Author Fay Risner To Speak At Athena Club Nov. 8, 2010

Nov. 8, 2010, the Belle Plaine, Iowa Athena Club has invited me to speak about my Civil War book – Ella Mayfield’s Pawpaw Militia – A Civil War Saga In Vernon County Missouri. ISBN 1438235461. Sold on Amazon, ebay and http://www.booksbyfaybookstore.weebly.com It seems only fitting that today’s members in a club that was founded in the 1800’s would be interested in history from that era.

Awhile back, I signed up on a website for Iowa authors. Iowa Center for the Book – http://www.iowacenterforthebook.org This is the site the Athena Club looked on to find an author. They found my name and list of books.

 

I’m getting prepared for the Athena Club meeting. I kept my bulletin board from the book sale at a Civil War reenactment last year. A hand drawn map of Missouri points out Vernon County’s location. The map is covered with statistics like how many battles and scrimmages were fought in Missouri. Across the top of the map is the definition for bushwhacker and jayhawker, plus pictures of a bushwhacker and two Union soldiers stones which are my great grandfathers buried in the Montevallo Cemetery and a picture of a woman’s grave who was a slave before the war and lived to be almost 100. Montevallo’s only black citizen after the war, Isabel Taylor was my parents neighbor in the 1930’s. In plastic covers, I have a copy of my great grandfather’s discharge paper, a picture and a story about Isabel Taylor from the Nevada Daily News. I’ll set out a stack of business cards so the club members know how to contact me later for future sales and a box of my other books to go through for those that like my different genres (Amish, mystery, western or Alzheimer’s themes) while I talk.

Bushwhacker Ella Mayfield’s story was an easy one to write. History provided me with details and dates of battles and towns burned by Union soldiers. The 1887 Vernon County History book supplied information about the Mayfield family. The authors point of view about the Civil War others wouldn’t know that didn’t live in that area until I wrote this book and talked about the era. My book is considered fact based fiction. The conversations and some of the details I added were my imagination because I wasn’t there.

An added plus for me, my parents grew up near Montevallo. We went there to visit family and friends often when I was a child so I know the landscape well. For many years, I’ve revisited that area, traveling in the same places that my parents and Ella lived.

Women, who homesteaded with their husbands, were sturdy, hardworking individuals. They could shoot a squirrel rifle, ride a horse, wield an ax and hold on to the reins of work horses or mules struggling to pull a small plow across unbroken sod. All the while, they had just delivered a baby or were expecting another one. It’s no wonder, these same women were able to hold their own among men in Ozark bushwhacker bands. The Mayfield family were considered heroes in Vernon County during the war. They suffered as much as any other family. Ella lost two husbands, two brothers and two brother-in-laws to Union soldiers and in the end was burned out of the timbers that hid her and her band so well.

Homesteaders weren’t interested in slavery. They had large families to help farm the 160 acres they signed up for. To keep that land, they had to build a cabin and plant crops for five years then the farm belonged to them. When the war started, family members, women, children and elderly were left behind to protect their homes and land. They fought to stay on the land they had put so much sweat into making their home. Years later, bushwhackers that come to mind are the James brothers and Younger brothers. Living in a land completely destroyed by fire and battles, these men chose to be outlaws rather than make an honest living. That was not how the bushwhackers of Vernon County began. Early on, the men came home from battles, disillusioned by battle losses, death of friends and relatives. The battles they were sent to fight were too far from home to protect their families. These men chose to become bushwhackers and fight at home to try to keep the Kansas Jayhawkers and the Union soldiers from burning their homes and killing their families. Angered by raids made on what belonged to them, the bushwhackers raided in Kansas, burning and killing. Ft. Scott Union soldiers tracked them back into Vernon County. Hit and run fighting was easy for the bushwhackers with vast timbers to disappear into, caves to hold up in and creeks to ford to hide their tracks. By the end of the war, the few women, children and old men left in their homes ran out of food to give the bushwhackers. The Union soldiers saw to that by destroying extra food, gardens and taking away milk cows to keep starving settlers from giving aide to the militias. The sympathizers had to move away from the areas to survive. That didn’t stop the bushwhackers. They were afraid to shoot what little game was left for fear the soldier patrols would hear a shot. Instead, they lived on berries, nuts, persimmons and pawpaws. Finally, the Union General, Thomas Ewing, in Kansas City issued Order No. 11. Burn Cass, Jackson, Bates and most of Vernon county south of Kansas City to run off all the southern sympathizers and what was left of the bushwhackers. That did it. In the smoky haze of spreading fire, Vernon County citizens and the last of Confederate solders fled to Arkansas.

That’s when Ella and her second husband gave up the fight. A few months after they arrived in Arkansas, Ella’s husband was killed. I tried to find out what happened but so far don’t know the answer. Ella came back to Vernon County, married a man farming not far from where her family’s farm had been. She used her first name, Amanda, which as time passed helped others forget her involvement in the war. After so many hardships, Ella had a normal life. She farmed with her husband, moved to Oklahoma later in life and is buried there beside her husband.

Now thoughts about summers -Yesterday and Today

Last Thursday was my husband’s birthday. I brought his 89 year old mother out for the day. In he afternoon, one of his sisters brought her two grandchildren that think coming to our place is like visiting a zoo. Our son joined us after he got off work. It was a super day with low humidity and warm sunshine that made our ash trees shade feel good. This was a day reminiscent of days in the Ozarks when I was small. In those days, my family spent many hot afternoons under a large maple tree, sipping real lemonade and Kool Aid. Our fan, compliments of a feed store, was a small piece of cardboard with a tongue depressor like handle. Many weekends when relatives came to visit, the grownups sat in the shade while the kids played. Dad bought a 50 pound block of ice which he busted up in a gunny sack, and everyone including the kids took turns cranking on the ice cream maker. We didn’t seem to mind the heat in those days. Maybe because we didn’t have air conditioning, we were acclimated to Missouri’s humid heat.

Many a summer evening, my family sat outside until bedtime. We had a porch swing. When my younger brother and I were small, my parents sat in it with us while Dad told us stories about what it was like when he was a kid or the Civil War stories his father told him about his grandfather. When we outgrew the swing, we sat on an old quilt in the grass. Dad bought a telescope. He pointed out stars and constellations, told us the names and let us look at them. The moving star that traveled from North to South was Russia’s Sputnik.

The house stayed hot through the night. We slept on the floor in front of the front porch screen door with a small, old fan stirring the air some. I was agile enough in those days not to mind the hard floor. The only reason I’ve thought twice about those days was Mom’s story about the large black snake that crawled under the screen door and slithered across the floor. The creature was looking for a cool place, too. At night for a summer or two, we slept sideways on an old iron bed out in the yard. Summers tended to be hot and dry so my parents didn’t worry about the old mattress getting wet. If a shower came up and passed through, the sun came out. The mattress was baked dry by bedtime. We lived on a blacktop road, but no one came by after ten o’clock to see us sleeping outside. That was the whole neighborhood’s bedtime so traffic was nonexistent until morning. My parents woke up at daybreak to milk cows. When passerbys drove by during the day, they probably thought the bed was a trampoline for the kids.

Now it’s summer in Iowa. The heat index of 104 one Wednesday was enough to drive my husband and I out of our un-air conditioned house that evening until the sun set. Not much of a view from our yard these days with ten feet tall corn plants all around us. One night, we watched four hot air balloons float near our house, turn and go back the way they came, but that Wednesday night and since then it has been too hot or stormy for balloons.

Another evening, my husband made the mistake of digging out a dandelion near my clematis vine which housed a minature nest of baby red headed finches. The frightened birds flew out into the lawn and bushes. After the surprise wore off, they decided they weren’t ready to leave home just yet. From several directions, the young birds made a clicking sound, trying to talk their mother into coming for them. Finally, my sympathetic husband hunted each baby up and put them back in the nest so their mother could find them. That quieted them down.

