Ebooks

Articles specific to writing and publishing ebooks.

New RSS Feed Options At Feedburner

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Recently I wrote a post about why it’s so important to offer RSS feeds on your author blog. Feeds enable your author blog posts to be automatically delivered to your readers’ email inbox or feed reader, so you don’t have to rely on people remembering to visit your blog periodically.

The best way to set up a feed is through FeedBurner. You may be tempted to use one of the feed widgets offered by your blog service provider, but they do not allow you to see statistics on your feed subscribers or customize your feed settings. It’s best to go directly to FeedBurner to set up your feed. 

I recently logged onto FeedBurner to set up a feed for a new website I’m developing (more details on that coming soon!) and I noticed that there were quite a few changes on the FeedBurner site since the last time I was there. It seems that since Google purchased FeedBurner several years ago, they have continued to tweak the service by adding and deleting options that help you promote your blog posts, podcasts, and vcasts (video blogs). 

I was happy to learn that MaAnna Stephenson has just updated her ebook, Just The FAQs: RSS Feeds, to reflect the recent changes at FeedBurner. If you offer your feed via email, you’ll want to check out all of the new customizing options for email format and delivery. There is also a new Password Protector option that helps keep your feed safe from hackers, but could negatively impact the delivery of your email feed. The new Socialize tool has customizing options for pushing your feed to Twitter, but the jury is still out on whether this tool works well for everyone.

Be sure to read the Publicize section to learn about an often overlooked link on FeedBurner that offers even more free ways to publicize your blog and help you rank higher with Google. Podcasters should pay attention to MaAnna’s explanation of the conflict between FeedBurner’s SmartFeed and SmartCast features.

If you aren’t yet offering feeds on your blog, get started today! If you’re already got a feed, it’s a good idea to log onto FeedBurner and check out the new features. From your home page, click on the name of your feed, then go through all of the tabs and check out the various features and settings.

To learn more about how to set up your feed on FeedBurner and take full advantage of all of its features, I highly recommend Just The FAQs: RSS Feeds. This ebook offers step-by-step instructions in plain English, and comes in several versions, designed for installing and configuring feeds on WordPress.com or WordPress.org.

If you use TypePad (like I do), read this article to learn how to find your TypePad RSS feed and connect it to FeedBurner, then order the WordPress.com version of the Just The FAQs: RSS Feeds ebook to learn how to configure your feed.

And be sure to subscribe to my blog so you don’t miss any posts on The Savvy Book Marketer! In the right column of this page, under "Get Blog Updates," just enter your email address in the box to receive blog posts by email or click the "subscribe in a reader" link to have the feed delivered to your favorite feed reader or to the "RSS Feeds" folder in Outlook.

 

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

The Book Industry: What's Next?

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Two driving factors come to mind in discussing book trends:

  1. How many books are written and published
  2. Rapidly advancing technology

How many books are written and published

In the late 1800s, there were between 3,000 to 5,000 new books published a year. During the depression years, there were around 8,000 to 10,000 new books published a year. By the 1940s, the figure was 7,000 to 11,000. In the 50s it was 11,000 to 15,000. Then things really started to explode: 1960s= 15K to 30K; 1970s= 36K to 45K; 1980s= 42K to 53K; 1990s= 47K to 68K. By 2005 the number was in the 172K range, and now between the US and the UK, we may be talking over 600K per year.

The really sobering stat is out of the 172K US number, only 1K sell over 50K copies. In other words, writers, reconsider quitting your day job. Very few authors actually make a living from their book sales. Now, when you consider how difficult and competitive it is to get accepted for publishing, especially by the agented major publisher route, you’ve got to wonder how many books were written every year. The number has to be staggering.

Now, let’s look at the book marketing and retail side. With these numbers, how do you get your new books seen, acknowledged, and desired? Every day more and more outlandish attention-getting techniques are tried. Even if you don’t consider all the previous decade’s new books and just look at one year’s crop, where do the retailers find room to put them? In the big box stores such as Borders and Barnes & Noble, they have enough shelf space at best to display 60,000 titles at any one time.

In the smaller independent bookstores such as I own, we’re talking maybe 10,000 to 20,000 at most. The book retail business is like trying to force 100 gallons of water through a tiny funnel. For you readers, you have a shopping choice of being overwhelmed by the numbers or hoping for a very knowledgeable book clerk who can make excellent recommendations and do a good job at hand-selling.

Now I haven’t addressed the online experience yet. In addition to Amazon and Barnes&Noble.com, there are a myriad of other electronic catalog experiences out there. Some of them are online-only businesses and some are extensions of bookstores trying to stay in the game with all the venues. The choices are daunting. For example, The Book Barn’s (my store) landing page entitled GRREAT Books uses the book distributor Baker and Taylor’s 2 million book/music/movie data base. Again, the number of choices is daunting. A positive note is that self-publishers and print-on-demand are becoming more respectable if they are done right.

Electronic Media and the Emerging Technologies

So far, I’ve only addressed printed books. Now we add audio books, tape, CD, or downloads and ebooks in all their different formats. Publishers and retailers are flailing in their attempts to keep up with the various technologies. New marketing and distribution channels are developing at the expense of more traditional ones. Many folks are trying to jump on an already speeding train. Some will fall off and hurt themselves. We’re already seeing many alarming stats.

Traditional publishing isn’t finished. There will still be a market for traditional print books, but ebook readers such as Kindle and iPad are very attractive to some, and not just to the very young. Older folks are joining the ranks of fans for these devices for both comfort and flexible convenience. I’m 65. I have arthritis in my fingers and wrists. Reading a 1,000-page printed book becomes a painful process for me. As my vision gets worse, print becomes more difficult to see. The electronic readers are lightweight and will become more so, making them easier, less painful to hold. Their text font sizes and selections allow the reader to use whatever is most convenient to see—the reader chooses for convenience instead of a publisher choosing fonts and sizes for cost effectiveness.

Although I currently don’t have a reader, I see the day rapidly approaching when I will. How will bookstores service that market, or will it be the exclusive domain of the online sources? Will bookstore become a place to come to have your reader refueled with the latest ebooks, which they will download for you? I can see that as a possibility for the aging baby boomers who don’t want to bother doing it themselves, but will they be enough for a store’s survival.

