What's In A Name? The Pink Floyd Effect

The Pink Floyd Effect – The process of a name becoming perfect for its subject through familiarity with that subject and/or its actions.

Names. Very powerful things. Anyone with even a passing acquaintance with demonology or the occult will tell you what a powerful thing a name can be. If you know something’s true name, you have great power over it. Maybe that’s why Prince changed his name to a symbol, which is very hard to pronounce in spells – could he be a demon, hunted by occult adventurers? But I digress.

[Editor’s Note: strong language after the jump, and political opinions expressed in this piece are those of the author]

 

I’ve been thinking about this lately because we rescued a tiny stray kitten last week and he appears to live here now. He has a strangely large chin and I said, “He’s like Stan from American Dad.” Henceforth, the kitten’s name is Stanley. He’s very cute, really. Look:

stanley Whats in a name? The Pink Floyd Effect.

When I mentioned this on Facebook and Twitter, people were universally besotted with him, but the reaction to his name was interesting. A lot of people thought it was a great name and many people complimented me on giving him a “proper” name. I presume they meant as opposed to Tiddles or Mr Snookums. Other people were very confused and made comments like, “Stanley? Really!?” A couple of people even pointed out that he looks like a Stanley. Which he does, of course, because that’s his name. Chicken and egg.

The name and the named grow into each other and become inseperable. I guarantee that within a few weeks, our new kitten and the name Stanley will be completely normal, at least to us. It happens in every walk of life. For example, my favourite band of all time is Pink Floyd. Stop and have a look at that name. When you hear it, you think of the band and all the amazing work they’ve done. But really? Pink Floyd? The etymology is interesting. They started out called The Tea Set, then one day found themselves on a bill with another band called The Tea Set. So Syd Barrett suggested a name he’d been keen on for a while, based on his two favourite blues musicians, Pink Anderson and Floyd Council. So they played as The Pink Floyd Sound. After a few gigs they dropped Sound, but remained known as The Pink Floyd. Usually known simply as Pink Floyd since the early seventies, the definite article is still used occasionally even now. But really, when you think about it, Pink Floyd is a bloody silly name. However, it’s also awesome as it contains and references everything about one of the most seminal bands of all time.

So of course, I relate this name situation to fiction. Names become incredibly important when we’re writing. I agonise over names – it’s probably the thing that gives me the most grief when I write. I want to get names just right. I want them to fit. But the truth is, whatever name I give a character will fit if I tell the story well and write the character convincingly, because the character and the name will grow together and seem like it was always the perfect match. I call this ‘The Pink Floyd Effect‘.

Drizzt Whats in a name? The Pink Floyd Effect.I think the important thing is to not try too hard when coming up with names for your fiction, especially if you write fantasy. Remember, the apostrophied name is so overused now that it’s become something of a joke. Characters like Drizzt Do’Urden owned the concept back in the day, but now it’s seen as overly try-hard, or extreme wankery, to include crazy apostrophied names in your fantasy fiction.

In Brent Weeks’ Night Angel Trilogy, I was initially really annoyed at the name Durzo Blint. It annoyed me because it seemed uneccessarily “fantasy”, and it still does annoy me a bit. But the name also now conjures for me everything about that character, and he’s a character I really like.

Let’s look at it from another real world example. I’ll write a name, you be aware of your immediate reaction. Ready?

Rodney King.

That’s a pretty ordinary sounding name in and of itself, but I bet you had a pretty visceral reaction to it. The man, the name and the events for which he’s known have become ingrained in our culture and the name carries a lot of power because of it.

Let’s try another one:

Errol Flynn

Calm down, ladies. Take a deep breath. Errol Flynn is actually a pretty funny name, and you might feel a bit sorry for anyone with a name like that these days. Although I do quite like the name Errol myself. But there’s no denying that it has power.

Okay, one more:

Sarah Palin.

Did you feel yourself get a bit dumber just then? Just reading or hearing the name actively destroys brain cells and enhances right wing idiocy and religious insanity. And that’s a name that could become much more powerful if the American people don’t take a moment to get their shit together. But in itself, Sarah Palin is a pretty ordinary name.

So, my point is this: Don’t over-stress the names you use, be it for your pets or the characters in your fiction. The Pink Floyd Effect will kick in with time and the name and the named will become one and the same thing. And potentially attach themselves to events people are aware of around the world.

When you’re writing your fiction, spend some time to think about the names, make sure they have a good ring to them, are easily read off the page and stuff like that. Then put your effort into writing the characters and the story as well as you possibly can. By the time you’re finished, the names you’ve chosen will be perfect.

***

Agree or disagree? Please feel free to share your thoughts and examples in the comments.

 

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

Kindle for the Web – How It Can Be Used by Authors?

Kindle for the Web widget

In September last year Amazon introduced a new tool, Kindle for the Web, which allows users to read and share first chapters of books without leaving a web browser.

In addition to a good-looking preview interface, there are two useful features: sharing and embedding. The latter one is a very good, yet underestimated tool which can be used in many ways by authors who publish their books at Amazon.

Before I’ll list benefits and explain how to embed the preview in a blog, I’d like to point out to one very important fact. Despite the name, Kindle for the Web is not available on a page with a Kindle edition of a book. Just the opposite – you’ll see the green widget with a Read first chapter FREE button (picture 1) on a page with a print version of a book… and linking to Kindle edition.

This is misleading many people, who look for previews where they are not available. As a result they stop searching for books at all.

Why Amazon decided to profile the tool this way? A simple explanation is that by giving a chance to read a sample of a print book they want to convince people to try Kindle editions – and buy Kindles.

What’s related, and essential for authors, is that Kindle for the Web is available only for books with both print and Kindle editions.

Why it’s good to use it?

I was extremely interested in this tool since the very beginning as it opens a couple of new opportunities for authors. Let me list the most important ones.

