Business End

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

Being An Indie Author And Self-Publishing With Zoe Winters (podcast)

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This interview was such fun! Zoe and I laugh our way through the serious but fun topic of being an indie author.

Zoe Winters is an independent paranormal romance author and has written the Bloodlust trilogy of novellas which have sold over 22,000 copies. She is also a passionate advocate of ‘indie authors’ and blogs at IndieReader.com on this topic.

 

 

In this podcast you will learn:

  • How writing inspiration can come from your obsessions and loves – whether that is Buffy or the Bible! How Zoe created a world of vampires and shape-shifters and other paranormal creatures. Write the books you want to read, don’t get hung up on what you “should” write.
  • What is an indie author anyway? Indie authors are self-publishing but they are reclaiming the word. It’s more like indie bands and indie film-makers. It’s about control and understanding how it all works, as well as self-esteem. Most indie authors do most of the work themselves. They pay for some services in order to make a professional book like editing and cover design, but use technologies like Print on demand and ebooks for distribution. Zoe recommends LightningSource as the best option. You do need to be a “publishing company” to be on Lightning Source as well as owning your own ISBNs.
  • Main distribution method for indie authors is online. The costs are down, you can reach an audience more easily. You can still do print as well as ebooks.
  • Once you’re selling well on Amazon, you’re in the system and the more you sell as you get recommended. Selling on Kindle and Amazon is the best way to sell. Use dtp.amazon.com
  • Get a professional editor for your work. Polish your writing and work with critique partners before you send it to the editor. Then they can improve it from there.
  • If you can, learn to do your own formatting. Smashwords style guide for Kindle. Perfect Pages by Aaron Shepard. Pro typesetting is not really necessary for a standard fiction text-based novel.
  • If you outsource, make sure you understand the contract. You can find professionals on Twitter.
  • Being an indie author is not for everybody. You need to be into keeping creative control. You also need to have a thick skin as there are many nay-sayers. You need to treat it as a real business.
  • How Zoe balances her time between writing and marketing after 2 years into indie authorship. It is difficult but you do need to focus on your writing as well as marketing. It’s good to build up a list of people who want your books and support you. There is a good community of people who are out there, doing their thing. Social networking is more about connection, not hard core sales. If people like you, they are more likely to buy your book.
  • On the Zoe Who? videos. Zoe wanted to take advantage of a video audience but didn’t want a book trailer or to put herself on the video. So she used XTRANormal.com to make some funny videos on self-publishing and being an indie author. Check them out on YouTube here.
  • How we feel about our first drafts and sending to editors. Zoe talks about “Save my Soul” and I talk about “Pentecost”. Most writers start with rough drafts and then it gets better with each revision. On putting the book out there when you have an audience already.

 

 

You can find Zoe at her website ZoeWinters.org and also at her blog.You can buy her books on Amazon.com here. She also writes at IndieReader and is on Twitter @zoewinters

 

 

Here’s one of the Zoe Who? animations – you can see more here.

 

 

This is a cross-posting from Joanna Penn‘s The Creative Penn.

Podcast: Download (Duration: 36:18 — 8.3MB)

E-Texts For All (Even Lucy)

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This article, by Char Booth, originally appeared on the Library Journal site on 8/5/10. If you’re publishing for the Kindle and haven’t enabled text-to-speech, this article just might change your mind.

If digital literacy is exploding, the visually disabled are taking the shrapnel. I would wager that most librarians consider ourselves committed to accessibility and make individual and organizational efforts to comply with (and often exceed) the Americans with Disabilities Act (ADA) in our buildings and the Rehabilitation Act Section 508 standards on our websites. We may not, however, have had the sobering experience of trying to access an ebook or e-journal using screen-reading software or other assistive technology. Despite our best intentions, this limited insight can lead us unwittingly to collection development and web design decisions that make digital literacy far more difficult for the print disabled.

Over the past year, I’ve been working closely with Lucy Greco, a colleague and disability advocate at the University of California-Berkeley (UC-B). Lucy, who has been blind from birth, has transformed my understanding of the word ­access. Not only do librarians need to understand the accessibility front of the ebook wars, we have the responsibility to embrace our advocacy role in shaping its outcome. As one of the few public sector agencies charged with recognizing the access rights of all, libraries must collectively examine how we can steer the e-text trajectory-from ebooks to e-journals to any other format-in a more universally usable direction.

Ebooks and DRM
Lucy is partial to a few sayings that have helped me understand the e-text accessibility paradox. The first is that "ebooks were created by the blind, then made inaccessible by the sighted."

Online text formats like DAISY and EPUB were pioneered in part by the accessibility movement as an alternative to expensive and cumbersome Braille texts. As ebooks have gained popularity, however, digital text became inexorably less accessible as for-profit readers like the Kindle and Sony Reader muscled onto the scene. A patina of digital rights management (DRM) has been added in order to protect the intellectual property of vendors, contrary to the open and accessible orientation libraries have long held toward literacy and learning.

Device- and interface-specific ebooks are often "locked down" to other readers, meaning that by default they block attempts to be read by JAWS and other screen-reading software. The Kindle—still the dominant hardware ereader—has text-to-speech capability, but its speech menus remain inaccessible despite a 2009 promise from Amazon. [The Kindle 3, announced last week, has addressed this particular flaw.—Ed.] Hence the recent Department of Justice letter to college presidents warning against inaccessible emerging technology use and a suit brought by the National Federation for the Blind against Arizona State University’s Kindle DX pilot.

Dollars = leverage
 

 

Read the rest of the article on Library Journal.

Aspiring Authors Fail To Click During E-Book Emergence

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This story, by Jeffrey A. Trachtenberg, originally appeared in The Wall Street Journal and was reprinted on the South Oregon Mail Tribune site on 9/26/10.

When literary agent Sarah Yake shopped around Kirsten Kaschock’s debut novel "Sleight" earlier this year, she thought it would be a shoo-in with New York’s top publishers.

"Her project was one of the most exemplary in the last decade or so," said Jed Rasula, Kaschock’s teacher, who has taught in the English department at the University of Georgia since 2001. "I certainly thought she’d find a New York publisher."

To the surprise of Yake and Rasula, the major New York publishers passed on "Sleight," a novel about two sisters trained in a fictional art form.

Coffee House Press in Minneapolis, a small independent publisher, now plans to publish the book, offering Kaschock an advance of about $3,500 — a small fraction of the typical advances once paid by the major publishing houses.