Looking into the future

I’m no prophet, but my military intelligence background trained me to think in contingencies. Here are some trends and timelines I see developing:

  1. Printed books will be around for a couple more decades, but will gradually ease out of the picture.
     
  2. The models for publishing and marketing are already changing to accommodate the changing technologies. The future is here today.
     
  3. People are becoming far more visually (graphics not text) oriented.
     
  4. Technology already in place to allow writers to become speakers as software turns their spoken words into text, bypassing the keyboard barrier. We think and speak much faster than most of us can type.
     
  5. As self-publishing becomes more powerful and accepted, the inevitable explosion of works produced will become massive; however, with the technology to organize and provide conveniently quick searching, it will become easier to find exactly what you’re looking for. This will make Long Tail Marketing king (which has already begun to happen).
     
  6. Expect to see far more multimedia approaches to the providing of information. Already we have book trailers as well as movie trailers.
     
  7. Finally, marketing will become a much more fluid playing field with increasing complexities. Nothing is sacred, only what works well this time and that is guaranteed to change. Marketing will require far more creative thinking and mental flexibility. Reaction times to the market will be shortened greatly by necessity.

There you have it for now. Like anything else these days, all this prognostication is subject to change.

 

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

Wattpad Global Ebook Metrics Report, Q2 2010

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From the Wattpad site:

Wattpad Global Ebook Metrics Reports

Wattpad is the pioneer in ebook cloud services. With over 5 million downloads supporting over 1000 phone models from 600 mobile operators, Wattpad is also the most popular mobile ebook application. As a result, Wattpad can analyze every usage, read, search, click and uses this to optimize its services. These reports offer a snapshot of the data to provide insight into trends in the ebook ecosystem.

2Q 2010 Report Highlights

The Apple iPad has been quickly adopted for ebook consumption since its introduction in April 2010. The iPad accounted for 5% of all iOS devices.

The growth of smartphones continue to come from North America and Europe, whereas Java devices continue to lead growth in Asia.

Click here to download the full Q2 2010 metrics report.

Click here to subscribe to future metrics reports. 

Late To The Fair: Why I Became An Indie Author

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Last week I caught up to the fact that Chris Kelly was having a blog carnival on Indie Publishing just as the deadline closed. However, after reading the blog posts of those who made it to the fair, and mulling over my reactions, I thought it would still be useful to post on this topic.

I have written previously on my blog about the path that lead me to self-publishing, which echoed other writers (disappointment with the traditional route, issues of control, greater financial opportunities, etc) so in this post I am focusing more narrowly on the most important personal reason I had for deciding to become an indie author.

The traditional publishing route takes just too damn long (and I am too damn old).

I remember a year ago last June coming back from a mystery convention, business cards from an agent and the editor of a small press in hand, and sitting down and looking at those cards. I knew the drill. I and my author friends had been down that road before and I knew that even if I was successful, the minimum time it would take from first query to finished product was 18 months, and as a first time author it would more likely take two years. Even worse, editors at that convention made it clear it would take at least another year after coming out in print before the book was published as an ebook.  (I know that this, like much of publishing, is changing, but in June 2009 most traditional publishers were adamant about not publishing print and ebooks at the same time.)

I had had the idea for Maids of Misfortune: A Victorian San Francisco Mystery 30 years earlier, I had written the first draft 20 years earlier, and I was now approaching sixty, and 2-3 years simply felt too long to wait to get it into readers’ hands and discover if my book was indeed something that readers would enjoy.

Now I know that sixty is supposed to be the new forty, but my mother was dead at the age of 67 and my father’s poetry writing came to a halt when he was in his late 70s and entered the beginning stages of Alzheimer’s, so in actuarial terms, life really was too short.

In addition, while theoretically my sixty years have brought me wisdom, experience and the financial security that would give me an edge over younger authors, what I felt was just old as I read blogs by twenty-somethings who, with the boundless energy of youth, could put in longer days, were more comfortable with new technology, and didn’t have to spend so darn much time keeping the body moving smoothly. Even more distressing were the real forty somethings who not only had widsom and experience, but also had twenty to thirty years of successfully publishing books under their belts, with established contacts and fans, to help them on their way.

I felt like I was late to the Fair, and if I didn’t get a move on, all the rides would be closed. So I put the business cards away and committed myself to taking the self-publishing route. I took the next six months to do the final edit and do what was necessary to be ready to publish (get cover designed, set up author website, set up blog), much of which I would have needed to do prior to even sending out my query to that agent or editor.

Then in a two-week period in December of 2009 I published my book as an ebook on Smashwords and Kindle and used CreateSpace to publish a POD edition.

Two weeks, not two to three years.

And now I am nine months down the road and I am not worrying that my window of opportunity is closing and that bookstores will be sending unbought copies of my book back, and Books Scan is going to label me a failure because my sell-through rate wasn’t high enough, and my publisher is going to drop me (or let my book go out of print) because I didn’t make back my advance.

Instead I am having the time of my life. I have sold over 1150 copies of Maids of Misfortune, over 500 copies of my short story, Dandy Detects, and I am watching my sales improve every day. And I haven’t even turned 61 yet!

 

 

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

Whither The Author-Artiste?

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Seth Godin’s announcement yesterday that his future works will not be traditionally published seems, to me anyway, to have finally knocked over the "Tipping Point" domino in a chain that’s long been poised to open the floodgates of true acceptance and respectability for indie authorship. For authors like Godin, JA Konrath, Steven Covey, and lesser-known indies like me, this is a wonderful development. It’s a clear signal that going indie can be a big step in the right direction for any author, established or aspiring, who’s got an entrepreneurial spirit and commercial sensibilities. But what about all those other authors, published and aspiring, who are more in tune with art than commerce? How would a Flannery O’Connor, Gabriel Garcia Marquez, Camus, Dostoevsky or Salinger fare in this brave new world of indie authorship? Not too well, I suspect.

These are authors of seminal literature which has inspired whole generations of writers, thinkers and artists, and their works will continue to inspire thought and action for generations to come. Yet somehow I doubt any of them would’ve been very excited about, or done very well with, something as worldly and mundane as author platform. And this begs the question: where, and how, is the important and challenging literature of tomorrow to be discovered and brought to the public’s attention? Will it be lost to the ages for want of a Twitter account and Amazon Rush?