1. It helps differentiate your social media activity

Instead of tweeting “buy my book” all the time, you can write “read first chapter of my book for free”. Remember, we never know what is the current mood of our followers on Twitter or friends on Facebook. Some of them are willing to buy, some – to test before buying (but don’t feel like downloading a free sample to their Kindle or tablet).

2. It makes your blog more attractive

If you embed a book in a blog post and stick this post to a home page, you’ve got a very inviting entry, what’s more: saying right at the beginning that this is a blog from a published author.

3. It changes the reader’s attitude

Let’s say you want to share a first chapter of your published book. The difference is that when you make a regular blog post with it, it’s just a regular blog post. When you embed Kindle preview in a post, well, that’s a different story – you are showing a first chapter of the book.

4. It helps focus on reading

This is one of my favorite topics: reading in times of distraction. If you use Kindle preview in your blog, there are bigger chances that the reader will read it, as it removes all the distractions (like banners and sidebars) after a full screen option is clicked.

5. It helps you manage your author’s profile

Some authors, including me, published a book some time ago, started a blog to support it and drifted into areas where they can be more useful – sharing experience or writing tips and advice.

You were a mystery romance writer and now you are a writing expert. Sometimes it’s hard to fight with this strong new profile. Using Kindle for the Web will make your readers more willing to accept your other face.

6. It allows to earn more money

Finally, but most importantly, you can earn extra money, if you are an Amazon associate. When you are getting a code to embed, you can also provide your associate tag. Thanks to that any book sold via link from a Kindle preview on your blog will bring you money not only from a royalty (author) but also from a referral fee (associate).

If you haven’t joined Amazon affiliate system, it’s a good moment to try. There is nothing to be ashamed of. What’s really interesting is that Kindle for the Web with a pattern to switch to Kindle ecosystem can be also a natural opportunity to sell on your blog Kindle e-readers.

How to embed a preview in a blog?

The minimum size of the embedded window is 500(width) by 325(height) pixels. Therefore the places to consider are either a page or a post.

1. Go to a print version of your book, find the green widget entitled Kindle Edition and click on a Read first chapter FREE button. A Kindle for the Web window will pop up.

Kindle for the Web window

2. Find Embed button in the upper right corner and click on it. When you expand it with a Customize option, you’ll see a window like this.

Kindle for the Web - embed box

3. Type the size of a window. Ideally the width could be exactly the same as your blog’s page/post. In the Associate Tag field, type your tag.

4. Copy the code and paste it into your blog’s new page/post (in HTML preview). Done. Now you can share it with your readers.

* * *

Although adding Kindle for the Web to a blog is a relatively easy task, there are a couple of conditions when you may not be able to do it:

– your blogging platform does not support html scripts (WordPress.com or Posterous)
– you are not familiar with html and/or don’t want to bother with it
– your blog has a very narrow page/post area – if it’s less than 500 pixels you won’t be able to do it

You can always take advantage from a feature I added to Ebook Friendly, my site designed to make browsing for e-books a more friendly experience. There is a special section called Read Online, where Kindle for the Web previews are perfectly tailored to e-reading application design. What’s important, authors can provide their associate tags and earn money as they would do it on their blogs.

If you’re interested, read more details in this post.

* * *

Kindle for the Web is a great, easy to implement and very engaging tool. Until now I’ve seen it used mainly on book review sites. I think it’s not the reviewers, but authors, who should benefit the most.

Discoverability Issues For Ebooks

In this Beyond the Book podcast and accompanying transcript, provided by the Copyright Clearance Center, the CCC’s Chris Kenneally interviews leading industry experts on the question of how consumers find ebooks.

As part of the Independent Book Publishers Association‘s Publishing University for 2011, CCC’s Chris Kenneally moderated a discussion on “What’s Now and What’s Next in E-Reading.” Taking place just ahead of BookExpo America, the session featured Mark Coker, Founder and CEO, Smashwords; Ami Greko, Senior Vendor Relations, Kobo; James Howitt, Director of Publishing Services, R.R. Bowker; and Ron Hogan, Electric Literature.

“Last time we had a revolution of this kind,” Kenneally pointed out, “was the emergence of the printing press in the end of the 15th century. It took 150 years for anything like a publishing business to emerge. So while it’s possible to invent a technology, inventing a business takes a good deal more work. This is not the Middle Age, and we don’t have centuries to work these things out.” The panel noted ways that e-readers are changing how authors, publishers and their audiences think about the things we once called “books.”

From Bowker, James Howitt noted, “that we have to realize that bookstores hold in excess of 50, 60,000 titles to browse through. Today’s e-book buyer is going online and probably seeing — I don’t know, 50, 60 titles in front of them. There’s not that browsing, discovery capability just yet, and again, I’ll keep saying it, but not everyone is buying an e-book. So the challenge is about understanding each one of those customers and why they do what they do.”

 

The Problem For Piracy

I’m not going to include software in this, just entertainment. The main entertainment forms that are pirated are: movies/television shows, books, and music. (I know, duh, right?)

So I’m thinking about why we have this problem. There is the obvious entitlement people have, but where did this entitlement even come from? I actually believe it came from the entertainment industries themselves (inadvertently), way back before the Internet when it was actually costly and time prohibitive for the average person to share copies of shit they didn’t own the copyright to.

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

 

With the film/tv industry there was “local television” (and movies are included in this because SOME movies from the theater eventually got edited for network television.) Local television didn’t cost money. You just had commercials (which most people don’t watch anyway, so they don’t consider that a cost to them). It was drilled into people’s heads that television entertainment is FREE. (Unless you were one of the families who could afford cable… but I really think subscription based free-for-alls still encourage the idea that you are paying for a service, not access to content.)

