Amazon Ratchet It Up A Level For Distributors

 

The US publishing industry may have another spat on the horizon to accompany the current dispute between John Wiley and The Authors Guild. Amazon is yet again flexing its muscles, this time in the direction of distributors and their publisher clients.

 

 
Amazon is introducing a new program called ‘Levels of Service’ (PDFdownload). While there is nothing unusuual about an e-tailer like Amazon introducing new programs, this one suggests access to certain services will be withdrawn if distributors do not sign up. In reality, Amazon want to introduce a system where publishers are rewarded with access to better services and promotional staff if they offer Amazon improved terms of sale. Of course, distributors have to pay for these services already and their are many small and midsized companies fearing the costs will become prohibitive.
 
As yet, no publishers or distributors were willing to put their name to complaints when Publishers Weekly interviewed them in an article published yesterday.

Back in March, some booksellers reported Amazon UK to the Office of Fair Trading. We reported then:

Last week Amazon UK informed sellers using their Marketplace that they could no longer list book titles on other online retail sites, including the seller’s own site, for less than the listed Amazon retail price. The deadline for sellers to agree to this is Wednesday 31st March, and those sellers who do not agree will face delisting by the internet retail giant.

Over the weekend, the Scotland on Sunday reported that up to a dozen retail stores have complained to the UK’s Office of Fair Trading.


“Up to a dozen stores have now complained to the OFT that Amazon’s actions are unfairly restricting their ability to sell books to customers at lower prices.


Books typically sell for 10 per cent less on some alternative websites – as Amazon charges fees for its services – but the company says it has been forced to act to protect its low-price promise to readers.”

 

The Office of Fair Trading is currently considering the complaints and will make a response ‘in due course’.

 

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

Hello fellow authors

My name is Cliff Feightner; I am an internationally acclaimed invited public speaker and published author.  My topics cover a wide range of Business, Information Technology, and Project Management subjects.  My writings have been published in Europe and in the United States.

My first hardcover book published was "Lynn’s Story".  It is dedicated to my late wife’s fight with with Renal Cell Carcinoma;  a fight that we eventually lost.

I am currently completing a book tentatively titles "Views from Sandhausen" – Experiences From a Foreign Service Assignment.  It is scheduled to be published prior to the end of 2010.

Are Kindle Customers and Agency Model Publishers Approaching a Compromise at the $12.99 Price Point?

Have Kindle store customers and agency model publishers arrived at an unspoken compromise that could make $12.99 a viable new price point for bestsellers and new releases in the Kindle Store?

Although I want to resist drawing firm conclusions until we’ve seen more of the effects of coming changes in the Kindle royalty structure, there are some interesting patterns in our latest breakdown of prices in the Kindle Store and on its paid bestseller list. It’s deadline day for the weekly Kindle Nation email newsletter digest, so I’m going to try to keep the commentary brief, but here’s what I am seeing:
 

  • There have been slight increases during the past three weeks in the overall percentage of titles in all but one ($5 to 9.98) of the price ranges that we track from $.01 up to $9.99.
  • There have been slight decreases during the past three weeks in the overall percentage of titles in the price ranges from $10 to $12.99, $13 to $14.99, and $15 and up.
  • There are increasing signs that suggest authors and publishers may be able to make promotional prices in the $0.79 to $2.99 range work as "the new free" in the Kindle Store, now that such prices tend to stand out in the overall terrain of the relatively new "paid" bestseller list. 13 of the top 100 paid bestsellers are $2.99 or less, compared with just 7 on May 22.

But most significantly, here’s the buried lead: At the other end of the price spectrum, the number of titles priced between $10 and $12.99 among the Kindle Store’s top 100 paid bestsellers has jumped from 17 to 26 since May 22. Despite a strong current of commentary against $10-and-up pricing on this and other blogs and in various online forums, it is beginning to appear that many Kindle store customers are willing to pay up to $12.99 for newly released titles.
 

  • Nine of those 26 titles are among the top 23 bestsellers, and the prices for all 26 have been set directly by agency model publishers. 
  • It may be that trying to organize the world’s most motivated readers into boycotting books priced over $9.99 is a lot like herding cats, and there should be no surprise in that. On the other hand, readers continue to stay away from most of the 14,105 titles whose Kindle prices range from $13 to $14.99. The number of those titles appearing in the top paid 100 fell from 5 to 4 since May 22, and none of those are among the top 30.
  • Of all 30 titles priced over $9.99 among the Kindle Store’s top 100 paid bestsellers, all are agency model titles save one. The one exception is Aimee Bender’s The Particular Sadness of Lemon Cake: A Novel, a Doubleday/Random House release currently priced by Amazon at $13.65 in the Kindle Store, while Amazon has discounted the hardcover from $25.95 to $14.27.

It’s too early to say with any certainty that Kindle owners have accepted a $12.99 price point, but my anecdotal reading of reader comments around the web suggests to me that some readers might be willing to pay for an occasional bestseller at $9.99 to $12.99 — still a measurable savings compared to most discounted hardcover prices — if they could be assured that publishers would back off the $14.99 price point.

Over time, many of us believe that the default new release price will return to the $9.99 level, and it is clear if you look at the books that get the prime real estate in the Kindle Store that Amazon remains committed to that price point. It’s also good to see that publishers themselves are getting the benefit of sound thinking from advisors like Mike Shatzkin, an industry consultant who wrote on his idea Logical blog this weekend:

 

I posit that the price of content must go down because of the laws of supply and demand. Even though digital delivery does actually increase “demand” (because people can consume more media if they have the means to do so always at hand), it increases supply much more. You used to need a publisher to spend some money and to commit an organization to get content into “supply”. Now you just need an internet connection. So I see downward pressure on the selling price of content going far into the future. This does not mean that eventually all content will be free, but it does mean that everybody will consume more and more free content and, therefore, be generally less willing to pay money for content to augment what is free.

I’ve been a bit critical of Mike and some of his colleagues in the past, probably even unfairly in some instances, when I have felt they were telling publishers what they wanted to hear rather than what they needed to hear. But it is clear from this post that he is not guilty of that kind of pandering.

Even Steve Jobs (and Apple), who can be held largely responsible for the increases in ebook prices this year, has been getting that other side of his mouth working lately with "price aggressively and go for volume" remarks that could support an inference that Apple may ultimately move to push ebook prices lower. Jobs may be the target of a price-fixing investigation, but he’s not in any trouble with iBooks customers. Many of them apparently wear an "i Paid" badge of honor judging from a quick analysis of the iBooks "Top Charts" list, where 58 of the top 100 paid bestsellers are priced over $10.