It’s always been tough for literary fiction writers, particularly first timers, to get their work published by the top publishing houses. But the digital revolution that is disrupting the economic model of the book industry is having an outsized impact on the careers of literary writers.

Priced much lower than hardcover books, e-books generate less income for publishers. At the same time, big retailers are buying fewer titles.

As a result, the publishers responsible for nurturing generations of America’s top literary fiction writers are approving fewer book deals and signing fewer new writers. Most of those getting published are receiving smaller advances.

"Advances are down, and there aren’t as many debuts as before" says Ira Silverberg, a well-known literary agent. "We’re all trying to figure out what the business is as it goes through this digital disruption."

Much as cheap digital music downloads have meant fewer bands can earn a living from record company deals, publishers and agents say fewer literary authors will be able to support themselves as e-books gain broader acceptance.

"In terms of making a living as a writer, you better have another source of income," says Nan Talese, whose Nan A. Talese/Doubleday imprint publishes Ian McEwan, Margaret Atwood, and John Pipkin.

In some cases, independent publishers are picking up the slack by signing promising literary fiction writers. But they offer on average $1,000 to $5,000 in advances, a fraction of the $50,000 to $100,000 advances that established publishers typically paid in the past for debut literary fiction.

The new economics of the e-book make the author’s quandary painfully clear: A new $28 hardcover book returns half, or $14 to the publisher, and 15%, or $4.20, to the author.

Under most e-book deals currently, a digital book sells for $12.99, returning 70%, or $9.09, to the publisher and typically 25% of that, or $2.27, to the author.

The upshot: From an e-book sale, an author makes a little more than half what he or she makes from a hardcover sale.

 

Read the rest of the article on the South Oregon Mail Tribune site.

While You Wait For Book Three, Authors Die!

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The title of this post is slightly sensationalist, but in a literary sense it’s actually very true. I mentioned recently that I’ve finally started reading A Game Of Thrones, which is the first book in George R R Martin’s A Song Of Ice & Fire series. This comment led to a few discussions in various places that has subsequently led to this post.

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

When I mentioned that I was finally getting around to reading A Game Of Thrones a lot of people assumed that also meant that I’d only just bought it. Especially when, in answer to the question, “Why has it taken you this long?” I replied, “I was waiting for the complete story before I started.”

A lot of people do this, and fair enough. When you notice a big old fantasy series that you think catches your interest, it’s reasonable to assume there’s going to be a whole story told. Often these days a writer will sell a trilogy (or bigger series) to a publisher and that publisher will set a publication schedule to release those books over a relatively short period of time, maybe even inside a year.

However, if no one buys the first book, it’s very possible that books two and three will never see the light of day. An author survives on [his] sales figures. If [he] performs poorly at the checkout, the publisher will discard [him] like a greasy burger wrapper and think nothing of it. That’s business. It’s fucked, but it’s business.

Going back to Martin’s series, when people started telling me how awesome it was, I started buying the books. They’ve sat on my shelf for ages. I wasn’t going to read them until there was a whole finished set, but I bought them to ensure that Martin showed solid sales figures and stayed in favour with his publisher. (I ended up starting to read recently because of the forthcoming TV series, and I wanted to have read the books first).

Obviously someone like George R R Martin doesn’t need my help, but the same thing applies across the board. For example, I was on a panel recently with Paul Cornell and he talked about one of his comic series being cancelled. There was conjecture that the series was cancelled because so many people these days wait for the trade, rather than collect the individual comic books. If no one buys the comic books, the story is considered a failure and there’ll be no trade.

The same applies to big series of novels. If no one buys the first book, the author/story will be considered a failure and there’ll be no release of the rest of the books. The people that read the first one are denied closure, the people that were waiting for a whole series have missed the opportunity and, most importantly, the author is dropped and never has the chance to expand their career. This is a very sad result of market forces and it’s actually a false result.

So if you see the first book of a series that you think you might like, buy it! You don’t have to read it right away – consider it an investment in your reading future. Buy the subsequent volumes as they come out and you’ll end up with a solid reading experience once the whole series is finished. And you’ve done your bit to ensure the success of an author and their literary vision. Hopefully you’ve had a good read too. If you put off buying that first book, you could have actively participated in the failure of an otherwise awesome story and potentially stellar career. No pressure.

 

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

What Do The Most Highly-Paid Authors Have In Common?

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We write for many reasons. Money is not usually the top of the list but we would all like to be rewarded for our work and financial success is certainly a great goal.

Forbes.com released their list of the highest paid authors earlier this year. The top 10 earners were: James Patterson, Stephenie Meyer, Stephen King, Danielle Steel, Ken Follett, Dean Koontz, Janet Evanovitch, John Grisham, Nicholas Sparks, and JK Rowling

So what can we learn from them in terms of modeling success?

  • Write a lot of books. James Patterson has had 51 NY Times bestsellers and churns out almost 1 book a month now with a number of collaborators. While you may not like his writing style, he is certainly successful in understanding books are a product. Write to a formula, get them out there and people will buy them. Most of these writers are prolific with Meyer and Rowling as outliers (see the next point!)
  • Write a series. All of these writers have a series of books, some of them have multiple series with protagonists that people get to know and are keen to read the next installment about. Remember, it may take you a year to write a book, but it takes a real fan about 5 hours to read it. Then they want the next one! If you can hook people into your series, you will sell the rest of them to that reader and the books will keep selling.
  • Know your brand and write in a genre. Each of these names is synonymous with a genre. You know what you are getting when you pick up a Stephen King or a Danielle Steel. If they write in other genres, they use another name. These authors are brand names, instantly recognizable products. You need to decide what your brand is and where you fit on a bookshelf. Do you fit next to Patterson or Rowling or Sparks?
  • Understand it takes time. Most of the top 10 have been around for decades. Only Meyer and Sparks could be considered young authors, so it is encouraging to think that plugging away for years will eventually have some success. If James Patterson or Danielle Steel had given up after 2 books, would they be where they are now?
  • Write popular fiction. This may be controversial but if you want to make money, you need to write for the masses and avoid literary fiction. There is a clear difference between a best-selling author versus a best writing author. One makes money, the other wins literary acclaim and prizes. You need to be clear what you are aiming for. (That doesn’t mean bestsellers are not well written. Many of them are and we should all aim to write well. It just means they are not considered “literary” by the critics).
  • Create multiple streams of income. These authors do not just have physical books. Their ideas have been turned into other products including movies, merchandise, spin-off books, audio and digital products, games and even real world experiences (think Harry Potter world!). Yes, they are big names but you can create multiple streams of income for your books too.