Most summer afternoon and evenings, we’re content to watch panting sparrows and warbling jenny wrens. How do those tiny birds muster up such a loud song? As you can see if my husband and I have any kind of breeze, plenty of shade, a refillable glass of tea and song birds entertaining us, we’re easy to please. Maybe it’s because we know what winter will bring.

 

 

 

E-books and the Ever-Decreasing Circlets of Hardback Books

Yesterday we looked at Amazon’s latest move in their stand-off with Penguin (Pearson Group) over negotiations on the implementation of the agent model on e-books by the major publishing houses. Amazon have reduced some new penguin titles in hardback to $9.99 to telegraph to their customers that they want control and flexibility on retail pricing rather than be under constraints imposed by the agreements they have with publishers.

Amazon know publishers are deeply uneasy about the future for hardback books as the lead format release for a new title, and while Amazon are taking the hit on a $9.99 discount, they are send a very clear signal out to their customers—we’re on the side of the of the customer and just look at what these publisher guys are trying to do to us.

I questioned the real resolve major publishers have to get behind the development and promotion of their e-book strategy, and while this year’s London Book Fair came and went in a whisper, last year’s Fair underlined for me the first inkling I had that UK publishers were just not willing to embrace e-books in the way they needed to. My feeling now is this reluctance may actually extend to many US publishers, who may like to be seen to be actively behind the steady rise in e-book sales, but secretly they are hoping the market levels and bottoms in the next couple of years so they can revert back to their tried, trusted and sacred printed book. I commented yesterday on the resolve of publishers to seeing e-books take off. 

“I have one overriding feeling about the agency model adopted by the major publishers in their agreements reached so far with Amazon – whose executives have spent many an hour locked away behind polished doors – and it is the belief that publishers are still not wholeheartedly behind the growth and development of e-books. What I see is the battle for control rather than any innovation and prosperity for e-books.”

Judith Rosen, of Publishers Weekly, on Friday, highlighted the approach of Circlet Publishing in the USA, a small press run by Cecelia Tan and her husband, Corwin, since 1992. Three years ago they had to stop publishing print editions of their titles due to a financial downturn, and instead, in an effort to revitalise the business, they focussed on e-books for their science fiction erotica lists. Tan never saw the move as a means to become an e-book publisher, but an effort to rescue Circlet Press. She told Rosen in the Publishers Weekly article:
 

"There’s still no replacement for the ‘real’ book. Three years ago Circlet was essentially dead in the water. Bookstores weren’t ordering in the quantity they used to. There’s been a real shrinkage of the erotica shelf. [In 2008] That’s when I taught myself to format for the Kindle.”

Through a mix of fundraising campaigns on www.circlet.com, Tan hopes to raise $5,000 for Circlet Press’ first printed book in three years by creating a CD compendium edition of twenty of their best e-books. It was interesting that Angela Hoy of Booklocker.com commented of the article on Publishers Weekly. Booklocker were a pioneer of selling e-books online way back in 1998. In fact, Booklocker did not sell their first printed edition until a year later.

So, the bigger question remains…
 
Why are publishers secretly terrified of e-books and what it will mean for the publishing industry?
 
Publishers are correct to point out that taking a book from submission to print ready file costs the same amount whether it is intended for print or e-book format. Beyond this stage is where publishers incur their biggest expense—on printing, marketing and distribution. The marketing expense will always focus on the sector where the largest sales are, and up till now it has been through media and in-store promotion. It is print runs and distribution discounts which eat away at publisher budgets. In an ideal e-book dominant market, print-runs are reduced and if we are to use the agency model as a future business template, then 30% is what the retailer gets, less than what is negotiated for many print book discounts.
 
For a $10 paperback, an e-book should not cost to the customer any more than $6.99 as an e-book, and its hardback counterpart has not place costing any more than that whether it is being released for the first time or not. Where publishers can be innovative is offering a hardback edition for the retail and library market bundled with an enhanced e-book edition. Attempting more than that from the buying customer is extracting more than the publishing centre will hold.
 
It is time for publishers to access the true value of books in whatever format or medium they are published. The real battle for the survival of the hardback—something publishers seemed desperate to hand on to—is not in their hands, but rather entirely dependent on how slowly or quickly universities, libraries and book clubs move to embracing digitalisation, and something tells me, in these financial times, it will come a lot sooner than later.
 
 
Circlet Press is a Cambridge, Massachusetts publishing house founded and managed by Cecilia Tan. It specializes in science fiction erotica, a once uncommon genre, and its publications often feature BDSM themes.

Tan founded the house in 1992 after researching the markets for publication of her own stories, which combined science fiction plotlines with explicitly sexual themes. At the time, science fiction publications turned away such material as unsuitable for their audience, and most publishers of erotic material were hard-core pornographers and uninterested in any material whose plotlines extended beyond the simple formula encounter story (in which two people meet and sex ensues).

The ground-breaking combination of sex-positive, woman-centered erotica with science fiction and fantasy themes came as a result of Tan’s editorial vision that rather than combine the worst clichés of both genres, the mixture could instead expand the boundaries of what was possible in each. Science fiction had developed a somewhat deserved reputation for being dismissive or neglectful of human character development issues like love, lust, attraction, and family issues, while erotica was definitely ripe for something beyond the encounter formula. Placing stories into a science fictional or magical context allowed writers for Circlet Press to remove their stories from their contemporary political context and sidestep issues such as feminism, AIDS, and sexual identity politics.

 

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

Screenplay Writing Interview III with Shannon L. Arrant

Here is the final segment of my interview with screenwriter and independent filmmaker Shannon L. Arrant. She provides some critical information and links for your consideration.

A writer just finished her screenplay. What should her next steps be?

Registering [the] script should be [the] first priority. It can be registered with either the WGA (www.wga.org) or the Library of Congress (www.copyright.gov). Each offers different prices and different benefits for registering so choose whichever one appeals to you the most.

Once your script is registered, give it to anyone and everyone who is willing to give you an honest critique of it. Websites like Zoetrope (www.zoetrope.com) are filled with screenwriters who will review your work in exchange for you reviewing theirs.

Don’t give it to just fellow screenwriters, though. Give it to your family, friends, coworkers; pretty much anyone you can think of. If people that aren’t associated directly with the film industry find it entertaining to read, they should find it entertaining to watch, too.

Once you get their reviews, don’t feel like you need to make all of the changes suggested to you but don’t flat out ignore their comments, either. Use the suggestions that will ultimately improve your script and discard the rest.
How do you know which ones those are? This is where getting as many reviews as possible comes into play. If there’s an area that a lot of people are having problems with, then work on fixing it. The rest of the suggestions you receive can be included or not, depending on whether or not you feel they’ll improve your screenplay.
A great side benefit of giving your screenplay to as many people as possible to review is it will also help you network. Networking is vital in the film industry. Even if someone isn’t directly a part of a production company, you never know who they know that is.

What are the best ways a screenwriter can network?
Aside from telling anyone and everyone you’re now a screenwriter, attending screenwriting conventions (if you can afford it), being active on websites geared towards screenwriters and production companies like IMDb pro (www.proimdb.com), entering screenwriting contests, and interning with local production companies are all great ways for a screenwriter to network.

How does someone go about locating production companies to intern with?
The best place I’ve found is your local Cragislist page. Independent production companies are always looking for people to help with their latest film. Be sure to check ‘tv/film/video’ under the jobs section and the ‘creative’, ‘crew’ and ‘talent’ sections under gigs. Because Craigslist has started charging to post job openings in certain cities, a lot of production companies are now using the gigs section to place their open calls for talent and crew.