I’m not saying the rise of indie authorship has somehow created this problem. If anything, indie authorship has opened a door of opportunity for those few authors of literary fiction and philosophical or metaphysical nonfiction who are also web savvy and/or highly motivated to get their work out to the world. After all, it’s not as if mainstream presses have been clamoring for more edgy, unclassifiable, non-commercial manuscripts. Trade publishing in the United States hasn’t been primarily about enlarging the canon of quality American literature for quite some time.

While there have always been passionate and compassionate editors, agents and others willing to champion this or that "great" book, regardless of its apparent commercial potential, these have increasingly been diminished to the role of mere voices in the wilderness. Because the publishing business is, first and foremost, a business, and there’s nothing wrong, illegal, or unethical about that. A book that doesn’t look like a substantial moneymaker isn’t likely to be picked up by a big, mainstream house. Small, independent presses can bridge the gap between art and commerce to some extent, but those presses have to turn a profit to survive too. Great reviews and a slew of doctoral theses based on a given book won’t pay the rent.

I’ve turned this over in my head again and again, but there are no easy answers. Plenty of people have gone through the exercise of sending some literary classic or other to a mainstream house or agent under a different title just to get it rejected and then knowingly blog about the generalized cluelessness of trade publishing (and in so doing, entirely overlook the fact that publishers are engaged in a for-profit business), but this exercise barely pays lip service to the larger issue. If we agree as a culture that important, if non-commercial, literature deserves wide exposure, study and discussion, who’s supposed to foot the bill for getting it out there in front of eyeballs?

Indie authors like me who’ve worked long and hard to master platform and publishing skills may feel some righteous indignation at the notion of our artier, less business-savvy counterparts getting somewhat of a free ride when it comes to the labor involved in indie authorship, but we should try to get past this tit-for-tat mentality and look at the big picture. I know all kinds of things about self-publishing, trade publishing, setting up and maintaining an author platform, and the business side of indie authorship, and I’m a pretty good writer of entertaining little novels and instructional nonfiction, too. But I’m no Salinger, O’Connor, Dostoevsky, Garcia Marquez or Camus, and I never will be.

Is it better for the culture at large if the only new authors to achieve any meaningful level of exposure or acclaim are like me, succeeding largely for reasons having at least as much (if not more) to do with our business and marketing skills than our writerly gifts? I’m thinking, no. I have come up with some ideas to address the problem, but it’s a woefully short list. Feel free to add your own suggestions in the comments area.

1. Introductory self-publishing, author platform and publishing business courses should be added to the core curriculum of all creative writing degree programs; many students in such programs may have no intention of ever self-publishing, but these subject areas are so commonplace in the publishing world of today that to be ignorant of them is indicative of an incomplete education.

2. The National Endowment for the Arts has grants on offer each year, but admittedly, they’re limited to pretty specific categories and putting together an acceptable grant proposal is scarcely easier than setting up and maintaining an author blog and Twitter account.

3. Anyone who’s mastered a crucial publishing or author platform skill like podcasting, ebook creation, book cover design or the like should share the wealth of those skills by providing some free instruction to their fellow writers in the form of how-to videos, articles, or podcasts.

4. Any author or publishing pro who’s in a position to give wider exposure to a deserving non-commercial manuscript, book or story should do whatever they can to lend a hand to the writer in need.

Remember: it was probably some classic of literature, not a NY Times Bestseller, that originally inspired you to become a writer in the first place. Let’s all do what we can to give that same gift of meaning and inspiration to future generations of writers, thinkers and artists everywhere.

 

This is a cross-posting from April L. Hamilton‘s Indie Author Blog.

3 Ways To Boost Potential Book Sales Using Samples

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I was recently browsing the blogosphere for eBooks on self-publishing and blogging when I came across Kristen Lamb’s eBook We Are Not Alone: The Writer’s Guide to Social Media. It sounds like a very interesting read based on the blurb at Who Dares Wins Publishing. Will I buy it? Not without a lot of thinking and considering.

The information available in the book sounds great. I enjoy reading Kristen’s blog. I’m looking for whatever new info I can get on self-publishing and blogging. The price for the print version ($14.99 @ Amazon) is reasonable for a self-published book. The eBook version is also not terribly high ($7.99 for .pdf, .ePub, MS Reader, .mobi and Kindle). So why not jump on it? Because I have no idea exactly what is in it.

Think about the pull bookstores have on potential readers. What’s the one thing they still have in their favor? You can sit and peruse a book before you buy it. It’s the same reason customers prefer to buy books on Amazon that have the Look Inside feature. No matter how fantastic your blurb is, it will never fully capture what lies between the covers.

I could buy the less expensive eBook version of We Are Not Alone, but I’d still be out $7.99 if I don’t like it. (Even if I hate a book, I rarely return it or try to sell it.) That’s often the risk readers are faced with when looking at self-published books/eBooks and, with people reigning in their spending, giving away a free sample can mean the difference between a sale or clicking on by.

There really is no excuse for not providing a sample, especially if you do the work for your book yourself (which is what self-publishing is all about). I know of at least three ways to make a sample available to potential readers.

  1. Create a .pdf version and make it available for free download on your web site. You’d want to create something similar to an Amazon Look Inside for it to be of real value to potential readers.  Hacking up your book into sample bits like this can be a challenge, but it’s better than not having a sample at all.
  2. Use a service such as Scribd. Again, this means creating your own .pdf sample of your book, but you’ll reach an audience you may not reach otherwise.


  3. Go with BookBuzzr. This service is by far the best available to Independent Authors. They will hack your book however you want and give you widgets to use for your blog, facebook and email. Beyond that you can set up automatic tweets to market your book.


 

If you plan to sell your self-published books, you must reach readers, entice them to give you their hard won money, and the best way to do that is to offer them a sample of your wares on The Road to Writing.

 

 

This is a reprint from Virginia Ripple‘s The Road to Writing blog.

When Redesigning Your Site Or Blog, Don't Forget To Grandfather

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I recently redesigned my author website. It’s something many of you will do at some point, whether to add features, get a more professional look, put the focus on a specific book or service, or just because you think it’s time. Whatever the reason, when bringing in the new, be careful not to get too overzealous about throwing out the old.