Here’s a price breakdown of the 609,975 book titles in the Kindle Store as of 5 p.m. EDT on June 14, 2010:
 

Here’s where we stood with the 587,104 book titles in the Kindle Store as of 5 p.m. EDT on May 22, 2010:
 

  • 20,584 Kindle Books Priced "Free" (3.51%)
  • 4,830 Titles Priced from a Penny to 98 Cents (0.82%)
  • 55,901 Kindle Books Priced at 99 Cents (9.52%)
  • 76,054 Kindle Books Priced from $1 to $2.99 (12.95%)
  • 109,706 Kindle Books Priced from $3 to $4.99 (18.69%)
  • 151,509 Titles Priced from $5 to $9.98 (25.81%)
  • 56,059 Titles Priced at $9.99 (9.55%)
  • 7,700 Titles Priced from $10 to $12.99 (1.31%)
  • 13,803 Titles Priced from $13 to $14.99 (2.35%)
  • 90,958 Titles Priced at $15 and Up (15.49%)

Here’s where we stood with the 511,759 book titles in the Kindle Store as of 9 a.m. EDT on May 7, 2010:
 

  • 20,601 Kindle Books Priced "Free" (4.03%)
  • 4,857 Titles Priced from a Penny to 98 Cents (0.94%)
  • 53,936 Kindle Books Priced at 99 Cents (10.54%)
  • 73,987 Kindle Books Priced from $1 to $2.99 (14.46%)
  • 101,014 Kindle Books Priced from $3 to $4.99 (19.74%)
  • 91,871 Titles Priced from $5 to $9.98 (17.95%)
  • 54,342 Titles Priced at $9.99 (10.62%)
  • 7,434 Titles Priced from $10 to $12.99 (1.45%)
  • 13,489 Titles Priced from $13 to $14.99 (2.64%)
  • 90,257 Titles Priced at $15 and Up (17.64%)

Here’s where we stood with the 487,715 book titles in the Kindle Store as of 9 a.m. EDT on April 7, 2010:
 

  • 20,620 Kindle Books Priced "Free" (4.23%)
  • 4,709 Titles Priced from a Penny to 98 Cents (0.97%)
  • 46,360 Kindle Books Priced at 99 Cents (9.51%)
  • 69,846 Kindle Books Priced from $1 to $2.99 (14.32%)
  • 94,891 Kindle Books Priced from $3 to $4.99 (19.46%)
  • 86,924 Titles Priced from $5 to $9.98 (17.82%)
  • 53,705 Titles Priced at $9.99 (11.01%)
  • 7,537 Titles Priced from $10 to $12.99 (1.51%)
  • 13,124 Titles Priced from $13 to $14.99 (2.69%)
  • 90,011 Titles Priced at $15 and Up (18.46%)

Here’s where we stood with the 480,238 book titles in the Kindle Store on April 1:
 

  • 20,620 Kindle Books Priced "Free" (4.29%)
  • 4,706 Titles Priced from a Penny to 98 Cents (0.98%)
  • 43,993 Kindle Books Priced at 99 Cents (9.16%)
  • 68,807 Kindle Books Priced from $1 to $2.99 (14.33%)
  • 93,706 Kindle Books Priced from $3 to $4.99 (19.51%)
  • 85,612 Titles Priced from $5 to $9.98 (17.83%)
  • 53,124 Titles Priced at $9.99 (11.06%)
  • 5,952 Titles Priced from $10 to $12.99 (1.24%)
  • 14,158 Titles Priced from $13 to $14.99 (2.95%)
  • 89,525 Titles Priced at $15 and Up (18.64%)

Here’s where we stood with about 463,000 Kindle Store titles on March 10:

 

  • 20,125 Kindle Books Priced "Free" (4.34%)
  • 2,588 Titles Priced from a Penny to 98 Cents (0.56%)
  • 39,095 Kindle Books Priced at 99 Cents (8.44%)
  • 64,105 Kindle Books Priced from $1 to $2.99 (13.84%)
  • 90,580 Kindle Books Priced from $3 to $4.99 (19.55%)
  • 84,055 Titles Priced from $5 to $9.98 (18.15%)
  • 53,697 Titles Priced at $9.99 (11.56%)
  • 5,793 Titles Priced from $10 to $12.99 (1.25%)
  • 13,731 Titles Priced from $13 to $14.99 (2.96%)
  • 89,448 Titles Priced at $15 and Up (19.31%)

And here’s where we stood with about 447,000 Kindle Store titles on February 25:
 

  • 19,795 Kindle Books Priced "Free" (4.42%) 
  • 3,023 Titles Priced from a Penny to 98 Cents (0.67%) 
  • 36,370 Kindle Books Priced at 99 Cents (8.12%) 
  • 62,275 Kindle Books Priced from $1 to $2.99 (13.9%) 
  • 87,722 Kindle Books Priced from $3 to $4.99 (19.58%) 
  • 81,230 Titles Priced from $5 to $9.98 (18.13%) 
  • 55,269 Titles Priced at $9.99 (12.34%) 
  • 5,139 Titles Priced from $10 to $12.99 (1.15%) 
  • 9,331 Titles Priced from $13 to $14.99 (2.08%) 
  • 87,771 Titles Priced at $15 and Up (19.59%)

 

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

Making a Comic Book on Your Computer

This post, from Luke T. Bergeron, originally appeared on mispeled.net on 6/14/10.

I’ve posted about the comic I’m making a few times before. I don’t really know what I’m going to do with it once I’m done with it, but it’s so much fun making it that I plan to worry about that later. I know I’ll probably have a print version and a digital version available in some form, but right now I’m focused on finishing it.

Making the comic has been a multi-step process I’ve learned through trial and error (by wasting lots of digital PDF ink – luckily it’s free). I don’t know all the ropes – I only know what works for me – but what works for me might work for you, too. So I thought I’d take a few minutes and explain my process:

The Script – Microsoft Word

comic book script picture

Tune Comic Script page 20

The first thing I did, before anything else, was write the comic book. In my case, I adapted a script I’d written for a video game, since it was largely visual anyway, but I imagine that starting from scratch would be similar.

I wrote in a Word document, with each page in Word devoted to a page in the comic book. At the top of each page was a line telling me the page number and how many panels the page needed. Here is the actual top line from page 20 of my script:

20 Page – 6 Panels – 4 same sizes, 1 long bottom wide panel, one small shot at the bottom

I did it this way to make it easy to lay out later – because of my layout process, knowing how many panels I had on each page (before diving into the content) was easiest for me – it made the layout faster.

 

Read the rest of the post from Luke T. Bergeron on mispeled.net.

The Artist's Date: Take Time To Refill The Creative Well

I’ve been pretty hammered over the last few weeks with the day job. It has sapped my creativity and taken my precious time away from my novel writing and this blog.

I sorely needed a day off so I went to the brilliant Eumundi markets and then on to Noosa, SE Queensland for an Artist’s Date. I also listened to business audios on the 4 hour round trip as I feel the need to keep my entrepreneurial side fed.

This idea comes from Julia Cameron’s “The Artist’s Way” which is a fantastic book. It is basically some time alone absorbing and refilling your creative well. It can be something entirely different, like a pottery class or a show, or could just be a walk or a new gallery exhibition. Anything that gives your brain some new stimulation and takes you away from your work in progress and your ‘normal’ life. It should be alone so you have time to reflect and can be an hour, a day or longer. (I am hankering after a writer’s retreat one of these days!)

I made this short video on the beach (1:24). You can hear some wind noise, but you get the idea! What do you do for your Artist’s Date?

