Business End

Articles about the business aspects of publishing and self-publishing.

Publishing, Dead or Alive?

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This podcast, featuring Ron Hogan, originally appeared on the Copyright Clearance Center’s Beyond The Book site on 2/27/11 and is provided here in its entirety with the permission of that site.

Attend enough conferences on the future of publishing, and pretty soon, you start to wonder if the future of publishing is conferences about the future of publishing. The small talk and the big presentations alike often portray an industry that is diplomatically referred to as “in transition,” which can reliably be taken to mean, “on its back.” Ask Ron Hogan, who’s been watching the business and working in it since the birth of digital media, for his two cents, and you get a real bargain-priced basket of feisty, no-nonsense views.

“I’m tired of hearing about the death of publishing. If these companies die, it’s because they were dedicated to a dying model,” Hogan says. “I also don’t believe that the book is going to die out; the digital economy is not going to completely overwhelm the existing print market for books anytime soon.

“People like to give each other real books, especially pretty books,” Hogan explains to CCC’s Chris Kenneally. “Art books are going to be a category where print is going to continue to matter for some time. There are going to be very cool things that you can do in digital books and e-book apps, but at the same time there are some things that you can really only present effectively and most attractively in paper.”

 Publishing, Dead or Alive? [15:20m]: Hide Player | Play in Popup | Download

 

The Borders And A&R Collapse

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Everyone is blogging about the collapse of REDgroup, the company that owns the bookshop chains of Borders and Angus & Robertson (and Whitcoulls in New Zealand). I was going to write a big long ranty post all about it, but the truth is it’s all been done. A quick web search will yield more opinions than you can fit on a ballot sheet. But I will add, very briefly, my perception of the whole thing. (Which probably means I’m about to write a big long ranty post!)

Lots of people are trying to establish exactly what this collapse is and what caused it. I’ll tell you what it’s not. It’s not the great ebook revolution; it’s not shitty management by REDgroup; it’s not the global financial crisis; it’s not the rising cost of physical shop rents; it’s not the massive surge in online shopping and stores like Amazon stealing business. At least, it’s not any one of these things. It’s all of these things.

It’s the progress of industry. Sure, the management of the whole group was blindly stupid and greedy, but without the other factors they’d probably have survived. Sure, Amazon, Book Depository and stores like them are having a massive impact on brick and mortar bookstores, but without the other factors they’d probably have survived. When you combine all the factors at once, this stuff is inevitable. Pretty much every major bookstore chain will suffer. The nature of the industry is changing. It’s a terrible shame for all those people that are going to lose their jobs, but that’s a part of life. It’s like the shipbuilders on the Tyne, the coalminers in the Welsh hills, the dudes that used to run photo processing shops specialising in dark room development. The world moves on, things change, technology develops and old methods and jobs slowly disappear. But new ones also emerge. The smart and the rich are the ones that stay ahead of the curve.

Putting shitty American coffee chains in shitty American book store chains wasn’t going to suddenly make Borders a going business concern. Turning Angus & Robertson into cheap remainder bins with plate glass windows was never going to ensure their survival. High street and mall book stores, just like paper books, are going to be disappearing. There will still be paper books (I’ve talked about this a lot before) but they’ll be specialty books, or Print On Demand books from online stores. Just the same, there will still be book shops, but they’ll be specialty stores, catering to a particular niche of collectors or genre and they’ll have to diversify – comic books, trading cards, games, collectibles – all the stuff that fits the niche.

Whether we like it or not, the world is constantly changing. With change comes death and rebirth. Some things crumble to dust while others are born from the ashes of their predecessor’s demise. There were once people that were skilled at many things that no longer have a place in the world. You can’t blame any one thing except progress. The same is true of the recent book store collapse. There are many mitigating factors that contributed to the stores going under at this particular time, but that’s the small stuff. The changing face of publishing, reading and book selling is going to keep changing.

Within the next decade, I predict, we’ll see very few, if any, big chain book stores. Mass market stuff will be in all the department stores and K-Marts and places like that, but mainly online. Eventually you’ll only get your mass market release in hard copy at a POD booth or ordered that way online. There’ll be specialist stores dealing with specialist buyers and collectible books, while pretty much everyone else buys their stuff online. And the vast majority of it will be ebooks, with a small chunk held by POD releases. There’ll be a rise in collectible, beautiful, probably limited edition hardback releases. Kids starting school now will look at print books the same way we look at vinyl and tape cassettes. If you compare books to albums, you can look at the ebook as the CD and the print book as the vinyl release. The ratios will be pretty similar soon enough, I expect. And before long the CD and will disappear unless you order one, POD style. There’ll be a rise in small press releases with short print runs, and more small press will utilise online bookstores and ebooks for their distribution. Eventually the small press print run will be a thing of the past.