What do you think about these top earners? Do you buy their books? How can you model their success?

This is a reprint from Joanna Penn‘s The Creative Penn.

Fair Use Frequently Asked Questions (and Answers)

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This FAQ, from The Electronic Frontier Foundation (EFF), originally appeared on the EFF site on 3/21/02.

1. What is Fair Use?

In essence, fair use is a limitation on the exclusive rights of copyright holders. The Copyright Act gives copyright holders the exclusive right to reproduce works for a limited time period. Fair use is a limitation on this right. A use which is considered "fair" does not infringe copyright, even if it involves one of the exclusive rights of copyright holders. Fair use allows consumers to make a copy of part or all of a copyrighted work, even where the copyright holder has not given permission or objects to your use of the work.

2. How does Fair Use fit with Copyright Law?

Copyright law embodies a bargain: Congress gave copyright holders a set of six exclusive rights for a limited time period, and gave to the public all remaining rights in creative works. The goals of the bargain are to give copyright holders an economic incentive to create works that ultimately benefit society as a whole, and by doing so, to promote the progress of science and learning in society. Congress never intended Copyright law to give copyright holders complete control of their works. The bargain also ensures that created works move into "the public domain" and are available for unlimited use by the public when the time period finishes. In addition, as part of the public’s side of this bargain, U.S. Copyright law recognizes the doctrine of "fair use" as a limitation on copyright holders’ exclusive right of reproduction of their works during the initial protected time period.

The public’s right to make fair use of copyrighted works is a long-established and integral part of US copyright law. Courts have used fair use as the means of balancing the competing principles underlying copyright law since 1841. Fair use also reconciles a tension that would otherwise exist between copyright law and the First Amendment’s guarantee of freedom of expression. The Supreme Court has described fair use as "the guarantee of breathing space for new expression within the confines of Copyright law".

3. How Do You Know If It’s Fair Use?

There are no clear-cut rules for deciding what’s fair use and there are no "automatic" classes of fair uses. Fair use is decided by a judge, on a case by case basis, after balancing the four factors listed in section 107 of the Copyright statute. The factors to be considered include:

  1. The purpose and character of the use, including whether such use is of a commercial nature or is for nonprofit educational purposes — Courts are more likely to find fair use where the use is for noncommercial purposes.
  2. The nature of the copyrighted work — A particular use is more likely to be fair where the copied work is factual rather than creative.
  3. The amount and substantiality of the portion used in relation to the copyrighted work as a whole — A court will balance this factor toward a finding of fair use where the amount taken is small or insignificant in proportion to the overall work.
  4. The effect of the use upon the potential market for or value of the copyrighted work — If the court finds the newly created work is not a substitute product for the copyrighted work, it will be more likely to weigh this factor in favor of fair use.

4. What’s been recognized as fair use?

Read the rest of the FAQ on the EFF site. More in depth information about Fair Use issues can be found at Chilling Effects. 

Indie Versus Traditional Publishing

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This article, by Jess C. Scott, originally appeared on her site on 6/1/10.

This is a condensed version of my quite-long (35-page) advertising plan which I submitted for BUS 345: Advertising, in the Spring 2010 semester. The paper was written with regards to “establishing my brand identity as an author.” I scored full marks for the paper (yay).

# # #

Industry Analysis of Traditional Publishers

II. SITUATION ANALYSIS

2.0 Historical Context

According to Doug Grad Literary Agency, whose founder spent twenty-two years as a senior editor at four major New York publishing houses:

Publishers, unfortunately, have a copycat mentality, so once a genre gets hot, they quickly overbuy and over-publish until the marketplace is saturated and the public gets sick of the rotten imitations on the shelves. Look at what happened to the Chick Lit genre, and is happening to the Young Adult Vampire genre right now. (Grad, 2010)

 

2.1 Industry Analysis

2.1.1 Current Industry Climate

George Bernard Shaw, a famous and controversial 20th century English dramatist (whose first book was published fifty years overdue—when publishers would publish anything that had his name on it), had this to say about publishers:

I object to publishers: the one service they have done me is to teach me to do without them. They combine commercial rascality with artistic touchiness and pettishness, without being either good business men or fine judges of literature. All that is necessary in the production of a book is an author and a bookseller, without the intermediate parasite. (Bernard, 1990)

Independent publishing in the digital era offers what George Bernard Shaw dreamed of. Anyone can write a book, and get it in the hands of potential readers, without having to wade through a sea of literary agents and editors. The entire traditional publishing industry is made up of a series of costs, overheads, and ways of using up incredible amounts of time which might be used doing something productive. Big publishers will not look at unsolicited manuscripts from un-agented writers, and taking 6-12 months to respond to the submission of a full manuscript is considered an industry standard for “working in a timely manner.” The endless series of procedures for simply getting a book considered by a literary agent, are obstructive. Literature is competing with powerful media for space in people’s lives, and inefficiency doesn’t help (Wallis, 2009).

Authors also often have no say and/or control in the traditional publishing process. According to established author, critically acclaimed novelist, and National Book Award finalist John Edgar Wideman:


Read the rest of the article on Jess C. Scott’s site.

What An Indie Hip Hop Act (Or Any Artist) Can Learn From This Self-Published Victorian Era Mystery Author

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This article, by Israel Vasquetelle, originally appeared on Insomniac Magazine on 9/19/10 and features M. Louisa Locke, one of our own Publetariat contributors.

Too many times, artists of all genres look only to their own immediate world for both creative and business inspiration. The problem is that those same ideas are recycled over and over again by many within that space. I remember when 50 Cent (and obviously artists before him) approached mixtapes as the ultimate way to saturate the market – one locality at a time. That was a phenomenal way for 50 and other artists to break in and make substantial names for themselves. The problem today is that nearly every rapper on the planet now has a mixtape.

Sure, this form of promotion and distribution can still prove to be a means to reach an audience, however, for the most part it’s noise. Today, mixtapes are a dime a dozen. Sometimes taking a step out of your immediate world, what every that may be, and looking at other forms of media can provide the most valuable insight. This is one of the reasons that for years I have continued to cover a variety artists and industry professionals’ stories of success within Insomniac. This has been done in hopes that their experiences will motivate others to find their own path to whatever they’re striving to achieve.