What screenwriting contests do you recommend?
The Nicholl Fellowships in Screenwriting Competition sponsored by the Academy of Motion Picture Arts and Sciences (www.oscars.org/awards/nicholl/index.html) is by far the most prestigious screenwriting competition in the United States. If you do well in this contest, you stand a great chance of having your screenplay optioned.
 

The PAGE International Screenwriting Awards (www.pageawards.com) is another excellent contest to enter. It’s another of the more popular screenwriting contests out there and offers some great prizes. For an extra fee, you can also receive the judge’s notes and feedback they left while reading your screenplay. Considering the judges for the PAGE International Screenwriting Awards actively work in the film industry for production companies, this can give you invaluable insight into what other production companies think about your script.

The biggest problem with the previous two contests is that they only happen once a year. What do you do if you finish your screenplay but miss the deadline? That’s where Script Savvy (www.scriptsavvy.net) comes in! Script Savvy has a new contest each month, making it convenient to enter whenever you’re ready. The entry fee is reasonable and they offer two different levels of feedback on your screenplay. Every entrant also receives a PDF of over 400 agents and managers that are accepting new screenwriters. That alone can be well worth the cost of the entry fee.

Does a screenwriter need an agent?
No. Although, as with writing a novel, having an agent can make some things easier. They can submit your screenplay to more production companies and generally should know which companies are looking for your type of script.

How can he go about finding an agent?
Aside from getting the free PDF from Script Savvy of agents and managers if you enter their contest, IMDb Pro, other screenwriters, and a good ol’ Google search are some good ways to get that information.

What are some ways a writer can publicize her screenplay on her own?
In the internet age we live in, having a website is a must. It doesn’t have to be a website dedicated solely to your screenplay. All you really need is a place to post a synopsis, your contact info, and anything else you feel is important. Take your time to make this website as professional looking as you can. Always remember, you are selling not only your screenplay but yourself as a screenwriter. The more polished and together you are, the more likely you are to find someone interested in buying you both.
 

If you can afford it, film a trailer and upload it to every video hosting site you can think of. Even though you may not have any intention of producing your screenplay on your own, it’s easier for someone to invest money into producing your work if they can get a good idea of the potential of the finished product first. It could also get a lot of people interested in watching a completed film of your screenplay. The number of views alone could get someone interested in producing it for you. Whatever you do, if you go this route, don’t forget to link the video to your website!

How do you write a good query letter?
Read a lot of query letters. You can find examples of both good and bad ones through a Google search. Once you have a query letter written, give it to anyone who is willing to read it to get their reaction from it. If, after reading your query letter, they are intrigued enough to want to learn more, then you know you’re on the right track.

How does someone find production companies to send her screenplay to?
Remember how you can find an agent? It’s pretty much the same, except without the nifty PDF of information from Script Savvy.
 

As with novels, there is a proper etiquette to submitting your screenplay to production companies. First and foremost, do your research to see if they are accepting submissions in general and whether or not they are even interested in screenplays like yours. If the production company accepts unsolicited submissions, always send a query letter first. Don’t even think about sending your screenplay unless they ask for it or the submission policy on their website says it’s okay to do so. Failing to abide by proper etiquette will only wind up annoying the very people you want to option your script.

What should someone do if he receives an offer on his screenplay?
Before accepting any deal on your script, do some research first. Check out the company, see what (if anything) they’ve been producing lately and what they have queued for production.
 

Find out when they anticipate production will begin on your screenplay. If they don’t have the cash to produce it immediately, get them to give you a business plan that specifically states how they plan on getting that money and how long they expect it to take.

Always get a date listed in your contract of when the production company loses their rights to make the film and it reverts back to you, especially if they don’t have the money up front to produce your film. Otherwise, you wind up with a production company holding all the rights to a screenplay you poured your blood, sweat, and tears into that isn’t filming it, ultimately costing you the chance to get it produced by someone else.

What should he do if he doesn’t receive an offer on his screenplay?
Whatever you do, don’t despair! If you are confident your screenplay isn’t in desperate need of a rewrite, there are plenty of reasons why an excellent screenplay might not get picked up right away. It might be written in a genre where it’s difficult to get produced period, such as is the case with historical dramas. Or, it could be something as simple as it’s just might not be getting into the right hands at the right time. You can keep trying or take a break and try again later. You could even produce it yourself.

With the invention of digital camcorders, video sharing sites, companies specializing in print-on-demand media, and widely accessible editing software, it’s easier than ever to make your own movies and it’s inexpensive to boot. While I wouldn’t recommend attempting to film your feature length screenplay masterpiece that you converted from the best novel you’ve ever read, don’t be afraid to get out there, shoot some short films, and experiment! You just might find you have talents that lie outside the realm of writing.

Shannon L. Arrant is both an author and a screenwriter who has been blessed enough to work in various roles both onscreen and off. She has several short stories and an anthology available for download for free on her website at www.ShannonLArrant.com. Anyone interested in more information about her completed screenplay that has been hailed as the female version of ‘Braveheart’, the historical drama inspired by true events entitled ‘Sisterhood of the Sword’, can receive it by contacting her through her website: www.ShannonLArrant.com

 

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

Some Words of Advice to Dorchester Authors

I went on line late this afternoon and was bombarded by the swirl of news and commentary about Dorchester Publishing’s decision to switch to an e-book/POD approach to publishing. At first I simply felt a wave of sympathy for those authors who found their familiar world swept away, particularly those authors who had books that were supposed to come out this fall and were in the middle of marketing campaigns designed around traditional trade paperbacks and brick and mortar stores. See for example the discussion on the Smart Bitches website.

Next I thought about what advice I would give these authors from my experience this past year as an indie author whose book, Maids of Misfortune, is in both ebook and POD formats. Like many of the commentators on the Smart Bitches site, I would suggest that once they know for sure where and when their books will be available they take advantage of their social networks (facebook, myspace, twitter) and their author websites and blogs to get the word out.

If they haven’t yet developed those social networking tools or they don’t have their own website or blog-it was high time they did so anyway, so this will provide a powerful motivator for them to do something they had probably been saying to themselves (and to their agents) they should be doing for some time.

I would recommend Publetariat and the blogs Creative Penn and There are No Rules as good places to start.

But then, I suddenly thought, wait a minute! Many of the Dorchester authors have something that most indie authors would love to have, a backlist. As I scrolled down and looked at the long list of books that some of these authors had, I couldn’t help but notice how many of them were listed as “out of stock,” and I thought, OMG, these authors need to run–not walk to J.A Konrath’s blog, A Newbie’s Guide to Publishing, and read every one of his posts for the past year. Because what Konrath has done for authors is show how they can turn their backlists and their previously unpublished works into a decent living.

First of all, it seems to me there should be no excuse from now on for Dorchester not to start making these out of stock books available in POD and/or ebook format, and if they don’t, the authors should be negotiating to get those rights back.

Second, if they do have the rights to any of their past books, once they have converted those books to electronic form (and there are lots of guidebooks and real people out there anxious to help authors do this for relatively modest prices), they can start to use those books if priced correctly (or offered for free) to drive a new audience to their published books with Dorchester.

Third, if they have any short stories, novellas, or books that they love but were never able to sell, these also can be offered for free or at low prices as a way to boost sales for their published books. I can’t stress too much how important reading Konrath is to understanding the effectiveness of this sort of strategy.

For example, even as a complete novice, who self-published her first historical mystery eight months ago, I have already gotten to the point where I am selling about 300 books a month, making about $2 a book (my ebooks sells for $2.99). Imagine what I could be doing if I had a more books to sell and an already established fan base?

So my advice to Dorchester authors is to begin to imagine this future where today might just be the day when they took control of their destinies and ended up making more money from their writing than they had ever hoped to do. I wish them all the luck in the world.

 

This is a cross-posting from M. Louisa Locke‘s The Front Parlor blog.