It’s all going to happen, so trying to find a particular reason for the demise of Borders is like trying to look for a particular reason for the demise of the Victorian era. It didn’t die because Victoria did – it ended because we all moved on, in a slow and incremental way with all kinds of contributing factors. That’s life.

Told you I wasn’t going to write a big long ranty post.
 

 

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

Authors As Salespeople

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A question from my ex-publisher stimulated me think about the pay structure in traditional publishing. The question she asked was: Why couldn’t you sell all those books when you were still under contract? Many factors came into play at the same time to quickly boost my e-book sales. Pricing strategy, volume of books, and massive effort all played a part. But one of the biggest issues was motivation, aka incentive.

In the business world, salespeople work for a small base pay and most of their income is in the form of incentive pay and bonuses. The more they sell, they more money they make. To some extent, this is true in traditional publishing, except that after the initial advance, writers (aka salespeople) only get paid every six months. If other businesses functioned that way, they’d have a hard time hiring and keeping salespeople. It’s hard to stay motivated when you wait half a year for a paycheck… then realize your publisher has kept most of it.

The other factor is information. Most salespeople get constant feedback on their performance. They know at any point exactly how their sales numbers are adding up. They can use that information to tailor their techniques and improve their sales. In traditional publishing, sales information comes too late to be effective and is often hard to decipher.

When you self-publish on Amazon, through both the Digital Text Platform and Create Space, after the initial six-week wait, you get paid every month. You also have access to hourly, daily, and monthly sales data. This information is direct feedback that you can use to figure out what promotional techniques work best. It can also function as incentive. When you see the sales bump up, it’s exciting and motivating.

Together, the steady income and the sales data provide a great incentive to spend time everyday blogging, tweeting, posting comments, and writing press releases. Wouldn’t it be interesting if traditional publishing houses followed Amazon’s lead and incentivized their writers to be diligent salespeople as well?

Publishers will say: It’s not possible. It’s too much bookkeeping. We’ve always done it this way. But Amazon knows what it’s doing, and it’s kicking ass in the publishing world.

What do you think? Would you work harder if your publisher gave you more sales data and paid you more often?

L.J. Sellers is the author of the bestselling Detective Jackson mystery/suspense series: The Sex Club, Secrets to Die For, Thrilled to Death, Passions of the Dead, and Dying for Justice.

 

This is a reprint from LJ Sellers‘ blog.

Promote Your Books in the Publications Section on LinkedIn

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In a recent post, I gave instructions for promoting your books on your LinkedIn profile by using the Reading List by Amazon application to post a book cover image and a link to your book’s Amazon sales page.

Another way to get visibility for your books on LinkedIn is to use the new Publications section on the profile. The great thing about this Publications area is that you can list any type of publication, regardless of whether it is available on Amazon. You can even list free ebooks or newsletters.

Just follow these four easy steps to promote your books and other publications on LinkedIn:

1. Click on “Profile” and make sure you are on the “Edit Profile” tab.

2. Go to the “Are You Published” area and click on “Add Sections.”

LinkedIn3

Note: If you don’t see the “Are You Published” box on your profile, look for a similar box that says “Add sections to reflect achievements and experiences on your profile.”

3. On the next screen, click the “Publications” button on the left and then click the “Add to Profile” button.

LinkedIn4

4. Complete the publication description on the next screen, then click the “Add Publication” button.  Remember to include important keywords in your publication descriptions, to help people find your profile and your publications when they search by keyword.

Here is what the finished product looks like on my profile:

LinkedIn6

The book title is hyperlinked to the book sales page on my website. On my LinkedIn profile, the “Publications” section appeared below the “Experience” section, but you can move some of the sections around by dragging and dropping them.

To add additional books, go back into "Edit Profile" mode, scroll down to the "Publications" area, and click on "Add a Publication."

