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Articles about book / author promotion and marketing, and author platform.

#Authorfail: Hubris, Not Bad Writing Or Design, Sinks Most Self-Published Nonfiction

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I recently completed a stint of judging nonfiction, indie books for The Next Generation Indie Book Awards. Popular lore holds that most self-published books are of poor quality, both in terms of layout/design and writing, but that was not my experience with these books.

Most of the books had very attractive and professional-looking covers, and many of them had excellent illustrations and interior layout details (i.e., sidebars, recurring graphic elements) as well. While a quarter of the books could’ve done with a thorough edit to ‘trim the fat’, none of the books were so flawed in terms of mechanics as to make them difficult, or even just unpleasant, to read—and I’m somewhat of a stickler for spelling and grammar.

Nevertheless, fewer than half of the books in my allotment seemed worthy of publication and sale to the public, and some clear patterns emerged. In this series of blog posts, I’ll discuss my findings.

Because I am not allowed to disclose the titles of the books I judged, nor the specific category(ies), I’ve changed identifying details of the books in the following examples. (All book titles given below are fabricated, and are not meant to reference any real books)

Experience Doesn’t Always Equal Expertise

A tax attorney who’s struggled with her weight for years finds she’s somehow managed to lose fifteen pounds in one month. On reflection she realizes she’s been eating a lot of hazelnuts lately. Her internet research shows nuts are often encouraged as part of a high-protein, low-carbohydrate diet, and she finds some studies that report hazelnuts have antioxidant properties. BOOM! The Hazelnut Crash Diet book is born.

A computer programmer’s YouTube parody of a celebrity is brought to the attention of the celebrity, who mentions it on a late-night talk show. The clip goes viral in a matter of hours. In the morning, the man learns what happened and finds he has several interview requests from the media…BOOM! How YouTube Can Make You Famous is born.

A caregiver in a nursing home notices the elderly in her care seem more responsive and alert when she plays music over the facility’s public address system. BOOM! Using Music To Beat Alzheimer’s Disease is born.  

The tendency of so many authors to base an entire book or belief system on false correlations, or even mere coincidence, was astonishing to me, as was their complete lack of awareness that their ability to formulate a possible cause-and-effect relationship does not make that relationship valid, nor make them experts in either the cause or the effect.

There are many possible explanations for the first woman’s weight loss, but based on little more than intuition she’s concluded that hazelnuts were the key to her success. She’s not remotely qualified to design a safe and effective diet plan, yet here she is, promoting her hazelnut diet as a surefire, safe solution for anyone wishing to lose weight quickly.

If the YouTube guy had come up with a successful strategy to get the celebrity’s attention or the late-night talk show mention, that would be worthy of sharing with the world. In this case, he simply had an incredible stroke of luck that occurred entirely outside his control or even immediate awareness. Yet here he is, claiming he can show anyone how to recreate the same outcome.

The fact that the nursing home residents perked up when they heard music is no indication of music’s efficacy in staving off Alzheimer’s, and the caregiver’s only knowledge of Alzheimer’s comes from a continuing education class she once took and her observations of the elderly in her care. Yet here she is, claiming to have found a cure for a disease that whole armies of researchers and billions of dollars have yet to crack.

Books like the diet book and the Alzheimer’s book were particularly worrying to me because they can affect the health of others. Where very challenging ailments like Alzheimer’s are concerned, sufferers and those who care about them are often desperate enough to try anything that could possibly work. While exposing Alzheimer’s sufferers to music certainly won’t harm them, sufferers or caregivers might choose “music therapy” over other, better treatment options.

One of the books actually encouraged readers to use spoken mantras to treat a common physical ailment for which numerous safe, proven treatments already exist. Furthermore, the ailment was one of those things that’s not usually serious, but can develop into something serious if it’s not watched closely. By the time a caregiver employing the mantra method realizes the mantra isn’t working, the ailment may have progressed to the point that aggressive and risky medical treatments are required. I was dumbfounded by the author’s irresponsibility.

I understand there’s such a thing as alternative medicine, and I can also believe that laypeople and amateurs sometimes make discoveries that have evaded professionals and academics. However, I’m not going to take one person’s word for it that she’s discovered a new avenue in healthcare or nutrition based on her personal experiences alone—especially when she has no significant background or training in the subject of her book. Background and training are the things that allow a person to tell the difference between a genuine result or discovery and a wrong conclusion.

Many of the authors seemed to think their own, untrained, non-professional interpretations of others’ academic and scientific studies constitutes “independent confirmation”. It doesn’t. I am an animal lover and even spent a number of years studying Veterinary Science and working as a Veterinary Technician while in college. Even so, that past experience and bit of education doesn’t give me all the knowledge and background I’d need to accurately interpret the statistics reported in veterinary studies conducted by actual veterinarians and scientists. 

There are very good reasons why doctors, lawyers, physical therapists, nutritionists, accountants, etc. are required to complete years of education and training before being licensed to practice. Judging by the lengthy disclaimers I saw at the front of several books, the authors knew this, yet still deemed themselves capable of going toe-to-toe with the professionals. The disclaimers variously advised readers that nothing in the book should be construed as professional advice, that the reader shouldn’t rely on the information provided in the book when making medical, legal or financial decisions, and in one case, went so far as to say the reader shouldn’t rely on the book’s content as a reliable source of information on the subject matter of the book.

A book that needs a disclaimer like that is a book that never should’ve been written, and should definitely not be offered for sale to the public.

 

This is a cross-posting of an entry that originally appeared on my Indie Author blog on 4/17/09. Follow these links to read parts two, three and four in the series.

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April L. Hamilton is an author and the founder of Publetariat.

How to Squeeze Writing Inspiration from Every Experience

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This article, by Mary Jaksch, originally appeared on Write To Done on 3/9/09.

Do you have days where you sit in front of  an empty page  – and find nothing, absolutely nothing you could write about? I used to. But now I’ve learned to squeeze inspiration from every experience.

What, every experience? Yes, I know it sounds a tall order. Read on to see how it works.

The secret of creativity

First of all we need to determine what triggers creativity. It’s quite simple:

Creative innovation happens through communication between regions of the brain that are not usually connected. (You can read more about that here).

Let’s imagine that you want to write an article about social media. Your page is empty and your brain is on slow-go. Then you start making a list of points you want to cover:

Twitter
connections
viral news
Stumbleupon

Does this list inspire you? Does is trigger ideas in your brain? Well, not in my brain! At this point I still can’t find any theme connected to social media that I might want to write about.

Now let’s take a different tack in order to kick-start creativity: we’ll choose an unrelated idea and hold it up against our theme ‘social media’. What we’re doing at that moment is to connect two different areas in the brain.

Let’s say that the word we choose to connect with ‘social media’ is ‘potato’. Wacky, eh?

Just pause for a moment and see what your brain comes up with when you connect ‘social media’ and ‘potato’.

Here is what happens in my brain when I connect the two concepts:

  • Potatoes grow underground and you can’t see them from above / You can’t understand social media by looking in from the outside.
     
  • You only get to see the size of the  harvest when you dig up your potatoes/ It takes a time to see the result of ongoing social media cultivation
     
  • Potatoes are a staple diet/ Your communication on social media allows people to get to know the ‘ordinary’ you.
     
  • There are endless recipes to cook potatoes/ Each social media has its own style and you need to adapt to it

Ok – that was just a five minute harvest of ideas to illustrate how creativity works. Even though I didn’t come up with any brilliant mind flashes, what I did get was four different themes for an article. So, if you were to connect ‘social media’ with twenty different unrelated things, such as door handles, cats, rain, hunger, rainforest, or … you name it, you would end up with 100 ideas for articles about social media. That’s better than none, isn’t it?

Read the rest of the article on Write To Done.

Tone Deaf Publishers Need Savvy Writers

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This is a cross-posting of a piece that originally appeared on Loudpoet.

Counting on the laziness of the author and their lack of enthusiasm for self-promotion isn’t the best business model. Just look around. Many of today’s self-published books are hard to [distinguish] from their counterpart coming out of a major NYC publishing house. As self-publishing matures and begins to mirror professional publishing, the lines between the two blur and the need for a traditional book publisher becomes less necessary.

–Bill Nienhuis, An Author’s Perspective on the Book Publishing Industry

I attended the first day of The New York Center for Independent Publishing’s New York Round Table Writers’ Conference last Friday, and even before I arrived I was struck by the lack of Twitter chatter leading up to the event and throughout the morning of the first day. It was notable not because Twitter is the new shiny, but because the book publishing industry has definitely embraced it and there are a ton of smart industry professionals, independent pundits, and published and aspiring writers using it to network, share information, and opine about the future of the industry.