People Don’t Buy Books Based On The Publisher

Most writers and authors also buy a lot of books. I’m certainly do, and you probably do too. So what makes you buy a book?

I buy books primarily based on the following:
  • Recommendations from others mostly found on blogs I read and twitter
  • Browsing Amazon Kindle store in the categories I read, as well as how Amazon uses suggestions on other books I have read. I download lots of samples and then buy the books that take my fancy.
  • Browsing physical book stores, although now I note down titles and then go buy them on my Kindle as they are 1/4 of the price of the physical book
I definitely do not buy books based on the publisher. In fact, most of the time I wouldn’t know who the publisher was anyway and in a brief survey of other book buyers they have a similar experience. This raises a couple of very important questions for authors and writers, and perhaps publishers as well.
  • If book buyers don’t care who the publisher is, why is there a stigma to being self-published? (it’s changing but it is still there). If you have a professionally edited and interesting book, with an eye-catching cover, buyers will not know the difference anyway. I have the same Amazon shelf-space as any other books. What do you think?
  • If book buyers don’t care who the publisher is, why do authors care so much? Do we all want a 10 book deal with Harper Collins because it means more physical distribution to bookstores, potentially world rights and more publicity budget? and is that scenario very likely for most authors. I don’t think so. The reason must be ego and I will freely admit to being one of those authors! I would love a 10 book deal with Harper Collins! But I know that I will still need to do my own publicity and marketing, and I may well make less money than  digital publishing. It is important to identify the why behind what you want for your book and your career as an author. Why do you care who publishes you?
  • If book buyers don’t care who the publisher is, whose brand is associated with the book? In a brilliant audio to the indie publishing industry a few weeks ago, Seth Godin challenged the audience on brand. He basically said that publishers should be aligning with audiences and brands and become the “go to” publisher for that audience e.g. be the publisher for civil war books, or for coeliac disease sufferers. I can think of a couple of publishers who have this right at the moment. O’Reilly Books is for tech books, and Harlequin is for romance, but do the readers go there to spend money? I find branding to be a fascinating topic for authors and the publishing industry and right now, you need to consider your branding in a very crowded marketplace.
[Update: This piece was written a week ago, but I just saw the interview with Mark Coker from Smashwords where he says the same thing:
“Readers typically don’t pay attention to the name of the publisher on the spine of the book. They pay attention to the author and the story.”
Do you buy books based on a publisher? and do you care who publishes your book?

 

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

Smashwords founder Mark Coker talks to Wetmachine About the Future of Publishing

This interview, by John Sundman, originally appeared in his My Thoughts Exactly on Wetmachine on 8/4/10. 

Smashwords is a service for helping small and self-publishers format ebooks in diverse formats (for example: kindle, epub, PDF, Palm) and distribute them through diverse retail channels (for example Amazon, Apple, BN, Kobo, and Smashwords itself). A few weeks ago I sent Smashwords founder Mark Coker a note asking if I could interview him for Wetmachine & SelfPublishing Review. He said yes; I sent him some questions about the current & future state of book publishing, and he answered. His replies appear below the fold.

I found his answers interesting and direct, and I think you’ll enjoy reading what he had to say.
 

Q: When I told a list I’m on that I was going to be interviewing you and solicited questions, my friend Dirk replied: “Please ask him what the fuck is going on.” I think that’s a pretty good place to start. Can you summarize the important trends you see in publishing right now?

I can sum up this answer with one word: Change.

Now, more words… For the last century, publishers controlled the means of book production and book distribution. If authors wanted to reach readers, they had no choice but to kneel before the publishing oligopolists who had the power to determine who got published, and what readers read. The system worked fantastically well for the publishers, moderately well for readers, but less well for the authors they published, and even less well for the vast majority of authors who could never gain access to the cliquey club of the published. And like most clubs, the dream of the club often exceeds the reality of the club.  Most authors lucky enough to have their books accepted by this old system received little more than fleeting ego gratification and bragging rights.

Change is an exciting, terrifying thing. It represents both a threat and an opportunity to every author and publisher.

The other week I gave a presentation to group of students at NYU, and I just posted about it over at the Smashwords blog. I titled it, “How Indie Ebooks Will Transform the Future of Book Publishing.”  I started the presentation by quoting my favorite Tool song, Rosetta Stoned. It’s a song about a guy abducted by space aliens, and the aliens give him a message he’s supposed to deliver to his fellow humans, “a message of hope for those who will listen, and a warning for those who do not.” This is the message I shared. My message was that authors and publishers face greater opportunities today than ever before to reach readers with books. Yet authors and publishers who fail to adapt to the change, or who respond incorrectly to the change, will go suffer.

Q: You come from a background in “angel” and venture investing in Silicon Valley. You see all kinds of opportunities and could have chosen any one of dozens of technologies to get personally involved in. Why did you choose to form Smashwords and get into electronic publishing for independent authors?

Traditional publishing is a broken business on the precipice of major change. I perceived an opportunity create a business that can help facilitate this change in a constructive way that’s valuable for readers, authors, publishers and booksellers. 

My motivation for creating Smashwords really came down to a crazy desire to change the future of publishing by empowering authors to be their own publishers. I wanted to turn publishing upside down by shifting the power center of this business from publishers to authors and readers.

For the last century, book publishing was built on the backs of undercompensated, underappreciated authors. If you cherish books as much as I do, how can you not honor the authors who create them, or the readers who purchase them?

I’m not saying publishers don’t honor authors. I just think their businesses are not set up to serve them as they deserve to be served.

There’s a huge disconnect in publishing. Publishers publish books for reasons different that writers write. Publishers publish works based on perceived commercial merit. Most authors are shut out and denied any chance to reach readers.  Readers are denied the opportunity to discover the full diversity of great works. I think this commercial filter is not only myopic, it’s also dangerous to the future of books, especially if you believe, as I do, that books and authorship are essential to the future of mankind.

Publishers are unable to take a risk on every author, nor would they want to even if they could. They have businesses to run and Manhattan skyscraper rents to pay.

I created Smashwords so I could take a risk on every author.  I think every author has a right to publish, and I think the vast collective wisdom of readers will help the best works get read by the right readers.

Read the rest of the interview on Wet Machine.

Pass the Gestalt, Please

This post, by Evan Schnittman, originally appeared on his Black Plastic Glasses blog on 7/15/10.

In the past two weeks I have heard forcefully stated pronouncements by agent Andrew Wylie and chair of the Society of Authors, Tom Holland, regarding ebook royalty rates.  A 50/50 share between author and publisher is the only possible outcome they can accept, citing the tired and somewhat old argument we have heard before:

The publisher has little or no incremental out of pocket cost to create ebooks, therefore the income should be split in the same manner as subsidiary rights, which is generally 50/50.

 The average person would be hard pressed to disagree—certainly in this day and age the digital file created to make a print book cannot cost much to convert to an ebook. Even the DRM, hosting, and file management costs must be de minimis when compared to the cost of paper, printing, binding, warehouse, and shipping. And ebooks have no returns!

But there is a huge flaw in this view, as it is built on the self-serving and reductive assumption that ebooks can and should be viewed as separate from the book’s overall economy. By attacking ebook royalties in this manner, a trap is set by those seeking to maximize short-term profits at the expense of all else. The object of this ploy is to dissect the intellectual property into as many different pieces as possible and negotiate them on the open market in order to maximize the “deal.”

The problem with that approach is that successful and coherent publishing is not the sum of individual publishing rights, but rather the gestalt work presented coherently to a global audience. Viewing the ebook out of the context of the rest of the work gets us nowhere. We must understand how ebooks fit into the publishing ecosphere and only then can we determine what the right royalty should be.

To begin, let’s establish what an ebook isn’t—a subsidiary right.

Read the rest of the post on Evan Schnittman’s Black Plastic Glasses.