 

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

Writers Helpful Sites & Vacation

I’ve signed up for newsletters at these sites and appreciate the information that is emailed to me.

http://www.guidetoliteraryagents.com
Writer’s Relief
Writer’s Digest – has a great article titled 10 Simple Steps to Handselling Your Book which explains how an unknown author gets the attention of buyers at a book signing so they buy her book.
 
Some of these sites list agents looking for clients, publishers, and magazines looking for stories. There are grammar lessons like when to use who or whom. Also, helpful tips about using the internet to sell your books.
 
Publetariat is a website that is filled with articles and blogs about how to publish your book, self publishing, and the publishing industry. I blog on that site and sometimes I wind up on the front page as a contributor.
 
Book Marketing Network is made up of groups looking to discuss many subjects about writing and publishing. You can advertise an upcoming book, book event or give other authors useful tips and read about their tips. There are blogs. One of them is mine. 
 
Authonomy is a website you can put chapters of your book on and get reviews from other authors. In return you will be asked to read other authors works and send them a review. This is a competitive site where each contributor tries to get to the top of the heap so Harper Collins Publishers will look at their work. I enjoyed the site and loved the responses to my work but found the return reading time consuming. Agents watch this site. I know because I had one contact me after reading five chapters of each of my Amish books.
 
Now for the fun stuff. I’ve been gone on a vacation to Northern Arkansas to visit my husband’s relatives. I went with my husband’s sister. We had the most enjoyable time. The countryside from Iowa to Arkansas is so beautiful this time of year. We’d drive between rock ledges up to the top of a hill and look down at rolling, timbered hills, shrouded in blue mist and see the winding pavement twist through the valleys. The views were breath taking.
 
Northern Arkansas country roads are tree lined, narrow, natural rocked clay that twist and turn, seemingly going no where but up and down like a roller coaster ride. For someone used to perfect formed mile intersections with street signs, those roads are not to be traversed alone if you weren’t born in that area. If you do, I suggest taking a survial kit. That way if you run out of gas, you can survive until you find your way out.
 
The sun was hot. The atmosphere was humid so thank goodness for air conditioning. We enjoyed the back yard view from inside, watching for deer from the relatives kitchen window. After we went to bed, in the cool dark of evening, we listened to whippoorwills call and mockingbirds mocking the crows. The dog, Zoe, waited until she was right under our bedroom window to protest the armadillos that came to root up the lawn under cover of darkness. Each time, Zoe disconcertingly startled us out of our drowsy doze.
 
My writing repetition preceded me to Arkansas. Uncle proudly introduced me as the niece that writes books. I’d get a nod and hear, "You’re the one." 
 
As usual I brought back some plant starts and clay for my mother-in-law and me. I saw old fashion climbing roses in pink and pale pink hidden in high grass in the corner of Aunt’s yard. She offered to let me add some of her bright pink climbing rose on the trellis by the carport. I confess here that I got snip happy and came home with a couple twigs off her pink crepe myrtle while I was at it. I always like adding flowers to my outdoor heritage collection. When I give my flower tour if the roses and the crepe myrtle make it, I’ll be able to say those belonged to Aunt Gladys.
 
My mother-in-law, the authority in all things green thumbed, told me roses can’t be started without putting a ball of wet clay on the stem.  Tear off the green leaves near the bottom, cover the stem with a clay ball for a ways up the stem and bury the stem in dirt in a pot. Put a jar over the plant and keep moist. The jar acts as a green house. If the plant is going to live, old leaves will fall off and new leaves will grow on the stem. Making a clay ball is harder than it sounds. First time, I added too much water to the clay and had to add more clay until I had the mud the right consistency. The wet clay stuck to my hands, the knife and scissors but wouldn’t hang on the stem. I finally got the hang of it with some practice.
 
As usual I gave my mother-in-law some of the plant clippings with an ulterior motive. She has such a knack for growing plants I always think I can get another start from her if mine all die.
 
Arkansas gardens are about a month ahead of Iowa. We were treated to fried catfish and new potatoes from the garden. Strawberry shortcake was dessert. When we left Sunday morning, we took with us ham and cheese sandwiches and strawberry shortcake for lunch. A roadside park was right where we needed it at noon. It was time to get out of the van, stretch our legs and get a breath of fresh air while we enjoyed the picnic.
 
We left Iowa when it was raining and came back to rain. Looks like more rain all this week. Our hay is still waiting for three dry days in a row to be cut, dried and baled. We’re waiting, too. 
 
 
 
 
 
 
 
 
 

Writing The Book And Beyond

For several weeks now I’ve been wrapped up in the world of book writing. I’ve been co-authoring a book that will end up being the second official title to be published by my company Founders House Publishing. At present, the book is still in process and going by a working title. I’ve spent my time working exclusively on this book. I’ve been covered over with all of the demands that tend to form any piece of longer writing – especially when you choose to work with someone else. I’m governed by not only my own expectations, but those of the other party.

So far, for me, this has been a good thing, because I’m anxious to get input in the material to see whether I’m on the right track. Many writers have commented on the advantages of having instantaneous input. Some receive this help from their alpha readers who get a sneak preview of what the writer has produced. At the same time, I’ve been given a large degree of freedom or autonomy on this book. It’s been a learning experience, let me tell you.

Deeper Thoughts

One of the advantages of this project has been that I have received numerous materials up front. The client had handwritten materials, newspaper clippings, and other documents that he had collected or written over the years. He provided me with plenty of ground work. What he lacked in writing skill he made up for with his passion for the subject matter. That excites me – and also humbles me. I must appreciate the  trust I’ve been given and do my very best to present a book that  honors the spirit and commitment that client has for his story.

This whole process has made me appreciate the writing process while also making me realize, again, that this is a challenging business that we’re in. Not everyone can write for living. Even the pros come to grips with this realization and sometimes come to a point in their careers where they run into walls. They can’t go on. They’ve lost their focus. Maybe they’re burned out and need a break. These are just some reasons I’ve considered and some feelings that even I have experienced.

What is difficult for me at this point balancing my genuine desire to grow as a writer with my decision to establish a publishing company that offers other writers the opportunity to share their own ideas and stories. I’m passionate about both and doing a lot of work to make sure that I’m worthy of their attentions. I have to remind myself that I’m still a newbie in the publishing business, trying to grow my little company a book at a time.

And Then…

With such aspirations both for this upcoming book and for the development of future books comes the inevitable question: How do I make ends meet? Obviously, for me the answer seems to keep freelancing. It sounds simple, but I’ve been finding it a little more complicated lately. I’m well aware of the "feast or famine" nature of this business. I’ve experienced from time to time during the last four years. It’s been a struggle; it is a struggle now to find work on a consistent basis. Part of this is my fault for not having a good plan in place to account for the changes that I was already perceiving in the markets I was using. The other was that I took on this book project with such enthusiasm that I neglected other things just as important.

I’m back to square one as a freelance writer. I’m on the hunt for enough work to make the budget requirements for my household. Even while the prospects of selling decent numbers of books is on the horizon, the proverbial ship hasn’t come in quite yet. If I’m honest with myself, I know that it will not be that simple even if the book does as well as the client and I expect. This is something I cannot expect to see for at least four months. That’s plenty of time to derail any efforts of changing our personal finances if I do not find steady writing gigs.