 

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

Authors as Salespeople

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A question from my ex-publisher stimulated me think about the pay structure in traditional publishing. The question she asked was: Why couldn’t you sell all those books when you were still under contract? Many factors came into play at the same time to quickly boost my e-book sales. Pricing strategy, volume of books, and massive effort all played a part. But one of the biggest issues was motivation, aka incentive.

In the business world, salespeople work for a small base pay and most of their income is in the form of incentive pay and bonuses. The more they sell, they more money they make. To some extent, this is true in traditional publishing, except that after the initial advance, writers (aka salespeople) only get paid every six months. If other businesses functioned that way, they’d have a hard time hiring and keeping salespeople. It’s hard to stay motivated when you wait half a year for a paycheck… then realize your publisher has kept most of it.

The other factor is information. Most salespeople get constant feedback on their performance. They know at any point exactly how their sales numbers are adding up. They can use that information to tailor their techniques and improve their sales. In traditional publishing, sales information comes too late to be effective and is often hard to decipher.

When you self-publish on Amazon, through both the Digital Text Platform and Create Space, after the initial six-week wait, you get paid every month. You also have access to hourly, daily, and monthly sales data. This information is direct feedback that you can use to figure out what promotional techniques work best. It can also function as incentive. When you see the sales bump up, it’s exciting and motivating.

Together, the steady income and the sales data provide a great incentive to spend time everyday blogging, tweeting, posting comments, and writing press releases. Wouldn’t it be interesting if traditional publishing houses followed Amazon’s lead and incentivized their writers to be diligent salespeople as well?

Publishers will say: It’s not possible. It’s too much bookkeeping. We’ve always done it this way. But Amazon knows what it’s doing, and it’s kicking ass in the publishing world.

What do you think? Would you work harder if your publisher gave you more sales data and paid you more often?

L.J. Sellers is the author of the bestselling Detective Jackson mystery/suspense series: The Sex Club, Secrets to Die For, Thrilled to Death, Passions of the Dead, and Dying for Justice.

Invitation To The Madhouse ~ Report On Self-Publishing

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Alert: Stay turned to this channel for a special broadcast, Monday, 28 Feb.
Irina Avtsin will tell us all about the power of the word, “No!”.
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{This post is almost a rant and purposefully written in a voice I rarely use…}

A madhouse is where insane persons are confined or a place exhibiting stereotypical characteristics of such a place.

This, to me, right now, is what self-publishing is.

Let me define my terms a bit more precisely:

“Sanity” has roots indicating “healthy condition” or “soundness of mind”. If I temporarily constrict my argument to the term “publishing”, most people who are trying to keep up with the frenetic pace of change in this arena of human experience would, I feel, tend to agree that publishing is not in a healthy condition or showing soundness of mind.

Many of those same people would go further and claim that self-publishing is the medicine needed for the sick field of publishing.

Well…

I’ve been involved in self-publishing for about six years now and the last year has seen me working overtime to come to terms with how to best take advantage of the opportunities that self-publishing seems to offer.

I don’t have space in this post to detail the ills of the traditional publishing route but anyone interested can easily find much to ponder.

So, try to accept one point on a conditional basis: self-publishing can bring a book to market faster and supply the author with higher royalties than traditional publishing, as long as the author is not already on the bestseller lists or in the stable of a publishing house being preened to take the book-world by storm when the right marketing moment arrives.

If the above statement is true, one would think that an author would find it easier to self-publish…

My experience has been that the word “easy” needs to be carefully defined with ample attention being paid to whether said author has what it takes to build their own following and work intensely at experimenting till they find the particular combination of tasks that can assure them a sufficient platform of eager individuals waiting to render them aid on publishing day.

If you are comfortable with building relationships, if you can be honestly altruistic in those relationships, if you can multiply the number of those relationships, if you have the time to attend to them with care and diligence, if you have the money to pay for or can trade for the expertise of editors, artists, and publicity specialists, then, maybe you would say self-publishing is easier than going the traditional route.

The reason I’ve been willing to persevere in the madhouse of self-publishing isn’t because I can easily fulfill all the ifs in the last paragraph.

I will continue to do all I can to successfully self-publish my work-in-progress because I lack the patience to search for an agent who would accept the unusual book I had to write and must publish, because I don’t have a few years to wait while such an agent finds a publisher who thinks my book can sell and negotiates a contract, because I refuse to be paid a royalty that can have itself disappear in paybacks to the publisher if the book doesn’t sell, and because finding an editor I don’t have to pay and supplying cover artwork are something I was able to personally handle.