Final USPS Udate, Twitter, Merchant Circle & More

I’ve received another $55 check from the Postal Service. That brings the total repayment to $110. I’m going to stop with that amount though I’m still owed another $25. I feel lucky to have gotten this much back. For future reference if I ever lose something else in the mail I’ve insured, I now know to keep pushing for a fair payment and have the Washington D.C address to write first.

At last count, I have 40 following me on Twitter and 66 followers. It seems as though I see an increase in followers after I’ve blogged on Book Marketing Network, iFOGO and Publetariat. This last week I picked up Blog Expert, Rachel Karl, as a follower. She said I had a nice blog. I wondered which one she looked at since I blog on eight sites now. Rachel had checked my Twitter site out well enough to let me know that the link to my website under my name wasn’t working. I appreciated the FYI, immediately fixed the problem and tweeted Rachel back to let her know the link works now.

My twitter bio has lead different types of businesses and people with varied interest to follow me. I stated I like writing books, gardening, flowers, fishing and boating. Therefore boat businesses and boaters, flower businesses, gardeners and nature lovers follow me. I thought about not returning the follow or changing my bio if I might be misleading some tweeters, but what I wanted was to promote my books and online bookstore. Most followers must read books so after email notification from followers, I send them a thank you message from Author Fay Risner and mention one of my books or where to buy my books online and my online bookstore. I’ve picked up some authors including Steve Weber, author of Plug Your Book, a book about internet book promoting which has been helpful to me, and he didn’t even know at the time I’d bought his book.

Google Partner Program has decided to make ebooks out of the books in the program if the authors are agreeable. I’ve had my books in the program for awhile but I haven’t finished filling out the forms they needed. August 6 is when they will begin promoting ebooks. Once a month for some time now, I’ve received an email notice about how many of my books were viewed and how many pages looked at. This notice is a way for me to see what genres readers are interested in.

I accidentally came across Merchant Circle on the internet. There is one for every city in every state. If a you come from a small town that hasn’t started using Merchant Circle yet be the first one to start if you consider your book selling a business. Sign up is free. I didn’t think of myself as a business when I began this venture, but last year I published two books at Lightning Source, Inc. I had to fill out tax forms and send for a sales tax permit before Lightning Source would print my books. Since I was considered a business, that lead to me to starting my online bookstore.

The added features on Merchant Circle are from $249 to $39, but I signed up for the free site. Do I expect to sell more books in my area when my town has a population of 600, and everyone knows everyone else. The biggest businesses are the nursing home and the John Deere Implement dealer. Not really, but Google Crawler is working on the site. My blog is picked up by major search engines which extends my reach and will introduce my books to more customers that search the internet like I do. I felt it was worth the effort to sign up for the free package and give it a try.

I had to have a logo so I used a copy of my business card since I’m not good with graphics. An advertisement and a coupon can be made. My coupon states a free book for the sale of one book on the site and a review of my business or the book purchased. The advertisement states that my stories are clean; no curse words or sex scenes. Books written by a Midwestern author with wholesome values.

The results are in for July for my Kindle books sales. With the raise in price, sales went down to about half of what I sold in June, but the royalty went from 35% to 70% so the total royalty amount was about the same. Better news is I’m now selling my series of five mystery books which wasn’t getting noticed before. That gives me encouragement to write Amazing Gracie Mystery number six.

Amazon’s Author Central has sent out emails to authors with an author page to tell them they won’t be able to blog on site after August 15th. They will need to submit a link to another blog they write. I’ve tried linking to another blog before without success, but I’m working on it again.

And finally, I read a helpful article on Publetariat.com that I liked titled The Truth About Typos by Mark Barrett’s Ditchwalk. He said reread what you write at least once. Slow down and concentrate. Don’t publish when you’re tired. Just know that what you’ve written will never be perfect. Sooner or later a typo will survive. If you as a self published author worry about those typos like I do, this would be a good article to read. If nothing else the article made me feel a little better about those dreaded typos that did survive.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

How Publishers Can Prosper When Books Go Digital: Seth Godin’s Vision

This article, by Doug Toft, originally appeared on his Posterous blog on 7/29/20. It is reprinted here in its entirety with his permission.

Seth Godin gave a mind-blowing talk to independent book publishers in May 2010. Following is a summary for you.

Five traditional functions

Traditionally, says Godin, book publishers have done 5 things:

  • Curate by picking books to publish.
  • Produce by editing manuscripts and manufacturing physical books.
  • Take financial risks by acting as venture capitalists for ideas and hoping that the books with those ideas will catch on.
  • Distribute books and compete for scarce shelf space.
  • Promote by publicizing, advertising, blogging, spamming, and otherwise getting the world to notice their books.

 How not to respond

The presence of ebooks and digital distribution upends that business model. How can book publishers respond?

For a path to avoid, Godin says, look at the record industry. It is essentially dead.

Record companies used to have a perfect business. Radio stations and MTV promoted their products for free. Record stores existed on only to sell their products. Vinyl albums wore out and needed to be replaced. If I lent you an LP and never got it back, I bought a replacement.

Then CDs and iTunes changed the rules of the game. And how did the record companies respond? By suing their biggest fans.

Right now, the big book publishers are preparing to respond in a similar way.

How the traditional publishing model changes

Consider what happens when book publishing goes digital:

  • Production and distribution of physical products is no longer needed. Books exist as bits and bytes that you download.
  • Publishers reduce their financial risk. They don’t have to buy paper, print books, put them in trucks, ship them to stores, and accept returns.
  • Shelf space is no issue. Amazon has infinite room for ebooks.
  • Promotion via traditional publicity and advertising fails. There’s already too much competition for consumers’ attention across too many channels.

So, of the 5 traditional functions of book publishers, only 1 remains. That is curation—picking manuscripts to publish.

Lead a tribe

In addition to curating, smart book publishers will also:

  • Create a tribe.
  • Lead that tribe.
  • Connect the members of the tribe.

For example, suppose that your specialty is publishing books about the American Civil War. Think of your readers as a tribe of people who share a passionate interest in that topic.

These people read your blog. They download free content from your website. They come to your conferences to meet each other. They give you their contact information through your website, and they subscribe to your email newsletter. You have permission to market to them.

As the leader of this tribe, you can call up the leading historians of the Civil War and tell them that you want to publish their next books. And they would fools to say no.

In addition, you don’t have to hunt so hard for new authors. They emerge spontaneously from the ranks of your tribe.

The new model in action

The above is a hypothetical example. Yet there are real people putting these ideas into action.

One is Scott Adams, cartoonist and creator of Dilbert. Early on, Adams published his email address on his cartoons. He built a list of readers and started sending them a newsletter.

Now, whenever Adams publishes a new book, he lets his tribe know. And he hits the best-seller lists.

Curvebender Publishing also leads a tribe. It publishes a $100 deluxe edition of Recording the Beatles: The Studio Equipment and Techniques Used to Create Their Classic Albums. The first printing of 3000 copies sold out after one week.

Turning it all around

In summary, as a book publisher you are no longer in the business of finding readers for your writers. Instead, you find writers for your readers.

The bottom line: Treat readers as an asset. Find out who they are. Work for them. 

So, what do you think? Is Godin’s vision on target?

 

 

The 70 Per Cent Solution

By now you’ve probably heard all about Amazon’s new 70% royalty option for authors and publishers who release Kindle books through the Amazon Digital Text Platform (DTP), and many of you who have Kindle books in release may have already opted in for the higher royalty. But there’s a major gotcha here no one seems to be talking about.


No, I’m not talking about the ‘delivery price’ factor, which dictates the fee Amazon will hold back on your 70% royalty Kindle book based on the book’s file size. Despite all the panic-mongering on that point, and all the worry about whether Amazon may choose to increase that fee at some point in the future, I think it’s really no big deal. What I’m talking about is this little nugget from the terms of the 70% offer:

"Under this royalty option, books must be offered at or below price parity with competition, including physical book prices."