None of this is being stated so I can have an excuse to complain. No, I have no reason to complain. I still love this job. I’m so grateful to have the opportunity to work as a freelance writer. I hope to continue doing it for the foreseeable future. I would say this: fellow writers wish me luck and pass on any work you might have. I’d like the chance to expand my client base. (Just a bit of networking.)

In Closing…

Thanks for reading. I would love to receive any thoughts or comments you might have. Share your own experiences I would love to read them.  Take care…and keep writing!

 

This is a cross-posting from Shaun C. Kilgore‘s site.

Creative Commons: What Every Self-Publisher Ought to Know

Licensing of rights is at the center of the publishing business. Publishing contracts are rights licenses, nothing more or less. People who work in publishing, and who supply the publishing industry with its raw materials—the authors—become used to dealing with the expressions of creativity as valuable products with inherent rights.

Opposed to the whole rights-as-property side of the equation is the public domain. This abstract territory is where we keep the fruits of the creators of earlier eras. The best or most durable works of our time will, in turn, join the great trove of works that forms the underpinning of our culture. Because this material is owned by the public, it is freely available to all.
 
Each of these opposing forces—strict licenses of intellectual property to enable monetezation, and the need for culture to have the fruits of its history available to build upon—has a role to play. The trick is in getting the balance right.
 
 
A New Idea in Rights for the Twenty-First Century
In 2002 Duke University founded its Center for the Study of the Public Domain. Here’s a statement from their website:
Both the incentives provided by intellectual property and the freedom provided by the public domain are crucial to the balance. But most contemporary attention has gone to the realm of the protected.
Through the support of Duke’s Center, Creative Commons was formed soon thereafter. What exactly is Creative Commons?
Creative Commons is a nonprofit corporation dedicated to making it easier for people to share and build upon the work of others, consistent with the rules of copyright. We provide free licenses and other legal tools to mark creative work with the freedom the creator wants it to carry, so others can share, remix, use commercially, or any combination thereof.
Creative Commons is run as a collaborative non-profit with a large board and an evolving series of rights licenses that they describe and make available for content creators.
 
Explosive Growth
It’s obvious there was a real need for a more flexible way to deal with licensing creative works in the everything-is-reachable-by-a-Google-search era. Rights had been very cumbersome to negotiate and police. What Creative Commons aimed to do was put the control of the rights back in the hands of the people originating the works.
At the same time, it made it much easier for publishers to get access to content because the artist could state which version of the Creative Commons license they choose to apply to their work. It both stimulates commerce and protects the artists.
 
The growth of Creative Commons-licensed works has exploded. For the last year I’ve seen statistice for, 2008, over 130 million individual works were covered by Creative Commons licenses, and I’m sure the number is much higher now. Wikipedia, for example, uses Creative Commons licenses for all of its content.
 
And Flickr.com can search its collection of millions of images based on their Creative Commons licensing, a real boon to web-based publishers (like bloggers).
 
Creative Commons isn’t perfect, and some people have made reasonable arguments against its system. However, it still seems the most balanced, easiest to use approach generally accepted in the market, and it does leave the artist in control of deciding which rights to hold and which rights to grant. This seems far better than the “all rights reserved” method in which contracts have to be drawn for each case, dividing rights and licensing them.
 
Understanding Creative Commons Licenses

Under the current 3.0 version of Creative Commons, there are four conditions from which creators can choose. This is how they are explained, with their corresponding symbols

 

creative commons, self-publishing

(Click to enlarge)
 
By combining these conditions, you arrive at the six Creative Commons licenses:
  1. Creative Commons Attribution  Attribution (cc by)
    This license lets others distribute, remix, tweak, and build upon your work, even commercially, as long as they credit you for the original creation. This is the most accommodating of licenses offered, in terms of what others can do with your works licensed under Attribution.
     
  2. Creative Commons Attribution Share-Alike  Attribution Share-Alike (cc by-sa)
    This license lets others remix, tweak, and build upon your work even for commercial reasons, as long as they credit you and license their new creations under the identical terms. This license is often compared to open source software licenses. All new works based on yours will carry the same license, so any derivatives will also allow commercial use.
     
  3. Creative Commons  Attribution No Derivatives (cc by-nd)
    This license allows for redistribution, commercial and non-commercial, as long as it is passed along unchanged and in whole, with credit to you.
     
  4. Creative Commons book design, publish a book  Attribution Non-Commercial (cc by-nc)
    This license lets others remix, tweak, and build upon your work non-commercially, and although their new works must also acknowledge you and be non-commercial, they don’t have to license their derivative works on the same terms.
     
  5. book design, self-publish a book  Attribution Non-Commercial Share Alike (cc by-nc-sa)
    This license lets others remix, tweak, and build upon your work non-commercially, as long as they credit you and license their new creations under the identical terms. Others can download and redistribute your work just like the by-nc-nd license, but they can also translate, make remixes, and produce new stories based on your work. All new work based on yours will carry the same license, so any derivatives will also be non-commercial in nature.
     
  6. creative commons, book design, publish a book  Attribution Non-Commercial No Derivatives (cc by-nc-nd)
    This license is the most restrictive of the six main licenses, allowing redistribution. This license is often called the “free advertising” license because it allows others to download your works and share them with others as long as they mention you and link back to you, but they can’t change them in any way or use them commercially.
3 Things to Remember About Your Rights
Remember, in the United States,
  1. Your copyright in your creation is effective as soon as you fix your creative expression in a form. Although there are various mechanisms to register your copyright, it exists when your original work is created.
  2. It’s often wise to list a copyright in your work to eliminate the ambiguity caused by not having any notice at all of rights ownership
  3. Creative Commons gives you a way to share works you’ve created in a flexible way, but it is optional. Your rights are assumed to be “all rights reserved” unless you state otherwise.
Takeaway: Creative Commons rights licenses are a flexible way for artists to share some rights while choosing which ones to withhold. It can spur creativity while allowing artists to maintain control of their work.

 

This is a cross-posting from Joel Friedlander‘s The Book Designer.

Top 8 Cover Design Tips For Self-Publishers

We’ve all seen them. The train wrecks. The art class projects. The cringe-inducing artwork. It’s the world of do-it-yourself book cover design.

 
Somewhere between the quirky “cover design generators” on author-service company websites, and the All-American view that everyone should get a ribbon because, after all, they participated, the cover design is suffering at the hands of self-publishers.
 
And no, I’m not saying that self-published books aren’t getting better—there are a lot of great-looking indie books out there. But I am saying that you don’t have to go far to find the ones that went wrong.
 
Book cover design, at its height, is an amazing commercial art. The best book designers continue to amaze and surprise us with their graphic design prowess.
 
But anyone who can write and publish a book ought to be able to avoid at least the worst mistakes in cover design.