Now we have Netflix and Hulu which supposedly help reduce piracy but it STILL drills this same message in. Netflix is under $10 a month for all the streaming you want (of what is available that way). I do a lot of Netflix Streaming. It’s legal. I pay for it. But I still don’t see how anyone is being fairly compensated for all I’m watching. Bottom line, even though I pay a monthly fee, I, and probably most other people sort of see Netflix Streaming and Hulu as “free”. And the reason for this is that I get DVD rentals at home, too at this price. So in my head I’m paying for the DVD rentals but not the streaming, because it doesn’t make logical sense HOW I’m really paying for ALL that I’m streaming at that flat fee.

Onward…

With music we have radio. We are used to listening to music for free. Sure, there are commercials, but we all change the channel, turn the volume down, or ignore it. So we don’t see it as a real “cost”. The only cost we really have with radio is that we don’t get to listen to the song we want when we want to listen to it. But twenty years ago we all solved that problem with our cassette player/radios when we just recorded songs on the radio we liked when they came on. Now, we didn’t set up shop in our basement with bootlegs, but we were getting personal use: free music. So in our heads… music is supposed to be free if we want it.

And finally… books. We have libraries. Borrowing books without paying and reading and enjoying them without paying. There aren’t even commercials here. Just a fine if we don’t get the book back on time. And with public libraries doing digital books as well, the line is REALLY blurring quite a lot for ebooks.

So this, IMO is the problem. It’s not because the economy sucks and everybody is poor. It’s not because it’s so easy to do it. It’s because of entitlement. But the entitlement doesn’t exist because everybody is a jerk. The entitlement exists because in all of these industries we have all been trained by social reinforcement to see entertainment of this nature as “free”. And that was okay before the Internet. Once the Internet got here, people just wanted to continue doing what they were doing, but more conveniently. A lot of folks weren’t paying for TV, music, or books before… why the fuck should they start now?

But by everyone acting on this entitlement, a lot of people who create stuff lose a lot of money and are justifiably pissed off. I think the people who built libraries and the radio stations and the TV people, they just never thought we’d reach a day where the good will fostered through free content could be turned on them in such a drastic way. No good deed goes unpunished, I guess.

Had people always paid for all books, all TV, and all music, my view is that everyone would have felt it was wrong to steal it when the Internet came along. Most people understand digital downloading without pay is illegal. But deep down many don’t believe it’s wrong. Because they were getting it free before in another way and no one was making money personally off their enjoyment of the entertainment… and it was okay then.

 

This is a reprint from Zoe WintersWeblog.

All The Cool Kids Are Doing It

Self-publishing, that is. Or at least, it can seem so. There are the breakthrough success stories at one end of the spectrum, bitter tales of sales disappointment at the other, and between the two, a generous smattering of testimonials from indie authors who aren’t earning enough to quit their day jobs yet but are covering the rent or groceries each month with proceeds from their book sales. Suddenly, if you’re not releasing a Kindle or Nook edition at the minimum, you feel like you’re missing out on a huge opportunity. The pressure to rush to market is great, but you must resist it until both you and your book are truly ready for prime time.

 

Is Your Platform In Place, Focused and Growing?
Releasing your book before you’ve made it easy for readers to connect with you online, whether via a blog, social media (Facebook, Twitter, etc.), or an author website, is a big mistake. Readers have come to expect authors to have an online presence of some sort, and not having one paints you and your book as a bit more fly by night.

I’m not saying prospective buyers will check for platform before making a purchase decision, but platform is what spreads the message about you and your work, pulling more and more readers into your fold and making those readers feel you care about their reaction to your work. Building a community around your work makes each subsequent book easier to promote, and creates a cheerleading section that will do a fair amount of promotion for you.

Is Your Book Still In Beta Test, Or Should It Be?
If you just completed your draft a week ago, I don’t care who you are or how fantastic a writer you are, it’s not ready to be published. Don’t scrimp on the workshopping and rounds of critique, and don’t let your sense of urgency about publication color your rewrite decisions.

Let’s say the majority of your workshop/critique readers agree the second act needs a major overhaul, and a certain character needs to either be significantly expanded or cut entirely. Your heart sinks as you realize you’re staring down the barrel of six weeks or more of rewrites, followed by another round of review, which pushes your publication date back by three months or more. It can be very easy to become so focused on your target publication date that you give short shrift to any feedback that could possibly interfere with that date.

Just keep reminding yourself: releasing a book that’s not ready will lose sales and fans. And if it’s your first book, readers aren’t likely to give you a second chance. There’s just too much else out there for them to choose from, and at bargain prices.

Have You Succumbed To The "Good Enoughs"?
Your manuscript is all formatted for print or ebook publication, and for the most part, it looks great. There are some inconsistencies in your formatting, like maybe most passages written in the voice of your protagonist’s deceased son are italicized as you’ve intended, but a few have been left in standard type. Maybe most of your paragraphs begin with a .25" indent but non-indented paragraphs are scattered here and there. Maybe most of your line spacing is 1.15, but here and there you’ve lapsed into 1.5, and it’s barely noticeable. Readers don’t care about these things, right? Most of the book’s formatting is correct and consistent, and that’s good enough, right? Wrong.

You know a quality cover will elevate your book above the crowd, but you have no art or typography skills to speak of, don’t have the money to pay top dollar for a professional design and don’t have the time to search out a freelance artist you can afford. So you get your artsy sister to create a cover image for you, and it may not look like a slick mainstream cover but it’s not bad. It doesn’t scream "my sister designed this for me," and that’s good enough, right? Wrong.

Again, don’t let your sense of urgency about publication set an unprofessional tone.

Are You Prepared To Promote?
The book’s been workshopped, polished to a high gloss, has a fantastic cover and attractive, consistent formatting, and you’ve got an author blog, Twitter account and Facebook page set up. Time to publish? Maybe, maybe not.