So, from my perspective, the crumbling house of traditional publishing and the raucous adolescent scene of self-publishing are both “madhouses” but I’m a writer and I have a book I’ve written and I want people to read it and I had to make a choice…

I chose self-publishing.

I’ve written about this topic before in this blog and using the handy Top Tags Cloud in the side panel will lead you to those other musings…

What are your thoughts, theories, experiences, and rants or raves about traditional publishing and self-publishing?
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Follow the “co-author” of Notes from An Alien, Sena Quaren:
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AND, Get A Free Copy of Our Book

Web Seminar Debates How Self-Publishing Will Lose Its Stigma

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This post, by Lynn Andriani, originally appeared on Publishers Weekly on 2/23/11.

Thanks to the well-publicized success of authors like J.A. Konrath, Amanda Hocking, and Seth Godin, the stigma surrounding self-publishing is fading fast. Still, it’s far from gone, and a web seminar sponsored by PW and Digital Book World yesterday titled The Evolution of Self-Publishing covered the reasons for self-publishing’s stigma, how and why it’s losing that stigma, and what the industry and individual authors need to do in order to help self-publishing move even further into the mainstream.

But first, about those aforementioned bestsellers? Panelist and author Jason Pinter expressed his frustration at always hearing the same few names repeated as examples of how lucrative self-publishing can be. “What annoys me is that the same names are always used: Godin, Konrath, Hocking, The Shack,” he said. “There’s a sense of people latching on to a couple of individuals who’ve found success and then those people get a lot of publicity. Then it’s, ‘They can do it; I can!’ There is a bit of a fallacy there; it’s not always the case.”

Though there are, of course, many reasons most self-published books don’t sell well. One of the main reasons mentioned by the panelists? Marketing. “It’s one of the hardest things to do,” Pinter said. “Authors really need to look at what their goals are and how they’re going to realistically achieve them.” Carolyn Pittis, svp, global author services at HarperCollins, agreed: “Marketing is the issue of our time. Book marketing is the biggest challenge that anyone in the book business is facing today, purely because there’s so much noise and so much content getting created and so many potential distractions.” Marketing often determines a book’s commercial success—or failure, said Phil Sexton, publisher and community leader at Writer’s Digest. “It’s about what the intent of the author is. How much they’re going to back [their book], whether or not they’re going to try and sell it.”


Read the rest of the post on Publishers Weekly.

The Imminent Collapse Of The Publishing Bubble

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This post, by Candice Adams, originally appeared on the examiner.com site on 1/7/11.

Booms and bubbles are considered economic inevitabilities—when the getting is good, people will keep buying and selling until the last dollar to be made is had. Recent times have witnessed the burst of the tech and housing bubble. Most bubbles generally don’t survive longer than a decade due to a continued escalation in the destructive behavior that eventually dooms the industry. But what if a bubble lasted longer? Could the traditional publishing model be seeing the end of a 40-year bubble?

Bubbles occur for several psychological reasons, but the one that pertains most closely to the traditional publishing model is “The Greater Fool Theory.” This theory, although not scientifically proven but empirically observed, relies on the market’s overvaluation of a product leading to an inflation in price. The price continues to rise as long as a seller can find a greater fool than himself to sell it to. When the price finally plummets, the bubble bursts.

Moreso than books being overpriced, the traditional publishing model has been propped up by several illogical modus operandi that could eventually lead to the collapse of this house of cards.

1. Dog eat dog: Over the past 40 years, the publishing industry has gone from small publishers working with authors to instead being dominated by the “Big Six” corporate publishing houses (Random House, Macmillian, Simon & Schuster, Pearson/Penguin, HarperCollins, Hachette). Corporate publishing eventually led to the rise of the literary agent and the retail behemoths Barnes & Noble and Borders. Corporate publishers continued to acquire smaller presses that couldn’t compete with the large advances that corporations could offer. Larger advances led to more complicated deals, which needed to be brokered by an agent who preferred to work with corporate publishers who offered larger advances. With more books in their catalogues and backlists, the small independent bookstore could no long house, nor move, that quantity of inventory, and they were soon largely put out of business by the corporate mega-bookstores. However, in order for corporate publishers to continue to see profit in a very mature industry (and every corporation has to see profit), the Big Six began acquiring and producing fewer titles and attempting to sell more of the books they produce (i.e., publishing high concept book that could be optioned for their film rights, celebrity tell-alls, etc.) So while there is more book-selling space, fewer books are actually sold.