So, here without further ado, are my

 
Top 8 Cover Design Tips for Self-Publishers
  1. Establish a principal focus for the cover—Nothing is more important. Your book is about something, and the cover ought to reflect that one idea clearly.
    One element that takes control, that commands the overwhelming majority of attention, of space, of emphasis on the cover. Don’t fall into the trap of loading up your cover with too many elements, 3 or 4 photos, illustrations, maps, “floating” ticket stubs.
    You could think of your book cover like a billboard, trying to catch the attention of browsers as they speed by. Billboards usually have 6 words or less. You have to “get it” at 60 miles per hour, in 3 to 5 seconds.
    A book cover ought to do the same thing. At a glance your prospect ought to know;
    • the genre of your book,
    • the general subject matter or focus, and
    • some idea of the tone or “ambiance” of the book.
    Is it a thriller? A software manual? A memoir of your time in Fiji? Your ideas on reform of the monetary system? Each of these books needs a cover that tells at a glance what the book is about.

     

  2. Make everything count—If you are going to introduce a graphic element, make sure it helps you communicate with the reader.
     
  3. Use the background—Avoid white backgrounds, which will disappear on retailer’s white screens. Use a color, a texture, or a background illustration instead.
     
  4. Make your title large—Reduce your cover design on screen to the size of a thumbnail on Amazon and see if you can read it. Can you make out what it’s about? If not, simplify.
     
  5. Use a font that’s easy to read—See above. There’s no sense using a font that’s unreadable when it’s radically reduced. Particularly watch out for script typefaces, the kind that look lacy and elegant at full size. They often disappear when small.
     
  6. Find images that clarify—Try not to be too literal. Look for something that expresses the mood, historical period, or overall tone of the book; provide a context.
     
  7. Stay with a few colors—If you don’t feel comfortable picking colors, look at some of the color palettes available online to get a selection of colors that will work well together.
     
  8. Look at lots of great book covers—You may not be able to mimic all their techniques, but the best book covers are tremendous sources of inspiration and fresh ideas.
Resources
  • You can always send your book over to the Self-Published Book Design group at Self-Publishing Review. Get a Design Review of your book, inside and out.
     
  • There is lots of stock photography online to explore, and ways to find images you can use for free
     
  • Sites with color palettes can be helpful and just plain fun. Make up your own color palettes too.
Takeaway: Taking a little care with a book cover you’re designing yourself can produce big results. Look at lots of book covers for inspiration.

 

This is a cross-posting from Joel Friedlander’s The Book Designer.

Create Printed Marketing Materials to Promote Your Book

Many authors and indie publishers rely on online book marketing tools like websites, blogs, email and social media to promote their books. But you may also need some printed materials such as bookmarks, business cards, postcards, sell sheets, and posters.

Designing and printing marketing materials can be costly, so make sure you have a clear need and purpose for these items in your book marketing plan before you purchase them.

Bookmarks are great for distributing at book fairs and events and to bookstores that stock your book. Posters may also be useful for events and bookstores. Libraries like to receive posters and bookmarks for children’s books. If you do a lot of speaking or other events where you’re selling books, consider having a retractable banner made.

If you meet people at speaking engagements, networking events, or other venues, you’ll need business cards. Two-sided business cards cost a little more, but you can showcase your book on one side and your contact information on the other. If you need business cards only occasionally, you might design bookmarks with your contact information so they can double as business cards.

 

Postcards are especially effective for announcing the publication of a new book, but make sure you have a good mailing list before ordering them. You can send postcards to friends, family, and business contacts, and you may also be able to rent mailing lists for your specific target market or exchange lists with a colleague.

Postage is expensive, so if your mailing is more than 200 pieces you may benefit from using bulk mail rates. Check with a local mailhouse for pricing. You can also save by printing your postcard at 4×6 inches and mailing it at the 28-cent postcard rate instead of first class.

Most correspondence is done by email these days, so it’s likely that you won’t need any printed letterhead. If you ship books to customers, you may want to buy mailing labels or return address labels.

A sell sheet is a flyer that’s used to promote books to libraries and bookstores and can also be included in press kits or distributed online in PDF format. It’s important to include the ISBN and other vital statistics and a list of wholesalers where the book is available. Here’s an example of a sell sheet.

If you’re a nonfiction author with other products and services to sell, you might benefit from using promotional items like custom printed pens or sticky notes.

Your book cover designer may be able to design coordinating marketing materials for you. Cover designer Anton Khodakovsky has several samples of book marketing items on his website, including a poster, sell sheet, postcard, business card, and bookmark, all designed to coordinate with the cover of George Beck’s thriller, Trounce.

Many subsidy publishing companies offer book marketing materials such as postcards and business cards. Before purchasing these products, have a plan for using them and find out how much input you will have in the copy and design. You can probably get these pieces printed at a lower cost elsewhere, but be sure to factor in the cost of graphic design.

Here are some more tips for producing book marketing materials to promote your book:

•    Make sure there’s a sales message on your printed materials, not just a book cover and title, and always include your website address.

•    Brand your printed materials to coordinate with your book cover, website, and other marketing items.

•    Items like bookmarks and postcards are much cheaper per unit when ordered in larger quantity. Think about all the ways you can use these items and consider ordering in quantity.

•    Compare prices with local printers as well as online printers such as PrintingForLess.com, but don’t forget to factor in shipping costs. Local printers may be more economical for smaller quantities and they may also have graphic artists available to prepare artwork the artwork.

Printed materials can be very effective in promoting your book, but you’ll get the most benefit from your investment when use them strategically.

 

 

This is a cross-posting from Dana Lynn Smith‘s The Savvy Book Marketer.

Is The Agency Model A Clear Case of Price Fixing?

We learned this week that Texas Attorney General Greg Abbott has begun a preliminary investigation into Apple’s agency model price-fixing deal with five of the Big Six publishers. While I am sure that some of those players hope that Abbott’s inquiry is a fishing expedition that will amount to nothing more than some irksome legal bills, there is a significant chance that it or another inquiry could lead to a major legal battle and, ultimately, the possibility of legal remedies that might cause publishers to wish that they had never heard of the agency model. Let’s take a closer look.

For the past few months, in the course of reporting on the agency model, I have suggested at several points that it seemed likely that some of the issues involved would end up in court. After all, regardless of what else you might think about the agency model, there can’t really be any argument about two of its fundamental features:
 

  1. it is a manufacturers’ price-fixing arrangement intended to dictate and maintain certain price minimums at the retail level; and
     
  2. it developed out of collusion, either through direct communications or through communications that were brokered by Apple, between what one would expect to be competing publishing companies. (Collusion, I understand, is not a neutral word; if you are more comfortable using some other word, that’s fine, but, well, it is what it is.)

I have been criticized in a few quarters for suggesting, in earlier posts, a "conspiracy theory" and collusive behavior by some combination of Apple and the five big agency model publishers in bringing about the fundamental restructuring of ebook prices and business relationships earlier this year.

Guilty as charged: I did refer in my post to Penguin’s "agency price-fixing model co-conspirators," and I am sure that if I took a few moments I would find other instances of, well, calling things as I see them. There have been times when I have crossed the labeling line, and for instance I apologized just yesterday to Publisher’s Marketplace editor Michael Cader for referring to him and Mike Shatzkin as "publishing industry mouthpieces;" it was unfair and unnecessary of me.