I arrived after lunch, in time for Lee Woodruff’s keynote speech, and took a seat at the back of the massive Library of the General Society of the Mechanics and Tradesmen of the City of New York (NYCIP’s parent organization) — a massive, old room lined with bookshelves that is almost literally weighed down by its history. I was immediately struck by the interesting dichotomy as Woodruff mentioned Twitter, marketing and the viability of self-publishing within the first 5 minutes, and later noted the craziness of her first book, ironically titled In An Instant, taking nine months to be published after she’d submitted the finished manuscript.

Following Woodruff’s engaging presentation, I attended the Fiction Editors: Champions of the Story panel, featuring “an inside look and advice from editors of major publishing houses,” and that’s when the wheels completely fell off the thing.

I tweeted some of my gut reactions on the spot:

# 14:21 #nycwc Fiction editors explaining job, seem like an endangered species. Why not become agents or indie pubs? Can’t be job security.
# 14:44 #nycwc Somewhat surprised by the NY-centric, status quo opinions about the publishing process being offered by these editors.
# 15:09 #nycwc Funny: low odds for getting trad. published are the norm, but successful self-pub is dismissed as being rare and magical.

The editors themselves, each representing a major publisher and primarily focused on literary and/or commercial fiction, were a smart, lively bunch who clearly loved the core of their job — reading, discovering and championing great books — noting that they often did most of that outside of the office, after hours and on weekends. Most of their workday, though, is apparently spent navigating the bureaucracy and red tape of corporate publishing, doing everything but reading and editing manuscripts in service to what all agreed was roughly a two-year process from acceptance to publication of a book.

Each of the editors only read agented manuscripts — one noting she’d received over 500 last year, of which she’d only bought eight — but had little advice to offer the writers in attendance on how to get an agent who is good enough to get their manuscript in front of them. They also had difficulty clearly explaining what the difference was between their own job and an agent’s beyond ensuring their publisher’s contract doesn’t screw them over, noting that agents tend to do a lot of editing themselves these days to get a manuscript in tip-top shape, but that writers shouldn’t pay them for that service nor pay a freelance editor to do the same.

In response to a question about lessons they’d learned from the failure of a book to sell as well as expected — something that was acknowledged several times as being the norm not the exception — one offered an example of an unnamed book that the stars had seemingly all aligned for: it was a great book the editor loved, that their publisher believed was going to be a hit, that got great reviews from all of the major mainstream outlets… and it flopped.

In the final bit of unacknowledged irony, one of them briefly noted that examples of successful self-publishing were rare and magical.

The panel I was participating on — The Technofile: Online Writing and Blogging, “Popular online literary website writers and bloggers come together to discuss the online writing outlet.” — followed theirs after a short break, and offered an interesting contrast as three of us were about as deeply embedded in digital publishing as you can get: Roy Sekoff of the Huffington Post, moderator; Pamela Skillings of About.com; and Rebecca Fox of MediaBistro. I was billed as representing Spindle, which was nice, but I noted that my presence on the panel actually came about from having worked with Writer’s Digest for a year-and-half and being heavily involved in pushing their website forward and getting them to embrace their position of leadership by acknowledging the rise of self-publishing as a viable option and teaching writers how to do it the right way.

# 17:40 #nycwc Blogging panel was fun and lively. Sekoff kept things interesting; Fox and Skillings offered great insights. Lot of fun.
# 17:43 #nycwc Writers need to understand they’re marketing themselves, not their books; publishers won’t do it for them. Take a long-term view.
# 17:59 #nycwc Authors using Twitter article by @mariaschneider I referenced during blog panel: http://bit.ly/13RVz1

Sekoff ran a great, lively panel and we all offered some practical and personal insights into the opportunities the shifts in the industry have opened up for writers who are savvy about marketing themselves and establishing that holy grail of publishers and writers alike: a platform.

After offering our individual takes on a variety of topics and looking into our crystal balls to speculate on where things were going — a unanimous vision of increased disintermediation and the power of writers to control their own careers — we took questions and what was most notable was that the majority in attendance were not terribly marketing savvy and something as simple as setting up a blog struck many of them as being a significant challenge. A few didn’t see the value of it at all, missing the forest for the trees, seemingly still believing that a writer’s only job is to write.

Earlier, Woodruff had been asked how writers without PR experience and media connections — as she’d acknowledged having had and working to her full advantage — can promote themselves, and she noted that social networking had leveled the playing field online and that writers have to get comfortable using it and marketing themselves.

With the continuing deterioration of traditional distribution channels; the shifting of editing and marketing responsibilities to agents and writers; and the availability of numerous resources to empower a writer to reach their audience directly and profitably, Niehuis’ aforementioned point is worth reframing: “Counting on the laziness of major publishing houses and their lack of enthusiasm for marketing isn’t the best business model for writers, aspiring nor established.”

Publishers need writers to stay in business, but the reverse isn’t necessarily true.

Here’s a handful of key resources for any writer looking to take full control of their careers:

  • There Are No Rules: Savvy advice and information on the business of publishing from Writer’s Digest Publisher & Editorial Director, Jane Friedman
  • Editor Unleashed: More savvy advice and information on the business of publishing and craft of writing from former Writer’s Digest editor, Maria Schneider
  • Get Known Before the Book Deal: Writer Mama Christina Katz offers tips and advice for success in the world of publishing.
  • Publetariat: An online community and news hub built specifically for indie authors and small, independent imprints.
  • GalleyCat: MediaBistro’s publishing industry blog is a daily must-read for all writers.
  • The Reality of a Times Bestseller: NY Times Bestseller Lynn Viehl offers the numbers behind her best-selling book, Twilight Fall.
  • The Fine Print of Self Publishing: The Contracts & Services of 45 Self-Publishing Companies Analyzed Ranked & Exposed
  • WordPress.com: Starting a blog takes 5-10 minutes, and WordPress is my preferred platform.

NOTE: This isn’t about traditional publishing vs. self-publishing; that’s a very individual decision that can’t be generalized as each offers advantages and disadvantages that will be perceived differently according to context. No matter which route a writer chooses, though, the ultimate responsibility for their success or failure will fall to them, and to think otherwise increases the odds of failure.

If You Build It, They Won't Come

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This article originally appeared on the Publishing Trends website in December of 2008.

To be on the Web or not to be on the Web—sorry, technophobic authors, that’s no longer the question. Rather, what should be on your website and how can you draw traffic to it? There’s no universal key to success. But with help from a recent groundbreaking report and four web designers who specialize in author sites, we’ve come up with some guidelines.

The Codex Group is described by its President, Peter Hildick-Smith, as a “pollster for publishers.” Last summer, Codex undertook a massive author website impact study that surveyed nearly 21,000 book shoppers. Its objective was to understand the relative effectiveness of author sites among shoppers and to determine the elements that will keep them coming back to the site. We spoke with Hildick-Smith and four book-loving Web marketers and designers—John Burke, Vice President of FSB Associates; Carol Fitzgerald, Founder and President of the Book Report Network; Jason Chin; and Jefferson Rabb (who also consulted on the Codex study, along with Columbia University’s Charlotte Blumenfeld)—to find out what makes an author site not only good-looking, but also successful.

“From an author’s perspective, if you are going to invest the time and energy in writing and getting a book published, it’s a big drawback if you can’t then be found online,” says Burke. Furthermore, the Codex report found that visiting an author’s website is the leading way that book readers support and get to know their favorite authors better. And this is true regardless of age. While those under 35 visited websites more often than those over 35, over-35-year-olds still used author websites as their main method of learning about the author. “This isn’t a generational thing,” says Hildick-Smith. Fans are also much more likely to visit the author’s website than the author’s page on the publisher’s website.

The survey found that 7.5% of book shoppers had visited their favorite author’s website in the past week. As a point of comparison, 7% had visited the Wall Street Journal’s site.

And any remaining skeptics out there, take note: Website visits translate directly to the number of books bought. Book shoppers who had visited an author website in the past week bought 38% more books, from a wider range of retailers, than those who had not visited an author site. “Is putting up a website going to make a book a bestseller? No,” says Chin. “Is the website going to help the author build an audience? I believe it can. What you don’t want is for someone to hear about your book, search for it with Google, and find nothing. That’s a potential lost sale.”

Web presence is especially essential in today’s economy. “Websites have become even more important as people are not in stores discovering books,” Fitzgerald says. “We need to get them jazzed about a title and their favorite author and give them reason not just to buy the book, but also to have a relationship with the author and his or her work so they become evangelists for them with fellow readers. These next months, author websites and communications with readers are going to be critical for engendering excitement in readers online, since something as crucial as in-store browsing is not happening.”