Are you prepared to invest the necessary time and effort to post to your blog regularly and acknowledge comments left there, to tweet quality messages and links, and respond to Facebook messages and wall posts? A neglected platform can actually be worse than no platform at all if it makes your readers feel snubbed.

Will you be able to do some guest blogging or write some articles to help get the word out about your book? Can you find the time to reach out to book bloggers and other reviewers, and are you prepared to send out free review copies of your book?

Platform maintenance doesn’t have to be a fulltime job, and you can calibrate your platform activities to match your available levels of time and energy (e.g., maybe you can do Twitter or Facebook, but not both; maybe a static author web page is best for you because you don’t have the time to blog, etc.).

What’s important is that you’re not going into publication with an expectation that once the book is out there, your job is done and all you need do is wait for the glowing reviews and royalties to start rolling in. Raising and building awareness doesn’t happen by accident.

Are You Going To Make The Rest Of Us Look Bad?
Whether for any of the above reasons or something else, if you’re not prepared to do a professional job of preparing your book for release and promoting it afterward, don’t publish. While indie books and authors are gaining widespread acceptance, every amateurish indie book has the power to create or reinforce an anti-indie bias, and that hurts all of us.
 

This is a reprint from April L. Hamilton‘s Indie Author Blog.

Book Marketing Toolbox: WorldCat

 

It can be difficult to know if libraries are buying your books, because they usually purchase books through wholesalers. One easy way to estimate how many libraries have your book on the shelf is to do a search at WorldCat, an online database of library holdings.

First, enter the title of your book in the search box and click on your book title when it comes up in the search results. To find out which libraries have your book, scroll down to the section on your book’s page called "Find a Copy in the Library" and enter your ZIP code or location in the search box.

The results screen lists the names of libraries that have reported holding your book in their collection. Not all of your library sales will show up in WorldCat because not all libraries upload their catalogs to the site. Roughly 70% of U.S. public libraries participate in WorldCat, although the percentage is higher in some states.

If you’re doing a promotion to libraries, copy the list of libraries that have your book first. If you’re contacting libraries directly, you can skip the libraries that already have the book. A few months after your library promotion, check WorldCat again, to see how the list of libraries holding your book has changed.

On your book’s WorldCat page you can also enter book reviews and keyword tags.

Want to learn more about selling to libraries? Check out The Savvy Book Marketer’s Guide to Selling Your Book to Libraries.
 

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

How Publishers Are Affected By Digital Devices

This Beyond the Book podcast and transcript are being provided in their entirety by the Copyright Clearance Center’s Beyond the Book Cast site, where they originally appeared on 5/29/11.

Recorded in Boston at the 2011 SIIA NetGain Conference, this conversation with leading analysts looks at everything from tiny smart phones to tablets to learn what’s hot, what’s not, and what you need to know that will impact your business.

A trio of Boston-based analysts provided insight on where businesses need to head: Vanessa DiMauro, CEO, Leader Networks; Jim Hamilton, Group Director, InfoTrends; and Ned May, VP & Lead Analyst, Outsell, Inc. They answered questions from CCC’s Chris Kenneally, including, “What are the devices that will have the most immediate impact on my business?” and “How fast, really, are the new mobile tools being adopted in the consumption of business information?”

Read the transcript of the podcast here.

Five Proofreading Techniques Every Talented Writer Should Know

This is a guest post from Randall Davidson.

Professional proofreaders use a number of proofreading techniques in order to produce the most polished and error-free results for their clients. These methods allow them to maintain their concentration on the material while ensuring that it is thoroughly checked for mistakes and necessary corrections. By adopting these proofreading techniques, authors and small business owners can improve the quality of their written communications.

  1. Double check. Most professional proofreaders check each project at least twice in order to ensure that no mistakes have been overlooked during the first pass. This can also help proofreaders to detect errors that may have been caused during the correction process itself, offering additional protection against mistakes at every stage of the proofreading process.
     
  2. Take a break. One of the most underrated proofreading techniques is also one of the most obvious; taking a break during the proofreading process can be exceptionally helpful in maintaining the necessary focus on the task. By stepping away from the project for a few minutes, proofreaders can often achieve a better perspective on the work both as a whole and in terms of spelling, grammar and punctuation. This can allow them to detect errors more efficiently and effectively.
     
  3. Look it up. A number of online proofreading resources are available to proofreaders in need of spelling clarification or grammatical help. Google can be useful in cases in which a word has been misspelled in a way that makes it difficult to identify. A dictionary is another obvious source of spelling information. By looking up any words that appear questionable or unfamiliar, proofreaders can ensure that the finished work is of the highest possible quality.
     
  4. Divide and conquer. Splitting the proofreading process into various stages can help keep the process fresh and the proofreader alert. Spell checking typically constitutes one phase, with grammar, style and punctuation each comprising one of the other three stages of the process. The same effect can be achieved by a multi-tier approach; by approaching the material first word-by-word, then by the sentence, then by the paragraph and finally in sections, the proofreader can achieve optimal results. This strict method of ensuring repeated viewings of the same material can provide surprisingly effective proofreading results.
     
  5. Call for backup. Even professional proofreaders consult with each other on long and complex projects. Small business owners and individuals can achieve the same results by enlisting the help of a professional proofreading firm.  These professionals can often identify mistakes that might otherwise go uncorrected, creating a final document that presents the information in the most professional manner possible.

Randall Davidson is a co-founder of ProofreadingServices.Us, a rapidly growing professional proofreading services company committed to providing others with the tools necessary to produce polished documents. He does this both through the informative articles he writes and through the high quality online proofreading services that ProofreadingServices.Us provides.
 

Strip Mining the Authors

This post, by Passive Guy, originally appeared on his The Passive Voice blog and is reprinted here in its entirety with his permission.