But my point is unchanged: in all likelihood, the mass structural transformation of the ebook business that occurred earlier this year could not have occurred without the collective development of a pricing strategy by some or all of the key players. To suggest otherwise would be to imagine a process, something like the final round of Jeopardy, where all the participants write down the same answer to the question: "What can we do about these $9.99 ebook prices?"
Are we to believe that all of the agency model publishers independently thought up, and used their light pens to write down "We’ll throw out decades of wholesaler relationships and ‘manufacturers’ suggested retail prices’ and dictate that customers must pay 30 to 50 percent more for ebooks, and we’ll call it the ‘agency model’"?

Pardon me, but I’m not buying that.

Does that make it a conspiracy? I suppose it depends on your point of view. But if the major players got together across company lines to restructure their industry and fix prices at higher levels, and the result was a violation of the law, you don’t have to be sporting tin-foil headwear to call that a conspiracy. "Conspiracy" would be the word that a prosecutor would use, or a grand jury, or a judge, or a trial jury. I suppose you could call it a garden party, but the legal terms are conspiracy and collusion.

What law would they have been conspiring to violate?

The Sherman Antitrust Act, for starters, but there is a long history and legal tradition against such price-fixing collusion at the federal level, at the individual state level, and in a number of other nations where these business matters will be played out. Although the U.S. Supreme Court acted three years ago to narrow the circumstances under which businesses could be found in violation of the Sherman Antitrust Act, they left the teeth in the law for the courts to act when a manufacturer’s (the publishers) enforcement of minimum price maintenance on its distributors (Amazon and other ebook retailers) could be shown to have an "anticompetitive effect" that is "harmful to the consumer."

It is also worth keeping in mind that, although the agency model was initially rolled out in the U.S. ebook market, eventually these issues will be played out globally and may face even greater scrutiny in the U.K. or by the European Commission. In the U.K., the leading book trades observer, The Bookseller, has reported that some publishers have walked away from negotiations with Apple because "concerns over the legality of the agency model, first highlighted in The Bookseller, have still not been addressed for many."
I’ve been writing for the past few years in books and blogs and newsletters about the Kindle and various other ebook-related issues and news, and at times I have spoken out strongly with criticisms of Amazon, but one would not be wrong to say, as one would expect from its name, that Kindle Nation Daily is a pro-Kindle blog. Far more than it is pro-Kindle, however, Kindle Nation Daily advocates for the interests of Kindle owners, and it is clear from thousands of messages of feedback, emails, and comments that many Kindle owners see us as effective, informative, and reliable.

When the controversies of the agency model began to unfold, I even gave brief consideration to playing an organizing role in support of legal action against the ebook price-fixing collusion under the anti-trust act. While it seemed quite possible that a plaintiff class with legal standing could be organized and a serious and legally plausible action initiated, the resources necessary to pursue such a cause and do it justice seemed truly prohibitive for any volunteer effort.

While some speculated that legal action against agency model collusion might come from Amazon itself, or from the Department of Justice, or from other ebook owners, there are good reasons why such action hasn’t originated from these sources. Amazon, for one, is unlikely to pursue a strategy of litigation because such a strategy would be even more destructive to its business relationships with publishers, because it would require the company to make information public that it generally keeps very close to the vest, and because it could well be vulnerable to counterclaims about its own efforts to manage prices, regardless of whether such claims were considered legally actionable. I won’t be surprised if the Department of Justice becomes involved, but I’m also aware that it has plenty of more important issues on its plate.

Instead, we have heard this week, the Texas Attorney General’s office has begun an inquiry into the agency model that, according to DailyFinance.com publishing industry columnist Sarah Weinman  "appears to focus on pricing practices for e-books and Apple’s entrance into the [e-book] market in particular…. Though the investigation is still in preliminary stages, there’s a good case for legal action — and it’s all about the current state of antitrust legislation."

For those of us whose take on these issues lists toward a consumer’s point of view, such an investigation — and the possibility of antitrust litigation — has seemed inevitable. However, among publishing industry insiders, there seems to be genuine surprise, or at least puzzlement. Weinman herself questions why Texas would be interested, and suggests that the near-monopoly that Amazon held in the ebook content market prior to the launch of Apple’s iBooks store makes such scrutiny puzzling. (It is worth pointing out that a number of much smaller ebook retailers have also been disadvantaged by the agency model; some that tried to attract customers by offering coupons and special deals are no longer allowed to do so).

But Amazon was using its market power and deep pockets to lower prices, and while a strong argument can be made that the company’s goal was to use those lower prices to build and maintain dominant market share, there was no collusion or collective price-fixing involved. Supporters of the agency model may try to make the argument that Amazon’s strategy of aggressive price competition is itself anti-competitive in the long run, but such an argument would seem to conjure up a rather slippery slope of "small is beautiful" opposition to free market forces and competition. Many of Amazon’s other initiatives in support of independent publishing companies and authors over the past few months, as well as its significant history of "big tent" relationships with other retail partners large and small, may also help give the company cover against such charges.

Amazon relied on an individual corporate strategy to reduce and subsidize consumer prices, and went on paying publishers based on the retail list prices of their hardcover editions. Apple’s agency model play was demonstrably different: it relied on a collective price-fixing agreement among competitors, and the effect of that price-fixing, of course, was not to lower ebook prices but to raise them by 30 to 50 percent. The fact that Apple was a "fledgling" player in the ebook marketplace at the time of these actions would likely be offset both by the fact that it achieved more or less immediate success in brokering a collective price-fixing agreement with five of the six targeted players and by the size of its installed base of ebook-compatible devices: there are roughly 30 times as many iPads, iPhones, and iPod Touches in the world as there are Kindles. And, of course, there is relevant history in the music industry’s experience with Apple and the iTunes store.

With all of this for state or federal attorneys general to chew upon, I’m frankly puzzled by the number of times in the past few days that I have read remarks by agency model supporters expressing puzzlement about the Texas investigation. Representative of many of these remarks was a post I read yesterday by publishing industry consultant Shatzkin, entitled "Agency seems (to me) to be working; I hope it’s legal." Shatzkin concludes the piece with a fair demonstration of just how colossally an industry insider can misjudge his own industry’s ultimate consumers — that’s you and me, the readers: "It would appear that the Agency model is good for just about everybody except the etailers that would use price to drive others out of the market," he says. (I’m sorry, Mr. Shatzkin, but if at this point you need someone to explain why that’s a colossal misjudgment, it may just be too late to make the effort.)

He then asks a question that baffles me just as much: "But will it ultimately be ruled legal? I don’t think we know yet."

Excuse me? Why does it sound like publishers are just considering this question for the first time? This is not the Wild West; it’s the once staid old New York publishing industry. Could they really have entered upon this total transformation of the way they are doing business without having it vetted not just by their corporate counsel but by the best antitrust lawyers available to them?

But maybe so. There have been signs, even in the last week, that the agency model publishers and Apple don’t seem to be acting as if they are getting regular and solid legal advice, including:
 

  • Instances such as the return of Penguin (or its new releases) to the Kindle store with a new wave of higher-than-ever prices, and several days during which Penguin’s bestselling titles were 30 to 40 percent cheaper in the iBooks store than other ebook stores.
  • The direct quotation in Shatzkin’s post of a publishing industry executive who rhapsodized about his ability, under the agency model, to "maximize revenue" with no mention of cost, appropriate margin, or "the value of the book."