The point, of course, is not just to get readers to visit an author site once, but to keep them coming back. How do you make a website sticky?“The saying ‘build it and they will come,’ well, they won’t,” says Burke. He and the other designers we spoke with agreed that flashy design is not a key to success, and the Codex Group research bears that out, with Stephenie Meyer’s website as a case in point. It receives more traffic than any other fiction author site, yet its design is extremely basic, “probably a generic template where you plug in your header graphic,” says Hildick-Smith. “She may only be paying $15 a month for this site on some server system. It’s not elaborately designed at all. But she’s got a daily blog, and more than any other site in our study, she has links to fan sites. Fan site links appear to contribute to loyal audience traffic.”

Read the rest of the article at Publishing Trends.

Seth's Blog: Advice For Authors

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This post, by Seth Godin, originally appeared on his Seth Godin’s Blog on 8/2/06.

It happened again. There I was, meeting with someone who I thought had nothing to do with books or publishing, and it turns out his new book just came out.

With more than 75,000 books published every year (not counting ebooks or blogs), the odds are actually pretty good that you’ve either written a book, are writing a book or want to write one.

Hence this short list:

  1. Lower your expectations. The happiest authors are the ones that don’t expect much. 

     

  2. The best time to start promoting your book is three years before it comes out. Three years to build a reputation, build a permission asset, build a blog, build a following, build credibility and build the connections you’ll need later.

     

  3. Pay for an eidtor editor. Not just to fix the typos, but to actually make your ramblings into something that people will choose to read. I found someone I like working with at the EFA. One of the things traditional publishers used to do is provide really insightful, even brilliant editors (people like Fred Hills and Megan Casey), but alas, that doesn’t happen very often. And hiring your own editor means you’ll value the process more.

     

  4. Understand that a non-fiction book is a souvenir, just a vessel for the ideas themselves. You don’t want the ideas to get stuck in the book… you want them to spread. Which means that you shouldn’t hoard the idea! The more you give away, the better you will do.

     

  5. Don’t try to sell your book to everyone. First, consider this: " 58% of the US adult population never reads another book after high school." Then, consider the fact that among people even willing to buy a book, yours is just a tiny little needle in a very big haystack. Far better to obsess about a little subset of the market–that subset that you have permission to talk with, that subset where you have credibility, and most important, that subset where people just can’t live without your book.

     

  6. Resist with all your might the temptation to hire a publicist to get you on Oprah. First, you won’t get on Oprah (if you do, drop me a note and I’ll mention you as the exception). Second, it’s expensive. You’re way better off spending the time and money to do #5 instead, going after the little micromarkets. There are some very talented publicists out there (thanks, Allison), but in general, see #1.

     

  7. Think really hard before you spend a year trying to please one person in New York to get your book published by a ‘real’ publisher. You give up a lot of time. You give up a lot of the upside. You give up control over what your book reads like and feels like and how it’s promoted. Of course, a contract from Knopf and a seat on Jon Stewart’s couch are great things, but so is being the Queen of England. That doesn’t mean it’s going to happen to you. Far more likely is that you discover how to efficiently publish (either electronically or using POD or a small run press) a brilliant book that spreads like wildfire among a select group of people.

     

  8. Your cover matters. Way more than you think. If it didn’t, you wouldn’t need a book… you could just email people the text.

     

Read the rest of the post on Seth Godin’s Blog.

Twitter: What Is It, And Why Should Authors Use It?

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This article originally appeared on The Creative Penn on 1/20/09.

Twitter is a social networking tool based on regular updates of 140 characters only. This means you have to be succinct and creative in what you broadcast. I have been reading about Twitter for some time but have only recently joined up (@thecreativepenn).

So How Does It Work?

You “follow” people and can see what they post. People follow you and can see what you post. You can find people by searching for their names or Twitter handles (prefix @), or you can let Twitter suggest people you might be interested in (Find People -> Suggested Users)

You post on the web, by mobile phone or through an application like Tweetdeck which helps you organise your own and other people’s tweets.

Tweetdeck also has a useful URL shortening tool, so you can paste in a really long link and it shortens it for you. (You can also change the colours if you don’t like them).  

People post some very interesting things – news items, links to great sites, promotional info, personal information. You can respond directly to that person – yes, even if they are “famous” ! This can potentially get you noticed by them. You can “re-tweet” other people’s posts i.e. pass them on if it is something interesting. You can ask questions and respond immediately to other people you have connected with, even if they are across the world.

Why Should Authors Use Twitter?

·         Online knowledge and influence. 6 million people and counting belong to Twitter including some of the most influential people online today. If you want to be an author who makes money online, you need to be where the action is.

·         You can network with some great people you might never have met otherwise.

·         You can learn an awful lot by reading tweets from people who know more than you.

·         You can promote yourself. You shouldn’t promote all the time but you can add links to your blog posts, your website or notices of your appearances. You can gain significant traffic this way so it is worth a try.

Useful Twitter Links For Authors 

Directory of book trade people on Twitter – follow them for industry news

Top bloggers you can follow through Twitter – see how they use it for tips of what to do yourself

Authors on Twitter – some surprise entries include John Cleese and Stephen Fry

Some lessons learned from the first few weeks on Twitter – Don’t always promote yourself, Do engage people, Offer valuable content.

The most followed people on Twitter – no. 1 is Barack Obama

6 tips for using your Twitter profile to get new followers – includes creating a custom profile page and using your bio to the best advantage

Feed your blog to Twitter using Twitter Feed

17 ways you can use Twitter including finding prospects, and getting feedback

For the more experienced – Twitter tips – lots and lots to implement on here!

This is an initial post on Twitter as I am just a beginner – I will do more posts later on with more interesting developments! But so far, it is not a waste of time which is the main comment people seem to have about it.

Follow me on Twitter!  

#PublisherFail: The ONE Thing Big Pub Must Change In Order To Survive

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Big, Commercial Publishers:

First, the bad news. Your revenues are in decline, your distribution model is unsustainable, you’re beset on all sides by technologies and cultural changes that seem to have just as much potential to harm your interests as to further them, and despite having been in the same business for over a century, your inability to predict your customers’ wants and needs makes you feel (and operate) more like professional gamblers than the capable captains of a respectable industry.

Now, the good news. All of these seemingly insurmountable challenges are really just the distracting side effects of a single, underlying issue. Better yet, it’s an issue you can resolve anytime you like, by yourselves, without the input of any high-priced consultants, the adoption of any expensive new technology, nor the invention of some as-yet-undiscovered business paradigm.

When I tell you what the underlying issue is, your initial reaction will most likely be to dismiss what I’m saying out of hand. All manner of rebuttals will immediately spring to mind, you will remind yourself that you are the publisher here after all, and there’s no way some nutjob on the internet could possibly understand your business as well as you do.

If only for the sake of being able to honestly say you’ve explored every possible option, please commit now to keeping an open mind for as long as it takes you to finish reading this article and giving it full consideration. At this point, can you really afford to ignore any new ideas?

The underlying issue is this: you have an image problem. More accurately, you have a self-image problem.

You don’t recognize the business you’re actually in, and as a result you believe your business is unique and ultimately unassailable on some level. This distorted self-image keeps you from fully aligning your business practices with your business goals and the desires of your customers.

You think you are curators of literature, and both authors and guardians of culture, but those functions cannot possibly be performed by any organization being run with a primary profit motive. You are no more curators of literature than Nike is a curator of shoes. If you wish to remain solvent, you can only be authors and guardians of culture to the extent that it helps (or at least, doesn’t harm) your bottom line.

You also believe your industry in its present form is a permanent fixture of modern culture, an institution venerated by the public it serves. You believe in the inevitable longevity of your industry, in its very right to exist regardless of profitability, with the same certainty and fervor the executives of print newspapers had about their own industry until very recently.

If you could see yourselves as outsiders do, you would realize you’re actually engaged in the most common (and possibly oldest) business there is: producing and selling consumer products. There is no shame in this; your products have the power to inform, entertain and inspire. However, bibliophiles notwithstanding, there is nothing inherently valuable or sacred about your products, and you will only remain in business as long as large numbers of people are willing to buy them. Yours are not the only products that can inform, entertain or inspire. If consumers find a competing product they like better, they will buy the competing product.

The fact that your product happens to be books doesn’t make it unique or special in any way, in a business sense. However, you believe books are special and unique products, and have built your entire industry around traditions and practices that support your false belief, often to the detriment of your business. In every other commercial industry, traditions and practices are only honored so long as they help (or at least, don’t harm) the bottom line.