Read the rest of the post on examiner.com.

Context First, Revisited

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This post, by Brian O’Leary, originally appeared on the Magellan Media Consulting Partners site on 2/21/11.

(This post provides the content for a presentation I recently gave as part of O’Reilly Media’s “Tools of Change in Publishing” conference.  It builds on a talk I initially gave last October at the Internet Archive’s “Books in Browsers” conference.  A screencast that includes the presentation visuals has been posted on Vimeo.  It runs about 23 minutes).

For the last couple of years I’ve been writing about a set of publishing topics – piracy, disruptive innovation, print on demand, workflow and content strategy, among others – that I started to think were connected by a common theme.

I first called that theme “a unified field theory of publishing”, more than a mouthful, but I think “context first” is a better and more helpful description.  In that spirit, my talk today addresses the damage done by what I call the “container model of publishing”.

My idea in a nutshell is this: book, magazine and newspaper publishing is unduly governed by the physical containers we have used for centuries to transmit information.  Those containers define content in two dimensions, necessarily ignoring that which cannot or does not fit.

Worse, the process of filling the container strips out context – the critical admixture of tagged content, research, footnoted links, sources, audio and video background, even good old title-level metadata – that is a luxury in the physical world, but a critical asset in digital ones.  In our evolving, networked world – the world of “books in browsers” – we are no longer selling content, or at least not content alone.  We compete on context.

I propose today that the current workflow hierarchy – container first, limiting content and context – is already outdated.  To compete digitally, we must start with context and preserve its connection to content.

We need to think about containers as an option, not the starting point.  Further, we must start to open up access, making it possible for readers to discover and consume our content within and across digital realms.

Without a shift in mindset, we are vulnerable to a range of current and future disruptive entrants.  Containers limit how we think about our audiences.  In stripping context, they also limit how audiences find our content.

Here, scale is not our friend.  It may well be the enemy.  As Clay Christensen first outlined in 1997, disruptive technologies don’t look or feel like what we typically value.  Often enough, they are cheaper, simpler, smaller and more convenient than their traditional analogues.


Read the rest of the post on the Magellan Media Consulting Partners site.

How To: Deal With Negative Online Sentiment About Your Brand

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This article, by Maria Ogneva, originally appeared on Mashable on 2/21/11. Maria Ogneva is the Head of Community at Yammer, where she is in charge of social media and community programs, and internal education and engagement. You can follow her on Twitter, her blog, and via Yammer’s Twitter account and company blog.

Brands try to inspire excitement among their communities so that their fans and supporters will do the selling for them. That’s called advocacy, and it’s much more powerful than self-promotion. There are of course many ways to cultivate that fan base and get your advocates motivated

On the flip side, however, are “badvocates” –- the folks who spread negative comments about you with their networks. For example, Kevin Smith’s experience with Southwest Airlines.

It’s important for any business learn how to handle this badvocacy. To do so, you must first understand its causes.

Causes of Badvocacy
 

In most cases, badvocacy is a result of negative experiences with your brand. These can come from:

  • Inconsistency across channels and touchpoints. With social media, you can touch the customer at any point in the purchase cycle: Pre-purchase, during, and post-purchase. Each of those interactions has to add value and be consistent with the rest of the experience.

    Let’s take support as an example. When you provide multi-channel support, you need to be careful about creating a consistent experience across all channels. Twitter support tends to lead other channels in its ability to provide individual solutions to customers. Other channels tend to lag behind. How many times have you called a support line only to have them route you to another 800 number because information you are looking for is in a different database? An inconsistent user experience can breed bad experiences. 

  • Inconsistency with expectations. Several times, I’ve gotten excited about a product based on the advertised promise, only to discover that that expectation was wrong. This type of disconnect certainly breeds negative feelings because time, effort and possibly money were wasted. 
  • A negative relationship with people who represent the company. Social media can humanize your brand, if used correctly. It’s important, however, that everyone adheres to the highest codes of conduct and is on the same page about company’s policies, news, product and feature releases, etc. A negative interaction with any person, whether in social or traditional channels, will mar the user’s view of the brand. 