Maybe I am overstating the importance of such words and deeds, but it just seems to me that any lawyer worth his billable hours would be telling publishers to behave very, very carefully just now.

It will be interesting to see how it all plays out. As I hinted at the outset, the remedies in a case like this might well amount to more than just doing away with the agency model.

I am sure that I will be criticized for this post, as I have been criticized for earlier posts, for not being "objective." But there has been a strange "opposite world" resonance to much of what publishing insiders have had to say about the agency model and ebook prices lately, and under such circumstances it is best to accept a little criticism if that is the cost of challenging notions like the idea that the agency model is working for consumers or that the publishers who brought us drugstore paperback spinners are now the champions of "the value of the book."

 

This is a reprint from Stephen Windwalker’s Kindle Nation Daily.

If Only I Had More Time…

"The time has gone, the song is over. Thought I’d something more to say." – Pink Floyd
 
I originally had planned on blogging the next installment on breaking the rules in writing. But the past couple weeks have seen the chronic problem of time management rear its ugly head. I’ve gotten relatively little writing and promotion done, and that looks to continue for a while.

 
The fact is that if you want something badly enough, you find a way to do it. Almost everyone can find an extra 30 or 60 minutes, and you can get a hell of a lot done in an hour a day. A lot of writers can write a thousand words (or more) in an hour – that’s 365,000 words a year in that extra hour. If it’s important, you’ll do it.
 
I don’t want to spend the post complaining about my specific problems. Whatever I could say is keeping me from working much on writing/promotion, someone could point out examples of people who worked through much worse. I’ve thought a lot about the details and the options and I have come to a conclusion: writing is not important enough to me.
 
Now don’t get me wrong, I love to write, and I have no intention of stopping. I’ll have more novels, more short stories, more podcasts, and more promotions. This is not a post about giving up or stopping. But writing isn’t the only thing I love to do. Nor is it the most important thing I do, either personally or generally. And the other things that are also important are preventing me putting in the time I need to keep my writing "moving forward" on the various necessary levels.
 
So that means I need to make some choices. A while back I wrote a post about writers not letting themselves off the hook. The gist was that it is critical not to let yourself say that because you can’t do something perfectly or completely, you won’t do it at all. In a lot of ways, what I’ve been struggling with over the past two weeks is how to remain true to that.
 
So I have come to a decision, one that I think will feel more definite if I put it in writing, in public. From now until the end of June, I am going to focus on completing a thriller novella that I am about 9000 words into. I may also do a few edits of a short story, and I may do a submission or two of existing work, but blogging, promotion, social networking and podcasting are all going to take a back seat. Those things are important, but at this point I need to generate some more content. Both for my own sanity and for the potential growth of my fan-base, this is what I must do.
 
I fully expect that sometime in the future, I will write a post saying something roughly the opposite of what I’m saying now: that I’ve written some things and now I need to buckle down and spread the word. Life is not static; things change. I have found that in order to continue making progress, I need to re-evaluate things on a regular basis. And that’s what I’ve done in recent weeks.
 
If you’ve gotten through this post, I’d ask two things of you. First, tell me in the comments how/if you deal with situations where something simply has to give.
 
Second, wish me luck. This new thriller? It’s gonna rock.
 

This is a cross-posting from the Edward G. Talbot site.

How To Increase the Pace of Your Novel

Listen to a PODCAST of this article. 

Did you know CONFLICT is not the only tool you have to increase the pace of your writing? Of course, the more forceful the conflict, the faster the pace. However, there is another important concept available to help ramp up the pace of your writing. The second most important technique used to increase the pace of your writing is the rise and fall of tension.

Tension is different from conflict in so far as conflict is your character’s emotional reaction to the challenges he faces. In contrast, tension is the emotional strain placed upon your readers. It’s a bit of hostility you interject into their lives.

So, how does a writer place emotional pressure on a reader? Alfred Hitchcock presented this concept at it best when he said, “There is no terror in the bang, only in the anticipation of it.”

In my own mind, I see this concept in a scene where two characters sit at a table. Unbeknownst to them, there is a ticking bomb strapped beneath it. The reader knows the bomb is there and when it’ll blow, but the characters do not.

Can you see how a ticking time bomb, real or metaphorical, can propel your tension? 

Okay, now for some tips on how to increase the pace of your writing.
 
1. Use sentences and scenes and chapters that leave them hanging.
2. Tension, like conflict, should ebb and flow through your novel. Think of a line chart that grows ever upward in consecutive peaks and valleys. Your tension should follow this same path. It should always build, then fall, then rise to the next higher level. After you slow the tension, make something happen, and soon, to regain your momentum.

3. DIALOGUE is a great tool to increase the tension of your writing.
Not only are you able to use your characters words but also how they say what they say.

 
4. Quick lines make for quick reading. Quick reading makes for a fast tempo and greater tension.
 
5. In those nail-biting situations you create, sentence fragments will increase the excitement. Always. Every time. As here. I urge caution, however, for overuse of fragments can get out of control.

6. Consider the amount of white space on the page. Imagine a sheet of paper filled with text, one line after the other without breaks, from top to bottom and side to side. You can visualize how this would overpower the reader. Think instead of a page loaded with choppy sentences. This creates a great deal of white space to the right and makes the page read faster. Your reader will feel the increased rhythm if for no reason other than the speed by which they flip the pages.

7. Shorter, simpler words increase the tempo and the tension of your story. Anything that slows your reader will slow the pace, and the tension, of your scene.

Number 8 is one of my favorite sayings. “Be cautious of argot your middling might not twig.” That is to say, don’t use terminology your average reader might not understand. When you force them to take their mind off the story and focus on individual words, their reading slows in dramatic fashion. So does the pace. That goes double for medical thrillers and the like where difficult words are normal.

9. Strong, specific verbs and nouns can also increase the tension. Consider someone who dreams in nightmares in contrast to someone who is haunted by nightmares. How about someone who “falls” as compared to someone who “collapses.” These examples show how a single word can increase the tension of your novel. Therefore, seek precision with your words.

10. Use active voice. “He was going to fight it out,” reads slower and with less strength than, “He determined to fight it out.” Read this ARTICLE to learn more about active voice.

 

Now, might you have any tips to share?
 
As always, know I wish for you only best-sellers.
 

This is a reprint from C. Patrick Shulze‘s Author of Born to Be Brothers blog.

Find the Bullseye Before You Shoot (or: the 5 Commandments of Target Markets)

 

 On our recent excursion to Disney World, we began our day of adventures in the Land of Mouse with a little friendly competition on the famed Buzz Lightyear ride. And when I say friendly competition, what I really mean is a cutthroat contest of wills with the most important prize of all on the line: pride.

 If you’ve never experienced the glory of Buzz, let me explain the concept: A line of two-person cars moves slowly through the blacklighted landscape of Emperor Zurg’s world while the car’s occupants use laser guns to shoot at thousands of targets placed throughout the ride. You can spin the car 360° but can’t change the speed of the ride or manipulate any of the targets (many of which are moving themselves). At the end of the ride, your score is displayed. High score wins. Low score is mocked for the rest of the day.