Kristine Kathryn Rusch has written another important essay on the changing face of publishing. I’ll intersperse some excerpts with my comments, but this is one you’ll want to read in its entirety. There is, as always, a link at the bottom.

As will be abundantly clear from Kris’ examples, traditional publishers and the new agents-turned-publishers are making a brazen grab for as many rights from authors as possible while reducing the amount of money they will pay authors for their books. This is the new strip mining model for publishing.

Why are they doing this?

When the ship is sinking, some of the passengers start fighting over the lifeboats.

With each passing week, the handwriting on the wall becomes more and more distinct. What does the writing say?

Big Publishing, the agents who rely upon it and the traditional bookstores that provide its lifeblood are sinking. Just like the Titanic, they’re not disappearing in an instant. The band is still playing and fashionable people are doing business on the upper decks. The good ship Big Publishing will be bobbing in the waves for some time to come, but Amazon, ebooks and indie publishing have punched big holes in the hull. Those holes cannot be patched and the ship is going down.

Does this mean the end of publishing ships? No, but it means the demise of the grand ocean liners. The S.S. Amazon is an entirely different design, crafted for speed and efficiency and it doesn’t need many sailors schooled in the old ways.

While the band is playing and champagne flows, people make brave speeches about the timelessness of their trade. But, make no mistake, a battle is underway below-decks for spots on the lifeboats. If it’s necessary to toss authors over the side to make room, well, that’s just the nature of the business these days.

From Kris:

[A bestselling] writer, more than any other writer, is in danger of losing money and copyrights, of in fact going from making a lot of money to making little or no money at all. How can she lose money when she will probably maintain her bestseller status, her sales will probably go up, and her work will go into more markets than ever before?

Simple. Her contract terms will change and she might not even notice.

At some time hidden in the mists of time, an ancient rule of contracts was formulated: When a business partner is in financial trouble and wants a change in a long-standing agreement, watch your wallet. The more “routine” the change, the more dangerous it probably is.

Kris talks about e-rights:

Another clause to beware of in the e-rights clause of your new contract is this one:

“The Author hereby grants to the Publisher…the exclusive license to produce, publish, sell, distribute and further license any Electronic Version of the Work…. ‘Electronic Version’ means versions that include the Work…in a complete, condensed, adapted, or abridged version and in compilations for performance and display in any manner whether sequentially or non-sequentially and together with accompanying sounds and images, if any, transmissible by any electronic means, method or device (including but not limited to electronic and machine-readable media and online or satellite-based transmission or any other device or medium for electronic reproduction or transmission whether now or hereafter known or developed…)” [Emphasis mine.]

Yikes! Ick! No. Never, ever, ever, ever sign this clause. Think about this: movies are digitized—they are performance, and they are often distributed online. Not only does that clause allow someone to monkey with your work, abridging it, taking it out of order, adding things to it, making it into a performance piece, adding sound effects, but it also is a backwards way of granting television rights, video display rights, and any other performance right, so long as that performance can be distributed electronically.

And don’t believe that someone in your publishing house won’t use that clause down the road. The editor you trust may leave, the publishing company might change hands, and a clause that was designed for one thing will be used for something completely different.

Gold has been discovered in ebooks. Smart people are prospecting for more gold with enhanced ebooks. Video in ebooks is a definite possibility.

While a few people sprinkled in publishers’ management positions high and low may have seen a vision of what books could become and the effect that might have on publishers’ profits in their traditional lines a few years ago, nobody bothered to tell the gnomes who tended the standard-form contracts.

Kris has seen far more publishing contracts during her career than Passive Guy has, but the ones he’s examined that are more than a couple of years old are tight where paperbacks and hardcovers are concerned and they leak like a sieve everywhere else.

Back to Kris:

Watch out for your option clause. Try to avoid signing one at all. In the past, option clauses were like job security, but no longer. Option clauses have now become a way to tie a writer to a publishing house and to prevent her from working for anyone else. So strike your option clause if possible.

. . . .

Watch your warranty clause.  Now, many publishers are reverting to an old practice. They want writers to warrant that the writer will not write anything until this particular book under this particular contract is published.

This used to be a separate clause, and very easy to find.  It existed in a lot of contracts 20 years ago, then faded away.  Now it’s back with a vengeance.  It used to be that the writer guaranteed that the book she had just contracted for would be her next book and no other book would compete against it.

Now she’s guaranteeing that she will not write another book until this one is published.  And in many cases, the publisher enjoins her from writing anything.

This clause, which has been in every new book contract I have seen from traditional New York publishers in the past six months, is buried in the warranties.  Which are the boilerplate part of the contract, the part that includes bankruptcies and acts of God.  A lot of established writers stopped reading the legal gobbledygook in the boilerplate years ago, and have been snared by this clause.

Sometimes people fighting for lifeboats don’t act in rational ways. During the fight, the lifeboat may be damaged, supplies lost and passengers capable of providing valuable assistance to the survivors prevented from boarding.

When he read Kris’ description of these provisions, Passive Guy was reminded about one of the fundamental rules of making contracts with important long-term partners: Don’t screw your partner in the contract even if you have an opportunity to do so. When your partner realizes you screwed her as she inevitably will, she’ll spend all her time and energy working on ways to get out of the contract instead of doing whatever it was that you wanted her to do when you signed the contract.

What about the clause that hog-tied the author to the publisher? PG’s already thought of a half-dozen likely ways to evade the clause. He can’t help it, that’s just the way his mind works. However, he’ll keep those under his hat for the moment because he hasn’t seen the language in the contract.

Something else also came to mind, however. As described, the hog-tying clause potentially precludes a professional author from earning a living by writing for a competing publisher. When you think of it that way, it sounds a lot like a non-compete clause.