Maids of MisfortuneM. Louisa Locke recently published her first novel, a Victorian era mystery, and has managed to reach an audience despite not benefiting from the resources of a traditional book publisher. She’s not a household name, at least not yet, however, in the era of new media and the technology that makes it these channels possible, it’s not necessary to have a huge audience to find success.

Locke is part of a growing contingency of authors that have chosen to bypass the lottery-like odds that require the need to gain the limited attention of traditional publishers. Instead of chasing a middleman, she reaches a potential audience by utilizing the democratizing services of digital distributors and print on demand services that helped her to make her title a reality.

Artists seeking to get signed by labels should take a page out of this author’s playbook. With a little entrepreneurial spirit and the use of today’s technology, artists can reach their audience and maintain control of that connection. Until, this is something that was nearly impossible to achieve without a significant resources in the form of capital and a barrage of middlemen.Today, it takes talent, hard work and a bit of marketing savviness.

Traditionally, authors with aspirations of making it alongside bestsellers on bookshelves would need to convince gatekeepers of their potential to sell huge quantities. Obviously, only a tiny percentage of those considered ever garner a book deal. Once getting through that level of immense scrutiny, typically, for a new author, that means a small advance and a ticket on a waiting list that could last many months or years. Furthermore, for better or worse, the author’s words are subject to a barrage of changes and revisions by editors. If, and when the book finally hits the market, it will only receive the promotional resources of its publisher for a very short window of time.
 

Read the rest of the article on Insomniac Magazine.

Story Awarded Sixth Place

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The results are in for a short story I entered this summer in White County Creative Writers Contests at Searcy, Arkansas. I was awarded sixth place for a version of the story I received second place for in an earlier contest. This time the story could only be 1500 words. That meant I had to do some drastic cutting and at the same time keep the basic story in tact. I managed to do just that, but I like the longer version better so that is my post for today. This story takes place during the Depression in the 1930’s.

 

The Unexpected Visitor

　

The two room cabin Rachel Archer rented wasn’t air tight, but it beat sleeping out in the open with the migrants. Sitting at her kitchen table drinking a second cup of morning coffee, she watched the freight trains slow down at the road crossing. Four men jumped on the flat cars and six leaped off. It was an ever day occurrence these days. Homeless and jobless men headed west, looking for work. The men disembarking were on their way back home after finding out there weren’t any jobs to be had. At night, the red and gold glimmer of a dozen or so campfires glowed in the timber near the cabin. Most days, at least a couple poorly dressed, unbathed men, looking half starved, knocked at the back door, expecting her to give them a handout.

Rachel picked the three folded sheets of tablet paper up off the table and reread them. Last week, the letter came from a fellow teacher, Mary Winters. Rachel hadn’t seen her for over a year when they spent a term teaching at the same school seventy-five miles away. She was delighted Mary was coming for a visit. In fact, her friend be arriving any minute.

Looking around the cabin, Rachel anxiously wondered what Mary would think of this place she called home. No matter what condition it was in or how cramped she was for room, Rachel considered herself lucky to have a place to live. The alternative was staying at a student’s home. This way she had privacy, and the door locked so she felt safe at night.

If only she could stop the nightly noises that kept her awake. Lately, the irritating gnawing under the kitchen floor had given her nights of disturbed sleep. What she heard had to be a rat. No mouse would be big enough to make that much racket. Suddenly a horrible thought came to her. What if that rat made his way through the wooden floor while her company was visiting? How embarrassing that would be.

Mid morning, Mary Winters knocked on the cabin door. Rachel greeted her with a hug. "Come in. It is so good to see you."

"I couldn’t wait to get here. I’ve missed our talks this last year," Mary said, returning Rachel’s hug.

"Me, too. Sit down at the table. I’ve kept the coffee pot on so we could have a cup when you got here. I expect you are about wore out from the trip."

"Not really, but the roads make for rough riding with all the pot holes and ruts. I thought that poor truck I hitched a ride on was going to fall apart before the farmer got me here," Mary said, laughing. As she sat down, she looked around the combined kitchen-living room.

"Not the biggest of home, but big enough for me. Beats bunking with one of the students," Rachel assured her. "I wouldn’t have a bit of privacy, and another family’s home life is so hard to get used to for me and them."

"I know that feeling. I spent the last term with a family of six kids. That might not be so bad, but the father made me nervous. I didn’t like the way he watched me all the time."

"Did he think you might steal something?"

"I don’t think that was his problem. I just made sure to never be alone with him," Mary admitted, ducking her head bashfully.

"You must get out of there. You are applying for a different school for this fall, aren’t you?" Rachel asked, appalled at what her friend had been going through.

"Already got a different school close by as a matter of fact so we can visit more often," said Mary, grinning.

"Wonderful!"

A train, traveling east, blew its whistle as it approached the crossing. Mary watched out the window with a frown. The freight train slowed down. Men jumped from the box cars and ran into the trees. "Did you have a good year here at the school?" Mary kept a troubled look as her eyes stayed glued to what was happening out the window.

"Yes, I had a nice size bunch of kids. Sometimes I wish I lived somewhere that didn’t get as much snow in the winter. I hate being snowed in for days on end," Rachel admitted.

"I know that feeling," Mary said in a distracted voice. Another train, headed west, slowed down at the crossing. Men ran along side and jumped on while almost as many men leaped off. Mary shook her head in dismay.

"Is something wrong?" Rachel asked.

"How are you so brave to live this close to the railroad tracks? Hobos keep jumping on and off the trains at the crossing."

"The hobos don’t bother me," Rachel assured her. "They do knock on the door once in awhile to ask for food. If I have extra, I give what I can."

"Doesn’t sound like a good idea to me. You shouldn’t encourage that sort of thing. Those men look desperate to me and that makes them dangerous," warned Mary.

"Perhaps, you’re just edgy because of what you’ve been through this last year. Those men are just down on their luck. How about some lunch? This afternoon, I want to take you over to the school and show you around. I have a car. When you’re ready to leave in a few days, I’ll take you back to town to catch a bus," Rachel offered.

After dark, Mary jumped at every little noise outside. Rachel laughed at how spooked her friend was. "Relax. There’s always stray dogs and cats prowling in the night, looking for scraps."

By bedtime, Mary still wasn’t convinced the cabin was a safe place to sleep. A series of sharp yips startled her. The racket came from the hillside in front of the cabin.

"That is coyotes on the run. They’ll be into some farmer’s chickens before morning, I expect," Rachel told her.

The yips came again. "Those animals sound like they’re right outside the cabin," Mary said, shuttering.