What this means is that if your book is being offered anywhere else, in any format, at a lower price than the price you’ve listed for your Kindle book on Amazon, Amazon will reduce your Kindle book’s list price on Amazon to match the lowest price at which your book is being sold elsewhere. You’ll still get your 70% royalty, but it will be on that lowest price. It’s kind of hard to extrapolate all that from this one-liner in their terms, but I’ve learned it the hard way.

When I opted in for the 70% royalty and raised my Kindle book prices to $2.99 on Amazon to qualify for the program, I didn’t remember my ebooks were being offered on Smashwords and Scribd in non-Kindle formats for $.99. I didn’t realize my error until I was reviewing a sales report a couple of weeks later. So I immediately changed the prices on my Smashwords and Scribd editions to $2.99, and waited for Amazon to catch up. And waited. And waited some more, as every single day, I lost royalty money on every copy sold.

After a week I contacted DTP support, and it took another week to get their conclusive response: that my ebooks were still listed on Barnes and Noble’s website at a price of $.99. See, B&N is among the expanded distribution resellers which carry Smashwords books when the author of the book in question has opted in for expanded distribution on the Smashwords site—which I had. Even though I changed the prices of my books on Smashwords, it can take weeks, many weeks, for those changes to propagate out to all the expanded distribution resellers. This isn’t Smashwords’ fault or doing, it’s just the reality of waiting for outside companies to make database changes according to whatever processes they have in place. And like most things in mainstream publishing and bookselling, it’s a very, very slow process.

So it actually would’ve been wiser for me to stay out of the 70% royalty option until after I’d raised my book prices outside Amazon and waited for those changes to propagate across all distribution channels. Since I didn’t, all I can do is either stay with the 70% on a $.99 pricetag while I wait however long it takes for B&N to catch up, or change back to the 35% royalty option so Amazon will only base my royalties on my Amazon prices.

I chose the latter, but it’s still going to cost me. You see, every time you change the price on your DTP Kindle book, or your royalty option, or pretty much anything else about it, you are forced to "re-publish" that book before your changes will be applied. Re-publishing makes the book unavailable for purchase for a minimum of two business days, and sometimes when you re-publish, the book gets stuck in a ‘pending’ status. When that happens you have to contact DTP support to resolve the issue, all of which means more days your book is not available for sale. When I re-published to opt in for the 70% royalty, my books all got stuck in the ‘pending’ status; one of them was unavailable for purchase on Amazon for seven calendar days.

Today I started that clock all over again, and I am again running the risk of my Kindle books getting stuck in ‘pending’ status—all just so I can get back to the 35% royalty option.

Now, don’t misunderstand me. I am not saying this is all Amazon’s fault, nor that any of it is Smashwords’ or B&N’s fault. All of my lost royalties in this are ultimately the result of my original oversight.

However, I DO think Amazon should be a little clearer about the full implications of their "price parity" policy, and the importance of matching your Kindle book’s price across all resellers—including expanded distribution partners—before opting in for the 70% royalty. I also think the DTP should not require re-publication of a Kindle book when the author/publisher wants to make changes only to its price or royalty option. Why is it necessary to take the book off the virtual sales shelf for these things?

Here’s hoping I don’t get stuck in ‘pending’ again.

 

This is a cross-posting from April L. Hamiton‘s Indie Author blog.

I Like Customer Reviews

In a previous post I wrote about a review I requested from Charlie Courtland for A Promise Is A Promise from my Nurse Hal series. Charlie is the author of Dandelions In The Garden and has a book review website: http://www.bitsybling.wordpress.com. I appreciated her good review and the fact that she put it on Amazon and www.goodreads.com, where it could be seen by [many] people.

According to Steve Weber in his book Plug Your Book, Amazon has some regular customers who offer reviews on every book they read. One negative review can hurt sales. He says keep asking for reviews. The more often your book is reviewed, the less likely a minority opinion can dominate. Numerous authentic reviews lessen the chance that a single review can overtake and monopolize the Spotlight position.

Think about it. Reviewers have likes and dislikes when they pick a book to read. That may play a factor in their reviews. Plus, their intention is to review the book, so they’re naturally watching as they read for what they want to say. What would be great is to see more positive customer reviews on Amazon, but how do we go about getting buyers to respond? I want to know what people who buy my books think of them. Most book readers aren’t reading a book to find mistakes, but to be entertained. Those are the buyers most likely to leave a good review. Anyone who has bought an item from Amazon knows if you don’t leave a review in a certain amount of time, you get an emailed reminder. That means the book buyers don’t just forget. It’s always possible they didn’t like some of the books well enough to write a positive review so they decided not to write one at all.

As far as my books are concerned, I’ve gotten good reviews from ebay buyers and private sales. These are the buyers I was referring to who read my books for the entertainment value. I always make a point to ask buyers for a review so I’ll know how they liked my books. Most of them are glad to comply and all the reviews have been good. I know they aren’t just saying that. They like my books well enough that they want to buy another one.

I thought about how well my ebay buyers respond, and I had to wonder what was the difference between ebay and Amazon buyers. Maybe it has something to do with the reviews left by the experienced reviewers. Most book buyers couldn’t measure up to those detailed critique reviews with one of their own. Maybe buyers don’t know how to write a review they think would be all right. I can tell you from firsthand experience, I’m not good at giving a constructive review. When I was active on http://www.authonony.com I submitted Christmas Traditions and A Promise Is A Promise to get the opinion of other authors. Their reviews and thoughts were very complimentary and detailed, but I found it hard to review their books as well as they did mine. What I know for sure is I either like the books or don’t, and that’s based on the genre and the story in the books I like to read.

I write books I hope are stories people will like to read. These books make you laugh out loud sometimes, describe characters that remind you of someone, and you miss them when the story ends. Those are not my words, but words my customers have used to describe my books. So why is it so much easier to get ebay and private customers to give me positive reviews than it is to get them on Amazon?

Perhaps, there is another simple answer besides knowing how to write a review. On Amazon, customers don’t have contact with the author of the books. Sales are impersonal business transactions. On ebay and private sales I can reach out to customers to add the personal touches to my sales so they get to know me. I sign my books for buyers. I have their email addresses so I can let them know the book had been sent so they can watch for it, and I tell them I appreciate their business. I ask for a review, if they have time to contact me, after they read the books. I think they respond back, because I reached out to them. Many of these buyers have become my email pen pals. They email me to find out how soon another book will be published. I have email addresses on a mailing list so I can notify buyers when a book is for sale. I’ve never been a fan of mass emails. That to me is very impersonal. I know the process takes time, but I email each buyer one at a time. Besides, that way I can visit with many of them. Some of these buyers email me once in awhile to just to say hi. Makes me feel blessed to get to know so many wonderful people in the United States.

With this all in mind, I started two new discussions under Christmas Traditions in the Kindle bookstore on Amazon. The first one explains that I have decided to put my books on Kindle and that I hope the buyers like this book. There’s a short explanation about the use of Old English pronouns, because my book is a historical fiction. The second discussion is Reviews Needed For Christmas Traditions. Since I have sold many of these books on Amazon, I asked if the buyers could give my book a review. I explained I didn’t want or need a detailed review like the experienced reviewers give. It would be great if they could click one to five on the stars and just say they liked the book. That would be enough to encourage other buyers to give my books a try. Now I’m hoping that the customers find the discussion and read it.

I added three sample reviews for Christmas Traditions-An Amish Love Story from other buyers to give them an idea what I’m hoping for:

I had a hard time putting the story down. It has some interesting twists and turns as we follow the customs and false pride of the characters.

You are so descriptive. I felt the little thread of hope Margaret felt, but she didn’t see.