My strategy was simple: Pull the trigger as many times as possible while swirling the gun around for maximum coverage. Since there’s no penalty for misses, I figured a mass spray was the way to go. At the end of the ride, I proudly smiled at my score (49,980) and turned to Toni in the car behind me, ready to boast about my win.

She scored 130,457.

While I was randomly spraying the room with laser shots, Toni was specifically aiming for the moving targets around the room that were worth more points. She probably hit half the targets that I did, but hers counted for more.

Here’s what you should take away from this: In the marketing world, Toni’s targeted strategy is the one that will get your self-published book on best-seller lists, not mine.

I’ve marketed sports teams, small businesses and aspiring writers, and across all three mediums there is one thing that all three have in common: They don’t know who their target market is.  This is such a major issue that we’ve decided to devote a series of blog posts to finding your target market.

Today, we’re going to lay down the Five Commandments of Target Markets (so listen up!):

Five Commandments of Target Markets

#1: You will not target everyone.

No matter what genre or subject matter your book deals with,I can promise you that your target market is NOT everyone. It’s not everyone in America, everyone in Florida, or even everyone in the town in which you live. For pete’s sake, that’s not even Wal-Mart’s target market.

#2: You will know your target market BEFORE you begin writing.

Because your target market determines your price, cover design, writing style, working title and almost everything else related to your book, you have to know your target market before you get started. General Mills doesn’t create a cereal and then wonder who will want to buy it, they see a demand and make a cereal to satisfy it.

#3: You will target one group, but know that other people can still buy your book.

Just because you target a specific group of people with the majority of your marketing budget doesn’t mean that no one else will buy it. ESPN the Magazine’s target market is 18 – 30 year old men, a demographic that probably makes up 90% of their readership, but that doesn’t mean there aren’t any females who buy the magazine.

#4: You will learn the best way to communicate with your target market.

The ultimate goal of your target market research is to learn how to communicate with your target market. If you’re targeting teenagers, Internet communication is critical. But if you’re targeting Baby Boomers, the Internet is not going to a primary communication tool in your marketing campaign.

#5: You will constantly refine your target market.

Unfortunately, this isn’t a process that you will likely get right on the first try. Even here at Duolit, Toni and I are constantly evaluating and re-evaluating our target market and the means we use to reach them. Without a high budget research process, there’s a certain amount of guesswork involved in determining who will buy your product. If you try one direction and fail, try again. There are thousands of niches out there, with a little hard work, you will find yours!

This was cross-posted from the Self-Publishing Team blog.

 

Postal Service Update AGAIN

 I think I have the Postal Service Claims Center in St. Louis, Missouri figured out. When a insurance claim comes in for a package that is lost in the mail the Center ignores the claim. It’s my understanding since this is the only Claims Center in the United States, the Center is swamped with insurance claims. So why not see how many claims the staff can ignore to see if  people who file the claims will just forget about the whole thing. Perhaps in most cases that works.  

 
If a person finally runs out of patience and a year later writes a letter to find out what is taking so long to get a response of some kind from the Claim Center, the response letter is a denial to pay the claim.  The reasons are all the fault of the person who mailed the package for not having the right address or return address.  A simple way to put an end to the claim the Claim Center thinks. Perhaps in most case that denial letter is the end of the matter.
 
 
Except if that was the case when I filled out the two different forms to hunt for my two lost boxes of books complete with pictures, the Dead Mail Centers had a chance to find what was left of the boxes. The books weren’t sent back to me, but my return address and the addressee’s address were on pieces of the boxes. The Postal Service knew my address and where the boxes were to be sent.
 
I guess I messed up the Center’s system when I sent in a two page letter and seven pages of documentation on why their denial was wrong.  So next part of the Center’s strategy is give in to accepting responsibly for the loss and send a check. I got a check, but it was for a third of the amount. No letter of explanation for not sending the full amount was included. The person will accept any amount after so much time has past. Would this be the way I should think? After all, this has been on going since January 2009 when the first shipment of books was lost. In my latest letter to the Claims Center I wrote this has been a consuming effort on my part which has cost me in time, ink, paper, postage and mileage to the post office to mail my documentation.
 
Sending that check to me proved that the Postal Service now believes loosing my box of books was the Postal system’s fault and not mine. The receipt attached to the check says for payment of package not delivered. So here is what I did. I copied the letter from the Claim Center with the claim number on it and attached the check to it after I copied the check so I had proof for the next phase of this saga if there is one. I sent a two page letter explaining I clearly realize and so do they that I was not at fault. I refused the check and attached it to a copy of the insurance claim. I said I expected to be paid the full amount for the claim which I added up – books amount, postage and tracking fee, to save the person reading the letter the trouble. The next page was another copy of the pictures of my books with ISBN numbers under them and this time the price of each book to show my loss. Attached to this sheet was one of my business cards that shows the address of my online book store, plus I mentioned Amazon, ebay and buy sell community where they could look to find my books so the Claims Center can quit questioning that I am a business.
 
I’d like to thank MyEntre.net’s Rob Williams for giving me the next idea. I use the Postal Service to mail my books. I should be considered a valued customer by them. So I put in a customer site map for the U.S as proof.  An X on each city in the states marks my customers. I update this map often in my bookstore online. My letter states this map shows all the mailing I do and some of those X’s are for more than one customer and more than one order of books. I again detailed the facts for trying to mail a valued customer a shipment of books twice which didn’t make it to the addressee until 10 weeks later (and only after the third shipment was delivered by UPS in 24 hours).  This was bad for my business reputation. I was unhappy about the fact that since I haven’t heard from that customer since I fear I lost future sales because of this mess.
 
Finally, I stated I didn’t see why I should have to send anymore proof to support that I am a business that uses the Postal Service’s business. I thought I should be reimbursed without delay and sent some assurance that this wouldn’t happen to me again. I’d like to go back to insuring large shipments, but I won’t until I know I don’t have to go through this hassle again if they lose my shipment. 
 
At the beginning of this problem in 2009, I sent an email on the Postal Service website to complain. A dead mail center in Georgia sent me pieces of my box, with stamps and addresses, attached to them was a letter from a bookstore in Missouri. An expensive textbook had been lost on it’s way to Iowa City to the college. The book store wanted to find that book. One more unhappy customer to fuel my persistence.   My answer was an emailed form to fill out asking me what I thought happened to my boxes. Was there a problem at my local post office? Could it have been vandalism?  Certainly not I replied. This problem was happening in southern Missouri and I believed it to be employee carelessness. I felt the area should be investigated.
 
What that response got me was a call from my local post office. The worker said she was told to tell me she was sorry about this problem. If there was anything else she could do to help me I was to let her know. I felt sorry about that. In this small town, everyone knows almost everyone else. I know and like the people I deal with at the post office. No way did I want to get them in trouble, and that’s what it felt like to me. I explained to her I made it very clear that the postal employees on my end do a good job. Now I’m waiting for a call again from my post office assuring me that my packages can be mailed insured without a problem with the Claims Center. Does this mean that I won’t have a problem the next time the Postal Service loses my books?  Will I get a check for the full amount from the Claim Center?  To be continued.