Some of the content on your site may be quite popular, with many links, tweets, backtracks and so on all over the web. Check your site statistics or pageviews to get a quick read on which pages or articles are getting the most traffic, check for backtracks/backlinks on any of your content (backtracks and backlinks are instances of other sites linking to yours) and also take a trip down memory lane to remind yourself which pages or articles you have heavily promoted in the past. Be particularly alert to any content that has been mentioned in the media or highlighted on others’ websites and blogs.

When revamping your site or blog, be sure to keep that popular and much-linked content, and keep all of the associated web page addresses and links intact. After all, you’ve already put in the effort to create the content, and it’s bringing new visitors to your site or blog on a regular basis. Why on Earth would you want to toss that valuable information and goodwill asset on the junk heap?

In the case of my old site, there was a very popular page containing a BookBuzzr widget which displayed the first edition of my book, The Indie Author Guide, online in its entirety for free, as well as a free guide to Kindle publishing. This page has received numerous positive mentions (with links) in the mainstream media. It was no cakewalk building my author platform up to a point where outlets like The New York Times, MSN Money, CNET and The Huffington Post were sending new site visitors my way, and the articles in which my guide had been mentioned will still be on the web for years, or even decades, to come. Even though that Kindle publishing guide is currently out of date and I’m in the process of updating it, and an updated and revised edition of The Indie Author Guide is on its way as well, it would’ve been a mistake to completely eliminate the page and leave a slew of broken links in the wake of my site redesign.

It so happens that I didn’t intend to include this specific page in my new site. I’d created a new organizational scheme and the page just didn’t fit. However, I didn’t want to turn away any new visitors who might discover me through all those links to the page.

So I created a new version of the old page, to match the new site design, and ensured it had the same title and web address. I added a statement indicating I’m in the process of updating the guide and when I expect the new version to be posted, plus a statement with information about the revised and updated edition of The Indie Author Guide, so anyone landing on that page will get the most up to date information.

Note to those who actually write the code for their sites or blogs: even though the new page didn’t have any need for HTML anchors to be included on it, I ensured all anchors present on the old page were included in the new one, so that any links pointing to those old anchors wouldn’t be broken, either.

I didn’t include this page in my site’s navigation bar, because again, it just doesn’t fit the new scheme. But anyone who clicks on one of those old links will not be disappointed, and since the navigation bar for my new site is on that "secret" page too, it’s possible new visitors may click around a bit and learn more about me and my books. 

 

This is a cross-posting from April L. Hamilton‘s Indie Author Blog.

Indie Blog Carnival: Why I Went Indie

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This post, by Kait Nolan, originally appeared on her site on 8/19/10.

Indie author Chris Kelly is hosting a blog carnival around the topic of “Why I went indie.”  Since it’s a topic that’s really on my mind this week, it seemed an ideal post topic and a sign to participate.

I didn’t plan to go indie in the beginning.  I’ve been off and on pursuing traditional publication since I was 15.  Still have those first rejection letters somewhere.  Of course in the intervening fifteen years, publishing changed a lot. 

Having a web presence and a platform became vital.  So Forsaken By Shadow started out as a means to start building an audience.  Originally it was going to be free.  But of course you can’t release things for free on Amazon if you’re not a publisher.  So I listed it for a buck.  There and everywhere else.

Between making the decision to put something out there on my own and actually GETTING it out there, I got into ebooks myself as a reader.  And the publishing industry started going through radical changes, even before the economy tanked.  Rather than looking at ebooks as the next phase of publishing, the big houses looked at them as a threat and have done every conceivable thing to sabotage them–delaying release, pricing them ludicrously, giving authors a pittance in terms of royalties.   Agents and editors started telling their existing authors, “Keep your day job.”

Read the rest of the post on Kait Nolan‘s site.

Planning Your Book

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You’re ready to take the information and education you’ve gained from your research and apply it to your own book.

You’ve learned that the biggest complaint about self-published books is their lack of professional editing. Although you’re anxious to see your book in print, you realize you’ll have to go through a process to make sure you’ve created the best product you can for your particular market and the goals you’ve set for your book.

But first we address the manuscript itself, and how it becomes a book. Whether you use a professional editor, or plan to edit your book yourself, you can pick up a lot of useful information that will help guide you in the process. Understanding how books are constructed will give you a reliable blueprint to putting your book together.

Creating Books from Manuscripts

What Every Self-Publisher Ought to Know about Editing
An Unabridged List of the Parts of a Book
Self-Publishing Basics: Book Chapters and Subheads
Self-Publishing Basics: The Copyright Page
6 Copyright Page Disclaimers to Copy and Paste, and Giving Credit

Part of being a self-publisher is understanding rights and contracts, and particularly taking responsibility for your own copyright in your work. Copyright is an intellectual property, not real property like a house, but it’s no less valuable. Intellectual property has rights that will outlast its creator, and getting copyright clear is a basic publishing task.

This is one of the reasons I’ve written so many articles about copyright for the self-publisher. There’s a number linked below, and the information here will help you understand what copyright is, and what it isn’t.

You’ll get guidance on putting together your copyright page, adding disclaimers, how to copyright your book with the Libarary of Congress and a lot more. It’s a quick education in copyright, especially for self-publishers.

Copyright

Self-Publishing Basics: A 5-Minute Guide to Copyright
How to Copyright Your Book
CIP: What It Means, How to Read It, Who Should Get It
What Every Writer Ought to Know about Fair Use and Copyright
Creative Commons: What Every Self-Publisher Ought to Know

Getting Organized

When your manuscript is ready and you understand how your rights will be affected by publication, and how to protect them, you can move along to how you will organize your book. Does your book need an index? Will you need to hire an artist or illustrator to show processes or graph data?

You’ll want to check for consistency in your manuscript, before you get to typesetting and layout. Using a style sheet can help keep track of formatting elements, overall themes, or specific forms of spelling and address that should be consistent throughout your manuscript.

If your book is instructional, have you thought about enhancing its value by including a glossary or resource list for people starting out? There are almost endless ways to add value to a nonfiction book.

Who are the professionals, if you choose to hire them, who will guide you and help you navigate the book publishing process? Or do you plan to do-it-yourself?

Making decisions about your book shows how important it is to get clear about your aims. How you approach putting your book together should be dictated by how, and to whom, your book will be marketed.