Chronic Complainers

Read the rest of the article, which offers specific strategies for dealing with and preventing "Badvocacy" on Mashable.

Book Package Deals

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I often get advertisement pieces from printers calling themselves publishers. One feature common to these offerings is the use of package deals, most of which are named with exotic titles such as the “Gold Program” or the “Star Package.” These special deals provide varying deals based around pre-press services, printing of a certain number of books, and even marketing offers. Here are a few things you should be aware of:

Each package is optimized for the max number of pages or words offered by the package deal. That means the best per page price you will ever get from them for that package is for the max number of pages they offer. Any number less than that means the per page price just keeps going up and up. For example, If the max pages allowable by a certain program is 300 pages and you have produced 250 pages, you will be getting those 250 pages at the 300 pages price.

Oft times the company will offer glowing expectations for royalties described as being in the thousands of dollars. In fact, the company is shooting for the friends and family market, some of whom have the gall to ask you for a list of everyone in your family and your friends who might be interested in purchasing your book. That book will often be way overpriced for the booksellers’ market, meaning bookstores won’t have an interest in carrying your books for the general public. Friends and family, however, may well pay the inflated price to see their loved one’s book. Once the list of contacts you provided are contacted  for sales of your book, the company moves on to the next author, even if they say they’ll market your title for years to come.

This is why experienced folks in the book business warn about the sharks and barracudas out there. Consider yourself warned.

 

This is a reprint from Bob Spear’s Book Trends.

A Virtual World, A Writer’s Mind, And Serious Business That’s Always Fun!

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I just got back from Book Island in Second Life.

Yep, a virtual world I visit for play and work. I wrote about virtual worlds in a previous post. Here’s a bit of what I said:

“All virtual worlds have virtues that make them valuable whether we’re talking about your mind, a book you read or wrote, or a computer-created world.”

Yes, I called our minds and books “virtual worlds”. Check out that post for more about what I’ve done as a writer in Second Life.

This post is for talking about what I’m doing as a promoter (of my writing) in that virtual world.

Just like a book’s virtuality can become quite real to us, walking around in a computer virtuality can make you wonder why this “real”, consensual, physical reality puts so many demands on we weak humans 🙂

My latest book will be coming out in May and I’m doing all the necessary promotional tasks I can squeeze into my day–writing this blog, visiting the blogs on my Blogroll and commenting there, planning a BlogTour for the book launch, making final revisions, preparing for online reviews of the book, using Twitter and Facebook, etc…

Most of those activities are me relating to other people and that’s what I consider Promotion to be–Relationships.

Would you rather be bombarded with TV or online ads for books, movies, or your favorite things, or would you like to have a friend recommend one to you?

Relationships have always been the most effective form of promotion, in spite of the mega-budgets of the marketing firms. Sure, you may have seen a movie that got mega-hyped and liked it but, imho, most of what’s sold through the traditional channels of promotion is either quite useless or actually harmful.

So, I take a break from the sometimes sweet, often harsh, conditions of Real reality and move my relationship-forming brand of promotion into Second Life.

I’m the events manager on Book Island, I help host the weekly Open Mic on Sundays, I take part in the Wednesday Writer’s Chat Support Group, I’m organizing the new Happy Hours at the Writer’s Block Cafe, and I read chapters from my forthcoming book on Thursdays.

Apart from the live reading of book chapters, most of the “work” is hanging out with people and forming relationships. I’m not running around shouting out my agenda. I talk with folks from all over the world. I bond with them. They often wonder what I do in Real Life. I tell them about my book…

What I do in real life takes many hours of every day. I make time for virtual relationship-building, carve it out of my diurnal allocation, find it often more satisfying then this war-torn, global crisis-ridden, greedy and dangerous “real” world…

Like yesterday: I sat with five people from various parts of the United States, one man from Finland, and two others from the UK. Some were writers, some artists, and one was a pole dancer. We all had a great time. We shared information, experiences, laughter, and good will…

I think it’s time to wrap this post up. I’ll do it with some questions from that previous post:

Have you ever wondered if your mind is truly registering our physical world with fidelity?

How lost can you get in a good book?

Has a book you’ve read ever made you want to abandon our consensual reality?

Have you ever visited a virtual world?
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Follow the “co-author” of Notes from An Alien, Sena Quaren:
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Open Letter to JK Rowling

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This letter, by Chris Meadows, originally appeared on Teleread on 1/23/10.