Angry voices, some talking loud and others yelling, drifted from the timber to the women through the thin cabin walls. "Sounds like the migrants are into a fight again," said Rachel with a sigh.

"Again," screeched Mary. "You mean this happens often?"

"Once in awhile. Some of the migrants are a rough lot," Rachel admitted, looking at her sideways.

In the bedroom, Mary put on her nightgown and crawled under the covers on the cot Rachel fixed for her. She tossed and turned, having trouble going to sleep in the pitch black room. In a trembling voice, she said, "Rachel, how do you know the difference between a dog prowling outside your door and a hobo?"

Rachel’s voice held humor as she said, "Simple. The dog can’t turn the door knob."

"Honestly, Rachel, you’re awful. That isn’t one bit funny," Mary said, pulling her covers up to her chin. "Do you have a gun?"

"Land’s sakes, no. Just go to sleep, Mary. You’ll be safe enough in here with me," Rachel assured her.

Mary listened intently at first in case hobos lurked outside. Finally, she slept fitfully, dreaming the cabin was surrounded by hobos. They peeked in the windows and rattled the door knob.

Right on cue as soon as the lights went out and the women stopped talking, the rat gnawed with gusto. Rachel held her breath, hoping that Mary didn’t hear the racket. Rumbling snores from across the room convinced her the noise wouldn’t bother Mary. Rachel fell asleep wishing she could figure out a way to persuade that nasty creature to move out from under her home. The sooner the better. She longed for a peaceful night’s sleep.

The next morning, Rachel, while filling the coffee pot at the sink, looked down. There was what she had dreaded for days. In front of the sink was the feared hole, with fresh wood shavings heaped around the edges. Slowly, she opened the sink door. Cowering in a shadowy corner behind a stack of iron skillets, the beady eyed, black rat stared at her.

Horrified, Rachel screamed. She forgot about her sleeping company as she yelled, "Oh my, he’s gotten in." She slammed the sink door.

Startled awake, Mary sprang off the cot. She pulled a butcher knife out from under her pillow. The picture of an unkempt, menacing hobo ran through her mind. At that very minute, he was stalking Rachel in the kitchen.

"Where’s he at?" Mary’s loud voice trembled. Her bare feet thudded on the floor as she raced to the doorway. Afraid for her life, she flattened herself against the bedroom wall to listen.

"Under the sink," Rachel replied in a disgusted voice.

Welding the knife with its blade up in the air, Mary peeked around the door. Bewildered, she looked around the room. Rachel, stood with her hands on her hips, glaring at the sink cabinet door. "How – how did he get in there?" She stuttered.

Looking over her shoulder, Rachel spotted Mary’s weapon. "That my knife?"

"If you had a gun, I wouldn’t need this for protection. I slept with it under my pillow," Mary replied sheepishly.

Rachel grabbed the broom, leaning in the corner. She opened the sink door and prodded back and forth with the handle. "Get out of there," she yelled.

Mary clamped her hand over her mouth and shrank back into the bedroom. She waited for the hobo to unbend from his contortious position and spring out of the cupboard. When he attacked Rachel, she’d have to be brave enough to stab him with the knife, but she didn’t know where she’d find the courage.

Suddenly, the rat darted out of the cabinet and ran in circles around Rachel’s feet. Doing a jumping dance, the frantic woman slapped the floor wildly with her broom. Mary peeked into the kitchen. She ducked back out of sight just in time to keep from getting hit when the broom came up over Rachel’s head. The rat headed for under the table. Rachel slapped the business end of the broom down at him, but missed. He hunkered by a far table leg, hoping that Rachel wouldn’t spot him.

Rachel rammed the broom handle at him, yelling, "Out from under the table, you creepy thing."

"He’s under that small table?" Mary cried in disbelief from the bedroom.

"He was," Rachel screeched. "He’s on the move again now."

A fast black blur, the rat, hunkered low and scurried across the floor, up the cupboard and under the wooden bread box lid.

Rachel cried, "Oh, no! He went in the bread box with my bread." Mary, clutching the knife, eased out into the kitchen. "Let him have the bread. You can buy more." Completely befuddled, she looked at the small box and whispered, "How could he fit in there?"

As Rachel turned her back on the bread box to answer, she felt a scratchy, fuzzy upward movement inside her left slack leg. She clutched her thigh and watched the lump continue to move up her slacks past her knee. "Oh, Mary, he’s in my slacks. What will I do?"

Thinking Rachel had lost her mind, Mary said, "Dear, he couldn’t be in there. Don’t you think you should sit down?"

"I can’t do that. I have to get shut of him," Rachel said, giving Mary a disgusted look. She yanked the back door open and ran out into the yard.

Mary followed her. Helplessly, she watched Rachel frantically jump up and down like she was skipping rope.

As the movement continued in Rachel’s slacks leg, she darted around the yard holding her leg tightly and screaming very loud. After she grew weary from the exertion, she looked down at her slack leg and begged, "Please leave. Please leave."

"Poor Rachel. I knew living out here on this prairie had to get to you. I just didn’t realize you were this bad. Please stop bouncing around," Mary commanded, grabbing Rachel by the shoulder. "You must calm down. I promise you there isn’t a hobo in your slacks."

That statement brought Rachel to an instant stop. Panting, she gave Mary a incredulous glare. "There isn’t a hobo in my pants. What are you talking about?"

Mary answered in a small voice. "I thought you thought you had a hobo going up your leg. What do you have in your pants?"

"Believe it or not. What’s in my pants is much worse. It’s a rat."

Mary turned loose of Rachel and staggered backed a few feet. "Really?"

"Really. I knew he was under the cabin floor, but I hoped he wouldn’t gnaw through while you was here." Rachel couldn’t feel movement in her hands anymore. She loosened her grip on the lump. It didn’t move. She shook her leg and cringed as she felt the tickling, furry lump slide down her shin. The motionless rat appeared and lay her shoe. Rachel gave a fast kick, sending the rat toward Mary.

Pale faced, Mary squealed and dodged sideways.

"Thank goodness, he’s dead," Rachel sighed, panting.

"He is, but I’m not sure I’m going to live through all this excitement," Mary said and giggled. "Tell me the rest of today is going to be calmer, please."

"Can’t never tell what will happen next around here," Rachel affirmed, laughing.

　

　

　

10 Simple Steps To Increase Your Digital Influence

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This post, by Jeff Bullas, originally appeared on his site on 9/20/10.

What if you could shortcut the time it takes to be known as a thought leader or an expert or get elected to a position of authority and power or chosen for that important job that you want so desperately.