Non-compete agreements are common in the tech world. When you go to work for a tech company or become a contractor for a tech company, you’ll be required to sign a non-compete agreement that prevents you from taking everything you learned while you worked on the Apple ebook project and taking it with you when you’re hired for the Microsoft ebook project.

As with everything else, however, non-compete agreements were abused by some employers and today a dense combination of state laws and court decisions have placed substantial limits on how much a company can restrict the post-employment work of a former employee.

One of the fundamental limitations on non-compete agreements is a public policy that people should be free to work and support themselves in their chosen profession and should also be free to move from job to job. Limitations on that freedom included in non-compete agreements must be narrowly-tailored with time limitations to protect the vital interests of the company, not punish ex-employees or former contractors for quitting.

Back to the bigger picture for a moment, hiding material limitations on an author’s freedom in obscure warranty clauses as Kris describes is an unethical business practice.

Depending upon how it’s done and what extra-contractual representations are made to the author, we may be moving into fraud territory.

This practice exploits the great mismatch in resources and negotiating power between a large publisher and an individual author. Passive Guy has no problems with bare-knuckles contract drafting and negotiations when both sides have access to good-quality legal advice, but this is over the line. It demonstrates disrespect for an author and an intention to fleece the author for the financial advantage of the publisher.

This is antithetical to a relationship of mutual respect between professional colleagues. This is destructive exploitation – strip mining – of an author’s life work.

Such behavior by a publisher gives rise to an additional inevitable question. If the publisher is willing to engage in borderline fraudulent practices in its contract with an author, what additional types of fraudulent practices may it engage in? Even hidden clauses in a contract are far easier to discover than under-reporting of sales and underpayment of royalties.

So, how do we deal with hidden gotchas in a publishing contract?

Next week, Passive Guy will unveil yet another lovely contract provision for authors. Check back to learn about the Smoke ‘Em Out Clause.

And most definitely read the entire post by Kristine Kathryn Rusch. This one can make or save you some big money.

 

A New Freedom of the Press: How Does Publishing Underwrite Revolutions?

This is a guest post from Thomas Doane.

The Arab Spring continues, and this month we celebrate the 400th anniversary of the King James Bible’s publication. 

The question I’d like to briefly reflect on here is: What do the Reformation and the Arab Spring have in common?
The answer that I’d like to advance is that—among other things— what these two historical epiphenomena have in common is that they were both catalyzed by evolutionary leaps between publishing platforms. 

The fortunes of the parties involved in the conflict in the Arab world sway this way and that. Plucking more or less randomly from meta descriptions below the Google News results this morning we read that “NATO is considering intensifying bombings in Libya… Israel is very nervous about how Palestinians are spinning the Arab Spring…The ICC seeks to prosecute Gaddafi…  Syria denies mass grave allegations…” Etc. etc.  Another headline from the Gulf News this morning, May 18th, 2011: “Social Media played a role in facilitating the Arab Spring.” The first line of this article reads: Whether social media led to the Arab Spring or facilitated it, it played a major role in mobilizing Arab streets as they rose against their ruling regimes, said panelists at an Arab Media Forum session on the role of social media.
This has been a mantra since January, when—after Mohamed Bouazizi immolated himself on the streets of Sidi Bouzid, Tunisia in December—a cascading domino effect of uprisings started to roll across North Africa and into the Middle East. In a now classic article in the New Yorker, Malcolm Gladwell wrote, “The world, we are told, is in the midst of a revolution. The new tools of social media have reinvented social activism. With Facebook and Twitter, and the like, the traditional relationship between political authority and popular will has been upended, making it easier for the powerless to collaborate, coordinate, and give voice to their concerns.” Obviously, there is a difference between correlation and causation, and much digital ink has been spilled to assign social media’s role in the Arab Spring to one category or another.
Meanwhile, this month Harper’s cover story is the 400th anniversary of the King James Bible. While nothing about the KJV seems subversive to most of us today (quite the opposite for most of us), historically it can be seen as one of the literary climaxes of a sequence of revolutions that rocked the geopolitical make-up of the Western world in the 16th and 17th centuries—namely, ‘The Reformation.’ 
About 90 years before the KJV first ‘hit the stands in bookstalls’ all over England, becoming ‘the bestseller of all time’ over the next 400 years, a man named Martin Luther sat down and translated the Bible out of Latin and into German. While this sounds rather innocuous from our 21st century point of view, it could be argued that this act—amplified and disseminated across Europe by means of the recently invented printing press—ignited the 16th century’s version of a World War, completely and permanently transforming the global geopolitical landscape for all succeeding centuries.
What changed is that the ‘information’ contained in scripture—the actual words written in the Bible—became widely accessible to the public for the first time ever. There was a massive explosion of literacy. But a streamlining of the publication and dissemination of the printing press was a pre-condition for creating this kind of change. As the European masses (rather than just the priesthood) got hold of this information for the first time, they developed counter-narratives that diverged from the Church’s reading. The King James evolved out of one of these counter-narratives. 
Arguably, the epic shift from print to digital, and from AP journalism to crowd sourced social media communication is the biggest evolutionary leap between publishing platforms that we’ve seen since the invention of the printing press. And while the Arab Spring may not have been caused by social media, I think most people would argue that the social media revolution was a necessary pre-condition to launching the revolutions in North Africa and the Middle-East at the level of well-documented, contagious efficiency that we’ve seen this spring. And it was almost certainly a pre-condition to keeping the body count as low as it has been. 
So I propose a toast to two strange bedfellows: Johannes Gutenberg & Mark Zuckerberg.
Hail old fellows, well met!

And to each, thanks for the merry old  messaging platform they did invent!

Books For Charity: Helping A Family In Joplin

As I watched families pick through the rubble of their homes, looking for shoes for their kids, I felt sickened and helpless. As helpless as they must have felt to see the tornado coming and not be able to do anything but hide and hope for the best. I tried to imagine what it would feel to have lost everything and not have enough money to rent a motel room for the week.