This letter is also being sent by snailmail to J.K. Rowling’s agents, the Christopher Little Literary Agency.

Dear Ms. Rowling:

For several years, you have adamantly refused to make e-book editions of your Harry Potter series available, citing concerns over promoting piracy. In May, The Bookseller reported that you were considering releasing the Harry Potter novels in e-book form. However, it is now October, and we have heard no further word as to when or if these e-books will be coming out.

I am writing to ask that you release these official e-books, as soon as you possibly can.

To begin with, your prior reluctance to license Harry Potter e-books has not resulted in any reduction in piracy of these books. Indeed, each time a new book in the series was published, a fully scanned e-book edition of it was on BitTorrent within hours.

Indeed, at the moment, if I enter “‘Harry Potter’ e-book torrent” into Google, it returns 690,000 results, in a variety of e-book reader formats. I have little doubt that by now that if I were to download one of these at random, I would find it had been proofed and polished sufficiently to compare favorably to professional quality. One of these in particular claims to be “reference quality”, with “exact layout and page sizes” and “every word on every line”.

 

Try as you might, you will never eradicate these illegitimate e-books from the Internet. What you should be thinking about doing is supplementing them with authorized versions that would earn you some money, and divert at least some of these e-books’ popularity to legitimate ends.

Read the rest of the letter on Teleread, and also see New Harry Potter piracy reported: Time for J.K. to allow legal Potter e-books, an earlier article on the same site.

For Ebooks, An ISBN Dilemma

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This article, podcast and transcript, by Chris Kenneally, originally appeared on the Copyright Clearance Center’s Beyond the Book site on 2/14/11 and are provided here with that site’s permission.

Not so long ago, a book was an unmistakable object. Then someone came along and started digitizing content, and very soon, books were something else, something much more than ink on dead trees. That transformation, indeed the redefinition of books, matters enormously to readers and publishers, as well as retailers and librarians. Without a way to identify “books” as they are published, information and creativity could be orphaned.

To discuss this challenge, CCC’s Chris Kenneally recently spoke with publishing consultant Michael Cairns who had just completed a report for the Book Industry Study Group examining practices in the identification of e-books in all their vast variety. The research turned up several surprising findings, as well as revealed a tension between US publishers and their counterparts around the world.

“We’re in this transition between the sale of a physical book to one that’s a digital book, and in that transition, some aspects of the ISBN number are not being upheld as they were in the physical world,” notes Cairns, who is a highly-regarded blogger at PersonaNonData. “And when there’s a breakdown, that starts to increase the likelihood that the supply chain does not operate as efficiently as perhaps it should or could. And so that’s a real issue.”

 For E-Books an ISBN Dilemma [21:36m]: Hide Player | Play in Popup | Download

Marketing Or Selling: What’s The Difference And Why Do I Like To Do One And Not The Other?

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To sell: “to influence or induce to make a purchase” Merriam-webster.com

To market: “to expose for sale in a market.” Merriam-webster.com

People commenting on the new trends in publishing frequently say that for self-published authors to be successful they need to be entrepreneurs. In fact they often say any author who wants to be successful needs to participate fully in the selling of their own books. I heard stories for years from my traditionally published friends about going to conventions to network with book sellers, arranging book tours, book signings, and speaking engagements at local libraries, and how much they dreaded this aspect of being a published author.

Author Forums and groups like Murder Must Advertise are still dominated by similar discussions of the ins and outs of selling books, including these traditional methods. As I prepared my historical mystery, Maids of Misfortune, for publication, I found myself dreading having to actually sell it. When, miracles of miracles, I found that marketing my book on the internet was much less painful than I feared. What I also discovered was how difficult I find it to “sell” my book or “my self” through the traditional routes.

I have only approached two local books stores, asking them to sell my book on consignment, and while they both said yes, I haven’t followed up with other books stores in town, nor have I even used those two venues to schedule book signings, or ask if I should restock when the books I left were sold. I haven’t approached any libraries, and except for a talk I gave on self-publishing in general at the college where I taught, I haven’t scheduled any public appearances. I did go to the Bouchercon, and talked to two booksellers, but haven’t followed up on those two contacts. Yet every day I get on my computer, and read and comment on different blogs, forums, reader sites, and Kindle boards. I blog about once or twice a month, and I constantly work on different strategies to make my book visible to the reading public. So, the question I have asked myself is: why is it so difficult for me to sell my book through traditional means, but so easy to “market” on the internet?