More Articles on Planning Your Book

How Long Should Your Book Be?
Book Chapters and Subheads

It’s time to get into the nitty gritty of creating your book. And the first thing you’ll need is an Understanding of Fonts and Typography, so read on.

 

 

This is a reprint from Joel Friedlander‘s The Book Designer.

America’s Indie Revolt: Why It Matters & Will It Spread

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This post, from Mary Anne Graham, originally appeared on her Quacking Alone blog on 7/11/10.

There’s no doubt about who’s winning the  American Indie Revolution.  The castle walls of the old publishing royals stand in ruins.  Even former staunch allies like Barnes & Noble have defected to the insurgent writers.   

“Digital publishing and digital book selling will soon become the most explosive development in the history of our industry and will sweep aside those who aren’t participating,” Leonard Riggio, B&N’s founder and chairman, said during a recent presentation highlighting the company’s expanding foray into the digital market. 

The e-reader market is in the midst of a price war that is putting more and more of the devices into the hands of the book-buying American public.  Fewer readers visit the brick and mortar bookstores as more readers demand that the bookstores come to them, via their PCs, Macs, e-readers, iPods and cell phones.  Via America’s strong and ever expanding wireless networks ebooks get delivered to readers instantly. 

When American publishers lost control of the distribution system, they lost control of the readers and the writers.  Today authors like Joe Konrath have chosen to forego offered publishing contracts for some books, electing to get them out in print and ebook format on their own, thank you very much.  Books of writers doing it their way are, more and more,  transitioning readers to expect stories undiluted by editorial changes demanded by publishers.  An American indie book or ebook is becoming an intimate experience shared only by the writer and the reader.    

But even in the present economic downturn, America’s companies invested the time and resources to build the pipelines that allowed the Indie Revolt to succeed.   Those pipelines are being strengthened as demand encourages more investment.  Our writers can now write their books, publish them, sell them to readers and get paid via those same magic pipelines that funnel money directly into their bank accounts. 

In the heady atmosphere of power and possibility now held by the creators themselves, it becomes rather easy to forget that America’s Indie Revolt is not yet the world’s.  Imagine an American publisher today saying the following:  “Everyone knows that almost all publishers cheat their authors on their royalty payments, and there’s ­nothing the authors can do about it.”

Read the rest of the post on Mary Anne Graham‘s Quacking Alone.

Stats and Sales and Success and Crap

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This post, by RJ Keller, originally appeared on her Ingenious Title To Appear Here Later blog.

I don’t post a whole lot here about the business end of writing, nor about the ins and outs of self-publishing. This is partly because I think the business end of writing is boring as hell. I mean, I have to worry about it because the IRS might wonder where the extra income is coming from, but it’s not something I particularly enjoy dwelling on here. Also, I said pretty much all I’ll ever have to say about the pros and cons of self-publishing when I wrote for Publishing Renaissance, and I hate repeating myself. Repeating myself.

But the biggest reason I avoid those subjects is that there are a slew and a half of other, much more knowledgeable, writers talking about it already; for example Zoe Zoemeister Winters and Mr. J.A. Konrath (whom I don’t know well enough to -meister). I’m usually hanging out, doing my writing thing, and by the time I’ve thought about the possible ramifications of literary agent Andrew Wylie publishing his clients’ ebooks on his own or heard about Who said What about self-published books over at So-and-So’s blog, it’s pretty much been talked to death.

Recently, though, a fellow indie author told me that it was my responsibility, as a successful self-publishing author, to add my voice to the indie chorus once more. To help to dispel the notion that self-published books suck, that self-published authors do well to sell a total of 25 copies to their friends and family members, or that they might – if they’re very lucky – reach 150 sold if they truly bust their ass. My first thought was, “Dude! You think I’m successful? Rad!” Because I truly don’t know what, exactly, being successful entails. That is to say, I know that it means different things to different people, but it wasn’t an adjective I’d ever applied to myself. My second thought was, “Oy! People are still spouting that crap, aren’t they?” Then it was, “Do I have enough coffee to write about stats and sales and crap?” The answer was, I guess so (I love my Keurig) because here it goes.

Read the rest of the post on RJ Keller‘s Ingenious Title To Appear Here Later.

Publish With Lightning Source

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This story, by Muriel Lede, originally appeared on her site on 8/15/10 and is reprinted here in its entirety with her permission.

Chances are you’ve at least heard of Lightning Source Inc., also known as LSI. If so, you must have been told that they’re the best deal around (indeed), but also that acceptance is selective (not quite), while the submission process is complicated and unforgiving (very true!). If you’ve searched the Web for them, you’ve most certainly noticed that the information about them is scarce and contradictory (often outdated and inaccurate as well). You’ve seen many of their self-publishing customers, some of them quite experienced, curse at them out of frustration—while paradoxically lauding their service!

You indeed consider doing business with the best Print On Demand service around? Then read this comprehensive guide to get a clear idea of the process ahead and avoid making costly mistakes.

Why should you sign up with Lightning Source? Because they have the most options for your books. Because they have the best quality offering. Because their sales representatives are very supportive at every stage of the submission process. Because you want to submit straight to the printer instead of suffering the delays and hazards of intermediates. Because you want the best profit margins (who doesn’t?) and the widest distribution channel. Because you consider yourself a publisher running a business, not merely an author with a manuscript. And you want to gloat about it.

Why should you avoid Lightning Source? Because you’re not tech-savvy. Because you balk at making an initial investment of time and money, or at learning the intricacies of the publishing process. Because you turn green at the prospect of filing paperwork or reading hundred of pages of documentation. Because you don’t care about the minutiae of the end product anyway. Because a free author service suits better your needs, or on the contrary you’d rather pay four times the actual costs to offload it all to someone else. Because you consider yourself an author first and foremost, and would rather avoid every task downstream if at all possible.

This is what they mean with their registration disclaimer. Really, if you recognize yourself in the latter description, they don’t want your business. They want serious publishers that know what they’re getting into, preferably ready to submit.

Services

LSI offers two POD services. Print to Order is for wholesale distribution. That means their online retail partners (most prominently Amazon and Barnes & Noble) order copies straight from them, usually sold to customers beforehand. Print to Publisher, on the other hand, is for short runs (which can be as small as one copy but are meant typically for fifty copies and above), and ships to the publisher instead (or whichever address you specify). Note that the latter option is slightly more expensive per copy.