Just imagine when you wrote a book that it immediately sold in the thousands and maybe even appeared on the New York Times Best Seller list.

Social media is sometimes viewed as just another way of communicating… and yes it is… but it is so much more than that if start to scratch its surface and dive in and start to leverage its power to spread your content globally and amplify the results. It can be used as a tool to promote your company and personal brand that can fast track results that can be astounding and the 10 people mentioned in this article I am sure would testify to that.

Social media is sometimes viewed as just another way of communicating… and yes it is… but it is so much more than that if start to scratch its surface and dive in and start to leverage its power to spread your content globally and amplify the results. It can be used as a tool to promote your company and personal brand that can fast track results that can be astounding and the 10 people mentioned in this article I am sure would testify to that.

There was a comment left on a post the other day and it was both expected and surprising.

“Why are cooperation, organization and collective action treated as new methods of achieving results … There’s nothing new to any of these interactions…the only “new” component is the current social networking apparatus (fb, twitter, etc.) and even these aren’t really new…and those are only variations on communications (primarily involving the internet) which we’ve been experimenting with now for more than a generation…but I worry about what we’re giving up for those advantages. I will worry even more if people unthinkingly give credit to social media for the achievements that would have resulted from their interaction without said media….”

Sure there are some problems with any new media with the fear of  the unknown or the concern with its possible diminishing of face to face interaction. The reality is that it increases real interaction both online and offline through reduced friction to keep in touch, be found and spread your knowledge and opinions in your niche.

I have found it facilitates face to face opportunities and intensifies my personal and professional interaction, engagement and collaboration and  it also breaks down barriers to communication by enabling multiple means to communicate and keep in touch that are both efficient and personal.

In fact my blog and my social media channels provide me with my own  multimedia printing press and marketing platform.

I think what excites most social media early innovators and adopters is the ease with which you can promote your ideas and opinions to large audiences without gatekeepers like traditional mass media costs and barriers that prohibited us sharing without getting permission from editors and journalists or power brokers.

The Influencer Project provides some more insights on what tips and actions you can implement to be digitally influential. Here are some thought leaders’ insights from the Influencer Project and I have added some actions you can implement or start to commence on your digital influence journey.

1. Hang out where your audience hangs out and get to understand them.

 

Read the rest of the post on Jeff Bullas‘ site.

When Dreams Become Expectations

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This post, by Nathan Bransford, originally appeared on his blog on 9/16/10.

There is a famous psychological study that shows that people who win the lottery and people who are involved in catastrophic accidents return to the same original base level of happiness after two years. People who make more than $75,000 are barely affected by further raises at all.

Success and fortune is normative. When we experience success, no matter how great, we first experience a blip of happiness, then we get used to it and start looking for what’s around the bend.

And for writers, as previously chronicled, this leads to the "If-Only Game." If I could only find an agent, then I’ll be happy. When you get that agent it becomes: If only I could find a publisher, then I’ll be happy. If only I could make the bestseller list, then I’ll be happy. If only I could have as many Twitter followers as Neil Gaiman, then I’ll be happy. We allow our success to be the new normal and aren’t satisfied even when we reach the next milestone because there’s always another milestone to be had.

But I think there’s another hidden danger for writers that can dampen writerly happiness: using our daydreams to get us through the tough times.

You know how it goes. You face a difficult time while writing, you don’t want to do it, you’re putting in such incredible hard work, and your mind starts drifting to your book being published and taking off and becoming a bestseller and being the next HARRY POTTER only more popular (don’t worry, we’re all J.K. Rowlings before publication) and sitting on Oprah’s couch and building A FLOATING CASTLE IN THE SKY TRUST US WE’LL BE RICH ENOUGH. And you use those dreams to power through the difficult stretches and redouble your efforts.

And that’s perfectly natural! No judging.
 

Read the rest of the post on Nathan Bransford’s blog.

Peeling Away The Layers Of Confusion

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When I first started researching the area of Self Publishing about three years ago, I was struck by the multitude of terms used both writers and publishers to define their own business. We can easily review many self publishing companies and rattle off terms like Vanity Publishing, Subsidy Publishing, POD (Print-on-demand) Publishing, Partnership Publishing and Independent Publishing. I’m sure many readers of Selfpublishingreview can list off a few others.

 
In the development of Self Publishing over many years, the above terms have not only merged, but indeed, the waters of distinction have become pretty muddied. I also have been guilty of interchanging the terms. It just seems that many Self Publishing companies (if I might call any publisher who offers one or more author services at a cost) are often all too eager to add to the confusion—combining romantic notions on the art of the writer with extravagant promises of notoriety and success—simply to promote a form of publishing were money flows to them and not the writer. Let me throw my two cents in on the above terms.
 
Vanity Publishers
 
These are the old timers of the business. Vanity in publishing has become like the ‘C’ word. To me, Vanity Publishers operate on the ‘bait and snare’ model of business. Get the customer interested enough; laud their work to high heaven; demonize traditional publishers; throw a veil of complexity on the publishing process; and like used car salesmen, don’t point out the scratches or the cracked chassis or the full costs until the customer asks how much to make the cheque out for and then hit them over the head with a baseball bat.
 
Sound pretty loathesome? Well, the reality is that many still operate this form of publishing business, and some of them have the highest turnover of self published titles every year. Brazen enough to even advertise four to five digit author fees! Vanity, to me, isn’t Aunt Maple wanting her life story published, nor is it some spotty college teenager thinking he has written ‘The Great American Novel.’ It is a publishing business set up to prey upon Aunt Maple’s and our teenager’s naivete, not their vanity. The vanity lies with the publisher smug and disingenuous enough to keep doing it.
 
Subsidy Publishers
 
Much of my attention two years ago was focussed on Subsidy Publishers in the USA. In the past year, I’ve started looking at UK and Irish Subsidy Publishers. What sets these Subsidy Publishers apart from Vanity Publishers is that, for the most part, they are upfront from the start about what they are offering, in effect—an author service, usually from submission through to design, production, print, final proof and the proverbial 25,000 online available booksellers and anything more is an additional paid add-on. The add-on’s are what is also known as the up sell. You will be emailed about ‘must have services’ which will help your book sell. Their contracts, rights, costs, editing, quality of production, promotion and marketing, if any, and other author services vary widely.
 