I think that the answer to that question lies in the difference between the two definitions above. When I ask a bookstore owner to carry my book, or think about scheduling a book signing, or write to a library asking them to carry my book, I feel like I am trying to persuade them to sell my book. I feel that if I gave a talk, or book signing, I would be saying “Buy my Book,” thereby making them feel uncomfortable if they don’t want to do that. And I have felt uncomfortable with the idea of persuading or influencing someone to buy something that they don’t want to buy since I was a child selling girl scout cookies. Not because I think selling is bad, or sales people are bad, but because I personally feel uncomfortable doing it.

When I went to the Bouchercon, I felt like I had fallen through a time warp thirty years to when I was a graduate student going to history conventions, where I was supposed to sell myself to senior historians. You were supposed to court them, strike up conversations where you could flatter them about their work, thereby giving you the opportunity to mention your own work, in other words, “sell yourself.” All of this was in the hope that someday in the future, when you submitted an article or book to an institution where they were an editor or a reviewer, or, even better, if they were on a hiring committee for a job for which you were applying, that they would remember you and accept that article, or book, or hire you. I was terrible at this. Thank goodness I had a good friend who was better at it, so I would trail along in her wake, getting introduced to all the big names, but I doubt very much if any of them remembered me for more than a second. At Bouchercon, I had no friend to trail along behind, so I did very little selling of myself, beyond leaving some sell sheets on some tables, and handing out business cards to the few people-usually fans sitting next to me at a talk-who expressed any interest in my own work.
And this isn’t because I am a particularly shy person. I have taught for 30 years, standing up semester after semester in front of hundreds of students, speaking extemporaneously and with ease. I have run academic senate meetings, stood in front of Board of Trustees arguing vehemently to present the faculty’s point of view, and I have been the master of ceremonies at scholarship banquets with hundreds of people present. But in all of these cases, I didn’t feel like I was selling something of mine. I might have been selling an idea, or even trying to get people to fork over money to improve the educational opportunities for students, but it didn’t feel like I was selling myself, or something of mine, and I didn’t feel uncomfortable doing it.

My discomfort isn’t because I am not proud of my book, either, because I am, just as I was proud of my scholarship, or my abilities as a teacher when I did submit work for publication or applied for jobs. But I want readers and booksellers, (as I did editors or hiring committees) to make their own independent judgment on the quality of the work, not on my ability to sell it or myself.

However, when I engage in conversations on the internet, or blog about self-publishing, and mention my book, or have the title of my book as part of my signature, or have a link back to my product page, it feels different. I feel like I am marketing not selling. I am not trying to persuade them to buy my book, I am exposing my book out there to the reading public. I don’t go out and buy books from most of the people whose blogs I read or comment on, unless they happen to have written a book I would normally be interested in, and I assume the same goes for the people who are reading my comments or blogs. If they decide to take a look at my book, I then feel that the cover, and the description, and the reviews, and the excerpt will demonstrate the quality of the book (not me saying-buy this book, trust me it is good,) and I don’t have to worry that they are feeling bad because they decided not to buy it, so I don’t feel uncomfortable.

And, I don’t have to sell myself or the quality of my book to Amazon.com or Smashwords to get them to sell my book. They just do, and again, if I have done my job right, and gotten the book into the right category, and have a good cover, good blurb, good review, and good excerpt, (in other words, if I have marketed it well) the book will sell itself. And that doesn’t make me feel the least bit uncomfortable.

I am not making any judgments here, (in fact I am in awe of people who go out to those conventions, and books stores, and libraries, and book clubs, and book signings—particularly when I know for many of them they are as uncomfortable about doing it as I am.)  And, I am probably making a distinction that won’t hold up to very much scrutiny, but the distinction between selling and marketing, and why I feel like I am doing the latter when I use the internet, does at least explain my own odd behavior. In addition, the fact that whatever I have been doing to market on the internet has actually resulted in over eight thousand sales, doesn’t hurt. But, what I am wondering is, are any of the rest of you out there finding yourselves making a similar distinction or facing a similar reluctance use the traditional methods, while enthusiastically embracing the new methods offered by the internet and ebookstores? Or is this just one of my own idiosyncracies?

This is a reprint from M. Louisa Locke‘s The Front Parlor.