So rather than feel helpless, I decided to do what I could. Together with my blogger partners, we’re raising money to help a family in Joplin, Missouri. Drew and I have pledged 100% our Amazon book royalties (print and digital) for the next four days to this charitable cause, and Judith has pledged 25% of her e-book royalties through Memorial day.

The amount of money we raise will be up to readers. We hope you’ll take advantage of this opportunity to buy some great books and donate to a good cause at the same time. Here’s a list of the participating novels with links to Amazon.

Drew’s bestselling title: While the Savage Sleeps

L.J.’s bestselling Detective Jackson mysteries:
The Sex Club
Secrets to Die For
Thrilled to Death
Passions of the Dead
Dying for Justice
And standalone thrillers:
The Baby Thief
The Suicide Effect

Judith’s guilty pleasure Skeeter Hughes mysteries:
Where’s Billy?
Whose Hand?

Another way to help out is to spread the word. Use Facebook, Twitter, or any of your online accounts to let other readers know about this charitable cause.

 

This is a cross-post from The Crime Fiction Collective.

Smartphone e-Reader App Reviews: Stanza by Lexcycle

As e-books become more popular, they are inevitably merging with the largest platform for e-book readers, the smartphone. Google’s Android operating system is now powering more phones than Apple’s iOs, but both continue to surge ahead in terms of market penetration and new users.

All told, the top 5 smartphone manufacturers sold 140 million phones in 2010. That’s a lot more than all the iPads, Kindles, Nooks, Sony Readers and Kobo tablets put together.

It makes sense to think about whether your book are suitable for the smallest screen. Will the story still make sense on those little pages? Will the formatting of your nonfiction book survive the reader’s desire to see the type at the largest available size?

Time to find out.

I decided to take the top e-Book reader apps for smartphones out for a virtual test drive. Although I don’t claim to be encyclopedic in these reviews, I’m looking at them both from the point of view of someone who doesn’t mind reading on the phone, as well as a publisher looking to find readers where they want to be reading. If that’s for a few minutes while standing waiting for the bus, so be it. That’s up to the reader.

StanzaI decided to start with Stanza, a free e-reader originally developed by Lexcycle, a company that was later acquired by Amazon. It’s unclear at this point whether Amazon intends to keep the program alive or not, since the website seems to have gone dormant some months ago.

However, Stanza, which was the most popular e-Reader at one time, and one of the top free apps in Apple’s app store, is such an unusual e-book reader, it’s well worth a look.

For Readers, You Need Books

One of the things that distinguishes Stanza is the sources for its e-books. Unlike Kindle, iBooks, Google and Nook, the app is not linked to one store for its purchases. Instead, Stanza has access to a lot of diverse libraries of e-books. This is both a strength and a weakness, since you may not find the same coverage or quantity in the different collections as you might with the Kindle app, for example.

But Stanza has other tricks up its sleeve. Let’s look at the main components. Compared to most e-book readers, Stanza has a vast control system that allows you to customize your reading experience in ways no other e-reader can match.

Here are the main elements of the app, with some notes.

  • Reading screen—Stanza gives you unparalleled control over the display, far surpassing what other e-book readers allow. Here the reading screen is shown in Georgia with a beige background, and with the type fully justified and hyphenated, something that’s simply impossible on other e-readers.
    Stanza reading screen

    Click to enlarge

Control screen—This is the screen you get when you tap once, and it gives you access to a huge variety of tools to control the app. From here you can navigate using the buttons along the bottom of the screen, to:

 

 

Stanza control screen

Click to enlarge

Stanza settings

Click to enlarge

Note that in the settings screen there’s a sample at the top showing you instantly the effect of the changes you’re making.

 

 

  • Table of Contents, bookmarks and annotations
  • Settings screens with controls for general items, layout, appearance, and app control.
  • Layout tools like Justify, Left, right or center,
  • Hyphenation with dictionaries in many languages
  • Margins, Line spacing, Paragraph spacing and Paragraph indent. These controls use adjustment sliders.
  • Appearance tools like switching to the Night Theme
  • Choice of 42 fonts, and font size selection with sliders
  • Background and text colors
  • Background image and opacity
  • Even more software controls like lock rotation, use page turn effects and more.
     
  • Library screen—Here is where you store your books, and you can sort on Books, Authors, or Groups.
  • Bookstore screen—You can see right away the difference between Stanza and the proprietary apps that only allow you to shop in one store. The app includes access to these retailers:

     

    And these free and sample e-book sources:

    Stanza bookstores

    Click to enlarge

    You’ll notice even more control icons at the bottom of the screen, including an invert button to switch between black on white or white on black, a search tool and access to yet another screen of controls, this one called Actions, which includes

    • Books on Board eBook Shop
    • O’Reilly Ebooks
    • All Romance eBooks
    • SmashWords
    • Fictionwise
    • Feedbooks
    • Project Gutenberg
    • Random House Free Library
    • Try Harlequin
    • Books from Munseys
    • Books from BookGlutton
    • Pan Macmillan Tasters
    • the command to delete a book
    • a dictionary
    • access to your downloads
    • another set of font size controls
    • and a sharing menu for Facebook, Twitter or via email

Just for fun, I changed a lot of the display parameters and loaded a more heavily formatted nonfiction book. Here it is with a white background, no hyphenation or justification, and typeset in American Typewriter:

Stanza

Click to enlarge

Overall, Stanza is easy to use and gives you terrific control of the reading experience in far more detail than any other e-reader. Although the choice of new trade books may not be as wide as other, proprietary apps, the ability of Stanza to also handle PDFs and other formats is even more reason to add this app to your smartphone.

Next up: Apple’s iBooks app.