You can also submit electronic titles for distribution with Ingram Digital, through which you can sell ebooks in DRMed formats such as PDF and ePub. For these two formats, the provided platform is Adobe Digital Editions. In that respect they’re definitely not the best deal around (Digital Editions sucks bad, especially for ePub, while the list of retail partners is more modest than for POD), but the service is free, while you already need a PDF file for the print book interior, so why not…

Requirements

Before you even register for an account, you will need a few things:

You can also provide a GST number if you’ve registered your business with the Canada Revenue Agency.

Last, but not least, you need money; Lightning Source isn’t free. Here’s how it costs for a typical blunder-free submission:

Book cover submission: $37.50
Book interior submission: $37.50
Proof: $30.00
Ingram catalog listing: $12.00
Total: $117.00

Ordering a proof is mandatory for an initial submission. The Ingram catalog fee, charged yearly, is to make the title available to retailers, otherwise your title would only be available for Print to Publisher short runs. Keep in mind that the costs could rise; revisions cost $40 per resubmitted file. May I recommend you don’t make mistakes? They also charge for whatever technical assistance you will require, so don’t ask them for help if you can avoid it.

Administrative concerns aside, I strongly suggest you prepare your submission in advance. You will need Adobe Photoshop, and probably Adobe Acrobat Distiller (which LSI strongly recommends, although sometimes you can do without it). The rest of this guide shall describe the challenges ahead; take a look at their File Creation Guide for an overview.

Cover price and wholesale discount

At this stage, you need to settle your pricing and discounting strategy. By discounting I refer to the wholesale discount, that is, the discount you grant retailers like Amazon. Typically, online retailers in turn grant half of that discount to their customers. You must also consider the price of printing the actual copy in the equation, which is:

Profit per copy = (100% – wholesale discount) × cover price – printing cost per copy

The printing cost depends on the format of your book, its cover type, and its number of pages.

You should decide which format your title shall be, if you haven’t already; whichever you choose, they probably offer it. Only then can you compute the final printing costs per copy, which you need to settle your cover price. It consists of a base cost per copy plus a cost per page, both depending on the format. See the POD publisher operating manual (only available once you’ve signed up) for details.

In regard to the above, there are only two sensible strategies to pursue. If you wish to see your book on the shelves of brick and mortar bookstores, you must offer a trade discount of 55%, flag your book as returnable, and also sign up to be listed in the Ingram Advance monthly catalog ($60 fee per listing). Be careful before choosing that option! First, such a high discount means either you settle for razor-thin margins or you try your luck with prices significantly above the competition. Second, if your book is returnable, that means bookstores will return their surplus after a few months, and you will have to assume the cost of the unsold copies! I recommend against that avenue for most self-publishers, and even small electronic/POD publishers; read about Ellora’s Cave’s woes with Borders for an example of things going awry.

That leaves us with the better and only viable strategy for self-publishers, which is to opt the for the minimum short discount of 20%, not returnable, and to hell with the Ingram Advance catalog! That means an online-only strategy, as brick and mortar bookstores will not carry your titles unless they take the lion’s share of the profits while having you assume all of the risks (if you ask me, it’s a racket). But that also means much more money per copy in your pocket and a safe business plan. Don’t be afraid to offer the minimum discount; some will tell you it’s risky because retailers might snub your title, but that’s just an urban legend.

Then the price you should expect to be listed is calculated as follows:

Expected listed price = (100% – wholesale discount / 2) × cover price

More simply, online retailers further discount the title to their customers by half the discount you granted them; if the wholesale discount is 20%, their discount shall be 10%. Take note that, with Amazon at least, this customer discount might not be offered immediately (I’ve noticed a delay of one month), while the decision to discount any given title is entirely up to them, subject to change without notice, and is not officially documented but has been deduced empirically.

Warning: Make sure your price and discount are final; price revisions take up to 45 days to propagate across resellers. What’s more, if you’ve put the price on the cover, you’ll need to issue a cover revision!

Book interior submission

Before you proceed any further, do yourself a favor and read this official FAQ. Much of what follows is already illustrated in that document.

The book interior must be submitted as a PDF file (Postscript, InDesign or QuarkXPress also accepted), preferably as PDF/X-1a:2001 but this requirement isn’t that stringent. In practice, what matters most is that fonts be embedded to your document. If you open your PDF file with Adobe Reader and inspect its properties, you’ll see a list of fonts (with cryptic names) that the document uses. Every entry must read as either fully embedded (meaning the whole font has been embedded into the file) or embedded subset (meaning that only necessary glyphs have been imported). If it says anything else then it isn’t embedded. This is important because printers do not provide any fonts, however common, which is the only way to ensure the document will print exactly as it displays on your computer.

So how do you embed fonts? You don’t, but merely configure whatever software you’re using to produce your PDF file to do so, the safest way being to look for a PDF/X or High Quality setting. It is also recommended to stay clear of Type 3 fonts (bitmap fonts).

There are other important requirements, one being that illustrations be sampled at either 300 dpi (pictures) or 600 dpi (line art). Another is that those illustrations be encoded as either grayscale or CMYK—no RGB. See next section for a discussion of CMYK.

Last, but not least, make sure your file is titled properly: the syntax is either isbn_text.pdf or isbntext.pdf. I’ve heard of rejected submissions for misnamed files.

Once you’ve frozen your interior file, use the Weight and Spine Width Calculator to complete your book cover; indeed you cannot complete your cover spine without the spine width, hence without the final page count.

Book cover submission

This is the difficult part, where you get to experience the joys of CMYK conversion. There is no avoiding getting technical at this point; just do your best to follow.

Your color book cover file on your computer is most likely encoded as RGB (Red-Green-Blue), which is the additive spectrum that computer monitors use to display images. A printer, on the other hand, requires a subtractive spectrum to print on white paper, and this is CMYK (Cyan-Magenta-Yellow-blacK). Simply put, you have to convert your file so that instead of defining color components for light, it does so for inks instead. This is no caprice, but physics.