I enjoyed this book very much. You sure made the characters come to life and what a sweet love story you have told. I wondered if you may be thinking about writing a sequel to this book.

What more could any author ask for when the book is already published and in the bookstores? By then it’s too late for a detailed, constructive review if it’s not positive. Reviews as simple as the reviews above show other buyers the books are worth reading for the entertainment value of each one. So book customers on Amazon or other sites: speak up and let your favorite authors know how you feel about their work. Your opinion not only counts with other consumers, but it matters to the author.

 

This is a cross-posting from Fay Risner‘s Booksbyfay blog.

The Secret to Getting Great Book Reviews on Amazon

When consumers shop for books on Amazon.com and other online bookstores, many of them read the book reviews before they make a purchase. Even if they came to the site to buy a particular book, they may read the reviews to verify that they are making a good selection.


Positive reviews are a great selling point for all types of books, but they are especially important for nonfiction books, where consumers often compare several books on the same topic. Amazon actually encourages this, by displaying other similar books on your book’s sales page.

So, what’s the secret to getting great book reviews on Amazon (besides writing a great book)? ASK people to post reviews and make it EASY for them by providing a link to your book page on Amazon.com. 

Amazon is by far the largest online bookseller. Anyone who has an Amazon user name and password and has purchased any product on Amazon.com can review your book there, even if they purchased your book elsewhere or got a free review copy.

Here are several easy ways to invite people to post reviews for you: 

  • When you send out review copies to colleagues and influencers seeking testimonial quotes, ask them if they will also post the testimonial or a brief review on Amazon.
  • Any time someone writes a positive review of your book, ask them to post it on Amazon. Before contacting the reviewer, check to see if they have already posted the review.
  • When you receive an email or other correspondence praising your book, reply with a request to post a book review on Amazon. If someone has taken the time to write to you about your book, they are obviously a fan and will probably be happy to post a book review for you. Here’s a sample message:

Thanks so much for your note. I love getting feedback from readers and I’m glad that you enjoyed the book.

I would really appreciate you taking a few minutes to post your comments or a brief review on my Amazon page at www.Amazon.com/mybookpage. Look for the "customer reviews" section about halfway down the page and click on the "create your own review" button to the right. Or, use this link to go directly to the review form: http://yourshortlink.com.

If you’re a Barnes & Noble customer, click the "write a review" button at www.BarnesAndNoble.com/mybookpage.

You can create a link directly to the book review form by clicking on the "create your own review" button and then using a URL shortening service to create a short link to the form. To save time, save your review request in a Word document and copy and paste it as needed or set up an alternate signature in your email program containing this text. 

AmazonReviewer

  • You can ask family members and friends to post a review (or they may offer to do so), but be careful. Anyone who shares your last name (unless it’s a really common name) will look like a relative. Also, you don’t want the reviews to sound contrived. For example, posting something like "My friend Susan has written a great book and everyone should read it" is not a good idea. And of course you want these folks to post an honest opinion – you might ask them to write a couple of sentences stating what they liked best about the book.

Should you write a review of your own book? Maybe, but think very carefully about what to say. I don’t recommend writing a review talking about how great your book is or making a sales pitch. Doing so may turn people off or cause them to question the validity of your other reviews.

However, you might want to consider writing a "review" as a way to provide some information that’s not included in the book description listed on Amazon.com. For example, you could mention your inspiration for writing the book or mention resources available on your website, such as a free sample chapter or book club discussion guide. I suggest keeping it low key and avoiding blatant sales pitches.

Positive book reviews on Amazon and other online bookstores can boost your sales – take the initiative to ask for reviews and you’ll be rewarded. 

Savvy Tip: You may also want to use this email to ask for permission to use a portion of the customer’s message to you as a testimonial quote on your own website. In your request, I suggest pulling out the portion you want to use and formatting it as a quote so the customer can see exactly what it will look like.

  • Another possibility is to seek out reviewers who have reviewed books on similar or related topics or in your genre on Amazon and ask them if they are interested in reviewing your book. You may be able to get the reviewer’s contact information by clicking on their name and looking for their website or blog address on their Amazon profile. Below is an example of how reviewer information is listed on Amazon.com. Anyone who has "Top 500 Reviewer" beneath their listing is an especially active reviewer.

 

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

It Isn't Wise to Draw Lines in the Sand That Ultimately Can't Be Defended

This post, from Mike Shatzkin, originally appeared on the Idea Logical Blog on 7/25/10.

Apologies in advance for a much-longer-than-usual post.

It is not like the publishers haven’t seen the ebook royalty fight coming. On a panel he and I were on together in March of 2009, John Sargent, the Chairman and CEO of Macmillan, identified ebook margins as the critical issue for publishers going forward. Even though ebook sales at that point were financially insignificant and the growth surge that we’ve seen in the past 15 months wasn’t yet evident, Sargent expressed the belief that ebooks would be the future and that publishers had to be diligent to preserve their margins in the digital environment.

There are three moving parts to the publishers’ margin equation for ebooks.

The one that I think Sargent was thinking most of at that time is ebook pricing. If “misguided” publishers or market forces drive down prices a great deal, that could threaten publishers as sales migrate to digital.

The second one, which was then and remains today a focus of publishers, is the potential consolidation of sales channels so that power moves from a multitude of publishers to a small number of, or perhaps a single dominant, point of contact with the customer. Until the Nook came along from B&N last winter and the iPad from Apple in the spring, Amazon and Kindle looked dangerously close to being able to dictate both pricing and margin in the ebook supply chain.

And third, of course, is the amount of the consumer spend that is taken by the authors: the royalty.

The ebook pricing and channel consolidation issues have been front and center for the past year, ever since Dominique Raccah of Sourcebooks put “windowing”, which had been tried before for ebooks, in the spotlight as her solution to the perceived damage deeply discounted ebooks could do to print book sales, particularly of the hardcover edition. After she announced that she was holding back the ebook for Bran Hambric, similar announcements came from other publishing houses. At that time, only a year ago, Amazon was the dominant ebook vendor with Kindle sales amounting to 80% or more of the ebook sales for narrative trade books.

But the introduction of Barnes & Noble’s Nook device began to eat into Amazon’s hegemony last winter as 700 B&N stores started pushing a Kindle-type experience on their millions of customers. Then, in April, Apple introduced the iPad and changed the game two ways.

First of all, their tablet computing device, which can serve as a larger-than-a-cellphone screen for an ebook reader, started adding tens of thousands of new device-equipped potential book customers every day!

But along with the device competition, the iPad and its iBooks platform added a new business model called Agency. And, under Agency, the pricing of ebooks at retail theoretically becomes standardized across the web, not subject to discounting by individual retailers. This visibly upset Amazon, which appeared to pick a fight with Macmillan over the terms. It looked to those of us with no inside knowledge of their conversations to be an attempt to bully publishers to give up the Agency idea. In retrospect, this was perhaps a bad fight to have picked. Amazon’s threat was to stop selling the print editions of titles from those publishers who sold ebooks on Agency terms. Since five of the top six publishers were moving in that direction, and none of them blinked, Amazon had to, in their own words, “capitulate.” (On the other hand, we are not aware of any other publisher, beyond the Big Five, to whom they also capitulated, so the final score on this fight isn’t in yet.)

So it would seem that the big publishers have solidified two of the major components of their ebook margin. With their help, consolidation in the ebook channel has been reversed and they’ve taken critical steps to control prices to the consumer, while ebook sales have continued to rise at an accelerating pace.

But there remains this tricky question of royalties.

Read the rest of the post on the Idea Logical Blog.

I Like Customer Reviews

In a previous post I wrote about a review I requested from Charlie Courtland for A Promise Is A Promise from my Nurse Hal series. Charlie is the author of Dandelions In The Garden and has a book review website http://www.bitsybling.wordpress.com. I appreciated her good review and the fact that she put it on Amazon and www.goodreads.com where it could be seen by people.