Purveyors of computers, cell phones, clothing and even kitchen appliances wait to see how well consumers like a given product before investing the effort and money on releasing a premium edition of the product. If you intend to release both a premium (hardcover) and standard (paperback) edition of your product, you release the premium version first, and release of the standard version is often contingent on sales performance of the premium edition.

Many times I’ve wanted a book that I couldn’t afford in hardcover, or didn’t think was worth the hardcover price, but the book was never released in paperback. Apparently you aren’t aware of this, but cost-conscious consumers—and this group encompasses most consumers—will frequently "wait for the paperback" in the same way they will often opt to skip a movie at the theater and "wait for the DVD" or "wait for it to come out on cable". This business practice alone probably costs you millions of dollars a year in unsold hardcovers and lost paperback sales, yet you continue to do it because it’s traditional to your industry and you’ve attached a certain degree of status and internal fanfare to the idea of a hardcover release.

Movie studios allow their customers to access and use their products when ever, how ever, and in whatever format those customers want. Whether it’s in the theater, on DVD for sale or rent, Blu-Ray, via digital streaming online, on pay-per-view, or even on an iPod, the customer is completely empowered to control his experience of the product. As a result, many, many more copies of the product are sold and filmmakers earn much more money than if they limited their films to theatrical release alone.

(continued…comment area is on the next page)

 

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#PublisherFail: The ONE Thing Big Pub Must Change In Order To Survive, Pt. 2

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(cont’d from Part 1)

Meanwhile, your industry is investing its time and money in practices, devices and technologies intended to keep control of, and broad accessibility to, your products out of the hands of your customers. You don’t release every book in print, audio and ebook formats. You release very few titles in audiobook form, yet fight against Text To Speech (TTS) technology even on books you have no intention of ever releasing in audiobook form. You don’t show strong support for cross-platform ebook standards, yet you fully support the proprietary file formats used on the Kindle and Sony Reader. Having learned nothing from PR debacles in the music and film industries, you are moving to criminalize your customers with stringent DRM.

You believe your products are special and your role as their producer grants you both rights and responsibilities over and above the mere needs of your customers. 

With respect to TTS and DRM, Big Pub hides behind a shield of ‘protecting the interests of the artist’, just as music and film producers have done in the past. But it didn’t take long for those producers to realize motivated pirates and hackers will always exist, and withholding purchase and use options from your entire customer base in order to discourage the criminal acts of a few is a bad business decision. They also realized customers are willing to pay for digital media, and in fact will buy digital media just as often as hard copy media, so long as it’s convenient, affordable, and meets their needs. Free from your curator complex, they’ve embraced digital media to the fullest extent and are reaping the benefits.

The software, videogame and film industries take cross-platform support for their customers a step further by providing simplified or downsampled versions of their products for use on mobile devices. No one playing Guitar Hero on a Nintendo DS expects the same gaming experience as playing the full-featured console game, no one using MS Office Mobile expects to find the same feature set as regular MS Office, and no one watching a movie on an iPod expects the same audience experience as seeing the film in a theater. Makers of these products understand that on a portable device the customer’s priority is—surprise!—portability. Content and functionality matter to customers too, but customers are willing to trade bells and whistles for convenience and cost savings.

When you start down the road to release a book in electronic, portable form, you begin with the assumption that you must preserve the “integrity of the page” and “integrity of print branding”. If you can’t exactly duplicate the frames and shading employed in sidebars, or get the tiny graphic of the geek with his finger in the air to display in the exact location and size as they appear in the print book, you don’t want to release an electronic version at all. Even when working with a minimally-formatted book like a novel, you strive to preserve original fonts, typesetting and layout details in the ebook version. You set up task forces, invest in development of new devices, software and technologies, and generally make things much harder and more expensive than they need to be.

You appear to be completely oblivious to the fact that one of the major draws of the ebook is the flexibility users have in controlling how the text is displayed. Most e-reading software and devices allow the user to change the font, font size, line spacing, orientation of the page, and sometimes even the font and page colors. All your efforts to preserve the “integrity of the page” are wasted.

Nevertheless, you pass the expense of these efforts on to the ebook buyer, and as a result your customers think you’re ripping them off on ebooks. You repeatedly defend your pricing on the grounds that your overhead in producing an ebook is comparable to producing a print book, but you leave out the part where you could provide a simplified version of the ebook at a much lower cost—a cost consumers would find much more reasonable and appealing. You ignore the customer’s priorities (portability, convenience and cost savings) in favor of your own, self-imposed priorities. Once again, it’s because you believe your products are special and you answer to a higher calling than serving your customer base.

Even your unsustainable policies concerning bookseller returns are the direct result of placing your flawed self-image and industry traditions above the needs of your customers. Chain bookstores are no longer the only game in town for bookselling and consumers already know the chains can’t compete with online vendors for selection or price, with ‘big box’ stores for convenience or price, nor with indie booksellers for service. None of your customers’ priorities are being served by chain booksellers (which is why they’re suffering a slow economic death), yet you continue to remain in voluntary bondage to the chains and even grant them preferential terms.

When chain record stores like Musicland and Tower Records began to falter, record labels didn’t engage in efforts to prop them up or prolong the inevitable. Instead, the labels followed their customers into new markets and new distribution models. If you didn’t feel beholden to the ‘old ways’ of bookselling, you would do the same.

If you want to take the high road and place artistic integrity and tradition above profit, that’s fine. Independent imprints do it all the time. The only problem is, preservation of artistic integrity and tradition often exists at cross-purposes to mass-market economic demands. You want all the big profits that come from serving the mass market, yet believe you are entitled to deny the wants of that market whenever you choose, with no impact on your bottom line. You feel justified in forcing your customers to subsidize the costs and suffer the inconveniences of your misguided efforts in curatorship.
 

Let libraries, museums, academics and critics decide which of your products are worthy of preservation, just as they do in art, film and music. Drop your curator complex, and suddenly all the ancillary challenges and crises that eat up most of your days and resources fall away. Of course you will always have the challenge of trying to forecast which products will be most popular to your customers, but so does every other business that produces consumer products.

Letting go of costly, needless business practices reduces your risk on each individual product, and enables you to open up new revenue streams that can help balance the overall profitability scales when an individual product fails. Focus on making your customers’ priorities your own, and the way forward becomes obvious.

And lest you think your industry can never fail completely, since people will always need sources of information, inspiration and entertainment…there’s an app for that. Lots of them, actually.
 

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April L. Hamilton is the author of The IndieAuthor Guide and the founder of Publetariat. Her latest book is From Concept to Community.

How to Start (or Start-over) Building Your Personal Brand

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This article originally appeared on the Skelliewag site on 3/31/09. The article is about personal branding, which is a key component in building your author platform. 

A ‘personal brand’ is in many ways synonymous with your reputation. It refers to the way other people see you. Are you a genius? An expert? Are you trustworthy? What do you represent? What do you stand for? What ideas and notions pop up as soon as someone hears your name?

If you’ve been around for a while you’ve probably already developed a personal brand. People recognize your name, what you’re working on, what you offer and what you’re about. That being said, your personal brand might be a little weak and disjointed. If you’d like to make it stronger, I’m going to help give you the tools by outlining what I believe to be the components of a strong personal brand.

If you don’t feel like you have a personal brand yet, this post will show you how to go about building one. But first, it might be worth talking a little about the value of your personal brand and why we might want to create one in the first place. 

A smart investment

Your personal brand has the potential to last longer than your own lifespan. While the projects you’re working on might get sold onwards or shut down, your personal brand will persist and (hopefully) add value to each new project you create. If you consider yourself to be in this particular game for the long-haul, whether it’s online business or just online creativity, a good personal brand is the single most valuable investment you can make. People will follow your brand from project to project if they feel connected to it.

One example from my own experience that highlights the long-term importance of a personal brand occurred when I launched my second blog. I announced it on this one, hoping to give it a little head start but expecting to build up an audience mainly from scratch. Instead I found the second blog had accumulated over 1,100 subscribers in under five days.

When launching new projects, your personal brand has the potential to guarantee you never have to start from scratch again.

Your personal brand is not just you

Because your personal brand is built from the thoughts and words and reactions of other people, it’s shaped by how you present yourself publicly. This is something that you have control over. You can decide how you would like people to see you and then work on publicly being that image.

You should plan your personal brand based on your aims. If you want to sell an expensive course in watercolor painting you’ll need to be seen as someone with the authority to teach others on the topic. If you want to get work for high-end design clients you’ll need to be seen as a runaway talent with a professional attitude. Two useful springboard questions are:

  • How would you like potential customers/clients to think of you?
  • How can you publicly ‘be’ that brand?