Like any serious purchase in life (and I believe a first book is as important as a first car or mortgage) research, shop around, ask a lot of questions, know the depth of service you are getting, talk to other authors who have used their services, and most importantly, be sure this is the right path to publishing for your book. Ignore the ‘Joyce, Whitman, Poe etc., self published’ spiel on the publisher’s web pages, as most of these tales have been debunked and are, at best, true, but this was a time when the common man and woman couldn’t read and hadn’t an arse in their skirts or trousers, and, at worst, blatantly false and misleading. Ignore their ‘listen to what our published authors said about us’ pages on their website.
 
Contact an author on their bookstore page through the web. They usually have web pages set up about their published books and will be far more candid about their experiences with the Subsidy Publisher. A good guide to a reputable Subsidy Publisher is one that actually advertises books on their publisher homepage. Remember, the vast majority of income for a Subsidy Publisher is made from author fees, not selling books!
 
Any author engaging with a Subsidy publisher who has not at first attempted the traditional route of agent/traditional publisher for their book is being very foolish. This has always been my first line of advice to an author. There is a vast wealth of knowledge to learn by pursuing this avenue at first call, pain and disappointment though it may bring.
 
Partnership Publishers
 
Again, this is any publisher who is upfront about a financial input from the author, but with the single significant difference from the Subsidy Publisher; a Partnership Publisher is also financially backing the author for one or more books, essentially, prepared to invest in the author and not just a book. It can also be referred to as ‘shared publishing,’ where there is a contract stipulating little or no advance, but a much larger percentage of royalties, sometimes up to 50%, far beyond the 6 – 12% royalties available from a traditional publisher’s contract.
 
You may be surprised to learn that in the past few years some larger publishers are creating imprints just for this kind of publishing. HarperCollins run HarperStudios, Troubador/Matador and also the London Press run a similar model in the UK, and I believe over the coming year, we are going to see an explosion of this kind of publishing from large traditional publishers caught in the trappings of economic recession, who, in spite of less well-informed observers and critics of traditional publishers, actually do believe in a philosophy of nurturing and investing in first-time raw talent. In the coming months, keep an eye on publishers like Macmillan, Faber & Faber and other such publishers who have strong online presence and are always testing the boundaries of what the publishing model is.
 
POD Publishers
 
I’ve been guilty of using this misnomer. All publishers can be POD Publishers if they are using digital and offset to define the method of printing. POD is a form of digital print technology first used in banking to print out customer statements. Someone saw the potential and introduced it to book printing. It allows publishers to print a single copy or short print run of a title in their catalogue without the need to use an offset print press. Offset printing has been the most common method used for the printing of books with a 2000+ print run. Like any product, the more produced in one run reduced the overall unit price. For the moderate self published books, the average is a few hundred copies, and offset is simply too prohibitive on unit price and storage for this amount. Many traditional publishers use POD (print on demand) to re-issue old back catalogue titles which would not warrant a sizeable print run to make them economical using offset printing.
 
You can bet over the next year that many large publishers will be using POD to print a lot of titles from their back catalogues as commissioning editors, and in particular acquisition editors, all stare with distain at their budgets and cut back on titles and quantities published and printed this year. Again, POD Publisher has become one of those terms which has arisen since the advent of publishers offering author publishing services. It is the tried and trusted method of digitally printing self published, low print-run books, and in fact 80% of Subsidy Publishers use exactly the same printer, Lightning Source, with huge printing facilities in the USA and UK. The remainder use other smaller digital printers, or have invested in their own machines.
 
Infinity Press is one of the few Subsidy Publishers who print in-house with their own equipment. With the advent of the Espresso Book Machine (EBM-a digital print machine, small enough to fit in a retail store), more and more Subsidy Publishers will probably have their own machines, or the buying customer will simply have their books purchased and printer in their bookstore.
 
Independent Publishers
 
All publishers who are not owned by a parent company are ‘Independent’ and make their own business decisions. This has nothing to do with the means an author chooses to achieve publication. If we were to draw a ‘family tree’ and list off all the publishers we can think of—you would probably find it a little disturbing to find out that many ‘publishers’ are often owned by the same large media conglomerate. This was very much an occurrence during the 1980’s and 1990’s, and even today, in the self publishing world, as companies like Author Solutions own Createspace, AuthorHouse, Wordclay and iUniverse.

(This article first appeared in selfpublishingreview.com)

 

This is a reprint from Mick Rooney‘s POD, Self Publishing and Independent Publishing.

Risner To Speak At Women Health Fair

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I’ve been invited to be the guest speaker at Van Buren County Hospital’s Women Health Fair in Keosauqua, Iowa on October 14, 2010 from 2:30 – 5:30 p.m. I’ll be speaking about my Alzheimer’s Caregiver Experiences. This year’s theme is "Fight Like A Girl". The expected attendance is around 200. This sounds like a fun experience, but I think I’ll keep my fingers crossed that I do a good job.

How did I end up with this invitation? I joined a website for Iowa authors http://wwwhttp://www.iowacenterforthebooks.org Any group looking for a speaker can read a list of books I’ve written and my biography. This is the second speaking engagement I’ve received from that website. I don’t think I can remind other authors often enough to check out their state resources for authors.

What was it in my biography that qualifies me to speak at a Hospital Health Fair? Let me tell you. My experiences include helping my mother care for my father for ten years while he battled Alzheimer’s disease and working in long term care at the Keystone Nursing Care Center in Keystone, Iowa as a Certified Nurse Aide for almost sixteen years. It’s not often you meet someone like me that is a CNA/author/speaker. That’s because I didn’t just do my job for the paycheck. I tried to make a difference in the lives of the residents by understanding how Alzheimer’s disease affected them and their families and doing something about it. In my time as CNA, I was awarded the 2004 award for Certified Nurse Aide by the Iowa Health Care Association and 2006 Professional Caregiver Award by the Alzheimer’s Association. Those awards will be mentioned along with a picture of me on the marketing director’s advertising about the Health Fair CNA/author/speaker.

While I took care of my father, I kept a journal. After his death, I turned that journal into a story about what it was like for his family to take care of him. Realizing there are many books on the market about caregivers struggling to care for someone, I made my book different by adding helpful caregiving tips at the end of chapters. Plus, I had the advantage of being able to write this book from a CNA point of view. The book is Hello Alzheimer’s Good Bye Dad.

As more residents with Alzheimer’s were admitted to the nursing home, I met many families baffled by what the disease was doing to their loved ones. I started a support group to help. I listened and explained what I knew from my experiences with my father and my job. Early on I decided I needed to write a book of examples about how to relate to someone with Alzheimer’s. That book is Open A Window.