Stanza in the iTunes App Store
Also available as an app for Macintosh, for iPad and for Windows.

 

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

Looking For Logic? Not In Book Sales

Watching your digital book sales climb is exhilarating. Seeing them fall is heartbreaking and confusing. “What changed?” you ask yourself, feeling panicked. Did I slack off too much on blogging? Or forget to post in the forums? Did I take this success for granted for 24 hours? Frantically, you try to recreate the right combination of effort and luck that made it happen. Then you realize you don’t really know why the run-up occurred.

Sometimes, changes in books sales are obvious and logical. During weeks when I have three guest blogs posted and I’m active in the forums, the numbers go up a little and it makes sense. Other times, the sales shoot up for no reason. This month, they dropped for no reason.

I tried not to panic, telling myself it was temporary. But still, I kicked into high gear, posting in the forums, writing blogs, and sending out press releases. None of it seemed to make a difference. I even bought some ads, something I rarely do because it’s so hard to measure their effectiveness. But self-publishing is a small business, so reinvesting a little profit into advertising seems logical.

I crave logic, and these inexplicable fluctuations can make an author crazy. Particularly people like me: control freaks who want things to make sense. I want to know the cause and effect of everything. I want to depend on my efforts to produce predictable results. (Are you laughing?) So for months, I checked my Amazon sales daily. Because if I did something that worked, I wanted to know. How else do you learn and improve?

Yet sales often fluctuate for no rhyme or reason, so watching the daily numbers is a good way to give yourself an anxiety disorder—and not get much written on a new novel. But you have to keep writing new stories, because releasing a new book is the best thing you can do for sales of all your books. Proven!

So what’s an author to do? I’ve given up looking at daily sales. I still check my rankings on Amazon’s police procedural list every once in a while to see where my books are. If my titles are slipping off the first page, I ramp up my efforts for a while or maybe buy a small online ad.

But I’m trying not to obsess and to accept that I have little control over sales. I remind myself that making a living as a novelist was and is my dream, and that so as long as the bills get paid, I’m happy.

P.S. They’re climbing again, but who knows why?

Authors: What are your experiences with digital sales? Can you shed some light on the ups and downs?

 

This is a reprint from LJ Sellersblog.

10 Actions You Can Take To Improve Your Proofreading

This guest post, by Randall Davidson, originally appeared on Nick Daws’ Writing Blog on 5/19/11.

Today I’m pleased to bring you another guest post from writer, proofreader and entrepreneur Randall Davidson

Randall has ten top tips for writers on how they can improve their proofreading skills to create better, more professional-looking documents.

* * *

Correct and efficient proofreading is one of the most crucial elements in producing quality advertisements, business documents and academic papers. Misspellings, poor grammar and/or improper word usage can create a negative impression that may overshadow your desired message. Additionally, these mistakes can reflect poorly on the individual or company responsible for the errors. Here are ten proofreading tips that can produce more professional results.

  1. Divide and conquer. By looking at the document in sections, proofreaders can often catch mistakes that might otherwise go unnoticed when reading a longer paper. Smaller sections can reduce fatigue and allow the proofreader to process the material more effectively while minimizing the chance that an error will be overlooked.
     
  2. Slow down. Many proofreading errors occur due to haste during the process. No list of proofreading tips would be complete without a recommendation to slow down and read carefully as you proofread.
     
  3. Sound it out. Reading the document out loud is one of the most beneficial proofreading tips and can help to identify mistakes in word usage and grammar that may not be apparent in the printed form. Additionally, any repeated or missing words are easily identified when the document is read aloud.

 

Read the rest of the post, which includes seven more proofreading tips, on Nick Daws’ Writing Blog.

Looking for Logic? Not in Book Sales

Watching your digital book sales climb is exhilarating. Seeing them decline  is heartbreaking and confusing. “What changed?” you ask yourself, feeling panicked. Did I slack off too much on blogging? Or forget to post in the forums? Did I take this success for granted for 24 hours? Frantically, you try to recreate the right combination of effort and luck that made it happen. Then you realize you don’t really know why the run-up occurred.

Sometimes, changes in books sales are obvious and logical. During weeks when I have three guest blogs posted and I’m active in the forums, the numbers go up a little and it makes sense. Other times, the sales shoot up for no reason. This month, they dropped for no reason.

I tried not to panic, telling myself it was temporary. But still, I kicked into high gear, posting in the forums, writing blogs, and sending out press releases. None of it seemed to make a difference. I even bought some ads, something I rarely do because it’s so hard to measure their effectiveness. But self-publishing is a small business, so reinvesting a little profit into advertising seems logical.

I crave logic, and these inexplicable fluctuations can make an author crazy. Particularly people like me: control freaks who want things to make sense. I want to know the cause and effect of everything. I want to depend on my efforts to produce predictable results. (Are you laughing?) So for months, I checked my Amazon sales daily. Because if I did something that worked, I wanted to know. How else do you learn and improve?

Yet sales often fluctuate for no rhyme or reason, so watching the daily numbers is a good way to give yourself an anxiety disorder—and not get much written on a new novel. But you have to keep writing new stories, because releasing a new book is the best thing you can do for sales of all your books. Proven!

So what’s an author to do? I’ve given up looking at daily sales. I still check my rankings on Amazon’s police procedural list every once in a while to see where my books are. If my titles are slipping off the first page, I ramp up my efforts for a while or maybe buy a small online ad.

But I’m trying not to obsess and to accept that I have little control over sales. I remind myself that making a living as a novelist was and is my dream, and that so as long as the bills get paid, I’m happy.

P.S. They’re climbing again, but who knows why?

Authors: What are your experiences with digital sales? Can you shed some light on the ups and downs?

L.J. Sellers is the author of the bestselling Detective Jackson mysteries and standalone thrillers.