The second question is an important one, but a tricky one. Your personal brand is composed of your public actions and output in three main areas:

1. What you’re ‘about’. Seth Godin is about telling stories, being remarkable. Leo Babauta is about simplicity and habit forming. Jonathan Fields is about finding ways to build a career out of what you love doing. Think about the key ideas you would want people to associate with you.

2. Expertise. Every good brand involves the notion of expertise. Nike brand themselves as experts in creating quality and fashionable sportswear. Jeremy Clarkson (host of Top Gear) is an expert on cars. Even if you’re not interested in marketing your advice you need to create the perception that you are very good at what you do.

3. Your style. This is not so much what you communicate about yourself, but rather, how you do it. Are you kind and unusually enthusiastic, like Collis Taeed? Are you witty and raw, like Naomi Dunford? Are you confident and crusading, like Michael Arrington? Hopefully you’re none of these, or at least, not in the same way. Your style of delivery should be as unique as any other aspect of your personal brand. This doesn’t mean you need to sit down and brainstorm how to be different. If you don’t actively imitate anyone else, it will happen naturally.

Read the rest of the article on Skelliewag.

The Reality Of A Times Bestseller

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This article, by author Lynn Viehl, originally appeared on GenReality. In it, Lynn crunches the numbers on her novel, Twilight Fall, which debuted at #19 on The New York Times Bestseller List and went on to sell nearly 75,000 copies in its first 5 months of release. It will come as a shock to most aspiring authors that Lynn has netted $0 to date on the book. 

A few years ago I made a promise to my writer friends that if I ever had a novel hit the top twenty of the New York Times mass market bestseller list that I would share all the information I was given about the book so writers could really see what it takes to get there. Today I’m going to keep that promise and give you the stats on my sixth Darkyn novel, Twilight Fall.

We’ve all been told a lot of myths about what it takes to reach the top twenty list of the NYT BSL. What I was told: you have to have an initial print run of 100-150K, you have to go to all the writer and reader conferences to pimp the book, you can’t make it unless you go to certain bookstores during release week and have a mass signing or somehow arrange for a lot of copies to be sold there; the list is fixed, etc.

I’ve never had a 100K first print run. I don’t do book signings and I don’t order massive amounts of my own books from certain bookstores (I don’t even know which bookstores are the magic ones from whom the Times gets their sales data.) I do very little in the way of promotions for my books; for this one I gave away some ARCs, sent some author copies to readers and reviewers, and that was about it. I haven’t attended any conference since 2003. To my knowledge there was no marketing campaign for this book; I was never informed of what the publisher was going to do for it (as a high midlist author I probably don’t rate a marketing campaign yet.) I know they did some blog ads for the previous book in the series, but I never saw anything online about this particular book. No one offered to get me on the Times list, either, but then I was never told who to bribe, beg or otherwise convince to fix the list (I don’t think there is anyone who really does that, but you never know.)

Despite my lack of secret handshakes and massive first print runs, in July 2008 my novel Twilight Fall debuted on the Times mm list at #19. I’ll tell you exactly why it got there: my readers put it there. But it wasn’t until last week that I received the first royalty statement (Publishing is unbelievably slow in this department) so I just now put together all the actual figures on how well the book did.

To give you some background info, Twilight Fall had an initial print run of 88.5K, and an initial ship of 69K. Most readers, retailers and buyers that I keep in touch with e-mailed me to let me know that the book shipped late because of the July 4th holiday weekend. Another 4K was shipped out two to four weeks after the lay-down date, for a total of 73K, which means there were 15.5K held in reserve in the warehouse in July 2008.

Here is the first royalty statement for Twilight Fall, on which I’ve only blanked out Penguin Group’s address. Everything else is exactly as I’ve listed it. To give you a condensed version of what all those figures mean, for the sale period of July through November 30, 2008. my publisher reports sales of 64,925 books, for which my royalties were $40,484.00. I didn’t get credit for all those sales, as 21,140 book credits were held back as a reserve against possible future returns, for which they subtracted $13,512.69 (these are not lost sales; I’m simply not given credit for them until the publisher decides to release them, which takes anywhere from one to three years.)

My net earnings on this statement was $27,721.31, which was deducted from my advance*. My actual earnings from this statement was $0.

*Publetariat editor’s note: many aspiring authors don’t seem to know that when a publisher gives an author an advance, it’s a loan against future royalties earned on the book. The publisher witholds royalties from the author until the advance is repaid in full.

Read the rest of the article on the GenReality site.  Be sure to read the comments beneath the article as well; in them, several other multiply-published and bestselling authors weigh in with their own, similar experiences.

The Bookish Community Is A Passionate Place And Other Lessons From The Twittersphere

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This piece, by Kat Meyer, originally appeared on the Follow The Reader blog on 4/13/09. In it, Kat discusses what authors and publishers can learn from the #amazonfail debacle—specifically, how Amazon could have avoided the PR nightmare that ensued by actively engaging with authors, readers and publishers via social media .

Hello Dear Readers:

Happy belated chocolate bunny day. Hope you are all recovering nicely.

And with the pleasantries out of the way, I will now begin my lecture on the importance of understanding and participating in social media. This is a lesson that Amazon learned–or at least, we hope they learned–yesterday via the lovely bookish community on Twitter.

If you missed it, and in a nutshell (for details do a quick Twitter search on the term #AmazonFail and/or check out this post on Storm Grant’s blog or Leah Braemel’s timeline of the event):

  1. Many GBLT and erotic themed titles at Amazon.com recently mysteriously stopped displaying their sales rankings (which are a key factor customers consider in making their buying decisions).
  2. The Bookish Twitterverse POUNCED on this — even though the issue itself started a few months back – Sunday it snowballed — and …
  3. Amazon said NOTHING. Amazon was completely absent in droves.

I am not out to demonize or make a scapegoat of Amazon. Amazon may be completely innocent of causing this “glitch,” and there are plenty of theories (conspiracy/technical glitch-based/and otherwise) being bandied about regarding what actually caused the great de-ranking of Easter Sunday, but Amazon definitely is guilty of one thing:  Ignoring the collective online outrage of their customers and content providers during a critical time — which is just sad when you’re talking about a major player in web commerce.

“So, Kat” (you may be asking yourself — which is a funny thing to ask yourself unless your name is Kat — i so crack myself up): “Monday morning quarterback, much Missy?”

And to this I reply, “No. Absolutely not.” And here’s why: while Amazon was noticeably offline and seemingly unaware of this situation, a whole heckuvalot of their indie competitors were savvy enough to be right there on Twitter’s front lines and engaging with the publishers, authors, readers, and other players who were leading this conversation.

Those indies, and their supporters were helpfully (and quite cleverly) offering a suggestion to the angry and frustrated Amazon customers: “Not happy with Amazon? Try us instead!” (The American Booksellers Association even received a nice nod when their acronym was appropriated for the cause –ABA, “anywhere but Amazon.”

The lesson, my bookish buddies, is this — Amazon can’t afford to ignore social media (Twitter, blogs, Facebook, etc.) and neither can you.

Read the rest of the story at the Follow the Reader blog.

Kat Meyer is the founder of The Bookish Dilettante and a regular contributor on the Follow the Reader blog.

The Truth About CreateSpace's Free ISBNs

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If you’ve heard about dire consequences of accepting the free ISBN offered by CreateSpace, or that those free ISBNs aren’t "real" ISBNs, you’re just hearing misinformation perpetuated by people who don’t understand what ISBNs are all about, who’ve never used CS’s services, and/or who have an axe to grind against CS.

 
The ISBN: A Mainstream Tracking Tool
 
The ISBN system was developed in 1966 to facilitate the creation of a single, standardized method publishers, booksellers and libraries could all use to track books.
 
Prior to the advent of the ISBN system, each publisher, bookseller and library had its own, internal tracking system, and none of those systems could easily share information with one another. This didn’t pose much of a problem until the mass-market paperback was introduced by PocketBooks in 1939. Prior to that time, only hardcover books were available to buy and they were very expensive; booksellers didn’t tend to move a lot of copies per month, and it wasn’t too difficult to track those sales or report them back to publishers.  
 
Despite the huge popularity of the paperback book, bookstores snobbishly refused to stock them until the 1950’s, seeing them as somehow inferior to the hardcovers on their store shelves. Nevertheless, millions of copies were flying off the racks at bus stations, drug stores and markets, and the need for some kind of standardized tracking system soon became apparent. 
 