In theory this should be trivial. Every RGB color has an equivalent in CMY; black wouldn’t even be required, as it can be obtained with 100% of each of the three primary colors. In practice it doesn’t work that way. For example, the black just described doesn’t produce black on paper, but some dark gray instead. Besides, given how prevalent black is (to say nothing of dark colors in general), it would be a waste of ink and quite a mess to mix three colors just to obtain it, which is part of why black ink was added. But conversely, black ink alone (called pure black) isn’t quite black either, at least not enough for many purposes; we need to mix it with some amounts of the other colors to obtain what is called rich black (LSI recommends 60% cyan, 40% magenta, 40% yellow, 100% black).

Then there are gamut issues, as some colors fall outside of gamut depending on context. This phenomenon isn’t exclusive to CMYK; televisions and computer monitors, for example, cannot render pure black but a dark shade of grey, due to their very nature of being light-emitting devices. Only this is far worse for printing, many more colors being unavailable; deep blue, for instance, is notorious for rendering purplish. This can be worsened by the type of press used, the type of paper, the coating, and so on.

As if it weren’t enough, printers set a total ink limit for every individual dot (obtained by adding together the percentages of each component), which can be as high as 300% (comfortably high) but which LSI sets as 240% (quite low). That means many more colors fall outside of gamut, as there is no way to obtain them with so low a ceiling.

And then, the glossy coating LSI applies onto the cover darkens the image somewhat! With so many variables to consider, it’s nearly impossible to predict what the end result is going to be, which means you can only guestimate what the necessary adjustments should be, order a proof, and cross your fingers.

Confusing? A demonstration is indeed in order:


Original RGB cover

Cover converted to SWOP, 300% ink limit

Cover converted to SWOP, 240% ink limit

Cover converted to SWOP, 240% ink limit, after adjustments

Cover scan by LSI

And none of the above looks exactly like the actual cover! The closest in terms of hue is the fourth, only even darker than the original. It does not look desaturated like the cover scan. I’d show you a picture, but it falls outside the color space of cheap digital cameras as well! Talk about irony…

Brace yourself for the fact that your cover won’t look exactly as expected. Here’s a few tips to minimize the difference:

  • Avoid dark colors
  • Avoid saturated colors
  • Avoid colors notoriously out of gamut, like deep blue

To make the conversion, you absolutely need Photoshop; I’m not aware of any other application capable of altering the ink limit of an ICC profile, at least not nearly as conveniently. Photoshop is quite expensive a software suite just to make a few CMYK conversions, but then you might not need to actually buy it; it’s often available at the office, for example, or at some multimedia lab at college or university. (No, don’t even think of BitTorrent. Illicit copying is immoral and hurts the industry. Bad children!)

Think that’s the end of your woes? There’s another requirement to factor in before proceeding: trapping (usually 0.25pt). Here we have a chicken and egg dilemma: we can only trap a CMYK image, hence after the conversion, but at the same time we can’t trap after the conversion proper because the overlapping regions’ total ink might then exceed the limit. Don’t worry, there’s a way out of this; how do you think chickens came to be, anyway?

Ready for a crash course in Photoshop CS4 CMYK conversion?

  • Set your working CMYK profile to US Web Coated v2 (SWOP) from Edit > Color Settings.

  • Convert your RGB cover to the US Web Coated v2 (SWOP) profile using Edit > Convert to Profile; leave the ink limit at 300%.

  • Apply trapping, 0.25pt, with Image > Trap.

  • Convert to US Web Coated v2 (SWOP) profile using Edit > Convert to Profile once again, this time setting the ink limit to 240% (select Custom CMYK in the list; a settings dialog will appear). Brace yourself for the shock!

  • In View, make sure your Proof Setup is set to Working CMYK, and that both Proof Colors and Gamut Warning are set. Locations whose color falls outside of gamut shall later display as gray pixels scattered all over the image.

  • Select the Eyedropper tool, and have one of the info dialog’s panels display the Total Ink (the small eyedropper icon is clickable; a dropdown menu will appear). Then you’ll obtain the total ink level for any given pixel on the image.

  • Use Image > Adjustments > Curves (or any other such functionality of your liking) to tweak your image while keeping the ink levels below the 240% limit and avoiding the gamut warnings. Yes, it is as hard as it sounds.

  • Once you’re finished, save as TIFF; uncheck the ICC Profile option. LSI does not like ICC profiles.

Keep in mind that what you see on the screen is only an approximation of the actual cover, so don’t freak out if initial results are disastrous. They will be.

Once you’ve completed the CMYK conversion, all that remains is to apply the barcode onto your cover, and the cover onto the template. Use the cover template generator for that purpose, then follow the instructions. LSI offers to apply the barcode for you, but I strongly advise you do it yourself; that’s the only way to be sure of the result. You don’t need to generate your own barcode, one is provided with the template they sent you. The document says to save as PDF, but you may also submit a TIFF file. Save your final file as either isbn_cov.pdf or isbncov.pdf. Once again make sure your files are named properly; the word around is that they may be rejected for so trivial an issue.

Putting it all together

You’ve got everything ready? Let’s cover then what to expect from the moment you register:

  • A Lightning Source representative contacts you, asking that you fill a short questionnaire. Don’t worry, it’s just to filter out those that don’t know how to read the disclaimer.

  • If you’re accepted, they create your account. You can now log in to their customer section. But when you initially do, it’s only to fill more forms; schedule some time, it’s rather long. Basically, they want to know more about your company, which of their services you mean to opt in for, how they’re to bill you (account or credit card), where to ship the copies that you order or those that get returned by retailers, etc. Then, to proceed any further, you need to print and sign some contracts, which you must send them either by fax or mail. Once they’ve processed these, your account is activated.

  • You may now access the customer section proper and create your first title; go to Setup a New Title for that purpose. There’s a few pages to fill out about the said title, then it is created and moved to the premedia stage.

  • Go to Titles Not Yet Submitted, then upload the cover and interior files using their uploader. Preview your PDF files prior to uploading! Once again, mistakes are costly.

  • Wait until your files have been processed and approved by the technicians. Since this is your first title, they then send you a mandatory proof by mail (overnight delivery). You can opt out of it for revisions, although it is not recommended. LSI then awaits your approval to make the title available.

  • Review the proof, then go to Proof Acceptance. If you approve it, it shall be made available to retailers shortly. If you reject it, the submission remains on hiatus until you send revisions.

