppression occurs if prednisone is taken for longer than seven days.

–The Year of Magical Thinking, by Joan Didion: She was reaching a point at which she would need once again to be, if she was to recover, on her own.

–Stop-Time, by Frank Conroy: The balcony trembled.

We hear plenty about writing great sentences; what we don’t hear enough about is the bar we don’t want to slip below—the bar each sentence must meet. And that is not the bar of great but the bar of good. These six sentence examples are not great, but I believe each one meets the crank’s requirement of good.

What makes a sentence good?

 

Click here to read the rest of the post on Brevity.