From Wikipedia:
The International Standard Book Number, or ISBN , is a unique, numeric commercial book identifier based upon the 9-digit Standard Book Numbering (SBN) code created by Gordon Foster, now Emeritus Professor of Statistics at Trinity College, Dublin, for the booksellers and stationers W.H. Smith and others in 1966.
 
An ISBN is assigned to each edition and variation (except reprintings) of a book. The ISBN is 13 digits long if assigned after January 1, 2007, and 10 digits long if assigned before 2007.
 
Generally, a book publisher is not required to assign an ISBN, nor is it necessary for a book to display its number [except in China]. However, most book stores only handle ISBN-bearing merchandise.
 
How Important Are ISBNs, Really?
 
Over time, the ISBN has come to be associated with legitimacy in book publishing, since all mainstream-published, hard copy books have ISBNs and the ISBN system has been adopted industry-wide. The claim that a book without an ISBN cannot be stocked by any library or retailer is a myth, however. The fact that an ISBN makes it easier for them to keep track of their books makes them reluctant to work with books lacking ISBNs, but this is a matter of choice on the part of the retailer or library, not a rule backed by law or regulation. This is why indie booksellers are able to stock chapbooks and other books lacking ISBNs.
 
ISBNs are only important to the extent publishers, libraries and retailers rely upon them. For example, since the ISBN system hasn’t been uniformly applied nor enforced where ebooks and audiobooks are concerned—probably because publishers have never believed ebooks or audiobooks will ever comprise a significant piece of the publishing pie—, ISBNs are considered entirely optional for books in those formats.  
 
Are CreateSpace’s Free ISBNs "Real"?
 
R.R. Bowker is the official U.S. ISBN Agency; all ISBNs in the U.S. originate from Bowker, though they can be re-sold once purchased from Bowker.
 
The free ISBNs issued by CS are real ISBNs which CS purchases from Bowker in blocks just like any other publisher. However, when you accept the free ISBN from CS, CS remains the registered owner of that ISBN—ISBN ownership is not transferred to you.
 
Registered ISBN Ownership – Why Does It Matter? 
 
All the false claims I hear about CS books (that they can only be sold on Amazon, that they can’t be listed in Bowker’s or other bookseller catalogs, etc.) stem from the fact that CS remains the registered owner of the free ISBNs it provides. This isn’t as big a deal as it’s made out to be for most individual indie authors, and any author or small publisher who prefers to register her ISBNs in her own name can purchase her own ISBN and barcode block direct from Bowker (as of this writing, it costs US$150) rather than accept the free ISBN from CS.  It’s also worth noting, mainstream authors aren’t the registered owners of their ISBNs either: their publishers are. 
 
Registered ownership of an ISBN only becomes a pertinent issue in three cases: 1) when the book changes publishers/printers, 2) when the publisher or author wants the book added to catalog listings, and 3) in litigation over copyright, publication rights or proceeds from sales.
 
1) ISBNs, Once Registered, Are Non-Transferable
 
Since CS is the registered owner of the free ISBNs it provides, if the author chooses to withdraw his book from CS and publish it elsewhere he must acquire a new ISBN—but this is true of mainstream books as well. 
 
It’s not too likely to happen thanks to contractual obligations, but if Neil Gaiman somehow wrests control of his The Graveyard Book away from Harper and gets a different publisher to put it back into print,  the existing ISBN on the book will remain the property of Harper and the new publisher will have to purchase and assign a new ISBN for their printing of the book. And if that should happen, the old ISBN floating around in the system will cause confusion for people trying to purchase the book; a lookup on the title may point to the old ISBN, and the book published under that ISBN will turn up as "out of print".
 
Even if you elect to withdraw your book from CS and publish it elsewhere for some reason—and let’s face it, once the book is in print and listed for sale, this isn’t a great idea—you didn’t pay anything for CS ISBN so you’re not losing anything by letting go of that ISBN. You’re introducing the possibility of ISBN confusion, but that’s your fault, not CS’s.
 
Some people will protest that a new ISBN must also be acquired if you want to release an updated or revised edition of your CS book, but that’s true for any book within the ISBN system: each edition of any book being offered for mass-market, retail sale in the U.S. must be assigned its own, unique ISBN, regardless of who published it or how. 
 
2) Only The Registered Owner of the ISBN Can Create Catalog Listings
 
Only the registered owner of an ISBN can list the associated book with the Library of Congress, Bowker’s Books In Print (catalog for U.S./Canadian libraries and booksellers), Ingram (another U.S. catalog), or the Nielsen’s catalog (for UK/European libraries and booksellers), and CS elects not to create those listings for any of its ISBNs.
 
Most authors have been told these listings are crucial to their books’ success because libraries and book retailers generally rely on catalogs for all their book orders; if your book isn’t in the catalogs they won’t know it exists, and even if you tell them it exists, they won’t usually order it.
 
They could order direct from CS, but they’re not likely to do so since their entire system of ordering and tracking inventory is based on catalog orders.  Also, orders placed directly with CS aren’t returnable in the same way as books ordered in bulk through catalogs. As a rule, CS books are only returnable if the book is defective or was damaged in transit.
 
However, in my opinion this is a non-issue for the great majority of indie books because libraries and mainstream book retailers aren’t likely to stock our books anyway.
 
It’s true that if your book is listed in the catalogs you can tell potential buyers that your book can be ordered through any bookseller, but if the buyer must place an order for the book (as opposed to picking a copy up off a bookseller shelf), why wouldn’t he place that order on Amazon, where he’ll get it at a lower price and may be able to get free shipping as well?
 
I’m also fairly confident the big, chain bookstore is an endangered species (I blogged about it: Big Chain Bookstore Death Watch), so in my opinion there’s little point in spending much time, money or effort on courting them.
 
There’s one important caveat here. When you publish through CS, an Amazon listing is automatically included as part of the publishing process for free, though you can choose to opt out of the listing. Listings on Amazon’s international sites are not included. In order to get your book listed on any of those sites you must register your book with the Nielsen’s catalog (it’s free), and in order to register with Nielsen’s, you must be the registered owner of your book’s ISBN. 
 
3) ISBNs Are Important In Court
 
Being the registered owner of the ISBNs affords you certain legal protections as a publisher, and helps to establish copyright in the U.S. in cases where copyright hasn’t been registered separately. That’s why the one case where even I think it’s definitely worthwhile to buy your own ISBN/bar code blocks direct from Bowker is if you’re running, or forming, your own small imprint. 
 
Does CS Recycle ISBNs?
 
With respect to the hysteria surrounding CS’s recycling of its ISBNs, that’s all it is: hysteria. So long as your book remains with CS, the assigned ISBN remains with your book. It’s true that when an author withdraws his book from CS after the ISBN has been assigned, CS may re-assign the ISBN to a new book. However, this isn’t the nefarious practice so many naysayers make it out to be.
 
5/4/09 Correction: According to Amanda Wilson, CreateSpace’s Public Relations Manager, CreateSpace does not, and never has, re-assigned its ISBNs. If an author accepts the free ISBN and subsequently removes her book from CreateSpace, the ISBN assigned to her book will go out of circulation.
 
ISBN re-use would definitely be a problem for books listed in any of the mainstream catalogs, because anyone looking up a book by ISBN might get the book to which the ISBN was originally assigned, or the book to which the ISBN was re-assigned. In fact, re-use of ISBNs is strictly prohibited in those listings. I also previously discussed the issue of ISBN confusion on out-of-print books.  
 
Even so, this is not an issue for authors who accept the free CS ISBN because only the registered owner of the ISBN can list the associated book with any catalog services, and CS chooses not to do so. Remember, if those listings are important to an author he can purchase his own ISBN and barcode block direct from Bowker. 
 
Mainstream Concerns Aren’t Always Shared By Indies
 
Most of the worries about CS’s ISBN practices are based on mainstream publishing and book distribution models, which are largely inapplicable to individual indie authors.
 
Since I only publish my own books and wish to remain "out and proud" about my indie status, I elected not to form my own imprint, and I also elected to leave CS listed as the publisher for my books. I have no plans to withdraw my books from CS, and can’t really think of any reason why I might want to do so in the future. I don’t care about getting my books listed in the mainstream catalogs, since I find it’s much easier (and less expensive) to drive buyers to my Amazon listings than it would be to drive them into brick-and-mortar stores.
 
7/27/10 Update: After I published my books with them, Createspace instituted a strict policy whereby Createspace is not to be listed as the publisher anywhere in or on Createspace-produced books; either the author or company/imprint name (if applicable) is to be listed as the publisher of record.
 