  • Don’t forget to pay your invoices when they bill you! While some charges are immediate, others are delayed by a few days or weeks. Upon receiving an invoice by email, log in to your account and go to Pay Open Invoices. Beware, for I’ve noticed they don’t always email an invoice! If you expect one, you should drop by from time to time and check.

 

It's The End Of The Book As We Know It, And I Feel Fine

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This post, from Kent Anderson, originally appeared on the Socieity for Scholarly Publishing’s  Scholarly Kitchen on 8/11/10.

About a dozen years ago, when journals were entering the gauntlet wrought by the peril and potential of the Internet, I remember thinking (and saying to any poor soul who would listen), “Wait until this hits books.” Back then, books were off-limits somehow, their hard covers repelling new media’s assaults. E-readers were being introduced, but none made the mainstream. Handheld computer-based attempts were ill-fated. The rumble of thunder seemed too far off to cause a worry.

Little did we know that we’d witness a fast-moving tornado when the storm finally hit.

While you can debate the commercial success, aesthetics, and longevity of it, Amazon’s Kindle has proven to be the wind shift that signaled the storm’s arrival. Other forces — the rise of viable print-on-demand (POD) technology especially, but also shoddy author contracts, publishers focusing too much on a few authors, more authors self-publishing and a rise in social acceptance of the mode, and other background trends — are tearing through the land of the printed book, leaving the industry exposed on many sides, apparently with little shelter.

Now that the twister’s finally arrived, the constant rumors of Borders folding or being consumed have been joined by the news that Barnes & Noble is considering putting itself on the block. While part of this may be a business gambit, the gambit is only necessary because the business is less viable than ever.

Publishers are changing, too. Mass-market romance publisher Dorchester Publishing is dropping its paperbacks entirely and moving to e-books and POD fulfillment for print titles. This means Dorchester is seeing that online retailing is going to drive their business, not remaindered print in bookstores.

Read the rest of the post on Scholarly Kitchen.

My Digital Kingdom

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This is as much for my own benefit as anything else, but I thought you lot might be interested. I’ve started fine-tuning my online presence to get a bit more control over it all. I’m the first to admit that I’m an absolute net-whore. I wander around the digital domain waving my business at anyone that happens to look in my direction. Such is the nature of the modern world.

I have all kinds of online communities that I like to be a part of, as well as keeping an online presence to promote my work in the hope that people will be interested enough to read my stuff and help keep my career alive. Or, at least, not entirely moribund. Plus, I just love being a part of the online landscape. I get to meet so many interesting people, learn cool stuff and enjoying absolute lunacy from the around the world, all in the comfort of my office chair. It’s a crazy place out there and I don’t like to miss anything.

So, because of that, I have numerous things to keep an eye on and numerous places to share my own little slices of madcappery. This website, The Word (assuming you’re reading this there), is my main place. It’s the hub of my online activities. But I also have a LiveJournal blog (where you may well be reading this right now) and I’m very active on Twitter and Facebook. (I actually have two Facebook places. The one linked to here is my author page, but the one shared with Posterous and The Word is my personal page, which I keep for people I actually know.)

I’ve also recently become very busy on Posterous, but that’s partly to help streamline all this stuff and partly to collate all the crazies I enjoy. In an attempt to get my head around how I’ve set everything up, and in an effort to show anyone else that may be interested, I came up with this little diagram. It illustrates all the places that I’m active and how those places cross-pollinate each other to save me posting things in multiple places.

my digital kingdom My digital kingdom

I hope that helps to clarify things, if you were even vaguely interested in knowing. Everywhere you see an arrow is an automatic share, so posting in the one place automatically shares that thing with every place pointed at. And this doesn’t include all the various forums that I tend to chat away on to a greater or lesser extent, depending on mood and time. In fact, looking at this makes me wonder where the fuck I get time to do anything else, but I do. I’m actually pretty good at it. And, with that, I’m off to work on the new novel, before the Grudge Monkey comes looking to kick my arse again.

 

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

Getting Ready to Publish

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The very first thing to do when you start thinking “Should I self-publish?” is to find out what kind of publisher you might become. This decision is critical because it will influence the decisions you make down the road about organizing your publishing business, if you start one, budgeting for your book, and the way the book will be manufactured.

In order to help decide on your publishing path, take a look at these articles on the different ways to be a self-publisher:

What Kind of Self-Publisher Am I?

Two Kinds of Self-Publisher—Which One Are You?
Self-Publishing Basics: Four Ways to Publish Your Book
5 Good Reasons to Self-Publish Your Book
7 Reasons Not to Self-Publish—Is This You?
The Self-Publisher’s Self Questionnaire

Now that you know the direction you want to go, it’s time to do some homework. You’ll have to establish your company with local authorities, pick a name for your press, and establish yourself in the world. You’ll be putting in place the infrastructure your new company will need to launch your book. You’ll deal with companies like Bowker and get your ISBNs in preparation for publishing your book.

Preparing for Publication

How to Create, Register and List Your New Publishing Company
Slow is the Best Speed for Self-Publishing

You’re just about ready to start your publishing life. It’s natural to feel a little nervous about the world you’re entering, but pretty soon you’ll feel right at home. Each time you make progress toward publication, or to increase your readership, you add valuable experience. For most self-publishers, this book is the first one they have written and published. It’s daunting to have to learn everything at once.

Becoming Part of the Community

Becoming part of the community of self-publishers, indie writers, editors, book designers, marketers and everyone else associated with indie publishing gives you the opportunity to learn from dozens of experienced people.

5 Things That Shouldn’t Surprise You About Self-Publishing
Top 5 Discussion Forums for Self-Publishers
3 Indie Publishing Discussion Groups: Getting Your Questions Answered

There’s no other way to say it: Self-publishing can be an exhausting and demanding job, but it’s also satisfying in very unique ways. Sometimes when you’re getting started it helps to remember both sides.

Getting Up and Running as a Self-Publisher

6 Ways to Jump-Start Your Self-Publishing Career
8 Answers That Help Self-Publishers Get Up and Running

And even though we won’t talk about marketing until later in this journey, it’s time for your publishing company and you as an author to have a presence online. The sooner the better. Authority and influence build over time.

Author Platform: What Are You Waiting For?

And the next step in your journey is Planning Your Book. Onward.

This is a reprint from Joel Friedlander’s The Book Designer.