Anyone that wants to be an author needs some speaking ability. I’ve been speaking since 1998. The Alzheimer’s Association asked me to speak at a conference for ministers. I was scared stiff, and the subject was a painful one, talking about caring for my father. When I received a packet from the Alzheimer’s Association in the mail with the survey about how the ministers liked my speech, I was overwhelmed by their great comments. Also in that packet was a form to fill out and send back if I wanted to be in the volunteer speakers bureau. There was a need in my area on the far side of the county when the Alzheimer’s Association didn’t have as many experienced employees. Now adequate staff has eliminated the need for volunteer speakers, but I still get an invitation once in a while and I go. Education about Alzheimer’s disease is very important for families. Have I spoke before an audience of 200 people? No! But how much different can that be than speaking to 20 – 50. Besides, I’m doing two sessions so I won’t have 400 eyes looking at me at the same time.

The administer at the nursing home asked me several times to be the speaker for inservices on Alzheimer’s. For one inservice, I wrote a fifteen minute skit about a woman, with Alzheimer’s, in the nursing home. Two nieces came to visit and didn’t know how to relate to her. The employee who found the most mistakes made by the nieces received dinner for two at a restaurant. That skit later became my three act play, Floating Feathers Of Yesterdays.

Van Buren County Hospital’s Marketing Director wants me to bring my books to sell and sign. There will be a variety of health related booths besides mine. My husband has consented to go along with me on this three hour drive. He can help carry in the boxes of books and watch the table while I’m not there. I’ve found he makes a good salesman for my books. He has read them all and never fails to tell people that he likes what he read.

An added plus is I get to take my Amish books, too. When I had the idea to write them, I thought if I set my series about Nurse Hal Among the Amish somewhere in Iowa that might be a way to increase sales in my area. Turns out the marketing director at the hospital says she likes the idea very much that the books are set in southern Iowa and for the Health Fair theme it’s an added bonus that the books are about a nurse. "A Promise Is A Promise and The Rainbow’s End – books in my Nurse Hal Among The Amish series.

So now I’ve a speech to write and practice. Plus I’ve been thinking about what I want on my table. Just recently, I printed out a large batch of business cards and bought a card holder to display them. I have three short story books. These were stories I entered and placed with in contests. I’m taking them to use in a give away. People can sign up for the drawing, and I’ll mail the book from home after I draw. That way no one has to worry about being there for the drawing. Since the three books are different themes, people can list a preference when they put their name in the basket. I will put a list of my books and a business card in with the winning book so that might encourage the winner to want to read more of my books. One of these books goes along with the health theme for that day – Butterfly and Angel Wings.

I’m looking forward to the opportunity and the drive. Fall is coming. The timbered hills along the way should be lovely in October. The marketing director asked if I charged a fee. My answer was I’m free. Ever since I helped my mom with my father I’ve liked educating others suffering the pain of watching a loved one go through Alzheimer’s disease. The bonus is now that I’m an author I get to talk about my books at the same time and sell them. I’ll tell you all about how the Health Fair went after October 14th.

 

"I Guess We Should Get A Thousand Printed"

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This post, by Vic Barkin, originally appeared on The Digital Nirvana on 9/13/10.

It was a dark and stormy night in a city that knows how to keep its secrets. No. It was a bright and windy afternoon in the City of Big Shoulders. I had just landed at O’Hare and was waiting for my hotel shuttle.

The fifty-ish business woman to my left had no secrets. She was engrossed in a discussion on her i-Berrydroidpod oblivious to the world around her and with whom she was sharing her conversation, namely me.

Now I’m not a habitual eavesdropper, but this was so blatant I couldn’t help but absorb her end of the dialogue. I’m sure you’ve all been there.

She started out with instructions to her subordinate– edits pertaining to some document: “Move this paragraph here; add the sub-head for Obstetrics there; start a new chapter on page 87; be sure and link the footnotes” & so on. By now it was obvious this had something to do with the medical profession and was some type of publication, to what purpose I could not discern. Then came the kicker—“I guess we should get a thousand printed”, she said matter-of-factly.

At that moment, my old printer instincts kicked in and my ears perked up. Although I muffled the impulse to be a good-printing samaritan and come to her rescue, calculations started rolling through my brain bucket. Let’s see, this publication whatever its purpose is most likely a minimum of one-hundred pages; times one-thousand copies is one-hundred thousand digital 8 ½ x 11 clicks at the very least. A decent job for any short-run facility.

Did she have a use for that many, or was it simply a Pavlovian response to cost-per-piece-effectiveness training she received in an earlier life?

Read the rest of the post on The Digital Nirvana.

Number Of Twitter Followers Is The Most Overrated Metric In Social Media

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This post, by Mack Collier, originally appeared on his site on 6/23/10.

Seriously, it’s total bunk.  I know because I spend WAY too much time tracking my referral traffic from Twitter, and the people that send that traffic here via tweets and RTs.

Two examples of how # of followers can be deceptive:

1 – Several months ago a member of Twitter with 70K followers tweeted a link to one of my posts.  I got a grand total of 3 visitors from that tweet.  I checked, and the guy was following 80K people.  When you try to follow everyone, you usually end up following no one.

2 – Last year, @ShannonPaul RTed a link to one of my posts.  Shannon had around 10K followers at the time.  Her RT led to an additional 600 visitors to my blog that day.  After Shannon’s tweet, a ripple affect started, as people within her network started RTing her tweet, which led to more RTs in their networks.  But the chain reaction started because Shannon was well-connected to her network.  They trusted her and the content she linked to (like my post). So even though Shannon’s network was 14% the size of the guy with 70K followers, her network sent 600 referral visitors, while the guy with 70K followers only sent 3.

This is why I think there is WAY too much emphasis placed on number of Twitter followers that a person has.  Especially when attempting to determine that person’s level of influence.  From what I’ve seen, it’s far more important to see how closely connected a person is with their Twitter network.  If you have a Twitter network of 150 close friends, your effective reach is likely much larger than a person that has 10,000 strangers following her.  I know that when certain people, like Shannon or @BethHarte RT a link to my blog, that I am about to get a flood of traffic.  Because Shannon and Beth are both highly connected to the people they follow.  Roughly 66% of their tweets are replies, so they are constantly interacting with the people that follow them.  That leads to stronger bonds and connections.

So if # of followers doesn’t count, how do you define influence and authority?

Read the rest of the post on Mack Collier’s site.