True, my books aren’t visible to book buyers outside the U.S., but since I never planned any big international marketing push, nor to release my books in foreign language translations, international listings haven’t been a priority for me to date. Mainstream booksellers will often hold back on international releases of first editions from all but their most popular and bestselling authors as well, so I’m not alone in taking the conservative approach.  I may elect to purchase my own ISBN/bar code blocks when publishing future editions, but on my first editions there was no reason for me to refuse CS’s free ISBNs and I suspect the same is true of most indie authors. 
 
An Opposing Viewpoint
 
In the interests of fair play and full disclosure, I’m providing a link to Walt Shiel’s discussion of ISBNs on his View From The Publishing Trenches blog. Mr. Shiel is adamant in his belief that ISBNs should only be registered to the author or an imprint, and that ISBNs should never be re-used.
 
Note that Mr. Shiel comes from a background in mainstream publishing however. In my estimation, all the arguments he offers are either based on assumptions or realities that are only applicable to the mainstream publishing/bookseller world, or warn against potential problems that are no more likely to crop up for an indie book with the free CS ISBN than for a mainstream-published book with an ISBN registered to the publisher. For example, Mr. Shiel talks about how the author must return to whomever is the registered ISBN owner for subsequent print runs of his book—but the concept of print runs isn’t applicable to POD books, ebooks or digital audiobooks.
 

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April L. Hamilton is an author and the founder of Publetariat. 

Why The Lack Of A Jeff Bezos Dooms Mainstream Publishing

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This piece originally appeared on the Dear Author blog on 4/8/09.

Alternatively, I suppose you could title this piece How Jeff Bezos Pawned Publishing. 

A few weeks ago, a number of mainstream publishers attended SXSW, a festival of music and media culture.  SXSW is peopled with macbooks and iphones and music fans.  SXSW started out as a musical festival and has grown to include seminars on new media.  SXSW held a publishing panel called New Think for Old Publishers.  The publishing panel did not go well as the panelists were idea-bereft and turned the seminar into a mini focus group.

What struck me most out of the controversy that erupted wasn’t the lack of new think for old publishers but that the publishers were seeking new ideas outside [their] corporate structure. In other words, it doesn’t seem that there are forward thinking individuals at the helm of mainstream publishing.  Jeff Bezos, on the other hand, is a long range, innovative planner. Say what you want about Amazon being an evil empire (and they are and can be) but Bezos is a visionary and he has created an internet retail empire in just over 15 years. 

The following is the Bezos timeline (edited to exclude some acquisitions). 

  • 1994: Amazon opens its doors.
  • May 15, 1997: Amazon goes public.
  • 1997: Amazon submits patent application entitled “A Method and System for Placing a Purchase Order Via a Communications Network.”
  • April 1998: Bookpages.com. Largest online bookseller in Great Britain.  Telebooks.com. Largest online bookseller in Germany.  Internet Movie Database. Largest online resource for movies.
  • August 4, 1998: Planet All: a web-based address book, calendar and reminder service and Junglee Corp, a web-based database technology that assists shoppers to find products for sale on the internet.
  • April 1999: Bibliofind.com, Online servicing for finding used, rare and out of print books.
  • September 28, 1999: Amazon granted “1-Click” patent, which “describes an online system allowing customers to enter their credit card number and address information just once so that on follow up visits to the website all it takes is a single mouse-click to make a purchase from their website.”
  • Fourth quarter 2001: Amazon shows first net profit.
  • August 19, 2004: joyo.com.At the time of its acquisition, Joyo.com was the largest online retailer of books, music and videos in China. It became known as amazon.cn.
  • Feb 2005: 43 Things. A website funded by Amazon that gathers information about consumers. Secretly (well, not so secretly as it is all over the Internet that Amazon funds this site).
  • April 4, 2005: BookSurge LLC. Amazon buys a print on demand fulfillment company. Later, Amazon would prevent other POD books [from being] sold through Amazon’s online retail store. Booklocker has sued.

Publetariat editor’s note: Amazon didn’t actually prevent other POD books from being sold through its retail store. Amazon took away the ‘buy’ buttons on POD books not produced by its own publishing interests, BookSurge and CreateSpace, but those ‘outsider’ books could still be sold on Amazon via an Amazon Store. Amazon Store is a service Amazon provides to allow small businesses to sell their wares through Amazon’s website; Amazon lists the items for sale and processes the payments, while the small businesses handle their own order fulfillment.

It’s worth mentioning that there are seller fees associated with running an Amazon Store, and books listed in an Amazon Store are not eligible for all the same promotional perks as those with ‘regular’ Amazon listings (i.e., Amazon discounts, free shipping on orders over $25, Amazon Prime, etc.), so those books are at a sales disadvantage compared to books with ‘regular’ Amazon listings. 

Alternatively, authors and publishers could elect to re-publish their books through BookSurge or CreateSpace (at their own expense) to get their regular Amazon listings back. Also, some POD providers made special arrangements with Amazon to retain their authors’ ‘buy’ buttons and keep their ‘regular’ Amazon listings, typically in exchange for a fee to be paid by the author. 

  • April 16, 2005: Mobipocket. Mobipocket was (and might still be) one of the leading ebook formats out there. Amazon would later use the Mobipocket format as the platform for its own Kindle format, to be used with its Kindle eink reading device.
  • July 6, 2005: CustomFlix. Customflix is a DVD on demand production company.

Publetariat editor’s note: CustomFlix is also a CD on demand and print on demand service provider; its name has since changed to CreateSpace.

  • Fall 2006: Unbox. Amazon unveils its own movie/tv download center.  Later partners with TIVO so TIVO users can download Amazon purchases using TIVO recorders.
  • May 14, 2007:  DPReview. The largest and most trusted review site for digital cameras.
  • August 6, 2007: Amie Street:  Amazon invests in small independent social music retailer.
  • September 2007: Amazon MP3. Amazon opens its digital music store.
  • October 16, 2007: TextPayMe. TextPayMe becomes Amazon payments. It was originally designed to allow payments to be sent and received through your mobile phone.
  • December 7, 2007: Wikia. A wiki service for individuals, Wikia was created by wikipedia founder, Jimmy Wales. (Probably designed, like 43 Things, to obtain consumer information).
  • January 17, 2008: Withoutabox: Indie film site for Amazon-owned IMBD.com.
  • February 4, 2008: LoveiFilm. Amazon becomes major shareholder in one of Europe’s largest online rental service for DVDs.
  • June 24, 2008: Twitter. Bezos personally invests in Twitter.
  • June 9, 2008: Fabric.com. (Crafty getting bigger? Amazon becomes one stop shopping for fabric, yarn, and other textiles)
  • July 2008: A Social Gaming Network. Bezos invests in a company that produces casual games for social networking platforms like Facebook. (He has also invested in Atomic Moguls, another startup company designed to bring casual gaming programs to social networks).
  • October 21, 2008: Reflexive Entertainment. Reflexive is a “casusal games developer”
  • January 31, 2008: Audible.com. Largest online retailer of digital audio books.
  • August 24, 2008: Shelfari.com. Social networking for book readers.
  • October 24, 2008: Oprah endorses the Kindle.
  • December 2, 2008: AbeBooks.com. Largest online bookseller of used books. Also a 40% stakeholder in LibraryThing.com.
  • Fiscal Year 2008:  Amazon outsells all other major retailers in the books, music, DVDs area, doing $5.35 billion for North America and $5.73 billion internationally.

In the 10 years since Amazon has gone public, it has become a retailing powerhouse in the publishing industry. Piece by piece, it has bought into or bought up companies that will advance its position primarily by buying people. It seems clear that Amazon believes in buying platforms where the people are.

Mainstream publishing is focused more on creating the market through one hit wonders. Mainstream publishing spends millions on trying to find the next Brown, Rowling, Meyer, or Roberts where as Amazon spends millions on getting the consumers to its webstore. This isn’t to say that I think that publishers should have acquired Fabric.com but it does make sense for them to have acquired companies and technologies for more vertical integration. To have invested in a company like Goodreads.com or a Librarything.com; to have invested in a the secondary book market; to have bought an ereading platform.

Read the rest of this article at Dear Author.

The Twitterization of Santos Dumont Numero 8

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Claudio Soares, a Brazilian author and literary blogger, has launched an intriguing multimedia online publishing experiment involving Twitter, CommentPress, videos, music and ultimately, Smashwords.

A couple years back, Soares published his novel, Santos Dumont Numero 8. The story revolves around an aircraft inventor who numbers each of his inventions with "Santos-Dumont number 1" through "Santos-Dumont number 22." Mysteriously, for some superstitious reason, the inventor refuses to use the number 8.