According to Steve Weber in his book Plug Your Book, Amazon has some regular customers that offer reviews on every book they read. One negative view can hurt sales. He says keep asking for reviews. The more often your book is reviewed, the likely a minority opinion can dominate. Numerous authentic reviews lessen the chance that a single review can overtake and monopolize the Spotlight position.

Think about it. Reviewers have likes and dislikes when they pick a book to read. That may play a factor in their review. Plus, their intention is to review the book so they’re naturally watching as they read for what they want to say. What would be great is to see more positive customer reviews on Amazon, but how do we go about getting buyers to respond. I want to know what people who buy my books think of them. Most book readers aren’t reading a book to find mistakes but to be entertained. Those are the buyers most likely to leave a good review. Anyone that has bought an item from Amazon knows if you don’t leave a review in a certain amount of time, you get an emailed reminder. That means the book buyers don’t just forget. It’s always possible they didn’t like some of the books well enough to make a positive review so they decided not to make one at all.

As far as my books are concerned, I’ve gotten good reviews from ebay buyers and private sales. These are the buyers I was referring to that read my books for the entertainment value. I always make a point to ask buyers for a review so I’d know how they liked my books. Most of them are glad to comply and all the reviews have been good. I know they aren’t just saying that. They like my books well enough that they want to buy another one.

I thought about how well my ebay buyers respond, and I had to wonder what was the difference between ebay and Amazon buyers. Maybe it has something to do with the reviews left by the experienced reviewers. Most book buyers couldn’t measure up to those detailed critiqued reviews with one of their own. Maybe buyers don’t know how to write a review they think would be all right. I can tell you from first hand experience I’m not good at giving a constructive review. When I was active on http://www.authonony.com I submitted Christmas Traditions and A Promise Is A Promise to get the opinion of other authors. Their reviews and thoughts were very complimentary and detailed, but I found it hard to review their books as well as they did mine. What I know for sure is I either like the books or don’t, and that’s based on the genre and the story in the books I like to read.

I write books that I hope are stories people will like to read. These books make you laugh out loud sometimes, describe characters that remind you of someone, and you miss them when the story ends. Those are not my words but words my customers have used to describe my books. So why is it so much easier to get ebay and private customers to give me positive reviews than it is to get them on Amazon?

Perhaps, there is another simple answer besides knowing how to write a review. On Amazon, customers don’t have contact with the author of the books. Sales are impersonal business transactions. On ebay and private sales I can reach out to customers to add the personal touches to my sales so they get to know me. I sign my books for buyers. I have their email addresses so I can let them know the book had been sent so they can watch for it, and I tell them I appreciate their business. I ask for a review, if they have time to contact me, after they read the books. I think they respond back, because I reached out to them. Many of these buyers have become my email pen pals. They email me to find out how soon another book will be published. I have email addresses on a mailing list so I can notify buyers when a book is for sale. I’ve never been a fan of mass emails. That to me is very impersonal. I know the process takes time, but I email each buyer one at a time. Besides, that way I can visit with many of them. Some of these buyers email me once in awhile to just to say hi. Makes me feel blessed to get to know so many wonderful people in the United States.

With this all in mind, I started two new discussions under Christmas Traditions in Kindle. The first one explains that I have decided to put my books on Kindle and hope the buyers like this book. There’s a short explanation about the use of Old English pronouns, because my book is a historical fiction. The second discussion is Reviews Needed For Christmas Traditions. Since I have sold many of these books on Amazon, I asked if the buyers could give my book a review. I explained I didn’t want or need a detailed review like the experienced reviewers give. It would be great if they could click one to five on the stars and just say they liked the book. That would be enough to encourage other buyers to give my books a try. Now I’m hoping that the customers find the discussion and read it.

I added three sample reviews for Christmas Traditions-An Amish Love Story from other buyers to give them an idea what I’m looking for.

I had a hard time putting the story down. It has some interesting twists and turns as we follow the customs and false pride of the characters.

You are so descriptive. I felt the little thread of hope Margaret felt, but she didn’t see.

I enjoyed this book very much. You sure made the characters come to life and what a sweet love story you have told. I wondered if you may be thinking about writing a sequel to this book.

What more could any author ask for when the book is already published and in the bookstores. By then it’s too late for a detailed, constructive review if it’s not positive. Reviews as simple as the reviews above show other buyers the books are worth reading for the entertainment value of each one. So book customers on Amazon or other sites speak up and let your favorite authors know how you feel about their work. Your opinion not only counts with other consumers, but it matters to the author.

Around the Kindlesphere: Two Very Smart People Weigh in on the Idea of Literary Agents Bypassing Publishers

I’ve already had my say in the three posts linked [at the end of this post] on last week’s big news, but there are plenty of other intelligent points of view to choose from. Two of the smartest people with fresh things to say about changes in the world of books and publishing are author J.A. Konrath and publishing industry consultant Mike Shatzkin. I don’t agree with them on every word, but their most recent posts on this topic are well worth the time it takes to read them if you have an interest in these matters.

My only real quarrel with Joe Konrath’s post is his concern that a literary agent who becomes a publisher is engaged in conflict of interest:
Wylie is an agent. His job is to sell his clients’ work. If he is also the publisher of his clients, there is a HUGE conflict of interest there, as well as some ethical considerations. 
My take there is just that all the lines are changing and blurring so quickly that I don’t see this as any more significant a conflict than, say, booksellers becoming publishers, publishers become booksellers, or authors becoming booksellers and publishers, all of which is happening. It is all part of the process of experimenting with different kinds of, excuse me for the 75-cent word, disintermediation, as we all try to become more efficient and effective and making better, stronger connections between authors and readers.
 
The biggest flaw that jumped out at me right from the start of Shatzkin’s post is an error of omission. He says that the "three moving parts to the publishers’ margin equation for ebooks" are (1) ebook prices, (2) the potential consolidation of sales channels that could occur through Kindle domination of ebook content market share and, presumably, the failure of brick-and-mortar bookstores, and (3) author royalties. I think that he — and many who are looking at these issues from the Big Six publishers’ point of view — have structured their viewpoints so that they are failing to recognize the importance of another significant moving part, which is the potential decline of Big Six content sales relative to the content provided by other authors and publishers.
 

But once you get beyond that problem, Shatzkin provides the brilliant if obvious solution to the whole mess.
 

There’s a very simple, clear policy they could declare that would make this whole issue go away. Maybe there are one or two already acting this way, but it would be nice if even one publisher would just say this:

“Our policy for all new titles we sign up in the context of all our other standard terms is that we pay 25% royalty on ebooks. But for those books on our backlist which a) have earned out their advance and b) have ambiguity in their original contracts making it unclear what the royalty rate for an ebook should be, we will negotiate a higher royalty in recognition that a contractual element is being negotiated after the value of the copyright has been demonstrated in the marketplace and the risk profile has changed.”

Life is very complicated here. Every deal is different. There are costs and risks for authors and publishers trying to set up these separate ebook deals while a print backlist remains with a legacy publisher. The publisher might sue (although that opens up, for them, the danger that they’d lose, and the consequences of that could be dire.) At the very least, the author annoys the guys with the big checkbooks who are still the custodians of their print sales.

Although it is certainly possible that some authors or estates would want a publisher as talented as Jane Friedman remarketing their backlist, I still believe that if Open Road and others are offering 50%, publishers would find many authors receptive to avoiding the conflict if the publishers were offering 40%. But even if they had to pay 50% to some authors, the publishers would be doing themselves a favor by stating the position articulated above.
It may not be a total solution, but it could well put off the ultimate death of the Big Six publishers at least a few more years.

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This is a cross-posting from Stephen Windwalker’s Kindle Nation Daily.