 The book follows eight main characters, seven of whom are intent upon unlocking the truth behind the mystery, and one of whom, I assume, is intent on keeping the reason a secret.

 Soares has broken the novel into pieces, and is serializing it from the unique perspectives of each of the characters, each of whom has their own Twitter account. In an interesting twist, the characters will interact with their Twitter followers. This has the potential to create an immersive experience, not just for the community of readers that congregates around the book and its characters as the story unfolds, but for the author as well.

At the same time, Soares is serializing the the novel in its entirety from http://www.twiter.com/sd8. Readers can view the twitterstreams of all characters simultaneously at Crowdstatus, an online app that allows you to aggregate the Twitterstreams of multiple people.

There’s a bookish twist to the novel, because it’s also a book about books and readers. The narrator of the story is reading from a book. As Soares explained to me, "The main character, Abayomi, reads and it seems as if the story he reads is really happening." Soares says in writing the book, he found inspiration from by some ideas of the Argentine writer, Jorge Luis Borges, who once said words to the effect that, "the reading of a book makes us experience parallel worlds, which often, superstitiously, invade our reality."

Does Soares believe his experiment presages the future of reading? Not at all. He recognizes Twitter has numerous flaws in terms of its ability to convey a story. Twitterstreams, for example, are like ongoing conversations, and the participants pop in and out of them as if pedestrians passing in the street, so it’s difficult to follow a narrative. People also tend to read Twitterstreams in reverse chronological order, which is also not terribly conducive to an immersive reading experience. And finally, for those who want to follow a story from start to beginning, Twitter doesn’t make it easy to locate the start of a stream, or follow complex conversations that occur within the stream.

According to Soares, discovering the inherent limitations of these social reading tools is part of his experiment. He plans to document his experiences on his blog, and he’ll publish the complete Twitterized version of the novel on Smashwords after the completion of the experiment.

The book is written in Brazilian Portuguese, though you don’t need to understand the language to appreciate the experiment. For additional details on the experiment, check out this imprecise English translation of the project description, visit his blog at http://www.pontolit.com/br, view an online presentation of the project at http://prezi.com/25890/view/#104, or follow his personal Twitterstream at twitter.com/pontolit

No matter how you look at it, we’ve come a long way since papyrus scrolls, stone tablets and Gutenberg.

This post originally appeared on the Smashwords Blog.

The Authors Guild And Big Publishers Are Working Hard To Reduce Your Readership

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This column is sparked by an article on Teleread, in which The Center For Accessible Publishing argues in favor of the Author’s Guild and publishers who are trying to force Amazon to remove the default Text To Speech (TTS) capability on the Kindle 2. TTS is a technology that allows the print-disabled to hear their Kindle books read to them by the device. 

The AG and publishers argue that individual authors and publishers should have the right to decide on a case-by-case basis which books will have TTS enabled.  You might think that since indie authors aren’t beholden to big publishers and aren’t members of the AG this is a non-issue for us, but if the AG and publishers win this battle authors everywhere—indie and mainstream alike—will see their readership reduced. 

As an author with multiple Kindle books ‘in print’, I can tell you that I am not in favor of disabling TTS. As an avid listener of audiobooks, I can also tell you that not every book made available in print is also made available in audiobook form.

If publishers and the AG only wanted to get TTS disabled on books they are already planning to release in audiobook form that would be fine, but whether they realize it or not they’re working toward having TTS disabled on ALL ebook content, on ALL devices.

Which Is More Likely: Controlled TTS, Or No TTS?

Publishers’ and the AG’s claim that all they want is the right to disable TTS on a book-by-book basis is specious, because it’s a lot cheaper and easier for hardware and software developers to disable TTS entirely than it would be to invest the time and money in developing and administering a tracking mechanism to distinguish TTS-disabled books from TTS-enabled books. Simply disabling TTS altogether carries the added benefit of pre-empting any future legal battles over the issue as well. In this economy, I could hardly blame tech companies for taking the less costly route.

Does TTS Cannibalize Audiobook Sales, As They Claim?

The argument that TTS cannibalizes book sales is also specious, for two reasons.

First, who do they think would buy both an ebook edition and an audiobook edition of the same book? If you want to hear it (and it’s available) you buy the audiobook, if you want to read it you buy the print edition. In order to get the "free" TTS reading on a Kindle 2, print-disabled customers have to buy the Kindle book.

Secondly, as anyone who regularly listens to audiobooks knows, flat narration can ruin the listening experience. If you doubt it, check out some of the (many) reviews at Audible in which an audiobook was panned not for the content of the book, but the quality of the narration.

I have little doubt that given the choice, the print-disabled would much prefer to buy the professionally-produced audiobook that’s being performed by a professional actor. But if the book in question isn’t offered in audiobook format, TTS is a better alternative to refusing to sell them a ‘readable’ book at all, isn’t it?

Author and publisher objections based on TTS voice quality are ridiculous as well. If your book is offered in an audiobook edition, the print-impaired who want the book will buy that edition. And if your book isn’t offered in audiobook edition, it’s impossible for TTS to cannibalize your audiobook sales anyway. Nobody who opts to listen to a book via TTS expects a full audiobook experience, they know it’s a stopgap, but it’s better than nothing. None of my books have been released in audiobook format, and I’m glad TTS is there to make my work accessible to the print-impaired.

This Isn’t Really About TTS, It’s About DRM

All this brouhaha over audio rights is really just a curtain being drawn shut in front of what publishers and the AG are really driving at, and that’s Digital Rights Management (DRM). Their TTS demands are conveniently bundled up in a package that also includes DRM demands. As a group, they’re (needlessly) worried about the theft of digital copies, whether in audio or print form. It’s a pity the needs of the print-disabled are being sacrificed on the altar of bulletproof DRM, especially since bulletproof DRM will never exist so long as there’s one guy in the world with a lot of time, sharp hacking skills, and a desire to get free content.

Studies have shown that the illegal peer-to-peer music file sharing that was rampant a few years ago actually drove more sales of the legal files. Consumers are willing to pay for digital content, so long as it’s easy to do so and the digital content doesn’t place excessive demands or restrictions on them.

Authors, Not Publishers Or The AG, Will Be Left Holding The Bag

The AG and publishers don’t seem to realize it but they’re working very hard at cutting off their noses to spite ALL our faces—publishers, authors and readers alike—, the end result of which will surely be reduced sales and reader alienation. And despite the fact that the Guild and big publishers are driving these demands, when their demands are finally met, individual authors—indie and mainstream—will end up paying the price, and not just in terms of lost sales.

When consumers feel their rights to free use of content they’ve legitimately purchased are being denied, or severely limited, their attention naturally turns to the public face of that content: the author. When publishers and the Guild have succeeded in imposing Draconian DRM measures on digital books, they are not the ones who will end up looking greedy and insensitive to readers: authors will take that hit. The Reading Rights coalition addresses its ‘open letter’ of protest to authors, not publishers or the AG.

As an indie author, I strongly object to publishers and the AG taking a position that will almost certainly force developers to abandon TTS, because now they’re infringing on MY right as an free agent to make my work available to whomever I want in whatever form I want.

Part of my motivation for choosing the indie path was freeing myself from outside control over my work, but it seems that the gatekeepers of publishing are bound and determined to drag all authors everywhere down with them. With TTS disabled the potential audience for my books will instantly go down, and while I’d very much like to make audio versions available, I lack the time and skills to produce my own audiobooks or podcasts at present.

Way to go, AG and publishers. With mainstream publishing in crisis, I’d expect you to be focusing your energies on identifying ways to attract readers rather than piss them off. 

Check out the Reading Rights website to learn more about the TTS debate, to find out how you can join in the protest, and to sign a digital petition asking publishers and the AG to drop their fight against TTS. This Tuesday, April 7, Reading Rights will be picketing the Authors Guild office in New York from noon to 2pm. The group is also planning to protest at the Los Angeles Times Festival of Books at UCLA the weekend of April 25 – 26.

Most authors, indie authors in particular, aren’t well-informed about what the AG and publishers are up to in this battle, and haven’t thought about the negative impact on authors everywhere if publishers and the AG win. Please share this article far and wide, wherever authors are likely to see it: link to it, Digg it, tweet it, fave it, tag it…just get the word out however you can. Don’t let the AG and mainstream publishers—groups with which indies aren’t even affiliated—get away with claiming to speak on behalf of authors everywhere.

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April L. Hamilton is the author of The IndieAuthor Guide and the founder of Publetariat. Her latest book is From Concept to Community.